Orlando, Fla. — There is no theme park land quite like Dark Universe. Tucked inside Universal Studios’ showstopping new Florida park Epic Universe, don’t expect warm reassurance as you enter the space.
Coffins, a crypt and a creepy statue of a young girl are what greets us. Round the bend, and the world opens up, a steaming, fog-shrouded well gives way to a gray-toned castle. Magic? No, this is something more foreboding, albeit a bit mystical with its electrical volt shocks that hint at an afterlife rather than a happily ever after.
Dark Universe is one of five lands at Epic Universe, the first major theme park to launch in the U.S. since 2001, when Disney California Adventure opened its turnstiles in Anaheim. A brand new theme park is a rarity, and with it comes expectations — of new tech, next-gen ride systems, unexpected ways to experience stories and an ask for your vacation dollars. Tens of millions pilgrimage to theme parks each year — consider them a rite of passage, an escape and a way to participate in narrative myths that define the American experience.
Epic Universe is largely a triumph, a theme park that will instantly be the favorite of many, and a park that at long last gives Universal a destination to properly rival — in many ways best — those of Disney. Perfect? No, Epic Universe could benefit from a larger idea or two beyond recreating cinematic and gaming worlds, but it is stunning, and should forever change the modern theme park industry, which was born right here in SoCal when Disneyland opened in 1955.
Each of its key lands — in addition to Universal’s Monsters brand, areas are themed to franchises “Harry Potter,” “How to Train Your Dragon” and the world of Nintendo — has standout moments with near expert environmental design. There are grand set pieces, such as the 1920s Parisian streets and buildings that tower and engulf us in the Potter land, and smaller, clever flourishes, such as the bathrooms that lack a mirror in the monsters-themed Dark Universe because, you know, vampires don’t reflect.
Epic Universe represents an evolution of Universal’s parks, which first became a major tourist destination in Hollywood, where the backlot studio tour gradually evolved over the decades to include Disney-inspired, theme park-like attractions. The opening of Universal Studios Florida in 1990 would cement the impression of a rivalry between Universal and the better-attended Disney parks. Though creatives may often jump between the firms, the modern theme park era has seen the two trade serves and volleys.
The opening in 2010 of the Wizarding World of Harry Potter, first in Florida, would alter how theme parks build environments. Gone were lands centered around a broader concept — the frontier, adventure — and in their place were fully immersive environments based on a single IP — intellectual property, in industry speak. Disney would copy the formula with Cars Land in Anaheim, and later with worlds themed to “Avatar” and “Star Wars.” Universal would raise the interactive stakes with Super Nintendo World, first in Japan, then Hollywood and now in Florida, the latter more than double of the size of the one in SoCal, with two additional attractions.
Epic Universe, currently in technical rehearsals and opening May 22, should have a similar seismic reaction, as its attractions will reset the bar and the expectations of guests. Here are key takeaways from a day at Epic Universe’s standout lands.
Dr. Frankenstein’s monster is one of many impressive animatrionics at Universal’s Epic Universe.
(Universal Studios)
Dark Universe is a masterpiece — and seriously spooky
The approach of Universal Creative, the arm of the company devoted to theme park experiences, is to treat its large-scale theme park attractions almost as mini-movies. That means they go heavy on plot, and the showcase ride of Dark Universe — indeed, one of the best in the park — is no different. Monsters Unchained: The Frankenstein Experiment is something akin to one of Universal’s Halloween horror mazes turned a thrill ride, complete with an assortment of monsters, ranging from a striking, piano-playing Phantom of the Opera to high-flying vampires.
Dr. Frankenstein’s castle at Epic Universe sets a foreboding tone.
(Todd Martens / Los Angeles Times)
The ride vehicle is similar to the one found in Harry Potter and the Forbidden Journey — a bench-like setup attached to a mechanical arm that twists, turns and propels us around the catacombs of Dr. Frankenstein’s castle. Here, that’s Dr. Victoria Frakenstein. All one really needs to know is she’s trying to control Dracula, and that sets off a war among monsters, with her own coming to her defense. Frankenstein’s monster is an eye magnet that will attract attention in every scene, especially a preshow in which he appears as a nine-foot animatronic.
Details abound, as we enter the castle’s catacombs amid a sky-high skull wall and pass the likes of the Wolfman, the Mummy and the Creature from the Black Lagoon. This is a ride heavy on physical sets, as screens are used in a complementary rather than starring role, which will blissfully cut down on motion sickness. Yet there were even times I wondered if I was looking at a figure or perhaps a work of animation. My one qualm is that it tries to pack in quite a bit of story amid its jolts and surprises, and if you try to follow it you may be lost. When the ride ended, I was unsure, for instance, what side “won,” but traversing a haunted environment is the priority.
The land surrounding Frankenstein’s castle is a joy to peruse, as spooky imagery is used to hint at something more mystical. I encountered a few wandering musicians, and closed my day at Epic Universe with a pint at the Burning Blade Tavern, where every few minutes its windmills are set ablaze and an actor had accused me of being a werewolf (it was the beard). These kinds of character moments help the land feel lived-in, and should be the norm at modern theme parks, as cementing an emotional connection with the world is often done via other people rather than robots, a fact that Epic Universe, at least in its early going, understands well.
Epic Universe’s Harry Potter-themed land is based on 1920s Paris, an expansive land filled with cafes, shops and a massive new ride.
(Thomas Simonetti / Bloomberg / Getty Images)
Walk through the awe-inspiring mini city of Harry Potter’s Paris
A word of warning: I’m not a Potter person, yet I wanted to spend the entirety of my day inside the Wizarding World of Harry Potter – Ministry of Magic, set primarily in the Paris of the “Fantastic Beasts” films. Forget forced perspective tricks; this is a full-scale mini city complete with multiple eateries, elegant shops, wind-torn tapestries and domed palaces. By being set in the 1920s, the land can turn on its old-timey charm, and if you’re lucky, you’ll encounter wandering street musicians and actors playing wizarding students. I wanted to sit and admire the Haussmannian-inspired designs, simply enjoying a beverage while I translated all the French signs that surrounded me.
Yet there was little time to chill on my fast-paced media tour. No matter, as most guests will rush to Harry Potter and the Battle at the Ministry, which I feel comfortable declaring is one of the most impressive theme park attractions ever created. Those weaned on the worlds of Potter will love it. This is an attraction, from the queue to its ending, of constant reveals — tunnels give way to gorgeous atriums, and each set piece aims to be larger, more lively than the last. The story is set around the trial of Dolores Umbridge, who I learned is something of an evil witch (the ride is deep in Potter lore, and doesn’t make much of an effort to bring those unfamiliar with the franchise up to speed).
The atrium in the queue for Harry Potter and the Battle at the Ministry aims to be awe-inspiring.
(Universal Studios)
Again, I do believe Universal’s storytellers dig too heavily on plot here, as I couldn’t recall all the characters or details — it’s essentially a good versus evil battle in an attempt to contain Umbridge. But I was also too busy marveling at the environmental design. Even the ride vehicle is noteworthy, as we enter a contraption that looks and feels like court seating, before being jolted to the right. Early in the ride we encounter a Death Eater, and the figure moved so fluidly and operatically that I had to ask myself if there were actors on the ride (there are not). It is is the most impressive animatronic at a North American theme park. There’s a time-traveling motif, meaning we encounter the likes of Harry Potter and Hermione Granger, although the actors from the films did not reprise their roles. Universal declined to say who is voicing the characters, recreated digitally here.
And yet there’s more. Ministry of Magic is also home “Le Cirque Arcanu,” which is pitched as a circus-meets-magic show, but soon becomes something more expansive, exploring a story that touches on multiple magical creatures that dot the Wizarding World. Stagecraft at Epic Universe is as important as any ride, and this is a good one, full of clever, high-budget tricks and charming puppets.
Hiccup’s Wing Gliders coaster in a land themed to “How to Train Your Dragon” is an Epic Universe highlight.
(Thomas Simonetti / Bloomberg / Getty Images)
A grand ‘How to Train Your Dragon’ island that’s not just for kids
I underestimated How to Train Your Dragon — Isle of Berk. I believed Epic Universe’s kid-focused land would go the way of those of theme park’s past, with static figures and more cartoonish-leaning design. I was wrong. Isle of Berk is on the level of Dark Universe and Ministry of Magic, with wood-carved dragon sculptures, dozens of animatronic figures, a devastatingly cute meet-and-greet and a terrific, family-friendly roller-coaster. I didn’t even get a chance to do the competitive water ride, Fyre Drill, which has guests blasting water canyons at fire targets (and getting soaked in the process). I have a reason to return.
But I did ride Hiccup’s Wing Gliders, and it’s one of Orlando’s finest family coasters. Never again should designers be allowed to get away with static figures on coasters, as Hiccup’s Wing Gliders uses a clever scene with Hiccup and Toothless to launch the vehicle up its track. It’s relatively fast — I was quoted a speed of about 45 mph — smooth and dotted with charming character moments.
Epic Universe’s child-focused land themed to “How to Train Your Dragon” doesn’t skimp on scale.
(Universal Studios)
Spend time, however, wandering the land, which is welcoming due to the water track that hosts Fyre Drill. Almost everywhere I turned something came alive — a sleeping dragon waking up, a baby dragon cracking out of an egg or a husky dragon cooling us off with a cold blast of air. And that says nothing of the plethora of Viking actors who wanted to stop and chat. There’s also a meet and greet with star dragon Toothless, and it’s centered around creating respect for the mystical beings, with strict instructions on how appear welcoming to our animal pals.
And I’ll confess I teared up during the land’s stage show, “The Untrainable Dragon.” A mix of songs, puppetry and some robotic figures, the show is simple — its title spells it out — but it’s cute and celebrates the power of family and community.
Super Nintendo World at Epic Universe is more than double of the size of the land at Universal Studios Hollywood.
(Universal Studios)
A world of play at Super Nintendo World
Here in L.A. we’re blessed with our own Super Nintendo World at Universal Studios Hollywood. It’s one of my favorite theme park lands, home to an augmented reality Mario Kart attraction and clever, simple games embedded into the design. So despite Florida’s Super Nintendo World being more than double of the size of the one in SoCal, it is the land I spent the least amount of time in, as I wanted to maximize my time at Florida-exclusive attractions.
Yet I did jet into the land to visit Donkey Kong Country, home to the charming but short coaster Mine-Cart Madness. The ride utilized a dual track system, aiming to create the illusion of our carts jumping over gaps and taking sudden, unexpected turns. It largely works, as the purposefully rickety coaster prioritizes directional fake-outs over speed and thrills, and that alone sets it apart.
Mine-Cart Madness and the land’s third ride, Yoshi’s Adventure, which I didn’t have time to ride, are both imports from Universal’s Japan resort.
The ride vehicles in the Harry Potter and the Battle at the Ministry attraction look and feel like ornate court seats.
(Universal Studios)
But is all this marketing squeezing out a larger ‘theme’ in our theme parks?
Epic Universe is impressive throughout, and it should reset guest expectations for what an attraction and land should be. Universal, especially here in Hollywood, has a reputation for an over-reliance on screens, but the company fully deviates from that at Epic, emphasizing hand-built sets, animatronic figures and artfully using digital animation in a supporting yet harmonizing role.
On Potter’s Ministry of Magic attractions, for instance, a Universal tour guide said only the Sphere in Las Vegas has a bigger screen, but it’s used for depth and scale to enhance the set pieces. Upcoming attractions that continue to emphasize virtual, digitally created worlds — especially those utilizing 3-D glasses — will start, I imagine, to feel a bit like relics after a trip to Epic Universe. Fully molded worlds are what audiences crave.
The entrance and exit portal at Epic Universe.
(Todd Martens / Los Angeles Times)
I thoroughly enjoyed my time at the park, and am eager for a return visit to explore it at a more leisurely pace, but I was left with one lingering question: What is happening to the “theme” in our theme parks? Epic Universe so heavily leans into IP that it can be accused of lacking a larger idea or concept. Think of, say, Animal Kingdom and its emphasis on conservation, Epcot and its original, albeit disappearing thesis, of a global and science-led future, or even Disneyland and its romanticized vision of American myths.
This is not necessarily an Epic Universe criticism so much as a concern for where theme parks are heading. I longed, for instance, for a brief respite from cinematic worlds at Epic Universe. The final land, Celestial Park, which has portals into each IP world and an impressive roller coaster, didn’t quite fulfill that niche for me, as its mix of concrete and fountains leaned slightly more Las Vegas than a proper theme park (I’m willing, however, to be proven wrong on a future visit when I can devote more time to the space). Epic Universe, in other words, has nothing like Disneyland’s Rivers of America, which helps set the tone and pace for a day at a park, especially as they become so unrelentingly focused on replicating worlds seen in movies and games.
To be sure, Universal with Epic does a solid job of using its brands to look outward. The Parisian fancifulness of Ministry of Magic, for instance, or utilizing its Monsters brand for a dive into the arcane. Yet more and more, our theme parks are becoming collections of properties rather than spaces to explore larger concepts. Soon, the Walt Disney Co. will be adding “Avatar” to Disney California Adventure, which should finally end that park’s original mission as a celebration of California culture.
Audiences may not mind, especially if these lands and attractions are built with the care shown at Epic Universe. There is nothing, for instance, at Epic that is as commercial as Disney California Adventure’s Pixar Pier, where the entrance to the land is corporate signage. So perhaps these lessons are already being learned.
We return to Universal and Disney parks not because they provide thrills but rather an emotional connection. So if our theme parks must become brand portfolios, let us remember it is heart, not marketing, that matters. For four days after returning from Epic Universe, my most lingering memories are not a ride vehicle or an animatronic, but chatting about werewolves with an actor in a bar and touching a purring dragon.
