Goofy's Candy Co.

Move over Willy Wonka.

One of the most creatively dynamic concepts realized in recent years at Walt Disney World in my opinion is in fact, not a theme park attraction. The Goofy's Candy Co. brand, and its signature store in Downtown Disney are amazing examples of the combined talents of both Walt Disney Imagineering and the Disney Design Group.

Goofy's line of confectionery products can be found all over the Walt Disney World property, but the retail location of the same name is an adventure into all forms of sugar intoxication. While my two kids spent extended moments of indecision deciding on flavors of Goofy Glaciers (among the choices: Goofy's Glacier Green, Gawrshly Berry Blue, and Orange You Happy Orange), I busied myself taking pictures of the establishment's many colorful design elements.


From the fun product brands that adorn the walls--To the various chalkboards that feature formulas and instructions--

To perhaps my favorite design, the Periodic Table of Elements of which Goofonium takes center stage.
Goofy is certainly represented throughout, but most impressively near the main entrance where he takes on a very iced-over demeanor as he hawks the aforementioned Glacier concoctions.

Goofy's Candy Co. has proven to be successful and very popular since its debut in 2005. It has been featured in the Boo to You Parade at Mickey's Not-So-Scary Halloween Party, and its products have a presence in nearly every merchandise location on property.

Willy, who?

Snapshot! - Scuttle on the Lookout

High above Fantasyland in Walt Disney World's Magic Kingdom, one of Ariel's best friends keeps lookout over the area that bears his name: Scuttle's Landing. Details abound throughout the Magic Kingdom; sometimes you have to arch your neck a little to see them all.

Wanted: Brer Fox and Brer Bear

These very cool design elements featuring Brer Fox and Brer Bear can be found in the exterior queue area of Splash Mountain that winds through a whimsical landscape in the shadow of the Frontierland Train Station. The irony of these characters' prominence in the Magic Kingdom while Song of the South continues to be locked away in the mythical Disney vault continues to be a source of frustration to countless Disney fans. In that sense, these Wanted posters almost take on meaning beyond their simple association with this very popular attraction.

"No Event Too Small"

And it will certainly be no small event when Disney Legend Charles Ridgway arrives in the Carolinas in just a little less than two weeks on Tuesday, June 5. Mr. Ridgway will be appearing that evening at 7PM at the Winston-Salem Barnes and Noble. I will be hosting and I look forward to meeting all my fellow Carolina Disney enthusiasts.

Charlie will be discussing his new book Spinning Disney's World, and will make a presentation of photographs from his own personal collection that span his long and colorful career with the Walt Disney Company. Mark your calendars and spread the word! It's going to be a fun night!

Taking the Gran Fiesta Tour

Let's face it. I was very predisposed to like this attraction. So I will state my obvious bias right here at the start. The Three Caballeros is one of my favorite Disney films; in my opinion, very underrated and up until now, largely unappreciated. It was a real delight to see these characters finally showcased in a theme park attraction.

Long in need of refurbishment, El Rio del Tiempo has evolved into a much more colorful, high energy presentation in the form of the Gran Fiesta Tour. Most noticeably gone now are the Aztec references at the beginning and the very weird marionette carousel from the finale. The movie screens have all remained in place and now feature animation that chronicles Jose Carioca and Panchito Pistoles searching for Donald prior to a planned concert. The attraction's mix of set pieces and film projections is a natural fit with the live action-animation mix of the original 1944 feature film. And unlike the all encompassing Seas with Nemo and Friends, Donald, Jose and Panchito do not overpower the entire Mexico pavilion.

While I always found El Rio del Tiempo an enjoyable diversion, it always impressed me as a bizarre amalgamation of other ride concepts. It was an odd mix of If You Had Wings and Small World, with Aztec history, albeit without the trademark human sacrifice, thrown in for good measure. Gran Fiesta ejects that seemingly obligatory history homage and subsequently pulls the other disparate elements together with a more consistent theme and mood. It's a fun ten minutes.

The Largest Sundae at Walt Disney World

The wacky antics of MuppetVision 3-D can sometimes extend just beyond the attraction building and its queue area. Mostly obscured on high walls to the right of the building, two oversize planters take on slightly different functions as their contents fall victim to the hot Florida sun.

The largest ice cream sundae at Walt Disney World is not at Beaches and Cream but in fact at Disney-MGM Studios.

A Recent Visit to the Laugh Floor

I am currently spending an extended weekend at Walt Disney World and I thought I’d throw up a post or two while buying into 24 hours of Internet access.

For all its troubled development and decidedly mixed reviews, I have to say that I enjoyed the Monsters Inc. Laugh Floor much more than I expected to. Closer to cute and corny than to hip and hilarious, it certainly satisfied the crowd I saw it with. The little kids in the audience seemed to be especially taken with it.

That said, it is still very disappointing in other ways. It is totally disconnected from its Tomorrowland location, and no effort whatsoever was made to make it fit even on an aesthetic level. The queue and preshow areas are sparse, clearly betraying the attraction’s very short creative gestation period. As novel as the whole Living Character Initiative is, the attractions employing this technology are going to need to expand beyond the very simple screen-to-audience interaction that both Laugh Floor and Turtle Talk currently present.

If you can look past its obvious flaws (and likely many will not), it’s a mildly entertaining D-Ticket and a solid child-pleaser.

The Animal Kingdom Imagineering Field Guide

The latest entry in the Imagineer's-Eye Tour series of field guides has arrived in book stores. The Imagineering Field Guide to Disney's Animal Kingdom at Walt Disney World is every bit as extensive in content and pleasing in execution as its two predecessors.

Animal Kingdom is literally dense with theming, making this tome especially enjoyable. The book is a treasure trove of concept art and design sketches. It was a real treat to see two very interesting concept ideas by Joe Rohde--the elaborate Oasis carousel that eventually evolved into the Tree of Life, and a Noah's Ark gateway that was an early idea for the park entrance.

The book truly serves to illustrate how in many ways the Imagineers' penchant for details if often overlooked or not considered by the average visitor. One excellent example of this is the outdoor theater that hosts The Flights of Wonder show. The Caravan Stage is in fact derived from a caravansay, a place where caravans would take respite from their journeys. It is intended to evoke the setting of the Silk Road as it traverses through the Taklimakan desert of Asia. And here you thought it was just a shady spot for the "bird show."

The book is filled with similar background expositions that will surprise and delight even those who consider themselves seasoned theme park experts. Like its already published Magic Kingdom and EPCOT counterparts, it's a great read for even the most casual of Disney tourists but also an indispensable reference for any Disney park enthusiast.

My only quibble with the book is that its small field guide format does not do justice to its many wonderful illustrations. Hardly a fair criticism considering the field guide nature of the publication, but it does make one hope for larger format collections of Imagineering concepts both realized and unrealized.

Snapshot! - Angling in Animal Kingdom

Along a meandering stream in the Camp Minnie Mickey area of Disney's Animal Kingdom, Goofy finally puts to use (well, sort of) the skills he learned in his 1942 short How to Fish. I really love the details that went into this scene, from the contents of the lunch box to the Goof's bedroll. The holes in his shoes are an especially nice touch and are a specific carryover from his many cartoon appearances.

It's Been a Goofy 75 Years

It appears that another major milestone of the Disney Company is going unrecognized and uncelebrated. Seventy-five years ago this month, Goofy appeared for the first time, albeit in the form of Dippy Dawg, in the 1932 Mickey Mouse cartoon Mickey’s Revue.

Goofy is especially unique among his famous costars in that his performances were not limited to the intellectually-challenged but always good natured personality he came to embody . His range extended to his now famous Sport Goofy and “How To” roles, and then ultimately to the post-war character of Mr. Geef, who was essentially a cartoon counterpart to the likes of television icons Ozzie Nelson and Ward Cleaver.

From the black and white shaggy persona of Dippy Dawg to his upcoming and hopeful return to glory later this year in How to Hook Up Your Home Theater, it is time to celebrate 75 years of Goofy-ness. That’s exactly what we plan on doing here over the next few weeks. There’s a lot of potential ground to cover so stay tuned.

Imagineers in the News - 1973

Amid over at Cartoon Brew pointed us to a new online archive from the UCLA Department of Special Collections that includes over five thousand images from the L.A. Times and the original Los Angeles Daily News. One of the more interesting results of my "Disney" keyword search was this all-star mash of Imagineering legends from 1973:


Published on October 23, 1973, the picture had the following caption:

NEW ATTRACTION--Disney engineers, from left, Marty Sklar, Tony Baxter, George McGinnis and John Hench examine a model of Disney World's new Space Mountain ride. The display was part of the first press tour ever offered of production center of Walter Elias Disney Enterprises.

Freeze Frame! - Aladdin and Some Animated Guest Stars

Continuing yesterday's series of Freeze Frames from Aladdin, we highlight some moments that feature references to other notable Disney characters. The Genie is responsible for two of these. He unceremoniously pulls Little Mermaid costar Sebastian out of a cookbook, and uses Pinocchio to illustrate his lack of faith in Aladdin's seemingly sincere commitment to granting the Genie's own freedom.


A bit more difficult to spot is Beast from Beauty and the Beast. His blink-and-you'll-miss-him cameo involves not the Genie but the Sultan. A toy version of the character is among the small trinkets that he amuses himself with just prior to the Prince Ali musical number.

Freeze Frame! - Aladdin, Groucho and Ed

The Genie's celebrity impersonations are among the many memorable moments from Disney's 1992 animated feature Aladdin. Two such characterizations center on personalities from television's golden age. Robin Williams' vocal take on variety show icon Ed Sullivan is near dead on as he intones the signature line " . . . really big shew."

When Genie morphs into the slightly more recognizable Groucho Marx a few moments later, it borrows heavily from Groucho's famous and hugely popular 1950s game show, You Bet Your Life.

More Aladdin Freeze Frames tomorrow. Stay tuned.

Snapshot! - Gulp Gas

One of my favorites elements from Mickey's Toontown Fair in Walt Disney World's Magic Kingdom is the very cartoon-esque rendition of a vintage gas pump. The entire scene of Pete's Garage is a clever homage to service stations of yesteryear. Clean restrooms were badges of honor for station operators back in the day and the restroom key was a distinct staple of gas station culture. My personal choice for best-Imagineered restrooms on Disney World property.

Robot Restrooms and Interplanetary Mail

As many readers here already know, the retro-deco designs of Tomorrowland are among my very favorite details in Walt Disney World. And as you can see here, those details extend all the way down to the restroom level.

A simple mailbox is not excluded either. And guests are clearly cautioned--NO INTERPLANETARY DELIVERIES.

The Original EPCOT Character Connections

Ah, characters in Epcot; the debate rages on . . .

Despite being initially and intentionally void of traditional Disney personalities when it opened in 1982, EPCOT Center was in fact never without characters. While most folks are quick to associate Figment (pictured above with pal Dreamfinder in an early postcard illustration) with Disney World’s second gate, there have certainly been a number of other animated characters, both traditional and animatronic (and sometimes even both) who over the years have called Epcot home.

Just for fun, a quick roll call of some of Epcot’s other animated denizens, both past and present:

The cast of Kitchen Kaberet, the Land pavilion’s audio-animatronic floor show that debuted with the park in 1982. It evolved into Food Rocks in 1994, but was then removed completely to make room for Soarin’ in 2005. It’s stars included host Bonnie Appetit who was joined by fellow performers Mr. Dairy Good and the Stars of the Milky Way, the Boogie Woogie Bak’ry Boy, the Cereal Sisters (Mairzy Oats, Rennie Rice, and Connie Corn), the Fiesta Fruit, and Mr. Hamm and Mr. Eggz. Among the Food Rocks incarnations were Fud Rapper, the Peach Boys, Neil Moussaka, Chubby Cheddar and the Get-the-Point Sisters.

Not quite gone and certainly not forgotten are the characters featured in Cranium Command. The Wonders of Life pavilion currently sits sadly without activity behind a row of potted plants, denying access to the broad and colorful characters of General Knowledge and Buzzy. Like Figment, Buzzy was also brought to life in both cartoon and animatronic representations.

While not as readily apparent as other early Future World characters, there were a few animated characters that resided in the Seas pavilion long before Nemo and friends swam in and took up residence. The talking submersible Jason existed in animatronic form, while mythological character Atlas starred in the 7 ½ minute cartoon The Animated Atlas of the World. In another cartoon film, Suited for the Sea, two unnamed fish explained the history of the diving suit.

Scattered across other Future World post-shows and exhibits were the likes of Bird and Robot at World of Motion’s Transcenter, SMRT-1 at Communicore, I/O from Backstage Magic and mini-robot Tom Morrow at Innoventions.

And please folks, this post was not meant to re-engage the Epcot character debate. My intention was solely to revisit some earlier EPCOT nostalgia and continue our celebration of EPCOT's 25th.

Donald and the Wheel - In Four Color!

One of my earliest posts here on 2719 Hyperion was a short feature about one of my favorite Disney cartoons: Donald and the Wheel. In digging through my long boxes recently I rediscovered a little piece of four-color fun I had forgotten I had—the Dell Comics adaptation of that 1961 Donald Duck short.

Most would likely dismiss this Donald Duck comic book as being fairly inconsequential. Typically, if a Duck comic from this time period doesn’t possess a Carl Barks pedigree, it tends to be largely ignored, let alone inspire any kind of discussion.

While adapting the vast majority of the cartoon’s sequences, the comic also added a framing sequence involving Huey, Dewey and Louie and established a narrative with Donald himself being a character, and not just assuming roles within the story. The Spirits of Progress, the father-son duo who are the central narrators of the tale, fully appeared in the comic, going beyond the rot scoped silhouettes they were in the cartoon.

One feature that remained consistent from film to page was the clever rhyming dialog that the Spirits cleverly engage in.

In keeping with the “edu-tainment” nature of both short and comic story, the inside, cover pages and the back cover provided some fun illustrated facts and diagrams.

Certainly in no way groundbreaking or otherwise significant, but a neat little piece of memorabilia nonetheless.

Don't Miss: Selling the Dream

Over at Passport to Dreams Old and New, Foxxfur has just posted the latest installment of her Selling the Dream series of articles about the various television specials Disney has produced over the years to promote their theme parks. Today's post takes a fascinating look at the 1982 EPCOT Center Grand Opening special hosted by Danny Kaye. The program was a very odd juxtaposition of idealistic pontifications and not-so-subtle advertising, but as Foxxfur ultimately concludes, it represented a significant moment where Disney actually promoted the "thematic and intellectual concerns" of one of its parks.

Great, great information and insight as we've come to expect from Passport to Dreams Old and New.

Retro Review: A Perfect Summer Movie

Ah, what is the perfect summer movie? Spiderman? Pirates of the Caribbean? Cars?

Solid arguments could be made for any of these and countless others as well. Ever since Jaws and Star Wars were released in the mid-1970s, summer has become the season for high energy popcorn-filled trips to the local multiplexes. But my candidate for a perfect summer movie predates those two films by nearly a decade and a half, and while it was certainly a special effects powerhouse in its day, it is best remembered for its undeniable charm and the engaging performances of its cast.

The Parent Trap makes me wish I had been a kid back in the summer of 1961. Released ever so appropriately in June of that year, the film remains timeless on many levels despite being so firmly grounded in the post-war, early baby boom popular culture. From the very funny shenanigans and heartwarming discoveries at Camp Inch to the fateful camping trip where gold digger Vickie gets “submarined,” The Parent Trap just oozes summer in nearly every frame of film.

There are so many points of merit to this wonderful movie; it’s hard to know just where to start.

Well, how about the opening credits? This captivating sequence of stop-motion animation was created by T. Hee, Bill Justice and X. Atencio and echoed their earlier efforts on Noah’s Ark and foreshadowed 1962’s Symposium of Popular Songs. Accompanied by Annette Funicello’s and Tommy Sands’ bubblegum rendition of the title song, the clever vignette immediately sets a tone of fun and romance that the entire movie ultimately embodies.

The screenplay and direction of David Swift mix equal parts melodrama, romance and comedy for very satisfying results. Some reviewers, including Disney scholar Leonard Maltin, felt the film uneven in its comedy and ultimately average, a criticism I personally have to disagree with. However, nearly all critics of the time were universal in their praise of the film’s cast. Accolades were deservedly given to romantic leads Brian Keith and the always beautiful Maureen O’Hara, but the film is also notable for its equaling engaging supporting players; among them Nancy Kulp, Frank DeVol, Una Merkel, Joanna Barnes, Charlie Ruggles, Ruth McDevitt and Leo G. Carroll.

But let’s face it; from beginning to end, The Parent Trap belongs to Hayley Mills. Her remarkable performances as both Sharon and Susan are every bit as convincing as the special effects that allow her two characters to share the screen. Studio veteran Ub Iwerks supervised the processes that brought together the two distinctly different twins; it proved an amazing marriage of technical achievement with the exceptional acting of the very talented Mills.

My favorite detail from the film? When Sharon and Susan are placed in isolation at Camp Inch, their discovery of sisterhood appropriately happens within the walls of a cabin named Serendipity. But you’ve got to squint to see the sign by the cabin’s front door.

As I said near the beginning, The Parent Trap is pure summer, in atmosphere as well as setting. Filled with summer camp antics, poolside pratfalls and treks through the wilderness, it is a shining example of family entertainment made the old fashioned way. While I’ll likely be visiting places such as Far Far Away, World’s End and Spiderman’s Manhattan in the coming weeks, I will also be doing some R&R at Camp Inch and Mitch Ever’s southern California ranch. 

One minor postscript: While the 1998 Lindsay Lohan remake was not a bad movie, it was certainly unnecessary. It was one of the less than remarkable results of Walt Disney Pictures “recycling” phase of the late 1990s that begat the likes of Flubber, and the live action 101 Dalmatians among others.

Postscript #2: The two-disc Vault Disney edition of The Parent Trap is an exceptional DVD set. You can still scare up a copy of this out-of-print edition on Amazon and other various online retailers.

USA Today on the Return of 2D

USA Today, both print and online editions, has a very good article on Disney's return to traditonal animation. Featured prominently in the article are both Enchanted and The Frog Princess. Included are comments from John Lasseter, Dick Cook, Leonard Maltin and even Simpsons creator Matt Groenig.

One interesting tidbit--the young heroine's name in The Frog Princess is revealed to be Tiana.

When the Cat's Away - May 3, 1929

For seven brief minutes in 1929, Mickey Mouse was, at least in physical size, a mouse.

It has always been a point of amusement that Mickey is, well . . . pretty big for a mouse. When viewed in scale to his surroundings, Mickey likely stands three to four feet tall; a little guy in the conventional sense, but one pretty hefty rodent otherwise. Many toddlers are often sent into screaming hysterics when they encounter for the first time Mickey’s even larger theme park incarnation.

That is why the 1929 cartoon When the Cat’s Away, Mickey’s sixth film, stands as a curious anomaly in the iconic character’s long filmography. For in both physical size and social dynamic, Mickey is truly a mouse in this Walt Disney directed short.

Like many of its early Mickey Mouse and Silly Symphony counterparts, When the Cat’s Away is a music-based collection of pratfalls and gags centered on a simple premise and void of any kind of plot. Its raw barnyard pedigree is evident right from the start, when the title-referenced character of Tom Cat emerges from a run down shack and quickly imbibes in a triple-X branded jug of moonshine before making his required exit. To the uninitiated, when Mickey pops out of the small hole in Tom’s porch moments later and subsequently leads a small army of mice into the shack, the short takes on an unintended surreal quality.

It is no small coincidence that the Mickey’s fellow mice bear striking resemblances to similar rodents from Disney’s earlier silent endeavors. The film is a remake of sorts of Alice Rattled by Rats, produced in 1925, and the character designs do not stray far from that short’s original cast. And these “supporting mice” contribute much of the cartoon’s content. Mickey’s antics are for the most part focused on a player piano and the typical cartoon gags that that instrument usually inspires. While somewhat mundane overall, the film’s shortcomings are easily forgiven in relation to its more relevant historical context.

But more than anything, When the Cat’s Away is fascinating simply on the level of watching Mickey engage in an environment that matches the creature that he is. In that regard, the cartoon is a curious left turn away from the five Mickey Mouse shorts that preceded it. Mickey had been clearly established as an out-of-scale mouse from his inception in Plane Crazy. For whatever reason, in this case premise trumped consistency and Mickey enjoyed a brief connection with his more primal (albeit still in a cartoon sense) nature.

I can think of only one other screen appearance where Mickey was distinctly “mouse scale”--the 1934 film Hollywood Party. This early live action-animation mix has comedian Jimmy Durante at one point picking Mickey up by the tail while party-goers scream and stand on tables and chairs. Check this earlier post for more information on that particular Disney-MGM collaboration.

And on one final note regarding When the Cat’s Away—the frequent off-color humor prevalent in many of these early shorts is markedly apparent at the cartoon’s end. Minnie’s own “end” becomes prominent in one of the film’s parting shorts.

License to Collect: Ouverture en 1992

Disneyland Paris just recently launched its 15 Year Anniversary celebration with much fanfare. But, fifteen years ago, it had a different name--EuroDisney. Here's a license plate that was actually sold at Walt Disney World--at France in EPCOT Center's World Showcase to be exact.

Charles Ridgway in North Carolina

Here is some great news for all the Carolina readers out there. Mark your calendars for Tuesday, June 5th at 7PM. I will be hosting Disney Legend Charles Ridgway at the Barnes & Noble Booksellers in Winston-Salem, North Carolina.

This is a great opportunity for all us Carolina Disney fans to meet up. I have heard from a number of you folks lately (shout-outs to George, Jeff J. and Big Brian especially), so as I said, mark your calendars and spread the word.

Disney Legends such as Charlie rarely wander into the Carolinas, so this is a special treat indeed. You can read my very enthusiastic review of Spinning Disney's World here.

Souvenirs: Greetings from Horizons!

Unlike the current plethora of Mission: Space merchandise, little was offered in the way of Horizons souvenirs during its run of sixteen years. These early postcards are among the very few items I possess that are unique to the now-classic Future World pavilion.

What a Character! - Bent-Tail & Bent-Tail, Junior

Over the years, cartoons have presented us with multiple incarnations of mice, dogs, cats, birds and rabbits. But coyotes, those much disparaged residents of the western U.S., seem to be represented by only one larger than life animated figure: Wile E. Coyote.

But four years prior to Wile’s debut in Chuck Jones’ classic 1949 short Fast and Furryous, Disney debuted a coyote character of their own. A clever, cunning and occasionally menacing adversary to Pluto, Bent-Tail first appeared in the 1945 cartoon The Legend of Coyote Rock. He subsequently costarred in three more Pluto shorts throughout the 1940s and early 1950s, and then was the central figure of The Coyote’s Lament, a 1961 episode of the Wonderful World of Color.

Similar in motivation (his stomach) to his Warner Brothers counterpart but distinctly different in personality, Bent-Tail seems to be more noticeably overlooked than many of the other Disney supporting players of the same time period. Mention his name to many self-described Disney animation enthusiasts and you are likely to be met with puzzled expressions.

It is the pursuit of food that forms the basis of Bent-Tail’s interactions with Pluto, and that theme extends throughout all of the character’s appearances. Mutton is his goal in Coyote Rock, and he proves to be quite the villain in his pursuit of a lamb chop dinner. His is not the character of sophisticated buffoonery that Wile E. embodies; Bent-Tail is a sly and quick predator who can easily best Pluto with his wits and his stealth. His plans typically fall victim more to comical circumstances than to any heroic efforts on Pluto’s part.

He may have been a bit too vicious and threatening in that first outing, for when he returned four years later in Sheep Dog, his presence had been softened considerably by the addition of his cute and comical son, Bent-Tail, Junior. In the film, the younger Bent-Tail proves more a hindrance to the elder’s plans than any interference Pluto causes, and the interplay between father and son is very much the focus of the short’s comedy. In fact, in Sheep Dog and the subsequent two “coyote” cartoons that followed it in 1950, Pests of the West and Camp Dog, Bent-Tail and Junior are essentially the stars with Pluto stepping back into more secondary status. Their Laurel and Hardy-esque antics take center stage in all three endeavors. Particularly funny in Camp Dog are Junior’s persistent attempts to make a meal of Pluto while his father tries desperately to pilfer the campers’ stash of groceries.

As was Disney’s habit with television to recycle earlier animation, the Bent-Tail cartoons were edited together in 1961 to form an episode of the Disney anthology program entitled The Coyote’s Lament. Charles Nichols, who had directed all of the Bent-Tail shorts, produced additional animation that evolved the characters of Bent-Tail and Junior into Grandpappy Coyote and Pappy Coyote respectively. Over the course of the episode, the two relate the plight of their species through the telling of their old adventures to Pappy’s son Junior Coyote. The formerly silent characters now had voices, and a nearby chorus of fellow coyotes provided musical transitions that were performed by the Sons of the Pioneers.

Distinct and entertaining in their few appearances, the Bent-Tail characters have since wandered into the desert of Disney obscurity. But thanks to the Disney Treasures DVDs, their lonely howls can still occasionally be heard.

Snapshot! - A Net Full of . . . Elephant?

Not too far away from the Muppet-based craziness of a net full of jello is this equally wacky entangled pachyderm. The former Looney Bin at Disney-MGM Studios is not nearly as looney as it was fifteen or so years ago, but it still has a few interesting eye-catching elements.

And coming soon to 2719 Hyperion--the Snapshot! feature will be expanding beyond the boundaries of Walt Disney World. Images just a bit more international in origin will be arriving in the very near future. Stay tuned.