• Skip to primary navigation
  • Skip to main content
  • Skip to primary sidebar
The Happiest Pod on Earth

The Happiest Pod on Earth

Geek Therapy's Disney-Themed Podcast

  • Episodes
  • Blog
  • Contact Us
  • Subscribe

Accessibility

Dynamic Disabilities: From Accommodations to Accessibility

June 11, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/c1c82fe5/ddfdcae2.mp3

Podcast: Play in new window | Download | Embed

Subscribe: Spotify | Email | RSS | More

43: Ariel, Stef, and return guest Maria delve into the intricacies of hosting a play therapy conference at Disneyland, focusing on accommodations for dynamic disabilities. They discuss the unique challenges and rewards of planning such an event in a magical setting. They emphasize the importance of inclusivity, accommodations, and the evolving nature of disability services at Disney. They also explore the distinctions between ask culture and guess culture, the impact of ableist assumptions, and practical strategies for integrating play-based interventions for disabled children and adults.

Register for the “Play Therapy: Disney Bound” taking place at Disneyland and the Disneyland Hotel from March 10th-15th, 2025 here:

https://www.anewhopetc.org/playatdisneyland

Register for the “The Supportive Innovations for Therapeutic Heroes Conference (S.I.T.H.)” taking place at Las Cruces Convention Center, New Mexico from September 26th-28th, 2024 here:

https://www.anewhopetc.org/sith

Summary

Summary of HPOE 43:

  • Introduction and Terminology (0:00): Ariel, Stef, and Maria introduce Episode 43 and define the key terms of ableism, DEIB, and dynamic disabilities to prepare listeners for the discussion.
  • Meet the Hosts & Guest (1:26): Ariel, Stef, and Maria introduce themselves and discuss their professional backgrounds.
  • Maria’s Inspiration and Conference Challenges (2:53): Maria shares her inspiration for choosing Disneyland as the venue for her play therapy conference. She discusses the unique challenges and rewards of planning an event in a magical setting.
  • Ask Culture vs. Guess Culture (10:01)” The conversation shifts to the importance of asking questions in personal and professional contexts. The trio explores the concepts of ask culture and guess culture and their impacts on event planning.
  • Dynamic Disabilities and Accommodations (16:58): Maria explains the concept of dynamic disabilities and their fluctuating nature. The group discusses the importance of accommodations and the evolving policies of Disney’s Disability Access Service (DAS).
  • Disney’s DAS Program and Challenges (21:21): The discussion delves into recent changes to Disney’s DAS program, including the new pre-registration process and the impact of these changes on visitors with disabilities.
  • Play-Based Interventions (41:03): The hosts discuss play-based interventions for individuals with disabilities, highlighting the importance of creating inclusive play environments catering to children and adults.
  • Hosting at Disneyland: Tips and Reflections (47:49): Maria shares practical advice on hosting events at Disneyland, emphasizing early planning and clear communication. She reflects on the success of her play therapy conference and announces details for the next event.
  • Closing Thoughts and Future Plans (51:59): The episode concludes with reflections on the discussed topics, the importance of continuing advocacy for disability rights, and excitement for future events and conferences.
Transcription

00:00 – 00:02
Is episode 43 of happiest pot on earth.

00:02 – 00:09
On this episode, we are going to be using some, very specific terminology that we would like to define for you ahead of time

00:09 – 00:13
so when you listen you can feel more prepared. The first term is ableism.

00:13 – 00:22
Ableism is the discrimination of and social prejudice against people with disabilities based on the belief that typical abilities are superior.

00:23 – 00:29
At its heart, ableism is rooted in the assumption that disabled people require fixing and defines people by their disability.

00:30 – 00:38
The second term is diversity. Diversity simply means the differences between people, and equity is about securing everyone’s

00:38 – 00:40
access to the same opportunities and resources.

00:41 – 00:47
Inclusion, which is another term that we use, creates a welcoming and respectful environment, and belonging is the feeling

00:47 – 00:50
of being accepted and part of a community.

00:50 – 00:58
Another term is dynamic disability. A dynamic disability is a condition or impairment that can change in severity and impact over time.

00:59 – 01:05
This can include periods of remission or exasperation or symptoms that fluctuate throughout the day.

01:05 – 01:12
People with dynamic disabilities may experience good days, bad days that are unpredictable, which can make it difficult to

01:12 – 01:14
manage their symptoms and plan for the future.

01:26 – 01:29
Hello, everyone. Welcome to the happiest pod on Earth. I’m Steph.

01:29 – 01:35
I’m an educator who uses passions and fandoms to help my students grow and learn about themselves and the world around them.

01:35 – 01:42
And I’m Ariel, a licensed therapist who uses clients’ passions and fandoms to help them grow and heal from trauma and mental illness.

01:42 – 01:49
I’m Maria. I’m a marriage and family therapist and a registered play therapist who pulls from pop culture to normalized mental health and therapy.

01:49 – 01:53
And here at Happiest Pod, we dissect Disney mediums with a critical lens. Why?

01:53 – 01:56
Because we are more than just fans and we expect more from the mediums we consume.

01:57 – 01:58
So everybody, what are we talking about today?

01:59 – 02:08
Well, we have a very special guest on our podcast today, an old friend, I guess you can say, because we have had her on our podcast before.

02:08 – 02:15
We have Maria who is, a wonderful person, human being, and very talented in what she does.

02:15 – 02:22
I am in awe of everything, that she has accomplished, and, I had so much fun the last time I saw her because the last time

02:22 – 02:26
I we saw her was at the parks. So Yeah. Yeah.

02:26 – 02:33
Yeah. Thank you guys so much for having me back, and thanks for coming and playing with me at Disney.

02:33 – 02:35
I mean, there’s no there’s no better work day than

02:35 – 02:36
a day at Disney.

02:36 – 02:39
You really have to pull our hair to, like, go there.

02:39 – 02:44
We’re just like, I don’t know about this one. That’s such a big ask. Oh, good. Ask.

02:44 – 02:46
I had to leave work. Oh my goodness.

02:46 – 02:53
So, Maria, I’m curious. What inspired you to choose Disneyland as the venue of your play therapy conference?

02:53 – 03:00
And were there any unique challenges and rewards that you encountered in having the magical place be the location

03:00 – 03:11
of your conference? Sure. I mean, when we think about play, and the 3 of us being, Disney adults, fan adults, I mean, there’s

03:11 – 03:15
really not a better place than the parks to go and play. Right?

03:16 – 03:24
And so really the the idea behind the conference was how do I integrate play back into the learning? I’m old.

03:24 – 03:30
I used to attend conferences when they were fun. That stopped happening.

03:30 – 03:37
You know, and prior to the pandemic, and then since we’ve been back trying to do, like, learning in person again, I learn

03:37 – 03:40
best when I am fully, like, in it.

03:40 – 03:45
And nothing nothing completely captures my attention than anything Disney touches.

03:46 – 03:49
So, it was just it was a wild dream. It really was.

03:49 – 03:53
It was just kind of a, I wonder if this had ever happened.

03:54 – 03:55
And I was just like, well, what’s the

03:55 – 03:58
worst that’s gonna happen? Right? Like, we’re gonna put it out there.

03:58 – 04:02
Like, the worst day of this is still like a good day at Disney.

04:02 – 04:11
I mean, that’s a pretty safe that’s a pretty safe low bar for me to try it out with. Absolutely. Yeah. And so, like, it’s interesting.

04:11 – 04:14
So, I mean, I’ve done event planning before.

04:14 – 04:16
I do host a conference here in my hometown.

04:16 – 04:22
You you do kind of get to know the ins and outs of event hosting, and then there’s Disney. And then

04:22 – 04:31
there is Disney. Okay, so did they have challenges that they threw your way that you hadn’t experienced in your current experience of event hosting?

04:32 – 04:35
Not, not as many as I had anticipated, right?

04:35 – 04:42
I kind of went in thinking I’m a small, small little minnow fish in a very big pond. Right?

04:42 – 04:49
People who think about Disney events think, you know, big, huge corporation events. I am not that.

04:50 – 04:56
So I I think I went in with the anticipation that I was going to be kind of like, that’s cute.

04:56 – 04:59
He would like to do this, but like, maybe not.

05:00 – 05:02
And that wasn’t the case at all, right?

05:02 – 05:08
They were just, my event was just as important at, like, as, like, the next event coming in.

05:08 – 05:11
That was probably 10 times the size of our event.

05:12 – 05:20
I did not feel, yeah, I did not feel like we were patronized, we were not, you know, set aside, and they, I mean, it’s Disney.

05:21 – 05:26
I I had such a surreal experience of, like, rolling up to the hotel and taking my bags out.

05:26 – 05:35
I’m gonna go check-in, and I’m actually met at front door of someone who knows who I am and, like, walks me to my room, take

05:35 – 05:40
has my bags carried to my room for me, gone through, and, like, here’s a personal number.

05:40 – 05:47
If you need anything, you text this number, and we will respond to you. I was like, oh. Oh my goodness. Oh, okay. Okay.

05:47 – 05:49
Like, you know there’s just 30 of us. Right?

05:49 – 05:51
Like, this is not like a big, big thing.

05:52 – 05:54
You must have me confused or something.

05:54 – 05:55
I know. I know.

05:55 – 05:59
It’s serious. Like, talk about imposter syndrome. I’m sitting here. Me?

05:59 – 06:00
Is it for

06:00 – 06:10
me? Okay. So, no. I I think I think if anything, Disney was a venue that really surpassed my expectations, even even if it was Disney.

06:11 – 06:17
And they really did, unlike some of my local venues, they really did care about my, my event.

06:17 – 06:21
And the number did not seem to matter to them at all.

06:21 – 06:24
Every event there is important and special.

06:24 – 06:27
I love that. That’s like, that’s Disney magic right there. Right?

06:28 – 06:35
And I mean, I remember staying at the Grand Californian and being chosen as like family of the day.

06:35 – 06:36
I did not have kids at that point.

06:37 – 06:42
It was like me and my husband, and they chose us because we were staying there and it was our anniversary.

06:42 – 06:44
And I was like, are you sure?

06:44 – 06:48
It was the imposter syndrome thinking, are you do you have the right people?

06:48 – 06:53
Because we scrimped and saved to get these rooms because they were a pretty penny.

06:53 – 07:01
But yet you are giving me an autograph picture of Mickey and Minnie and, like, you, personalize, you know, all of our items inside the hotel room.

07:01 – 07:10
I think that’s just those little details that make honestly, make it worth it going and choosing them as a venue or choosing

07:10 – 07:17
them as a place to celebrate something, which, in this case, not much a celebration, but more of a learning experience, which

07:17 – 07:20
I think is very unique to use that as a venue.

07:20 – 07:26
I am, I guess you can say experience in doing event planning as well since I do it a lot for my school sites.

07:27 – 07:34
And I totally understand the just the struggle of finding a venue that will work with you and will have things prepared for you.

07:35 – 07:43
From the little time that I was there, at the play therapy conference, you had amazing servers who were just as charming as

07:43 – 07:51
the cast members in the parks, if not more, because, you know, they were interacting with you and making sure you had everything while you were hosting.

07:51 – 07:54
It was so charming and, you know, pixie dust everywhere.

07:54 – 07:59
If I could, you know, make a tangible, analogy to that.

07:59 – 08:07
But, on that note, for listeners who might be interested in hosting their own events at Disneyland, do you have any key do’s or don’ts?

08:07 – 08:09
Did you encounter anything that you were like, okay.

08:09 – 08:19
Maybe I don’t go this route, especially since you did more of a hybrid hotel plus downtown Disney plus park experience because

08:19 – 08:23
those are very big logistical things to juggle.

08:23 – 08:27
So, you know, if you can kind of just give our listeners some tips on that.

08:27 – 08:33
Yeah. Absolutely. Start early. Start early. Yes.

08:33 – 08:41
I mean, the the contracting process, right, like, there’s a process, and Disney has so many options for you to, like, choose. Right?

08:41 – 08:46
So going in blind for the first time, I didn’t know what all my options were. Rain.

08:46 – 08:52
You’re like, I want to do an event, and I have about this many people, and we’re gonna need hotel rooms, and I want park tickets. And I was like, cool.

08:52 – 08:58
Would you also like and it’s like, you know, Ladens’ genie is like rolling out the transcript of possible wishes.

08:58 – 09:00
I was like, would you also like any of these options?

09:01 – 09:08
So our last one, definitely felt very rushed at the end trying to get everything.

09:09 – 09:15
I have my new contract already signed now for next year. So start early, and ask ask.

09:16 – 09:22
My, my favorite thing was in meeting with Deb who was my connection for contracting, you know, she’s like, well tell me what

09:22 – 09:27
you would like, and then my, I would answer her back and go, what else should I be asking for?

09:28 – 09:30
What else are their options for me?

09:30 – 09:31
Beautiful question.

09:32 – 09:35
Yeah. Because they’re gonna tell you. Right?

09:35 – 09:37
This is this is what they do day in and day out.

09:37 – 09:45
So don’t limit yourself to what you think is possible because it’s Disney. Right? They’re gonna it’s it’s the TARDIS. It’s bigger on the inside.

09:45 – 09:49
As soon as you open the door, you have so many more options.

09:50 – 09:57
Yeah. Yeah. Yeah. That’s really interesting because recently there’s been this this trend or this theme in some of my sessions

09:57 – 10:01
where we talk about the difference between ask culture and guest culture.

10:01 – 10:03
Have you heard of this? Oh, interesting. No.

10:04 – 10:05
I agree.

10:05 – 10:05
Now that you say it.

10:05 – 10:06
You’ve there you go.

10:06 – 10:08
I mean, it it’s it’s making sense.

10:09 – 10:16
Yeah. Yeah. So, some people who have been raised in guest culture, and usually the demographics of individuals raised in this

10:16 – 10:21
culture are people in collectivist cultures or lower socioeconomic status Mhmm.

10:21 – 10:26
Or had, households where, we had to guess emotions.

10:26 – 10:31
So what that does is that means that we guess the answer.

10:31 – 10:36
So I won’t ask my friend to take me to the airport if I don’t think that they’ll say yes.

10:37 – 10:43
Or I won’t, ask my parents if I can spend the night at someone’s house if I think they’re in a bad mood.

10:43 – 10:44
That’s the one.

10:45 – 10:45
Okay.

10:46 – 10:56
And people who have been raised in ask culture, they don’t even socialize to believe that, someone will say no, then it’s not a burden to even ask. Mhmm.

10:56 – 11:03
And that, when they’re saying yes, it’s because that they they genuinely have thought about it.

11:03 – 11:05
You don’t have to think about it for them.

11:05 – 11:06
Okay, interesting.

11:06 – 11:13
And so I could see myself as someone who was raised in guest culture because I was, you know, in a lower socioeconomic status

11:13 – 11:21
with just 1 parent household to 1 income household and, you know, living in a collectivist culture, like, ‘Okay, I believe Disney will say yes to this.

11:21 – 11:25
So I will only ask this and nothing more.

11:25 – 11:32
And here you are giving us a question that someone who’s in guest culture could use. What should I be asking? Right?

11:32 – 11:35
Because, I mean, the assumption is that they’ll answer that question.

11:35 – 11:38
But it isn’t a big ask of an ask.

11:39 – 11:49
Yeah. Exactly. Exactly what. And that, you know, I I would say I probably did not, I did not come from a guest culture background.

11:49 – 11:58
And only owning my privilege and owning that I am a white cishetero presenting female, that a lot of assumptions are made. Right?

11:58 – 12:03
And so I’m still very new at this part of my professional career.

12:04 – 12:13
I don’t know these answers, even though I can say, you know, I’ve planned, you know, 15 local events in my lifetime. Disney’s another level.

12:13 – 12:16
And each time I do something, right, we learn.

12:16 – 12:23
And one of the things I quickly learned was they know more than you know, and they don’t know what I don’t know.

12:24 – 12:24
Right.

12:24 – 12:30
So just ask them. Just ask them. Like, what should I be asking? What should I know about?

12:30 – 12:32
What are the options that maybe I have not considered?

12:33 – 12:41
And that’s true for event planning, that’s true for almost any experience when you go in novously and kind of renew. Right?

12:41 – 12:47
Whether that’s, being invited to write an article, whether that’s being invited to come to a podcast. Right?

12:47 – 12:50
Like, what, what should I be asking?

12:50 – 12:53
What don’t I know that you think maybe I should know?

12:53 – 12:54
What, what do I need to know?

12:54 – 12:56
What, what have I not been informed about?

12:56 – 13:03
I think that is a wonderful way to step into curiosity and says that you don’t have to know.

13:03 – 13:06
And I think that even keys back to like that imposter syndrome.

13:06 – 13:13
Like we feel like, again, we should know that guessing, I probably should already be at this level to even be allowed.

13:13 – 13:21
Yeah. Absolutely. Yeah. Like who, what audacity did I have to think that I could pull off an event planning at Disney?

13:23 – 13:30
Right, I was like no, like and like what’s the worst that’s gonna happen? Right?

13:30 – 13:35
If we don’t ask, I’m gonna miss out, and the people coming are gonna miss out.

13:35 – 13:39
The worst that’s gonna happen is they’re gonna tell me, oh Maria, that’s that’s too far.

13:39 – 13:41
No, that’s not that’s not a possibility.

13:41 – 13:42
So it’s too close to the sun.

13:42 – 13:48
Right? Yeah. Absolutely. And contracting with them again for this next one, I already had.

13:48 – 13:52
So here’s my next question, like, list of questions now that I’ve done it once. Right?

13:53 – 13:58
I was wondering if these things are possible, and and some of them are like, yeah. Absolutely.

13:58 – 14:01
And others were like, oh, we’ve never had that question asked before.

14:02 – 14:07
Let me go look into it and maybe it’s a no, but maybe it’s a yes.

14:07 – 14:15
Yeah. Why not ask? I think as you were both were talking, when we’re thinking of Disneyland and Play, we always talk about

14:15 – 14:17
how we’re going back to our childhood, right?

14:17 – 14:23
And when I’m thinking about younger kids versus older kids in, like, middle school, when you’re in a class full of younger

14:23 – 14:29
kids, you’re constantly getting questions, rapid fire questions because they won’t stop. They’re curious about everything.

14:30 – 14:36
But if you realize as you get into upper education, the questions lessen because everyone’s too shy, or they’re just trying

14:36 – 14:38
to guess, or they already have their presumptions.

14:38 – 14:46
And so I think it’s very interesting that we’re kind of going back into play and thinking of play and thinking like a child and saying, hey.

14:46 – 14:54
If I were a 6 year old wanting to play at the parks, and they have one goal is to do play at the parks with their friends,

14:54 – 14:59
they would ask the questions necessary in order to make that happen. Where can I play?

14:59 – 15:01
I mean, even not even what would I wear?

15:01 – 15:03
I don’t think a 6 year old would ask what would I wear?

15:03 – 15:05
I’m just gonna wear whatever I want to wear. But

15:05 – 15:09
But I think like, like, when I see 6 year olds, can I touch that?

15:09 – 15:12
And it’s like, as an adult, it’s like, no, don’t even ask. But it’s

15:12 – 15:13
like, maybe.

15:15 – 15:19
Yeah. Can I climb that? Or my body is asking you because I’m already doing it.

15:19 – 15:23
So are you gonna tell me no, or you’re just gonna let me do this?

15:23 – 15:25
So, yeah, I think it’s really interesting.

15:25 – 15:31
You know, as we get older, we ask less questions because we are so much more presumptuous as to what the answer is.

15:31 – 15:37
But in reality, we can ask the more complex questions to get a more direct answer.

15:38 – 15:42
So it’s kind of just doing that little switch, and it’ll benefit us.

15:42 – 15:47
I mean, look at what fruitful things came from the play therapy conference.

15:47 – 15:53
I mean, everybody I met was just having the time of their lives, and it was so great. I loved it.

15:53 – 16:01
I think going back to like, why we don’t ask the questions, I think there also is this, like, I’m supposed to already know, Right?

16:01 – 16:06
Like, if I reach out to Disney to host an event there, I should already somehow magically know

16:06 – 16:06
Yeah.

16:07 – 16:11
All the ins and outs and pieces. And how to right?

16:11 – 16:17
And, like, how to read how to read a 68 page contract and know what I am signing my life way to.

16:17 – 16:23
And so being able to be very vulnerable and open and being like, this is a giant leap for me.

16:24 – 16:27
Can we kind of talk through these things?

16:27 – 16:35
Here are the questions I have, but also, like, what am I not asking that maybe, like, the other players who’ve done this before have asked and was helpful?

16:35 – 16:46
With the and shifting just a little bit, you have on the new form, and you did in the original form for people who are signing up, request for accommodations.

16:47 – 16:50
And I know that you’re doing a presentation in Virginia on dynamic disabilities.

16:50 – 16:58
So I was wondering if you could talk about accommodations, disabilities, and what that was like for with Disney, like for the conference. Sure. Yeah.

16:58 – 17:01
Yeah, absolutely. I’m happy you talked about this.

17:01 – 17:08
I will share my definition and kind of use of the term dynamic disabilities, and we can kind of go from there.

17:08 – 17:20
So I use the term dynamic disabilities really to be an umbrella term of, health issues, mental health, physical health issues that are often invisible.

17:20 – 17:26
So there’s not like a visible outward sign. The dynamic piece comes from it. It fluctuates.

17:26 – 17:33
The impact, the intensity, my ability to function fluctuates without cause or without notice.

17:33 – 17:42
When it comes to a dynamic disability, I think, there’s a lot of management and there are, like, some days that are good and some days that are bad.

17:42 – 17:47
And, it is not a consistent experience.

17:47 – 17:55
And for those who have never had a disability or been disabled, sometimes the way that media presents a disability is it’s fixed.

17:56 – 17:59
It’s like one way of experiencing every single day.

18:00 – 18:03
And they don’t see a spectrum of experiences.

18:04 – 18:13
And so I think the other component with the dynamic is that, the individual themselves may not be able to predict, like, if

18:13 – 18:19
it’s, quote, unquote, a good day or a bad day, what accommodations I might need, today versus tomorrow.

18:19 – 18:29
Something else that the audience, could be aware of is, when it comes to disabilities, some people will use person first language. Some people use identity first language.

18:29 – 18:35
And so person first would be someone with a disability, because we’re putting them in front of the sentence.

18:36 – 18:41
Although some of the community has identified their disability as an identity and Mhmm.

18:41 – 18:48
Would prefer to be identified as disabled or, or by their actual disability.

18:48 – 18:55
Now, that as clinicians and I think even Stef as educators, we let the person tell us, like, which they prefer to use. Mhmm.

18:56 – 19:03
Yeah. And I think using the word dynamic is more in tune with how we live day to day, whether or not you are dealing with a disability.

19:03 – 19:05
Because not every single day is the same.

19:06 – 19:11
Not every single day we’re, waking up the same way, approaching things the same way as before.

19:11 – 19:13
We can try to get close to that.

19:13 – 19:22
But as dynamic people who are unlearning, learning things, constantly, it’s I feel more in tune to what real life is as opposed

19:22 – 19:27
to like what Ariel says, what what is projected to us through, you know, pop culture and how they portray disabilities.

19:28 – 19:33
Yeah. Absolutely. Or just the expectation that if you can do it once, you can do it every day here on out. Right?

19:33 – 19:40
And it’s like, well, that’s not real life. We’re not still art. Yeah.

19:40 – 19:44
You know, I could have could have had a rough day the day before, a bad night’s sleep the night before. Right?

19:44 – 19:48
Like, in general, I think we all live dynamic lives, and

19:48 – 19:49
it is just a nice way to

19:49 – 19:58
kind of view that. With dynamic disabilities, you know, it’s, it is becoming, at least for me, it’s becoming a real focus

19:58 – 20:04
of presenting, talking about, educating people about, I live with my own.

20:05 – 20:11
I work with wonderful professionals who are working with their own, and we are trying to navigate the systems, the best we

20:11 – 20:18
can while while while looking fine, even on some of our worst days.

20:19 – 20:19
Yeah.

20:20 – 20:28
So, yeah, so I it’s very intentional that my registration form has, you know, do you have any of these accommodations? Yes.

20:28 – 20:34
Participants could easily reach out to the Disneyland Hotel themselves and say, here, here’s what I need. Here are the accommodations. What are my options?

20:35 – 20:41
And part of my hostess persona says, I also want to know. Right?

20:41 – 20:48
Because if you made those accommodations on on the side and I’m not looped in, then I can’t also be on the lookout and and

20:48 – 20:52
making my own accommodations for you, and just being prepared.

20:53 – 21:01
Yeah. For for those things. And that’s the communication piece that is, you know, hyper focused on when you are hosting because

21:01 – 21:06
you are constantly communicating with every single person, making sure they’re okay, and that’s a really big undertaking.

21:07 – 21:14
But speaking of constants and people wanting to view a certain way or having parameters that are set, I know recently, there

21:14 – 21:21
has been changes to the Disney’s disability Access Services at Disneyland. It’s a very sticky situation.

21:21 – 21:28
I think, you know, speaking for myself and looking at it as a person that doesn’t need these accommodations, And for the folks,

21:28 – 21:37
who use acronyms, this is the DOS system that, folks with disabilities use to access the parks and enjoy their day in a way that suits them.

21:38 – 21:41
And I guess it’s a question for both, you know, Maria and Ariel as clinicians.

21:42 – 21:46
How do you think these changes have impacted visitors, have been impacting visitors?

21:47 – 21:56
And, just seeing how it is already a big undertaking to be at a very busy theme park with a lot of moving parts.

21:57 – 22:01
How do you think it affects them and even future conference attendees for you, Maria?

22:01 – 22:03
I love that. Ariel, do you wanna

22:03 – 22:07
go? No. You go ahead first. You’re our guest. Be our guest.

22:09 – 22:13
I think I think that it’s I think it’s going to continue to move. Right?

22:13 – 22:20
Like, I don’t have a full understanding that this is where it’s going to land and be permanently, you know, the new system and the new restrictions.

22:21 – 22:27
I also think it’s a really big undertaking for an organization like Disney to have to, like, navigate all of this. Right?

22:28 – 22:39
Because they do really make efforts to to put comfort and people access first, and sometimes, they have to draw a line in

22:39 – 22:44
the sand and that that then it means an exclusionary criteria. Right?

22:44 – 22:52
But if you do not have these things, do do not show up in this way, then these accommodations are not easily accessible or even available to you any longer.

22:52 – 22:59
So my own, I am definitely watching, trying to keep a pulse, trying to really understand, like, what these new limitations

23:00 – 23:08
are going to translate for, and also trying to look at it from my own perspective of, like, that that may even I I am not

23:08 – 23:18
I did not participate in the DOS, services before, but I was being kind of told, like, you should kind of consider this with your with your own physical stuff.

23:18 – 23:21
Like, this might be really, really beneficial to you.

23:21 – 23:27
And so to just start like that process and for it to then immediately change and like, oh, I don’t think I know, I don’t think

23:27 – 23:33
I qualify any longer based on these new limitations, and restrictions, and requirements.

23:35 – 23:43
So right now, I’m still in the learning, learning the new dance, so to speak, and then being able to get an understanding

23:43 – 23:49
so that I can then translate it to people who are coming and who might have questions about what the new restrictions and limitations are.

23:50 – 23:55
Yeah. I think you point out something very important. This is changing. It is evolving.

23:55 – 24:04
So, even by the release of probably this episode, there may be new updates but what we do know is that Disney did release,

24:04 – 24:08
well, first that it the new, criteria started in May.

24:09 – 24:17
And that Disney released a list of, like, diagnoses that they, I guess, felt were more that needed more of the accommodation of the DOS program.

24:17 – 24:21
And, those diagnoses were ADHD, anxiety and autism.

24:21 – 24:30
So the community had already, been on the alert because, of the fact that it was like these and these only.

24:30 – 24:34
Then they they specifically said developmental or cognitive disabilities.

24:35 – 24:40
And that then would exclude individuals who need accommodations that are physical.

24:41 – 24:48
And then as things started rolling out, it was the fact that there was a pre registration process, and you have to do it 30 days before your visit.

24:48 – 24:54
They are no longer allowing, I think, in June for people to go into the city hall

24:54 – 24:55
to have the conversation. Okay.

24:56 – 25:03
So, that means that you have to have a plan to attend, later.

25:03 – 25:09
And if you are somebody who’s a magic key holder that could go anytime, you would have had to already have this set up.

25:09 – 25:12
The the praises are that it has extended

25:12 – 25:14
the amount of of having

25:14 – 25:17
it. Instead of 60 days, it’s 120 days. Right?

25:17 – 25:25
Once you if you are approved, the and that, there is more scrutiny happening because what the result of this was backlash

25:26 – 25:34
to influencers saying like, Hey, if you don’t want to pay for Genie plus and you want to skip the line, here’s the things you need to say. And

25:34 – 25:35
the hacks, essentially.

25:36 – 25:44
The hacks as it was presented, which meant that it adversely affected people who needed accommodation because of a disability.

25:44 – 25:52
Other things that have been, like, criticisms are the fact that, they are encouraging more people to use, like, someone to

25:52 – 25:54
hold a spot in line and you leave and return. Mhmm.

25:55 – 25:59
And if you are somebody who’s a wheelchair user, your spot in line might not be reversible.

25:59 – 26:05
You might not be able to back your wheelchair through or like with people standing there, right?

26:05 – 26:10
So there needs to be a space for your chair to go backwards or or whip around.

26:10 – 26:17
So that would need to be wide enough space as well as move through lines of people. Yeah.

26:17 – 26:26
And, other criticisms like people have already been sharing their stories where if they’re taking medication, for specifically

26:26 – 26:32
those who are experiencing cancer, if they’re taking medication that causes, like, a diuretic and they need to use the bathroom

26:32 – 26:42
repeatedly, having to leave their spot in line and find the bathroom maybe further away than if they had not had to be in the queue.

26:42 – 26:52
So where it pertains to me, because I have been using the DOS program, is that mine ended on, May 4th. Interesting.

26:53 – 26:55
Why would you have to end it on a day that

26:55 – 26:56
mattered to me? But okay, thanks.

26:56 – 27:07
And I have tried at least 5 times to get into the virtual queue to do my interview. The ads has cut out. It has the call has dropped.

27:07 – 27:10
I’ve never seen anyone on the video. Never.

27:10 – 27:15
All the calls are being transferred, I think, to, Florida representatives at Walt Disney World.

27:15 – 27:17
So, like, Disneyland doesn’t have their own.

27:17 – 27:26
And when they had changed the accommodations at Universal Studios, they had asked that you, like, upload documentation.

27:26 – 27:33
And so I did add my doctor upload documentation that requested my accommodations, and their system was clunky, and there’s,

27:33 – 27:34
like, a number you’re supposed to get.

27:34 – 27:37
It took a couple months, but, you know, now it’s good.

27:37 – 27:40
Disney will not take any doctor’s notes.

27:40 – 27:45
They will not take any, and it’s already hard to get a doctor note, but they won’t take any of that. It’s in the interview.

27:46 – 27:52
And the way that they ask the questions, they will they will say things like, well, if you get hot, you should get an ice

27:52 – 27:54
pack or you should get a cooling rag.

27:54 – 27:59
If you, need to use the bathroom repeatedly, you should just leave the line and come back.

27:59 – 28:02
Tell the person at the front that, you know, you’re leaving to do that.

28:02 – 28:04
And they’re trying to create a ticket system,

28:05 – 28:05
but

28:05 – 28:12
that hasn’t been fully implemented. So now hearing this and knowing dynamic disabilities, are you seeing where the clunkiness Yeah.

28:13 – 28:16
When Disney was the gold standard for accommodations? Yeah.

28:16 – 28:22
Yeah. Yeah. What a what a significant difference. Right?

28:22 – 28:26
I mean, you were sharing all that, and I was like, have they been to a park recently?

28:26 – 28:33
And, like, also, like, what ableist thinking are you harboring right there?

28:34 – 28:42
Right? 1, you know, I my experience in the parks, I’ve been with other people, my family, my spouse at least. Right? Like at least one other person.

28:42 – 28:48
The system that they’re encouraging would require you to you would always have to be with someone if you were to like because

28:48 – 28:54
strangers are lovely at times, but we’ve all seen those videos of, you know, Disney gone wrong. Mhmm.

28:54 – 28:55
The person, the stranger behind me

28:55 – 29:07
is not gonna stand there and hold my spot in line so that I can step out, take my insulin shot, and do what I need to do to, like, be able to come back. Like, that’s just not gonna happen. It’s not gonna happen.

29:07 – 29:16
And you’re basing this one other non medical professional is going to interview me and make the decision based on their own

29:16 – 29:23
personal opinion of my condition, whether or not I qualify for accommodation.

29:24 – 29:27
And the what, communities are saying, try again.

29:27 – 29:32
They’re like, the first person says no, try again, because the next person might say yes.

29:32 – 29:34
And that shows you lack of consistency with criteria.

29:35 – 29:35
Right?

29:36 – 29:37
Yeah. Yeah. Absolutely.

29:37 – 29:38
As I was hearing

29:38 – 29:40
all this, I’m like, who what are

29:40 – 29:43
the qualifications to be somebody who’s taking these calls?

29:44 – 29:46
Is it somebody who has experienced these?

29:46 – 29:53
Do they have some sort of licensing or had to have they had any sort of, experience in dealing with that?

29:53 – 29:58
And if it’s a Florida representative, the parks over there are massive. They’re huge.

29:59 – 30:06
And, you know, I get that Disneyland is compact here, but Disney world, if you’re thinking of the different parks, there’s

30:06 – 30:09
so many other elements that are working against you.

30:09 – 30:17
Literally weather elements that could really, you know, stop a person with disabilities from enjoying the parks in the way that they want to.

30:17 – 30:24
So I think it this is just kind of, you know, when we’re talking about hospitality and the just the juxtaposition of how we

30:24 – 30:29
were talking about it earlier to now, the consistency isn’t there. And, you know,

30:29 – 30:30
we need to we

30:30 – 30:32
need to know and do better.

30:32 – 30:41
Yeah. I I think, one of the, things that we’ve seen online, specifically people with epilepsy and people with POTS, have been denied.

30:41 – 30:45
And they have complained that there is no way that they could do the return to Lyme.

30:45 – 30:52
And and again, the the individuals with POTS, they they can’t stay on for, long periods of time.

30:53 – 30:56
And so the statement was when you could use a wheelchair.

30:56 – 31:03
But again, if you need to use the bathroom, can your wheelchair go backwards in the queue? And, the queue moves.

31:03 – 31:07
So by the time you come back, you have new people in the queue are going, Why are you cutting us?

31:07 – 31:08
Why are you walking through?

31:08 – 31:12
Why why are you rolling through in in this wheelchair? Like, what what is this?

31:12 – 31:16
Because I certainly know that, people get so angry when you have a

31:16 – 31:23
line holder. Gosh. Do they ever? Even So I mean, our first experience taking the kids, they were littles. Right?

31:23 – 31:26
And so, like, one parent would Stef, the other parent would, like, run to the bathroom and come back.

31:26 – 31:30
Even then, right, you’d get, like, looks. I’m like, look. They are little.

31:30 – 31:31
They’re, like, 4 and 6 at that time.

31:31 – 31:34
Like, we are not we are not doing that.

31:35 – 31:44
And those of us with disabilities, like, we all carry our own, like, shame and awareness that everyone is talking about us. Everyone is making comments about this.

31:44 – 31:51
I go to the park with everything that I could possibly bring in with me to make sure I’m as least disruptive to everybody

31:51 – 31:57
else around me and can have my day in the best way that I can for myself.

31:57 – 32:07
And how utterly disgusting is it that the response is, we’ll bring an ice pack. I’m Oh, yeah. Sorry. We have our cooling racks. We have our fans. We have our drinks.

32:07 – 32:13
We we we do all the things to make sure that not only I’ll speak for myself.

32:13 – 32:15
It’s not just for so that I can have the best day possible.

32:15 – 32:22
It really is so that I minimize my impact on everybody else around me, which is a weight I should not be carrying in the first place.

32:22 – 32:35
But I do, and then to even then say, well I still need some accommodation. And to be like, well no. You can have a wheelchair. It’s not that’s not a solution. That’s not a solution.

32:35 – 32:42
No. I I really, I think you’re highlighting, like, that lived experience because I know for myself, first, it took a while

32:42 – 32:47
to even admit that I needed accommodations because I said I can bring all of these things. Right?

32:47 – 32:51
I can have my neck fit on. I can, bring extra medication. I can bring my EpiPen.

32:51 – 32:53
Like, I can I can do all that? I can do all that.

32:53 – 32:59
When it got to the point to admit that I needed accommodations, It was again, like, that imposture center.

33:00 – 33:02
Maybe I don’t or maybe other people need them more.

33:02 – 33:06
That that feeling of inconveniencing the able-bodied world.

33:07 – 33:07
Right.

33:08 – 33:13
And, and I know even for, for you Stef, because we’re talking about dynamic disabilities, pregnancy.

33:13 – 33:21
My goodness. Yeah. And, you know, it was funny because I did many things in my second pregnancy because my first pregnancy,

33:21 – 33:25
half of it was during the pandemic. So did nothing. I stayed at my house.

33:26 – 33:27
I didn’t have to experience these things.

33:27 – 33:34
But my second pregnancy being after the pandemic, I’m like, let me do it all. I need to be out there.

33:34 – 33:39
But my body was like, you are not the same as you were before the world shut down.

33:39 – 33:46
And even navigating I know this isn’t a park, but, when we went to Comic Con while I was 6 months pregnant Oh, sure.

33:46 – 33:53
I didn’t even think of accommodations for myself because I was like, I am just carrying a baby.

33:54 – 33:58
But that’s not how it should be viewed. I am carrying a baby.

33:58 – 34:12
I am literally growing a life inside of me, and I cannot do the things that other able-bodied people can do because I am literally not myself. I my body is exhausted. And

34:19 – 34:26
I should have And I should have accommodations so that I can do that comfortably without harming my body.

34:26 – 34:29
You know, thankfully, I was in a position where I didn’t have a high risk pregnancy.

34:30 – 34:37
But for other women who have high risk pregnancies, I don’t think they should be stopped from doing what they want to do comfortably

34:38 – 34:42
just because they are, you know, gonna be a mother.

34:42 – 34:51
And, you know, there has been so many stigmas with pregnant women and what they shouldn’t do, what they can’t do, all of these things.

34:51 – 35:01
And that totally plays into their mental well-being as their hormones are changing, as their brains are, you know, preparing

35:01 – 35:03
for this as they’re growing a life inside of them.

35:04 – 35:08
So I don’t recall being in Florida.

35:08 – 35:17
Actually, I was early on in my pregnancy, and there were some accommodations, and I had traveled with my parents who have disabilities.

35:17 – 35:22
You know, my mom gets tired really fast and, you know, she can’t be walking for a long time.

35:22 – 35:28
And my father has, he has had a kidney transplant. So he has He’s got

35:28 – 35:29
a million.

35:29 – 35:33
Yeah. He has, like, so many inside of him. He’s had many transplants.

35:33 – 35:41
And so, yeah, we were able to use a wheelchair for the both of them, but then it became an access issue where we were like,

35:41 – 35:52
do we pay for a more expensive wheelchair for all 4 days at the parks, or do we use a manual wheelchair where one of us would have to push?

35:53 – 36:03
And by one of us is my husband who is taking care of our toddler, me who is pregnant, or my mom who is not very strong in

36:03 – 36:06
her age to push my father in the wheelchair.

36:06 – 36:16
So now it becomes a social economic thing To where now the family has to decide, do I have dinner at Be Our Guest, or do I

36:16 – 36:19
use that money to pay for a wheelchair?

36:19 – 36:24
And, you know, those are really difficult decisions for families to make. It’s just Yeah.

36:25 – 36:26
Just to have a good day at the park.

36:26 – 36:34
Absolutely. I mean, it’s an expense and it’s such a plan heavy experience anyway. Right?

36:34 – 36:40
And then, yeah, do you try to play the wheelchair lottery and, like, be super early to be, like, the first one in to get one

36:40 – 36:44
that’s provided in the parks that you still have to pay for? Mhmm.

36:44 – 36:50
Or do you search for outside ones that can then be brought to you and pay for, you know, slightly more, but have your own

36:50 – 36:59
like, it’s, life is difficult enough for able-bodied individuals, let alone when those of us that, have disabilities of any

36:59 – 37:05
type, visible or invisible, to then just be like, well, you can just Yeah. Get a wheelchair.

37:05 – 37:08
You can just bring some ice packs.

37:08 – 37:16
You can just, you know, have someone else save your spot in line. Yeah. Yeah. That’s not real life. And if you jump through

37:16 – 37:23
if you jump through all of those hoops anyway, you still get to a ride like Peter Pan’s flight and say, we don’t use that accommodation here.

37:24 – 37:32
You have to use the regular line because this is an attraction that is excluded from those accommodations because it’s so popular.

37:32 – 37:37
So even if you do all of those things, you still have those restrictions.

37:37 – 37:37
And Mhmm.

37:37 – 37:40
You know, what if that was your favorite ride?

37:40 – 37:42
And what if that’s something that you absolutely wanted to do?

37:42 – 37:48
And now you have that sense of I’m not good enough to be on this ride. You know?

37:48 – 37:56
Your mind immediately goes to that because, as you said, folks with dealing, having to deal with these things are hyper aware already.

37:56 – 37:59
And so how can they not go to there?

37:59 – 38:00
Right. And I think when

38:00 – 38:08
it comes to, individuals who are non disabled, who haven’t experienced a disability, Why it’s important to continue to be

38:08 – 38:16
an advocate for disability rights, is because a lot of the disabled communities identified that technically we’re all pre disabled.

38:16 – 38:24
We are living so long now that at some point, we will develop a disability, like being hard of hearing, a disability of low

38:24 – 38:27
vision, a disability with walking and arthritis.

38:28 – 38:36
So the more that we fight for accommodations now and advocacy, the more we’re setting up our future success as well.

38:36 – 38:43
I think we’ve already identified the various ways in which the system, as it stands right now, is flawed.

38:43 – 38:46
And although, again, it’s like you said, a meno. We’re a little meno.

38:47 – 38:56
I hope that others can hear this podcast and see, like, why the accommodations the way they were may have been flawed, but we’re still a lot better. Mhmm.

38:56 – 39:05
Even with that 30 day rule, I it makes me think of Stef when we had, Comic Con and we had a panel and one of our panelists broke their leg. Did you?

39:05 – 39:10
And we had to scramble to get them a, ramp to be able to go on the stage. Yeah.

39:10 – 39:17
You know, hopefully, between now and your trip, you don’t develop something where you might wanna request those accommodations

39:18 – 39:20
because you should have been injured 30 days ago.

39:20 – 39:24
You should have known. You should have known you were going to break your leg.

39:24 – 39:29
Or like 1 Comic Con, I broke my wrist the day of Comic Con.

39:30 – 39:34
I had an accident on a bird scooter and the rest was history.

39:35 – 39:37
It was my arm, so I could still walk.

39:38 – 39:45
But even Ariel that day was like, you need to get it to Staple Press because you literally got hurt on the way to Comic Con.

39:45 – 39:49
And, yeah, that’s just something that I did not even think about.

39:50 – 39:55
I think going full circle in what we’re talking about earlier, why not ask? Just ask.

39:55 – 39:56
Just ask.

39:56 – 39:59
Because what is the worst that could happen? You know? Mhmm. You’ll get denied.

40:00 – 40:03
And in the case of the DOS system, keep asking. Yes.

40:03 – 40:09
If you are somebody who is, you know, affected by these policy changes, keep asking.

40:09 – 40:15
Let them know that what is happening is not, it’s just not flexible for everyone.

40:16 – 40:20
It’s not equitable for everyone because now everything is so nuanced.

40:20 – 40:28
We are having dynamic disabilities, dynamic, you know, experiences, and that if they want to continue to be the hospitality

40:28 – 40:35
gold standard, that, you know, every voice that leads needs to be heard and even though it is such a big undertaking.

40:35 – 40:43
I mean, that’s not to say that there are not people who are willing to work for, you know, equity in this space. Absolutely.

40:44 – 40:48
Absolutely. I mean, we’re very used to jumping through the hoops put in front of us. Mhmm.

40:48 – 40:54
As long as we know that there are hoops to be jumped through and that there’s a possible, like, relief on the other side.

40:55 – 40:56
Yeah. Yeah. Yeah. Yeah.

40:56 – 41:03
Now, I know, you were on an episode with us originally, episode 35, unlocking the healing powers of play.

41:03 – 41:06
And your conference at Disney was a play conference.

41:06 – 41:13
In having this conversation around disabilities and accommodations, what are some play based interventions for children and

41:13 – 41:23
adults with disabilities or accommodations to shift and change your mindset so that you can have play based interventions that are more dynamic? I love that.

41:23 – 41:29
I would go so far as I don’t know that there are specific interventions, but people in our professions to start adapting,

41:29 – 41:34
which is just kind of the this ableist lens, right?

41:34 – 41:38
So in play therapy, well in play in general, right?

41:38 – 41:43
When we talk about playing with kids, whether you’re a babysitter, whether you’re a teacher, whether you’re whether you’re

41:43 – 41:54
a play therapist, the idea I’ve I’ve heard clinicians tell this to parents that come in, like, get on the floor and play with your kids. Guess what? No. No.

41:55 – 42:01
And so being able to just adopt this lens of it’s okay to not play on the floor.

42:02 – 42:08
Play that’s on a table, play that is movement based, play that it looks different is still valuable.

42:08 – 42:14
There’s no difference in the value of play based on how you’re playing. Mhmm.

42:15 – 42:22
And we can set those accommodations for ourselves as practitioners, as educators, as the professional in the room, and we

42:22 – 42:29
can make those accommodations for the parents and the children that come into our rooms. 8, because I think there is this

42:29 – 42:39
idea that if you’re not able to get down on the floor and plan, and you’re not doing your job, and that is such an ableist viewpoint. Right?

42:39 – 42:46
Because, I mean, I could get down, but I’m gonna do some significant trauma to my client if they have to see me, like, flail

42:46 – 42:51
around on the floor because I cannot get back up. That is more damaging than helpful.

42:53 – 42:56
And it’s just diminishing my value as a practitioner.

42:57 – 43:05
If I can’t do it your way, then it’s not valued. We’re not doing that. It is 2024. We’re not doing that anymore. Right?

43:05 – 43:15
And so being able to look at play, families, kids in a lens of what accommodations do you need? Mhmm.

43:15 – 43:20
And and what can I provide to you knowing that, like, our space is limited, our funding is limited?

43:20 – 43:24
But like sometimes it’s just permission to not get on the floor.

43:24 – 43:29
Just permission to be able to say, I would much rather like, can I stand while we talk?

43:29 – 43:37
Because that’s much more comfortable than than sitting in this chair. Right? I was talking earlier today.

43:37 – 43:42
I think we’re making great strides in terms of accommodating children. Right?

43:42 – 43:45
There’s lots of fidgets now and hard candies and, like, body socks. Right?

43:45 – 43:50
Like, we’re making accommodations for kids with sensory needs and neurodiverse needs.

43:51 – 43:56
That needs to be extended to adults and professionals as well. Right?

43:57 – 44:02
I know in our conference, even at Disney, there were times where, you know, you’d see people stand up and, like, move to the

44:02 – 44:09
back of the room to, like, have some movement in their day and, like, you know, stretch the bodies however they needed to. Right? And just like permission giving. Right?

44:09 – 44:14
Like, do what you need to to take care of yourself. Right? It’s it’s so, so important.

44:15 – 44:22
It goes back to, like, you know, even Ariel, what what you’re saying is, like, it takes us a long time to even be honest about what we need ourselves.

44:22 – 44:23
Yes.

44:23 – 44:29
Right? And so even just opening the door of, like, this is my typical room setup, but if it would be more helpful for you

44:29 – 44:36
or more comfortable for you, you know, I have this other seating option, or we could go outside and walk around, or we could stand.

44:36 – 44:43
It was just kind of opening the door because often we’re not honest with ourselves about what we need or what would be helpful, right?

44:43 – 44:48
We’re, we’re so used to like gridding it and just getting through, not being a burden to anybody else.

44:49 – 44:56
So putting on that lens and then just opening the door of, like, you know, I have giant fluorescent lights on, but I can also

44:56 – 44:57
turn them off and turn on lamps.

44:58 – 45:02
And I’ll have that set up and have a kid come in and say, why is it so dark in here?

45:02 – 45:04
I can turn on the bright lights, right?

45:04 – 45:10
Like, kids kids have much less shame of asking for what they need and what they want than themselves do.

45:11 – 45:13
Along the way, it is beaten out of us.

45:13 – 45:19
And so part of this is just an invitation to, like, you know, if there is something that I can do within my space to make

45:19 – 45:23
this an easier situation and a better learning experience for you, please let me know.

45:23 – 45:25
And if it’s in my power, I’m gonna I’m gonna do that.

45:26 – 45:30
And extending that that grace and kindness to ourselves as professionals.

45:31 – 45:35
You know, if I’m presenting all day, I don’t wanna stand for 8 hours.

45:35 – 45:38
My body, if I do that, and I could do that. Right?

45:38 – 45:43
Like, I could push myself to do that thing for you, and then I’m gonna spend 2 days in recovery. Mhmm.

45:43 – 45:44
And I

45:44 – 45:46
don’t think I wanna do that. Yeah. Right?

45:46 – 45:48
So can I can I sit down for part of it?

45:48 – 45:51
Can we do a movement based activity for part of it?

45:52 – 45:55
Can I lay down on the ground, put my feet up on the wall for a little bit?

45:55 – 46:01
Because then tomorrow, I’m gonna be a better version of myself than if I had not done these things for me.

46:01 – 46:10
And that doesn’t it should not deduct from my personal and professional, like, value. Yes. Yes.

46:10 – 46:14
I think something else we talked about ask and guess culture.

46:14 – 46:16
But then there’s like, like, that next step when

46:16 – 46:19
you think of diversity, equity, inclusion, and belonging.

46:19 – 46:24
That belonging part is that you don’t even have to guess or ask. I gave you the permission, right?

46:24 – 46:27
Because you’re because that’s what you did Stefanie at the conference.

46:27 – 46:31
I remember every day started with, hey, you know, learn how is best for you.

46:31 – 46:41
If you need to sit on the floor, if you want to be closer to the plug ins, if you want to get up and move, Do not feel afraid to do those things. It will not distract the presenters.

46:42 – 46:46
We want you to be able to digest the material the best way that you can.

46:46 – 46:51
And I can see someone guess culture they may not ask because they think they can’t guess the answer.

46:52 – 46:56
And someone with ask culture may not have even known to ask. Sure. Yeah. Sure.

46:56 – 46:58
I mean, I can speak for myself.

46:58 – 47:05
Like I went decades dealing with what I know now, happening for myself, not asking, right?

47:05 – 47:09
And some of that was the assumption that like, well, everyone else is dealing with this too.

47:09 – 47:12
So if they don’t need it, I shouldn’t need it, right?

47:14 – 47:16
Versus I don’t know what to ask for.

47:16 – 47:17
I don’t I don’t know what’s possible.

47:17 – 47:19
I don’t want to be told no.

47:19 – 47:20
I don’t want to be seen as a burden.

47:21 – 47:26
And so, yeah, just being able to be like, hey, take care of yourself. No. Truly, truly take care of yourself. Right?

47:27 – 47:29
This is not an empty kind of invitation.

47:30 – 47:37
And then it does help too to, like, have a couple people who did use those things, right, did accommodate themselves. It was not disruptive.

47:38 – 47:40
And sometimes it’s like, oh, you see 1?

47:40 – 47:45
It kinda gives natural permission for you to do it if you also need it.

47:45 – 47:52
Yeah. Yeah. And I think having, like, agreements at the beginning of sessions like these, I know that before, like, I have

47:52 – 47:59
a training session with my staff or even when, you know, you’re introducing yourself to a new classroom, just having those

47:59 – 48:02
group agreements to say, hey, it’s okay to do these things.

48:03 – 48:08
It’s okay to do whatever you need to do so you can show up in your best way.

48:08 – 48:14
And that makes me show up in my best way so we can do learning at the most highest level is so important.

48:14 – 48:22
And it creates that community that, you know, allows people to, you know, be their best selves in order to learn.

48:23 – 48:29
And sometimes, you know, we’re so in the mode of let’s just get this done or let’s just go through it because there was so

48:29 – 48:38
much planning that had to go through it that we’ve even forget to stop as facilitators to say, hey, let’s do these group agreements so that we can just pause.

48:38 – 48:46
And before we do all of this fun stuff, we can do the fun stuff and keep it fun as opposed to just gridding through it.

48:47 – 48:52
And Steph, I’m curious for you because you provide accommodations in the classroom. What are learning accommodations?

48:53 – 48:57
What do those look like for the children that you’re working with?

48:57 – 49:01
Yeah. I mean, it can it can look like so many different things.

49:01 – 49:10
And I think now as educators having so many tools at their fingertips, it’s not just finding a really fun video to show.

49:10 – 49:14
It’s not just getting the kids up and doing, you know, a movement break.

49:14 – 49:18
It could be like, you know, we’re gonna have stations to where some of these kids can get to play with tech.

49:18 – 49:22
We can have another station where some kids are getting to play with something sensory.

49:22 – 49:28
We can have another station where, you know, you have a creative thing where they’re just, like, literally in a box with kinetic sand.

49:29 – 49:36
I think it’s really knowing who you’re serving and who you are accommodating for. That’s the biggest thing.

49:36 – 49:43
Because, you know, there is a little bit of preplanning to make sure that you have the right tools to be able to let these

49:43 – 49:45
kids learn as best as they can.

49:45 – 49:53
And that can look like so many different things from 6 year olds, even now 4 year olds who are coming in in early TK, all

49:53 – 49:58
the way to, middle school to where they’re now learning in such dynamic ways.

49:58 – 50:06
And you need to kind of catch up to the ways that they are processing information outside of the classroom. It’s a lot.

50:07 – 50:08
And it’s a big undertaking for a

50:12 – 50:20
rise of educators who are kind of my age in that middle of the analog and the digital world to where we can actually bridge

50:20 – 50:23
those gaps into how kids are learning now.

50:23 – 50:32
I have a lot of hope for it, but that’s not to say that, you know, it it’s it’s gonna take a lot of group work in order to make it happen.

50:33 – 50:41
But I’m thankful that I work at a school that does put DEIB at the front of, you know, our learning and that, I know so many

50:41 – 50:49
educators that I work with who are vulnerable and are willing to be students themselves in order to better themselves in the classroom.

50:49 – 50:53
It’s a big undertaking, but, you know, there’s a lot of people who are dedicated to the work.

50:54 – 50:58
Well, I think that goes back to just opening the door and asking, right?

50:58 – 51:05
Whether it’s on a conference registration, whether it’s on, you know, 1st day info to parents about you as a teacher, like,

51:05 – 51:10
what accommodations might your student need, or you need. Right?

51:10 – 51:14
Whether that’s accommodation asking, for intake for new clients. Right?

51:14 – 51:19
Like what kind of accommodations might be helpful for you to get the most out of our time together?

51:20 – 51:27
Because if we don’t ask, we don’t open that door, it’s a lot harder for them to have to like do that first step.

51:27 – 51:33
Yeah. Absolutely. Well, these were all such amazing topics, I think, that we have brought up.

51:33 – 51:40
And as we do here in Happiest Pod, we are always asking questions and we are not afraid now to ask those questions.

51:40 – 51:42
I’m not gonna be afraid to ask questions now.

51:42 – 51:49
But, a light ending on a lighter note, before we wrap up, can you tell us, Marie, a little bit about what we can expect from

51:49 – 51:59
your upcoming play therapy in 2025, anything you’re excited about, and any advice or info for those listeners who are interested in attending.

51:59 – 52:02
Sure. Yeah. So, yeah, we’re back at it.

52:02 – 52:06
I had originally said, like, oh, maybe I’ll do this again in 2 years.

52:06 – 52:08
Like, date the, like, the last day, I was like, there’s no way.

52:08 – 52:16
There’s no way I can wait 2 years to do this again. 1, this was just was way, way too much of what I needed. 2, the relationships

52:16 – 52:21
and the connections that I saw, and we continue to have a very active WhatsApp group.

52:21 – 52:28
Those relationships are so important that I did not wanna I did not wanna delay that, any further. And so, yeah.

52:28 – 52:33
So we’re gonna do, where it’s a little hints from the first go around. Right?

52:33 – 52:35
Like, we improve each time we get to do it.

52:35 – 52:41
So it’s gonna be we’re gonna be March, 10th through 15th at Disneyland Hotel.

52:42 – 52:47
It will be 6 nights, because I wanna give a full 3 days in the park.

52:47 – 52:54
But it’ll be that integration again between days of learning, and then integrative days in the park.

52:54 – 53:00
And this year, we’ll actually have meet up times in the park to do integrated learning inside of the park.

53:01 – 53:04
So we’re very, very excited about that.

53:04 – 53:08
I’m definitely still nailing down presentations and speakers and topics.

53:08 – 53:19
And I also wanna kinda put out because there we did have, wonderful individuals who are not play therapists and have no interest in being a play therapist. Come. This this is geared towards play.

53:19 – 53:22
This does not just for play therapists.

53:22 – 53:29
So if you are a professional in the realm and would like to learn about how play impacts learning and mental health, you are

53:29 – 53:34
very welcome to join us, for this experience at Disneyland. Yeah.

53:34 – 53:41
It was I mean, you guys got to partake in some of it, but it was just it was so much more than I could have hoped it to be.

53:41 – 53:46
And it really did kinda take on a life of its own. So I’m very excited.

53:46 – 53:48
We we we are keeping it very small, though.

53:48 – 53:56
So if you are interested, do not delay in in signing up because we are only taking 50 people, because that intimacy was really, really important.

53:57 – 54:00
And it allows me to really truly be accommodating to those that are coming.

54:01 – 54:07
It’s it’s easier for me to do that with a smaller group and so that I can kind of ensure everyone is having the time that

54:07 – 54:10
I would hope for them to have. Yeah.

54:10 – 54:18
If you wanna come and experience learning, in a very different way, or you’re just a Disney adult that wants to take a professional

54:18 – 54:24
conference and, bring your family to have a vacation. Come with us. Come with us.

54:24 – 54:30
And, I’m curious if you can give us any sort of sneak peek because, the conference that you had this year, some things that

54:30 – 54:33
stuck out for me, one WAG heavy.

54:33 – 54:39
I don’t know if that’s a Maria thing or that was just part of the Disney magic or if that’s a play conference thing.

54:39 – 54:42
But every day there were stickers and there were bracelets.

54:42 – 54:46
The pixie dust was on every table regularly during the conference.

54:47 – 54:56
And then, 2, there was, like, a semi virtual booth component where, one of your sponsors, we got to watch them working in

54:56 – 55:01
their studio to create small ceramic figurines for, your sand tray.

55:01 – 55:09
And, they had some pieces that you could buy, but, for, watching them in the studio and having them just, like, sort of, like,

55:09 – 55:12
beam in and answer questions, I thought that was really interesting.

55:12 – 55:18
So are those are there other things that you could just let our listeners know to expect? Yeah. Yeah.

55:18 – 55:21
The swag is all me. I love the swag.

55:21 – 55:22
I love

55:22 – 55:30
the swag. Swag. And, you know, coming right off of like, you know, the combination of of Taylor Swift and Disney, right? So we have friendship bracelets.

55:30 – 55:34
We had lots of Disney and mental health themed kind of stickers.

55:34 – 55:44
Part of that is for me when I go to events, that I’m not hosting, I I always add a bit of element of play for myself because that is how I stay engaged. Right?

55:44 – 55:51
So if I go to a conference, so we were up in Albuquerque, which is not far from me in my state. Conference wasn’t great.

55:52 – 55:59
So I immediately set out to find an escape room to take my team, and we did an escape room one afternoon because I was like, I needed I needed something.

55:59 – 56:01
But it’s also a memento for me, right?

56:01 – 56:09
So like what I have my friendship bracelets hanging here and it’s like, Oh, remember when we were spreading pixie dust across like the parks? Like that was so fun.

56:09 – 56:12
So so the spike is neat and it will definitely be there.

56:12 – 56:14
And I have even more time now, so who knows?

56:15 – 56:21
Who knows the level of sweat that will happen? We’ve got, like, villain shirts, ideas. Like, we’ve got a whole thing.

56:21 – 56:22
Okay.

56:22 – 56:26
And then, yeah, our talk about pivoting and making accommodations.

56:26 – 56:35
We, the the women who own Mama Isles Minis, one of them became ill and was not allowed to travel to come for the conference as planned.

56:36 – 56:42
And so we we pivoted and made the accommodations, and they’re like, we we will hang out on Zoom all day, and people could

56:42 – 56:45
stop by, ask questions, see us working.

56:45 – 56:47
They got to talk with the group for a little bit.

56:48 – 56:58
So, yeah, that’s yes, and and I have even more time to, like, figure out good connections to bring in. And that’s really what it is. Right?

56:58 – 57:05
It’s those good connections, those good really I’m very, very lucky and privileged with the connections that I’ve had.

57:06 – 57:09
I’ve gotten to meet some really incredible individuals.

57:10 – 57:16
And so sometimes when I’m doing these events, it’s like, who do I know that I think the rest of you guys should know?

57:16 – 57:19
And and and just inviting them to come to the table, right?

57:20 – 57:22
Using my privileges like, well, I’m the host.

57:22 – 57:25
So I get to say, you can have a seat at this table.

57:26 – 57:28
Yeah. Using that power for good.

57:29 – 57:29
Absolutely.

57:32 – 57:35
That could be a whole another conversation with you too. Right?

57:35 – 57:42
But being able to, like, oh, I I get to hold the door open and let those important voices come to the table.

57:42 – 57:47
And sometimes that means, you know, we had planned for them to be there in person, and that didn’t work out.

57:47 – 57:50
How do we still make sure that their voices are are heard?

57:50 – 57:57
You know, and with technology the way it is right now, it’s kind of it’s kind of easier to do. Yeah. Yeah.

57:57 – 58:05
And that totally comes out. You can see the passion in what the PLAY therapy conference, like, kind of materialized in.

58:05 – 58:11
And it really did, I feel, touch every single person who attended, whether it was for a short amount of time or a long amount of time. Mhmm.

58:13 – 58:17
As not a clinician, I got so much from the session that I attended.

58:17 – 58:24
Because as you know on this podcast, me and Ariel, because we have different professions, we have a lot of similarities in what we do.

58:24 – 58:30
If you are somebody who serves other people, is a steward for, you know, helping other people get through life.

58:30 – 58:39
You are qualified to be able to come to this play therapy conference and play and fulfill yourself so that you, your bucket

58:39 – 58:47
is filled if I can throw, an education term so your bucket is filled so you can fill other people’s buckets as much as humanly possible.

58:48 – 58:53
Yeah. So if you are interested, the conference will be from March 10th to 15th, 2025.

58:54 – 59:01
You can register now at onewhope tc.org, forward slash play at disneyland.

59:01 – 59:09
So, again, that is anewhopetc.org forward slash play at disneyland. You can get registered.

59:09 – 59:13
You can, look at the frequently asked questions section.

59:13 – 59:22
And for those who are interested and want to follow for more news, you can go ahead and follow, the Instagram at a new hope

59:22 – 59:31
TC, and they will, regularly be updating, regarding the conference as well as other events that I know, you are hosting, Maria,

59:31 – 59:33
including the SIP conference that is coming up.

59:33 – 59:41
Yeah. Yeah. Yeah. And, yeah. And things like the Geek Summit, which Ariel, you were all part of and we hope to to do again. So, yeah.

59:41 – 59:46
If you have any interest in how we blend mental health and pop culture, we would love for

59:46 – 59:46
you guys to take

59:46 – 59:47
a look at us.

59:47 – 59:49
So go ahead and send us those questions.

59:50 – 59:57
If you have any at happiestpodgt for Instagram and x. Let us know, your experiences.

59:58 – 01:00:03
If you’ve got updates regarding the DAS program, you know, let us know so we can spread the word.

01:00:04 – 01:00:07
And thank you, Maria, for joining us again. Thank you. Anytime.

Media/Characters Mentioned
  • Disneyland
  • Mickey and Minnie Mouse
  • Peter Pan’s Flight
  • Grand Californian Hotel
  • Genie Plus
  • Aladdin’s Genie
  • TARDIS
Topics/Themes Mentioned
  • Ableism
  • Diversity, Equity, Inclusion, and Belonging (DEIB)
  • Dynamic Disabilities
  • Play Therapy
  • Event Planning
  • Ask Culture vs. Guess Culture
  • Imposter Syndrome
  • Disability Access Services (DAS)
  • Hospitality and Accessibility
  • Advocacy for Disability Rights
  • Play-Based Interventions
  • Educational Accommodations
  • Person-First vs. Identity-First Language

Website: happy.geektherapy.com
 | Instagram: @HappiestPodGT | Twitter: @HappiestPodGT | Facebook: @HappiestPodGT |
 | Stef on Twitter: @stefa_kneee | Ariel on Instagram: @airyell3000 |
| A New Hope on Instagram: @ANewHopeTC | Facebook: ANewHopeTC |

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
| GT Facebook: @GeekTherapy | GT Twitter: @GeekTherapy |
| GT Forum: forum.geektherapy.com  | GT Discord: geektherapy.com/discord |
Website: https://www.anewhopetc.org/

The Battle for Pumpkin King

April 26, 2024 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/25020387/93def1ff.mp3

Podcast: Play in new window | Download | Embed

Subscribe: Spotify | Email | RSS | More

39: In honor of Half-Way to Halloween, Ariel, Stefanie, and their guest, Dan Connor, dive into the enchanting world of the comic series The Nightmare Before Christmas: The Battle for Pumpkin King. They explore the beginnings of iconic characters Jack Skellington and Oogie Boogie, shedding light on their transition from friends to rivals. Join them as they discuss how the graphic novel captivates die-hard fans and new readers, perfectly capturing the spirit of the beloved franchise.

Summary

Summary of HPOE39

  • 00:00 Introduction: Introduction to the episode, greeting, and a brief overview of what will be discussed, including Dan Conner’s work and the focus on “The Nightmare Before Christmas: The Battle for Pumpkin King.”
  • 03:24 Dan Conner’s Background and Achievements: Introduction of Dan Conner, discussing his career, notable works, and his role in creating “The Nightmare Before Christmas: The Battle for Pumpkin King.”
  • 07:15 Origins of ‘The Nightmare Before Christmas’: Discussion on the inception and cultural impact of “The Nightmare Before Christmas,” setting the stage for the deeper exploration of the graphic novel.
  • 12:20 Deep Dive into ‘The Battle for Pumpkin King’: Detailed exploration of the graphic novel, character development of Jack and Oogie, and the themes of rivalry and friendship.
  • 19:34 Creative Process and Challenges: Insight into the creative process of adapting the story into a graphic novel, challenges faced, and the collaboration between artists and writers.
  • 27:50 Storytelling Techniques: Comics vs. Manga: Comparison of storytelling techniques in American comics and manga, as seen in the graphic novel.
  • 34:18 Educational and Therapeutic Applications: Discussion on how the themes and characters of the graphic novel can be used in educational and therapeutic settings.
  • 40:45 Engaging Fans and New Readers: Strategies for engaging long-time fans of “The Nightmare Before Christmas” and attracting new readers to the graphic novel.
  • 47:30 Conclusion and Where to Find the Book: Closing thoughts, where listeners can find “The Battle for Pumpkin King,” and upcoming appearances by Dan Conner.
Transcription

Ariel Landrum (00:00)
Hello everyone, welcome to the Happiest Pod on Earth. I’m Ariel, a licensed therapist who uses clients’ passions and fandoms to help them grow and heal from trauma and mental unwellness.

Stefanie (00:09)
And I’m Stef I’m an educator who uses passions and fandoms to help my students grow and learn about themselves and the world around them.

Dan Conner (00:15)
And I’m Dan, I’m a cartoonist. I wrote the Nightmare Before Christmas, The Battle for Pumpkin King, and I work on a lot of comics.

Ariel Landrum (00:24)
Beautiful, beautiful. And here at Happiest Pod we dissect mediums with a critical lens. Why? Because we are more than fans and we expect more from the mediums we consume.

Stefanie (00:33)
That’s right. And everybody, as we have a special guest here on our podcast, what are we discussing today?

Ariel Landrum (00:39)
Exactly that Nightmare Before Christmas, which this is the opportune time simply because we are halfway to Halloween. So Dan, can you tell us a bit about your comic?

Stefanie (00:46)
That’s right.

Dan Conner (00:50)
Yes, it’s a prequel to the Nightmare Before Christmas movie. And the premise is that it starts off when Jack and Oogie Boogie are friends. And there it’s not really much of a spoiler. There was a former Pumpkin King named Edgar who is coming to the end of his tenure. And so Jack and Oogie have to compete against each other to see who will be the new Pumpkin King. Of course, if you’ve seen the movie, it’s not a spoiler that you might not.

You might know who that is, but this gives the background information to how that happens and how the rivalry between Jack and Oogie begins.

Ariel Landrum (01:24)
And did you write and do the artwork for this comic or graphic novel?

Dan Conner (01:29)
No, I just wrote it. It was originally five comics that were collected in one graphic novel.

Ariel Landrum (01:37)
Hey, beautiful, beautiful.

Stefanie (01:38)
Yeah, that’s awesome. I mean, I remember Ariel emailed it to me and then I saw the PDF. I was at work. And then I realized that I did not go back to my task for like 30 minutes because I just kept reading it. And I’m like, this is so fantastic. I love, I love me a good prequel story. And I love seeing characters when they’re younger because I think it’s so fascinating. I’m surrounded by kids all day and.

Dan Conner (01:53)
I’m sorry.

Yeah.

Stefanie (02:05)
when you have a character as beloved as Jack and as Oogie Boogie, seeing them in their child form, I think is so playful and fun and it just gives another dimension to the character. So I was immediately hooked.

Dan Conner (02:17)
Very cool, yeah, that’s really fun about it. I love the different character designs that you see, Sally with the pigtails, Jack with kind of like the schoolboy uniform, so yeah, that’s really fun.

Ariel Landrum (02:30)
and even Lock, Shock, and Barrel as babies. That was adorable.

Dan Conner (02:34)
Yeah, yeah, I’m glad you think so.

Stefanie (02:35)
So cute. Yeah, everybody loves a baby version of a character. I think that kind of ties to like when we saw Grogu and seeing him as a baby first, that’s why everybody went baby Yoda at first, just because we were like, oh, obviously that’s just a child version of Yoda. And then we started doing like that calculation meme. We were like, wait, is that really him? But yeah, I think seeing kids or seeing characters in like…

Dan Conner (02:56)
Yeah.

Stefanie (03:00)
all stages of their life is so interesting, especially with a character development so rich as what we were given in the Nightmare Before Christmas. It was so interesting to me to see how playful he was even when he was younger and even how playful Oogie Boogie was, even though it was a different type of playfulness that we saw when he was singing and when he was doing his vile things. This was a different type of playfulness and I think…

that that was really interesting to see how they interacted with each other because all we knew was just the struggle between the two during the movie. So how did it feel for you to create a story with a new story with such beloved characters? Was it difficult? Was it hard? I mean, was it something that you’ve already thought about?

Dan Conner (03:49)
That’s a good question. Yeah, it felt really good. I mean, Nightmare Before Christmas is my favorite Disney movie for sure. And getting to be involved with the series is amazing. Getting to write one of the comic series graphic novels was just unbelievable. So when I was able to work on it, the outline was already done. And so…

That was of course by DJ Milky and Sean McLaughlin and they weren’t able to write out the whole thing and script it out. And there were some changes made to that one as well. So it was brought to me and then my task was to write the book. That went really well. I was able to try a few different things, try a lot of different things that ultimately just about everything worked out.

Ariel Landrum (04:44)
I’m curious, were you ever attempted to create new characters in the Nightmare Before Christmas sort of like world or universe? Was that even on the table for discussion?

Dan Conner (04:54)
So the former Pumpkin King Edgar, he was a character that we created. So there was already, we already knew that he was going to be a character and I was able to flesh him out. I was able to name him and kind of work on, you know, who he was, his character motivations, things like that. So that is essentially the only new character in the Battle for Pumpkin.

King. I’m kind of like racking my brain right now and I don’t think yeah, there’s no other new characters in that one.

Ariel Landrum (05:24)
Yeah.

Well, I think it’s really important that you mention that because he is a very vital character. It’s how essentially the story gets to be told. And I had so much empathy for the character of Edgar because I definitely have family members who are getting older now and getting into retirement age, and they don’t want to. They have made so much identity and sense of self around whatever titles they’ve created in their careers.

Dan Conner (05:38)
Mm -hmm.

Ariel Landrum (05:56)
that transitioning to a different part of your life can be very scary. Was that ever a thought for you around Edgar?

Dan Conner (06:03)
You know, I didn’t really think about it in terms of relatives, but I definitely thought about, and again, no spoilers, but kind of how the story ends. I thought a lot about what he was facing, why he was facing this, having a new protege, having a replacement, how he kind of wants to support.

his vision for that, even though that isn’t necessarily the vision that comes to be. And so I think that those are themes that we face throughout transitions in our lives. That could be from one job to another. That could be a promotion at a job. That could be becoming a parent, anything like that, as well as like retirement, but probably retirement is…

Ariel Landrum (06:50)
Mm -hmm. Mm -hmm.

Dan Conner (06:55)
more so that way because you in retirement, you might be going from primarily being a vocational person to being retired. And there’s probably a lot of lot that’s existential around that as well.

Ariel Landrum (07:10)
Yes, yes.

Stefanie (07:11)
Yeah, I love that you mentioned those different stages. A lot of people, especially kids who, or people in general who read graphic novels are not necessarily thinking about retirement. But when someone retires, someone else gets promoted. And I think the two in tandem was very interesting to see in your graphic novel as, you know, essentially one of them needs to get promoted, but, you know, who is it going to be? May the best, you know, character win, right?

And that’s when the story just jumps off so well because there needs to be a position that’s highly coveted that needs to be replaced. But what is the future of their world? What does the citizens have to say about all of it? I think it was really important for both Jack and Oogie Boogie to kind of be introspective in that way and look at themselves and see how do I want to do this? But I also want to beat my friend.

Ariel Landrum (08:09)
Spoilers now, if you haven’t read their graphic novel, Stef, you were really struck by their friendship because there was childlike play that was introduced. And I know for me as a therapist that works with children and uses play, I saw the dynamics that I do see sort of in my therapy room with at least with siblings. For you, you had mentioned like the competitiveness, you had mentioned like…

the struggle of trying to sustain a friendship when one person isn’t going to win and how you’ve seen that in the classroom and now in after school programming. And I was wondering if you could touch on that a little bit.

Stefanie (08:45)
Yeah, absolutely. I think, you know, as a teacher, we love group projects, right? But also the kids kind of load them because, you know, you have, you play with power dynamics. Somebody is going to automatically be the leader. Somebody is going to step back all the way. But then, you know, you have your supporters here and there. And I think that was kind of the same thing where, you know, Oogie Boogie and Jack, all of these people, they all live in the same collective community. They’re all working together to make sure that, you know, the community is well and thriving. However,

Ariel Landrum (09:02)
Mm -hmm. Mm -hmm. Mm -hmm.

Stefanie (09:15)
there is gonna be some point where they compete against each other. And I see that in the classroom sometimes, that’s when you really truly see the values of who these people grew up to be and how they deal with struggles. That’s when you really see kids raw selves, when they take themselves from a group setting and then they all of a sudden think, oh, I have to be graded now on my individual performance? Now what do I do? And I think that…

Ariel Landrum (09:15)
Mm -hmm. Mm -hmm.

Stefanie (09:43)
that is beautifully mirrored in the graphic novel because you see these two very strongly, you know, they have very strong personalities and they want what’s best for them and they want what’s best for everyone else. However, they have different viewpoints of how they would take each other. I’m really trying not to spoil anything, but, you know, I think it was just, it was a beautiful struggle. And I think all friendships go through that.

Dan Conner (10:07)
Very cool. I’m glad you found that.

Ariel Landrum (10:10)
I’m curious for you, Dan, had you considered those differences in their personality or their childlike play and how it was going to branch out into how they perceive things like leadership or task orientation or taking on a project? Because there was a series of competitions that they were engaging in and it seemed like they had very different motivations and mindsets.

Dan Conner (10:34)
Oh definitely, they do especially with one specific group challenge that they had and I think that definitely plays into group dynamics, the element of leadership, as well as even like what you might see between siblings. I have two kids, a son and a daughter myself and I actually used to be a school teacher.

so, you can, you can observe how those different things happen. And I remember even in school, I was always the person in group projects that would do a lot of the work. I always was like, Hey, I want to get a really good grade on this. And there were, there were typically students who were, less concerned about working on it and just happy to, to get it in and kind of ride in on the,

Ariel Landrum (11:12)
Uh huh. Uh huh.

Dan Conner (11:26)
work that others of us did. And so, you know, you can kind of see that, I think, in the book, not in a bad way, but in a teamwork fashion. I think that everybody can, I think everyone plays their part. I guess I didn’t really think about someone.

who is essentially just kind of coasting in and letting the others do most of the work. But again, it’s kind of idealized. Comics are idealized, so maybe in that world everybody works together, or at least the ones that were on the teams.

Ariel Landrum (11:53)
Yes.

Stefanie (11:55)
Mm -hmm.

Ariel Landrum (11:58)
Mm -hmm.

Stefanie (11:58)
I knew you had some educator in you. When I was seeing the dynamics between the kids, I was like, this guy knows, he’s seen it in and around. It’s either he’s a parent or he used to be a teacher. It’s both. I love that. You only see these interactions presented in different mediums if you’ve seen it yourself. I think kids give you the most authentic versions of themselves when they’re playing. Because their world is basically,

Ariel Landrum (12:01)
Yes.

Dan Conner (12:09)
That’s great, wow.

Stefanie (12:26)
Halloween town where you play all the time. I mean, it doesn’t really seem like work to them. To me, the interactions between both Jack, Oogie Boogie, Sally, these are playground interactions. And, you know, they all just know that they’re working towards a goal. And I think that’s really great because it’s still so playful, but at the same time, it kind of teaches kids who are reading this that you can take something seriously, but make it fun. They know that it’s a big promotion. It’s a, you know, big shoes to fill, but at the same time,

you take a little bit of yourself and you take a little bit of that playfulness and you still try to reach that same goal. So that’s what I, you know, I think it was really great that not only, you know, the graphics help out with, you know, the visualization of the play, but, you know, their characters just kind of shine so brightly with, you know, the words and the different, you know, idioms that they use. It was really easy to just get immersed, which is probably why I didn’t do work for a really long time while I was reading it.

Ariel Landrum (13:20)
Mm -hmm. Mm -hmm. Absolutely.

Dan Conner (13:23)
That’s amazing. I’m really glad to hear that. And I’m glad you saw those elements that I didn’t necessarily think would be, I don’t want to say they wouldn’t be obvious, but there’s some meta cognition in that. So that’s very cool.

Ariel Landrum (13:38)
And for me, I kept noticing the theme of like friendship and rivalry going back and forth. And for my tweens, it’s like this idea of a frenemy or I guess what they say now is like, are we frenemies? Are you my op, my opposition? Right. And I was seeing that play out. And it seemed like the beginning we were seeing Jack and Oogie Boogie at a younger or earlier stage of development.

Dan Conner (13:50)
Okay.

Ariel Landrum (14:04)
And now when we were getting into their rivalry, it seemed like they were at a little slightly older. I felt like very tween or teen age where there’s this conflict that now our friendship has a new identity or is it still a friendship? I’m curious for you how you came up with that concept

Stefanie (14:11)
Mm -hmm.

Dan Conner (14:21)
timing and age progression in the Nightmare Before Christmas world isn’t really defined. So we kind of, and I don’t want to misspeak for anything about Disney, but in the movie we kind of see that, or it seems that the characters are kind of fixed ages.

Ariel Landrum (14:39)
Mm -hmm.

Yes, yes.

Dan Conner (14:47)
You know, I imagine that Lock, Shock and Barrel are kids kind of all, you know, that’s what they are. Or there could be a very slow age progression. And that’s kind of how I imagine Jack and Oogie Boogie and Sally is that we don’t know how long they’ve been around. And we don’t know necessarily how long they will be around.

Ariel Landrum (14:52)
Yeah.

Mm -hmm.

Dan Conner (15:14)
But I imagine that, I mean, Jack does say that he’s dead in the movie. And so there were questions about, and people have asked in fandom, who he was and or what he was like when he was alive. Because if you’re dead,

Ariel Landrum (15:23)
Yes, yes.

Dan Conner (15:38)
that implies that you died and that you were alive. I also imagine, and I’m not speaking for Disney, I also imagine that Jack could be a unique skeleton who is dead, but that’s his race. That he, and this is my imagination,

Ariel Landrum (16:02)
Oh, OK, OK.

Yeah.

Dan Conner (16:07)
that perhaps he had not previously been alive in a human form. There was one definition of the early Casper the Friendly Ghost comics, not the Steven Spielberg movie where Casper was a dead human, but the old comics and cartoons from Harvey. They had said that,

Stefanie (16:14)
Right.

Dan Conner (16:32)
because it’s kind of morbid to have like a dead kid. They had said that Casper was not a dead kid, but that he was from a race of ghosts and he was born as a ghost. So he’s still a ghost, but he’s not, he never died. And so I’m not saying that’s what Jack is and I’m not speaking for Disney.

Ariel Landrum (16:36)
Mm -hmm. Mm -hmm.

Oh. Oh.

Stefanie (16:47)
Interesting.

Dan Conner (17:00)
this has not been explored in produced or written media or film. Right, exactly. And we have Jack in Battle for Pumpkin King as a younger skeleton.

Ariel Landrum (17:03)
Mm -hmm.

Yeah, yeah, yeah, it’s not canon canon.

Mm -hmm. Mm -hmm.

Dan Conner (17:26)
So that could imply any manner of things as to what led to him at that state. But we know that he was at a schoolboy state as a skeleton. We know that. Whatever he had been before. And I think that as as maturity happens, they are at like a younger stage of development and

Ariel Landrum (17:40)
Yes.

Mm -hmm. Mm -hmm.

Dan Conner (17:54)
He and Oogie kind of quickly advanced into more of a tween level. That’s actually around where my daughter was at the time. She just turned 13. So this was written a couple years ago and came out last year.

Ariel Landrum (18:05)
Okay.

Stefanie (18:07)
Mm -hmm.

Ariel Landrum (18:10)
And 13 year old girls know about frenemies.

Dan Conner (18:12)
Yeah, yeah, yeah, yeah, there you go. But she’s, yeah, she’s great. But yeah, there’s a lot, a lot of friend dynamics. And so they were, we never gave it an exactly a fixed age of where they were. But, you know, they were kind of exhibiting a younger phase and then the growing up kind of occurs a little quickly.

Stefanie (18:15)
haha

Dan Conner (18:39)
And then I imagine that, as we know who’s Pumpkin King, not much of a spoiler, that Jack becomes Pumpkin King. And this is the story of how that happened. So we kind of know the end goal and that’s okay. And I imagine that he begins shortly thereafter. And so, I mean, essentially, right away. And…

Ariel Landrum (18:42)
Mm -hmm. Mm -hmm.

Yeah.

Dan Conner (19:05)
And so you’ve got the progression into adulthood that happens kind of quickly. And if not firm adulthood, you know, cause you can be a king or queen as a child, especially throughout history, you know, the king might pass away or there could be wars, especially when kings were the leaders in battle. They could, they could, or,

Ariel Landrum (19:18)
Yes, yes.

Stefanie (19:20)
Right. Yes.

Mm -hmm.

Dan Conner (19:34)
assassinations that take place where someone purposely takes out the royalty so that they can become royalty. But in history, you see that. And so there were younger…

Ariel Landrum (19:39)
Yes.

Dan Conner (19:45)
royalty, especially in centuries past. And so I think that Jack could still be Pumpkin King when he’s not fully an adult. He may start his tenure and grow for a while until we see him in the movie. But

Ariel Landrum (20:04)
Hey.

Dan Conner (20:06)
But ultimately it’s fantasy. I think the book’s classified as manga fantasy. So it’s got scary elements, but I don’t really know if the word horror should be used, but it’s definitely monsters and skeletons and things like that and the boogeyman. And so, there could be any amount of time that passes

I think that, yeah, we do see some quickness in that in, in the book. even Sally. And there was a question about, when she was made and was she made by Dr. Finkelstein as, as in a fully formed adult rag doll. And we see her younger,

Ariel Landrum (20:37)
Yes,

Stefanie (20:38)
-hmm.

Right?

Dan Conner (20:49)
And so there she has progression too. there’s a story for her as well. even Lock, Chalk and Barrel as babies and then they’re, you know, kind of older kids are old enough to trick or treat by themselves in the movie, but they’re not teenagers. I kind of think of them as maybe older elementary, middle.

Ariel Landrum (20:52)
Yes, yes.

Dan Conner (21:09)
mid to older elementary But in this they’re definitely toddlers. And so, you know, it’s just how much do they experience throughout their lives between this book and the film. And I think that anyone can have an interpretation for that because it’s not set in canon.

Ariel Landrum (21:09)
Yeah.

Stefanie (21:30)
Yeah, absolutely. I think even now that you’re going through the history of monarchies and things like that, it could even be historical horror fiction, manga, sci -fi, all of it. Because now, if you’re bringing an element of monarchies into it, because they have the title of king, does that come with the other elements of monarchy, like queen or squire or are there knights who defend the kingdom? All of those things are possible.

Dan Conner (21:41)
Yeah!

Yeah.

Stefanie (21:59)
for the future, so I think that it’s such a, there’s so many layers to Nightmare Before Christmas that obviously you were able to create a whole backstory off of it. I’m curious to know, was it difficult to, not to branch out too far into those different layers? Because I know, you know, you’re trying to tell one story, but I’m sure all of these other creative elements were popping in your head. Was there another alternate way that you wanted, you know, maybe there was like a,

a B side to how you would want to take the story or was this really just it?

Dan Conner (22:33)
No, this is really it. And a lot of the reason is because the way that we did the comics, they’re 20 pages each and there’s five issues. So that gets us 120 pages. So, I mean, there’s a lot you can do in 120 pages, but there really isn’t all that much. So it’s and it’s all laid out, you know, kind of by scene and by by page because this page needs to have five panels.

Ariel Landrum (22:44)
Mm -hmm. Mm -hmm.

Dan Conner (23:02)
because I’ve got to get this much occurring within three pages. Because if I don’t get that in three pages, well, I’m not going to have three pages for the end. And I want this full page spread because that’s going to communicate this. Or I want this double page spread. So if I do that double page spread, well, I’ve got to catch up to the number of panels on this other page. I’ve got to balance it. But I don’t want to have too many panels on the page because they get too small. And especially with manga.

Stefanie (23:12)
Right.

Ariel Landrum (23:14)
Okay, okay.

Dan Conner (23:32)
manga isn’t like Watchmen that has nine panels on each page. A lot of manga might even have two panels. and usually not more than like five. And so, you know, those are all elements that are balanced there. So there wasn’t really a, a much else to factor in. Now, I mean, I’d love to see a whole issue dedicated to Under Sea Gal, just like seeing what goes on with her.

Stefanie (23:37)
Right.

Ariel Landrum (23:42)
Mm -hmm.

Oh, yeah.

Dan Conner (23:59)
What’s her life like? What’s it like when she gets up in the morning? You know, I would love to see that. I was able to get her in the book in a number of scenes and I definitely wanted to pull in characters that you don’t see as much in the movie and that we didn’t really see in Zero’s Journey. So I wanted to feature characters like that. And yeah, I would love to have done side stories of…

Stefanie (23:59)
Yeah.

Yeah.

Dan Conner (24:26)
what else was going on with other characters at certain times, but with 120 pages, you really have to streamline it and focus on what’s essential. It’s almost like writing an email, I may start off writing a really long email because I have a lot of thoughts, but nobody wants to read that. So then,

Ariel Landrum (24:47)
Mm -hmm. Mm -hmm.

Dan Conner (24:47)
Like the way I write emails is I’ll write out, like my draft will be long and then I’ll be like, okay, I restated this. I’m going to take that out when I restated it. Okay, this doesn’t add to it so that I can have something more concise So it’s very similar, I would say, writing comics when you have a lot to say. Now,

I know that sometimes in college someone gets an assignment for a paper and they’re like, oh, wow, I’ve got to fill 20 pages. And I remember feeling like that, like at my first papers I was writing in college. But by the time I was doing it, I was like, how can I get this down to 20 pages? So I think doing comics is the same way. And I know other writers too, like I’ve got a friend named Patricia Krumpertich and we write on other projects together. She actually did.

Ariel Landrum (25:16)
Yeah, yeah.

Stefanie (25:21)
Right?

Dan Conner (25:38)
the flat colors for Zero’s Journey. So she did a lot of the basic colors and then I would go in and add the details, make sure it was the right exact color that we wanted. And there’s a lot of different things about coloring comics that can be explored. But anyway, I’ll work with her on projects and I’ll be like, hey, we wanna keep this short. We want this to be a short story. So get all you can in the pages.

Stefanie (25:41)
Oh nice.

Ariel Landrum (25:42)
Oh, beautiful.

Dan Conner (26:06)
while also balancing the amount of panels. And it’s harder to write a shorter story than it is a longer one. So yeah, is there stuff in side stories to explore? Yes, but it wasn’t able to be done in 120 pages.

Ariel Landrum (26:21)
I think that’s really beautiful that you highlight the process of how you are creating the book. I know for some of my clients who are creatives, and then I also specialize in working with trauma survivors and I use a theory called narrative therapy where we talk about the trauma narrative. It can be very difficult to not put everything in there and make it without a feeling like it’s not clear or precise enough.

But when you can describe something in actually less or few words, it has more meaning and impact, even neurologically. And studies have shown that children who read graphic novels and comic books are actually more, they have a larger vocabulary range because you have to, you have such small space, you’re going to pick a very succinct word to describe what’s happening versus adding lots of thes or like all this extra language.

And so when I’m working with a client, being able to describe the process that you have just given where we can start off very long and then tailor it, and that isn’t changing the narrative, it’s enhancing it. it can help maybe potentially remove the fear of for my clients who are creatives, like because I edited it, does that mean it’s a failure? Right? I don’t know one person who’s like their final product.

was exactly the same as their first draft. And I’m curious for you Stef, like same with like children and writing, do you see them struggling with needing to make corrections and not internalizing it?

Stefanie (27:51)
Oh, absolutely. I mean, I taught fourth grade and that’s when we’re learning how to make essays. And you’re learning the, you know, the three paragraph thesis, supporting paragraphs. And they didn’t really, I mean, there were some struggles of them just writing something because they’re like, how am I possibly going to write, you know, a paragraph with five sentences and then make it, you know, make sense and all these things. And they would do it. But then when I gave them the challenge to, okay,

now make just one paragraph and tell me everything you need to tell me in one paragraph, one thesis, three supporting sentences, and one conclusion. That’s when their minds would just explode. They were like, how do I edit? How do I, you know? And I think that’s when I was in college too, it’s like, yeah, like you said, Dan, write a 20 page paper. That’s like a marathon, right? But then to be able to write a one pager,

Ariel Landrum (28:35)
you

Stefanie (28:47)
and try to get everything in there, that’s really the challenge because I think, you know, we could just word vomit if we really wanted to But then in order to, you know, capture the reader and also make everything succinct, like you said, I think that’s where the real challenge and the real skill is, you know, tested because now you have to be very mindful with your words. You have to be very mindful with your placement.

And you got to know, you know, what’s going to pack the punch, but also what’s going to support what I have to say. it’s great to hear like the manga writing process is it’s challenging, but in kind of a good way, because you do have to do so much with so little and how you broke it down. I think that’s really important for people, you know, who are listening, who are aspiring to become comic book artists or manga artists or manga writers to really look at their storytelling process.

and practice that so that they can convey what they need to in the right way or in the way they want to.

Dan Conner (29:44)
Oh, definitely. But I believe that, you know, each panel is kind of like a moment in time. you can have something said and something a response. But once you get back and forth between.

statement response, statement response, statement response. And you see that more in American comics and superhero comics because sometimes they’ll have a lot of back and forth in a panel. You don’t see that in manga as much. And I mean, even though I wrote this in America, it wasn’t written in Japan or illustrated in Japan, TOKYOPOP is still a manga company. And so…

Ariel Landrum (30:21)
Mm -hmm.

Dan Conner (30:27)
It’s still going to be with AmeriManga or Western Manga, original English language manga. It’s still going to be with those characteristics. And so I don’t know if it’s because I’ve read a lot of manga. I’ve probably read more Western comics.

Stefanie (30:30)
Mm -hmm.

Dan Conner (30:46)
which isn’t necessarily the same as manga, when we think of comic books in America, I mean, ultimately most of us are thinking of superheroes, but there’s so many other types of comics and a lot of like auto bio.

Ariel Landrum (30:55)
Mm -hmm. Mm -hmm.

Stefanie (30:56)
Mm -hmm.

Dan Conner (31:00)
comics, you know, they’re not, they’re, they’re not necessarily going to have all this back and forth in one panel. And it’s not an old sci -fi pulp magazine where you’re paid by the word.

Stefanie (31:12)
Right.

Dan Conner (31:14)
I could imagine if you were one of those writers, Ray Bradbury, that he wrote a lot of early stories. And as I’ve learned, a lot of that’s paid by the word or was paid by the word.

Ariel Landrum (31:15)
Thank you.

Stefanie (31:19)
Mm -hmm. Oh, right. Mm -hmm.

Mm -hmm.

Dan Conner (31:31)
And so, you know, then you might want to use all the adjectives you can. You might want to write longer sentences. I’ve never written like that. So I don’t, I don’t know, but I’m sure it would be a lot. It would be so easy to add a lot of synonyms and sentences and rephrase things and clauses because you can get extra five words in there. But comics are, I think they should be so different. Some are very wordy.

Ariel Landrum (31:39)
Okay, good point.

Stefanie (31:41)
hahaha

Dan Conner (32:00)
You can look at amazing X -Men comics by Chris Claremont from the 80s and they are very word heavy. And there are some cartoonists in recent years who’ve still done that, but for the most part, that’s not the practice anymore. And you’re also balancing it with the art. I don’t prefer it when you’ve got really great art.

Stefanie (32:05)
Mm -mm.

Ariel Landrum (32:06)
Mm -hmm, mm -hmm, mm -hmm.

Yeah.

Dan Conner (32:22)
that artists do and then the letterer goes in and puts the word balloons when it wasn’t really planned for that. Whereas this is kind of crazy. Brian Lee O’Malley, I learned this from him, from Scott Pilgrim, he said, I think it’s in volume five that he gives his guide to making comics at just a few pages, that you do the word balloons first or you do the word balloons.

Stefanie (32:32)
Mmm.

Mm -hmm.

Dan Conner (32:50)
as you sketch out the art. And that’s kind of an easier thing, because then you’re not losing 25 % of your drawings. Like, why draw it if it’s going to be covered up with balloons?

Stefanie (32:52)
Right.

Ariel Landrum (32:54)
Okay, okay.

Stefanie (33:00)
Mm -hmm.

Dan Conner (33:04)
but I just think things should be intentional, whether it’s the word balloons or the art and even the color

Ariel Landrum (33:10)
Mm -hmm.

Stefanie (33:13)
that’s like group dynamics, right? You’re trying to figure out the balance with the artist, the writer, the editor. I mean, like I tell my students, everything’s gonna be a group project when you grow up, whether you’re working, whether you’re with your family. And I think that’s really important because, right, the art, especially in manga, is so beautiful and striking. I mean, in any publication, whether it’s comic books or anything.

Dan Conner (33:15)
Mm -hmm. Yeah.

Ariel Landrum (33:22)
colorist.

Stefanie (33:37)
you want that balance, you want to make sure that right, you are intentional in what you’re doing because that conveys the best versions of the storytelling. And I think that’s really important to know that putting something like this together, all the way from the history of the characters to how you’re going to present it, to the editing, all of that is so important. And that’s why I love manga in comic books, just because it’s…

Dan Conner (33:45)
Right.

Stefanie (34:03)
It’s such a full way of telling a story, visually, emotionally, all of that.

Dan Conner (34:08)
Right.

Ariel Landrum (34:08)
And I’m hearing all this intentionality with the way that you are conceptualizing what you’re going to create. And given that Nightmare Before Christmas has essentially a huge following, a huge fan base that has just grown since the film came out. Cause I know when it first came out, it wasn’t received as well. And it’s more of, I don’t know the nostalgia, the retrospect, but also like.

you know, alternative and goth communities coming into Disney, like it has this big heavy meaning. What did you have to do to ensure that your graphic novel was not only appealing to those longtime fans, but really was bringing in newer fans again, because it is very accessible reading for even a younger audience. And it is telling their story as younger characters.

Dan Conner (34:59)
So when you’re going to do something with a popular property, you really want to consider the existing fans of that property. And I think that we’ve all seen a sequel to a movie that was not embraced and or especially an adaptation to another form of media.

Ariel Landrum (35:10)
Mm -hmm. Mm -hmm. Mm -hmm.

Or like one that surprised people how embraced, like Five Night at Freddy’s. That movie went so big and, cause it had such a strong fandom already. And the creators really considered the age of the fandom even by like making sure it wasn’t an R rated film though easily could have been.

Dan Conner (35:37)
Mm -hmm. Yeah, my kids call it FNAF. So I think that’s one of the popular. Yeah, they just say it like that. And I was like, what is this? And they’re like Five Nights at Freddy’s. I was like, oh, OK. So with yeah, with things like that, with with any adaptation or addition to a popular franchise. Yeah, you don’t want to alienate the original fan base.

Stefanie (35:42)
Yep.

Ariel Landrum (35:42)
Yes, yes, FNAF, that’s it.

Mm -hmm. Mm -hmm. Mm -hmm.

Dan Conner (36:06)
and you really want something that will add to the fandom. I do a lot of comic conventions. I was at one yesterday. It was great. I’m in Florida, so it was the Melbourne Toy and Comic Con in Melbourne, Florida. So that was really great. And, you know, there’ll be people who come up and I’ll hear one of a few things like,

Ariel Landrum (36:20)
Okay.

Dan Conner (36:28)
Now I’m hearing, oh, I just bought that, which is great. And I always say, well, I do a lot of appearances, so keep up with me, especially if they’re local and, you know, bring it next time and I’ll sign it. And, and sometimes I also just do like a sketch or something for them, like at least you can get this. And then I have people who will come up and especially with the Zeroe’s Journey issues, because I don’t have all 20 issues of that, which I call.

Ariel Landrum (36:32)
you

Yeah.

Dan Conner (36:55)
And so I have, because that came out a few years ago and I have some of the specific issues and the ones that I still have in stock, especially I don’t really have any of the earlier issues anymore. And so I’ll say, yeah, I’ve got some of them and I definitely want you to be able to find an issue that you like. I get that I might not have all of them, but you can always read it in the graphic novels and collect the issues as you as you like. And so those people will be.

Ariel Landrum (36:58)
Mm -hmm.

Yes. Yeah.

Dan Conner (37:24)
pretty serious fans and they might buy every issue that I have with me like someone did that yesterday. And at many conventions, that’s what will happen. And a lot of times those are the folks who say, I’ve never heard of this. before. And then I do have some people that will say, well, I haven’t seen the movie.

Ariel Landrum (37:32)
Wonderful. Yeah. Yeah.

Dan Conner (37:41)
and I’ll say, oh, well, this book’s perfect because it’s a prequel, so you can start there. So you never know, and especially with kids, they may stumble potentially on the book in their house as a toddler grabbing books off the shelves before they may see the movie and they may flip through a book as a toddler. So I imagine there could be people who find Nightmare Before Christmas.

Ariel Landrum (37:52)
Mm -hmm, mm -hmm, mm -hmm.

Dan Conner (38:09)
initially through comics and then see the movie. It could be based on if they have it on demand or on a disc versus when it’s on Freeform all of October through December.

Ariel Landrum (38:12)
Yes, yes.

Dan Conner (38:23)
And so it’s definitely a balance, but you want to do something that is going to be embraced. There’s such a fervor for Nightmare Before Christmas. People love Beauty and the Beast, but I don’t see as many Beauty and the Beast tattoos as I see Nightmare tattoos. There’s a lot of those, and people have full sleeves of Nightmare, and that’s a dedication. That’s a huge dedication. That’s expensive, and it’s painful.

Ariel Landrum (38:41)
Hmm.

Yes, yes, yes.

Dan Conner (38:52)
And that means everywhere you go forever, people will see this and know that you’re a fan. And that’s the good thing. And it’s what you’re communicating.

But for the most part, kids light up when they when they see the book covers on my on my

Ariel Landrum (39:07)
Yes, yes.

Dan Conner (39:09)
my table or the Tokyopop table booths at conventions. And so I want to be able to do something that honors everybody.

Stefanie (39:18)
I think the accessibility part is so important because Nightmare Before Christmas has gotten so big. I mean, whenever you go to Disneyland now, it’s not Haunted Mansion, it’s Nightmare Before Christmas. And that’s how my kids were introduced to it. I have a one and a three -year -old and they know Jack because they’ve seen them on the ride before they even saw the movie. So they already know how to hum, la, la, la, la, la, la. That’s what they know.

Ariel Landrum (39:29)
Uh -huh. Mm -hmm.

Dan Conner (39:33)
Oh good.

Ariel Landrum (39:43)
La la la la la.

Stefanie (39:44)
So, I mean, I think it’s great that, like, as you mentioned, the movie is originally PG. I mean, it came out when I was younger. I wasn’t necessarily, I was like, I know this is, it’s scary, but I know it could be for kids, but yet it’s PG and it has a lot of themes that, you know, aren’t necessarily meant for younger children, but still because of the styles of their characters.

Ariel Landrum (40:05)
Mm -hmm. Mm -hmm.

Stefanie (40:10)
It’s very cartoony and it’s very animated and the stop motion obviously is beautiful to see and it can be appreciated by infants because they latch onto those types of visuals. So I think with the franchise growing so large and Halloween being essentially branded almost by Nightmare Before Christmas all the way up until the holiday season, I think it’s very great that there’s your publication now that can kind of bridge that gap.

Ariel Landrum (40:15)
Yes, now.

Yes, yes, yes, yes, yes.

Dan Conner (40:34)
there.

Stefanie (40:38)
and can kind of be like, hey, you know, there is a story that you could read as, you know, an emerging reader and, you know, an emerging lover of comics to kind of, you know, give them that little step before they experience the movie. Then they can fully understand the way that the characters grow.

Ariel Landrum (40:38)
Mm -hmm. Mm -hmm.

Dan Conner (40:58)
it is hard to have something that’s appealing to kids and parents and anyone in between or, or,

It’s like Lego say ages like eight to 100 or something. So it’s sad if you’re 101, but yeah. So yeah, exactly. So yeah, it’s hard to do that. And I think that’s another reason that the movie is so cherished because there’s a lot of introspection within the characters. And you don’t see that in a lot of PG films or children’s films.

Ariel Landrum (41:08)
Mm -hmm, mm -hmm, mm -hmm.

Hahaha!

Stefanie (41:14)
They’ll enjoy the visuals, it’s fine.

Ariel Landrum (41:29)
Yep. Mm -hmm. Mm -hmm.

Dan Conner (41:34)
You don’t, yeah, I think there’s a lot of self -exploration there.

Ariel Landrum (41:38)
Yeah, I think last year was the 30th anniversary of the film. And I had seen them do it at the Hollywood Bowl. So the Hollywood Bowl is a lot outside theater, and there’s a live orchestra. The LA Philharmonic plays the music. And Danny Elfman was, of course, there singing.

Dan Conner (41:55)
Au revoir.

Yeah.

Ariel Landrum (42:03)
Peewee Herman, Paul Rubin’s voice, Locke in the movie. Yes, but he had passed away.

Dan Conner (42:06)
Yeah, yeah, yeah.

Stefanie (42:07)
Yeah, right, yes.

Ariel Landrum (42:11)
so Fred Armisen was on stage, he was singing Locke. And I didn’t know this, but I guess he is a singer. He has a punk rock band I didn’t know about. He’s a big musician, yeah. And so they had dedicated that segment, obviously, to Paul Rubin’s. And it was so lovely to see it at the Hollywood Bowl. And people were dressed up. They had a costume contest in the beginning. And even…

Stefanie (42:18)
Oh, he’s a big musician.

Dan Conner (42:20)
Yeah.

Ariel Landrum (42:36)
Before that, here in Los Angeles at the El Capitan Theater, they every year will play Nightmare Before Christmas and they will do it 4-D where it snows in the theater because the El Capitan is owned by Disney. So I’ve seen this film sort of like branch out into so many things. And then at the parks, you know, they have Oogie Boogie Bash and that celebrates like Oogie Boogie who’s supposed to be essentially like this bad guy, but we don’t really

Think of him as a bad guy. I think your comics added that to me. He’s a great host.

Stefanie (43:08)
We know he’s a good host. He’s a great host because he runs the whole thing. But yeah, I mean, essentially Oogie Boogie could be the villain, but yet they make him into not just that. And I think that is, you know, you can only do that with so many characters. And because he’s such a larger than life character and because, you know, we know he sings, I think that adds so many elements to where you can see him as a main character. And now knowing that…

Dan Conner (43:11)
Okay.

Ariel Landrum (43:15)
It’s always the whole thing.

Dan Conner (43:16)
Yeah.

Stefanie (43:37)
him and Jack had a history to where they were pretty much equals. I think that kind of elevates his story even further, which is what’s great about your comic book is that it gives you that validation.

Ariel Landrum (43:39)
Mm -hmm. Mm -hmm.

Dan Conner (43:41)
again.

Thank you.

Mm -hmm. Well, he’s the boogeyman. He’s scary and you’re afraid of the boogeyman when you’re a kid. But… And there’s, you know, he’s got Santa in the movie and that’s, you know, you can contemplate the ethics of that.

Ariel Landrum (44:03)
Mm -hmm.

Stefanie (44:07)
what he does to Santa kind of throws him around like a rag doll.

Ariel Landrum (44:10)
Yeah, yeah.

Dan Conner (44:11)
Yeah, yeah, exactly. But he’s still, he’s spookier more than necessarily. I don’t want to say he’s not malicious. I don’t want to take away from his personhood as a villain. But, you know, he’s still fun. Like, like He’s he’s almost like a fun villain. And I guess you could look at all Disney movies and debate who was fun and who wasn’t as far as the villains and maybe they’re all fun to some degree.

Stefanie (44:38)
I think Oogie Boogie’s like a puppet. I think that’s why kids gravitate towards him, because he’s essentially like, you know, you can see him on Sesame Street if you really wanted to, because they can make him like a puppet. And I think that’s why toddlers love Oogie Boogie so much, because he’s big, he’s green, he has a large personality, and he looks like a puppet. So, you know, I think…

Ariel Landrum (44:38)
Yes, yes. Yeah.

Dan Conner (44:42)
Yeah.

Ariel Landrum (44:48)
Mm -hmm. Mm -hmm.

Dan Conner (45:00)
Yeah.

Stefanie (45:01)
As we’ve seen in Disney villains, I think the scariest villains are the ones who look just like us, like Gaston and his ego. villains that we’ve mentioned in a previous episode that it’s not the fantastical villains that are scary. It’s like the ones that look like Cruella who are just not fun to be around.

Ariel Landrum (45:09)
-hmm. Mm -hmm. Yes.

Dan Conner (45:17)
Yeah.

Ariel Landrum (45:17)
Yeah. Yeah.

Stefanie (45:20)
And I think there’s so many layers to it. I think that’s the beauty of this story can you let our listeners know where we can find the book and any other little things that, or maybe the next place that you’ll be in terms of comic book conventions if they want to come say hi to you.

Ariel Landrum (45:21)
Absolutely.

Dan Conner (45:25)
I’m here.

Ariel Landrum (45:29)
Yeah.

or upcoming projects.

Dan Conner (45:38)
Yes, yes, yes. So let’s see, you can get the book from pretty much any major or independent bookseller. I know that I do some signings at Barnes and Noble as well as Books of Million, but Barnes and Noble I think is national. So you can definitely get it at Barnes and Noble.

You can get it at your local comic book shop. If they don’t have it on the shelf, they can order it for you. I love local comic shops. I do signings at those as well. Meanwhile, the Tokyopop website, tokyopop.com does have it available.

I will be at San Diego Comic-Con this summer, so that’s going to be really good. Yeah, I’ll be there with Tokyopop, so you don’t have to look in the guide to find where one, you know, of all the tables that are available, like where I would be. I’ll be with Tokyopop, so that makes it pretty simple. The next convention I’m doing…

Ariel Landrum (46:19)
Woo hoo hoo!

Dan Conner (46:35)
is Portsmouth MiniCon in Portsmouth, New Hampshire. And that’s gonna be, yeah, that’s pretty soon. So that’s on like the, I think the 27th or 28th of April. then I’m doing free Comic Book Day at a store in Florida. That’s on May 4th that I don’t believe has been announced yet.

Ariel Landrum (46:42)
Are you okay?

Dan Conner (47:00)
So, so yeah, so I have that coming up and I’m doing Denver Fan Expo

Stefanie (47:00)
Mm -hmm.

Dan Conner (47:06)
I’m @crazygoodconner. That’s where the E are at on pretty much every social media platform. So you can keep up there to find where I’ll be.

Ariel Landrum (47:16)
Beautiful, beautiful. And as always, we are @happiestpodGT on Instagram and on X and on Facebook. If you want to send us any questions, if you want to tell us your experiences with Nightmare Before Christmas, how maybe the stories have touched you or what your favorite characters are, please let us know.

And before we end, final question for you, Dan, is Nightmare Before Christmas a Halloween movie or Christmas movie?

Dan Conner (47:46)
Oh yeah, I think it’s both. You know, there was a panel that we did last summer at San Diego Comic-Con with Disney and that was pretty much the consensus from everybody. And yeah, I think it’s both. I mean, if you really had to get down to it, Christmas is in the title. So there is that as far as branding and it starts off with a Halloween song. So.

Ariel Landrum (47:48)
you

Okay.

Ohhhh

Stefanie (48:05)
Yep. Mm -hmm. Mm -hmm.

Ariel Landrum (48:13)
Yeah.

Dan Conner (48:14)
I think it’s both. Yeah. Yeah. It’s a Thanksgiving movie. It takes place over Thanksgiving in between. So.

Stefanie (48:16)
I’m in that camp, I think it’s both.

Ariel Landrum (48:18)
Same, same.

Stefanie (48:21)
It does. We just don’t see them eating together, do we? I know Oogie Boogie does. He eats a lot. So yeah, it is a Thanksgiving movie. He eats a lot of bugs.

Ariel Landrum (48:22)
yes yeah no no

Dan Conner (48:27)
I know, yeah.

Ariel Landrum (48:30)
He eats a lot. Yeah. Yeah.

Dan Conner (48:31)
Yeah, yeah, yeah, it’s kind of throughout there. It’s a lot of it’s, well, I guess because I mean, it takes place in November and December, you know, leading up to Christmas. So, yeah.

Ariel Landrum (48:41)
Yeah. In therapy, we say yes and. Beautiful.

Stefanie (48:42)
This is true.

Dan Conner (48:46)
Yeah, yeah, yeah. I’m always yes and. I’ve learned not to say but. And so yeah, it’s always, well, this is true and this is true.

Stefanie (48:58)
All right.

Ariel Landrum (48:57)
Well, thank you so much for coming on our podcast. We really appreciate it. This was a wonderful conversation.

Dan Conner (49:01)
Thank you.

Yeah, it’s been great.

Media/Characters Mentioned
  • The Nightmare Before Christmas
  • Jack Skellington
  • Oogie Boogie
  • Sally
  • Edgar (former Pumpkin King)
  • Lock, Shock, and Barrel
  • Tokyopop
  • Oogie Boogie Bash
  • LA Philharmonic
  • Hollywood Bowl
  • Danny Elfman
  • Paul Reubens
  • Fred Armisen
Topics/Themes Mentioned
  • Friendship and rivalry
  • Transitions in life
  • Storytelling in comics
  • American comics vs. manga
  • Visual styles in storytelling
  • The process of creating comics
  • Fan engagement and cultural impact
  • Accessibility and appeal to different age groups

Website: happy.geektherapy.com
 | Instagram: @HappiestPodGT | Twitter: @HappiestPodGT | Facebook: @HappiestPodGT |
 | Stef on Twitter: @stefa_kneee | Ariel on Instagram: @airyell3000 |
| Dan on Instagram: @CrazyGoodConner | Facebook: CrazyGoodConner | X: @CrazyGoodConner Website: http://www.connercomics.com/

Geek Therapy is a 501(c)(3) non-profit that advocates for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
| GT Facebook: @GeekTherapy | GT Twitter: @GeekTherapy |
| GT Forum: forum.geektherapy.com  | GT Discord: geektherapy.com/discord |

Disney Animation Studios The Concert

August 17, 2023 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/034627bf/2ba86f9d.mp3

Podcast: Play in new window | Download | Embed

Subscribe: Spotify | Email | RSS | More

#34: Join Ariel and Stefanie in a magical evening under the stars for Episode 34 of HPOE. Relive their enchanting experience at the Disney Animation Studios The Concert at the Hollywood Bowl, celebrating Disney’s 100th anniversary. From the melodies of the LA Philharmonic to the emotional resonance of Disney classics, immerse yourself in their journey through this musical extravaganza. This episode is a blend of nostalgia, joy, and insights into creating inclusive experiences for all Disney enthusiasts.

Read the blog post for this episode for additional references and resources.

Become a member of Geek Therapy on Patreon: http://www.patreon.com/geektherapy

Summary

HPOE34

  1. Introduction (0:10): Stefanie and Ariel introduce the episode, focusing on their experience at the Disney Animation Concert at the Hollywood Bowl for Disney’s 100th anniversary.
  2. Personal Experiences (2:07): The hosts share their personal stories from the concert, including the effects of the SAG-AFTRA strikes and making it a special girls’ night out.
  3. Disneybounding (3:07): Discussion about dressing up in Disney-themed outfits for the event.
  4. Concert Atmosphere (6:08): The hosts talk about the magical ambiance at the Hollywood Bowl, including the attendees’ Disney-themed attire.
  5. Transportation and Accessibility (7:02): Tips and experiences regarding transportation to the Hollywood Bowl, emphasizing convenience and accessibility.
  6. Picnic at the Bowl (8:06): Insights on the unique picnic experience at the concert venue.
  7. Concert Highlights (14:30): Impressions of the LA Philharmonic’s performance, featuring songs from Disney movies.
  8. Sensitivity and Inclusion (18:04): Reflections on the cultural sensitivity of the music presentation, avoiding problematic scenes.
  9. Emotional Moments (20:34): Discussion on the performances that were particularly moving and emotional.
  10. Community Engagement (24:10): Observations on audience behavior and the importance of inclusivity for all attendees.
  11. Accessibility and Accommodations (29:31): The significance of utilizing available accommodations for an enhanced experience.
  12. Managing Stimuli at Public Events (34:25): Insights into attending large events with children and managing various stimuli.
  13. Audience Behavior (39:13): Thoughts on concertgoers’ expectations and creating an inclusive environment.
  14. Educational Value (45:10): Stefanie’s perspective as an educator on the educational benefits of such events.
  15. Closing Thoughts (50:21): Final remarks on the concert experience and an invitation for audience interaction.
Transcription

Stefanie Bautista 0:10
Hello, everyone, welcome to the Happiest Pod On Earth. I’m Stef . I’m an educator who uses passions and fandoms to help my students grow and learn about themselves and the world around them.

Ariel Landrum 0:19
And I’m Ariel, I’m a licensed therapist who uses clients passions and fandoms to help them grow and heal from trauma and mental unwellness.

Stefanie Bautista 0:27
Here at happiest pod, we dissect Disney mediums with a critical lens. Why?

Ariel Landrum 0:31
Because we are more than just fans, we expect more from the mediums we consume. So what Disney experience are we dissect interface Stef?

Stefanie Bautista 0:39
So it’s definitely an experience and it’s a experience that’s kind of very specific. If you live in Los Angeles. I had the pleasure of actually being Ariel’s date to the Walt Disney Animation Concert at the Hollywood Bowl. It’s called Walt Disney Animation Studios, The Concert. I thought that this was just, you know, one off Disney event. But of course, why did I forget that it was Disney’s 100th anniversary. So they’ve been celebrating all year since last September or August. And of course, this is one of those promo events. Part of course, you know, they have concert series and everything like that, but this was very Disney 100-forward, which was great. Just to give you a little bit of background. The LA Philharmonic is the resident at the Hollywood Bowl for the summertime. They hold lots of different concerts, classical music concerts, pop music, concerts, reggae concert, hip hop concerts, but the LA Philharmonic they do, they’re scheduled there. And during the winter, they go to the Walt Disney Concert Hall. Even though they’re at the Walt Disney Concert Hall. They don’t specifically do Disney things. It just happens to be that way. But I thought that it was really interesting that we went to a Disney Concert, not at the Disney Hall, but at the Hollywood Bowl? You know? Fun times! It covered a wide range of just Disney animation movies. So we didn’t see any live action movies. We didn’t go into Star Wars. We didn’t go into Marvel. This was strictly old school animation. And a lot of people were really excited for that, right?

Ariel Landrum 2:07
Yes, yes, I was definitely excited. Originally, I had bought the tickets as a package deal with my partner and another couple as way to go on a couple of date, given the SAG-AFTRA strikes going on right now, my partner is not working because he works in transportation. And he’s a 399. So they aren’t striking, but they aren’t crossing any picket lines in solidarity. And he found a job and he had to take the job in order to you know, make any money.

Stefanie Bautista 2:37
Make a living.

Ariel Landrum 2:38
Make a living. And the job doesn’t again cross the picket line. But it did involve him going all the way to Texas and being gone for like a whole month. And as a result, I needed to find a new date. So of course, I asked Stef…

Stefanie Bautista 2:52
Thank you!

Ariel Landrum 2:52
And then her friend Liz, and her husband, Benji, he was like, “Well, if you know her partner isn’t going and you have a friend coming out of town. Her name’s Dawn, how about you make it a Girl’s Day?” So we all four of us went and saw Disney Animation and even dressed up?

Stefanie Bautista 3:07
Yes, we did. We all tried. Well, me I tried to Disneybound they had their wonderful Disneybound outfits planned out, because Ariel had bought these tickets months in advance. So Ariel if you want to go first because mine was very last minute.

Ariel Landrum 3:23
So I had bought a dress that had a purple scallop top, and a very green, light green bottom. So you know, Ariel The Mermaid, and long dress covered my feet. And halter tops so no straps. And the scalp shaped did look very much like the seashells and that’s that’s what I were. Yeah.

Stefanie Bautista 3:46
Yeah, it was beautiful. I love that. And it was such a steal. Right? You didn’t even spend a lot of money on it.

Ariel Landrum 3:52
No, it was like, you know, talk about fast fashion. It was about six or seven bucks. So I figured even if it’s not like that cute, maybe I could like put pins on it. Or I could put like a cardigan like maybe I could make it look better than $7 but it did not look like dollars.

Stefanie Bautista 4:07
Oh, not at all the quality was actually really good. And it was perfect Disneybound. The shade the hue all of it was perfect. She didn’t have to do anything. She just had to let her hair go. And boom. Ariel was Ariel. Yeah. And so Liz, she and her friend Dawn. They both dressed up. They both did Disneybounds as well. Liz reprised her Jasmine Disneybound which you were to Dapper Day I believe, right?

Ariel Landrum 4:32
Yes. And if you listen to our Dapper Day episode, and we described it in in great detail, it’s down to the point of the dyes that she used for her gloves. In this case she didn’t wear the gloves, but she did bring Abu along with her Genie backpack. Her Genie Loungefly backpack.

Stefanie Bautista 4:51
Yes, yes. And then Dawn, she was lucky enough that Liz put together a Disneybound for her and she was a Mulan with the pinks and the red and the blue colorblocking. And for me, I was sifting through my closet because I had nothing to wear. And I ended up wearing these black jogger kind of loose pants. My Doc Martin sandals and like a green olive green top and I was Ping. I ended up just tying my hair up in a bun. And I remember seeing somebody Disneybound as Ping and I was like, “I can absolutely do that.” And so we had a Mulan and we had a Ping, which was pretty cool.

Ariel Landrum 5:35
Yes. And in case you you’ve forgotten remember that Ping is Mulan alter ego in the Army.

Stefanie Bautista 5:42
Yes, her alter male ego. Was her alter male ego while Mulan was Mulan. And it all worked out. I think it was really fun seeing a lot of people Disneybound for the event. A lot of little kids dressing up in their Disney Princess and Prince outfits. I actually didn’t think that we were going to see that many but then even just getting onto the bus to get to the Hollywood Bowl we saw people Disneybounding and it was great..

Ariel Landrum 6:08
Or wearing at least beautiful dresses with Disney print. I saw a lot of that. Fantasia with Sorcerer Mickey being like a very common print I remember seeing. And then lots of as the evening went on and got darker flower crowns and like wands that lit up like…

Stefanie Bautista 6:27
Yeah.

Ariel Landrum 6:28
Little sparkly star wands.

Stefanie Bautista 6:30
I did see a lot of Disney ears, which was cool. I think at the Hollywood Bowl, it’s totally appropriate to wear something like that because it is a bowl it is looking down. So even if you wear ears, you’re not going to be blocking anybody’s view. So at the very least, people were wearing ears or even just things that they would wear to the parks. I feel.

Ariel Landrum 6:50
Yes, yes. I think I saw some people carrying their own popcorn buckets, like Disney popcorn buckets that they collect. So certainly a crowd of Disney aficionados.

Stefanie Bautista 7:02
Yeah, for sure. I mean, even on the bus right there. We just kind of felt like we were on the tram ride in ways. Just a bunch of Disney adults going to a concert. It definitely felt like right at home. For us, we there’s a couple of ways to get to the Hollywood Bowl. If you ever want to do anything like this, you could definitely drive there, when you park. Just kind of know that it’s stacked parking. So once you park in there, you can’t get out until the person behind you gets out. But because we live kind of close to the venue, we take a bus, we park and ride basically. And you can either park on the street or you can park to another parking lots, which is also stacked parking. And you can get to The Bowl that way through their bus or you can take public transportation, it drops in the middle of Hollywood and you have to take a little quick hike. So if you people want to experience hiking in LA, but also want to go to The Bowl, that’s your chance to do it. Won’t guarantee that you’ll look cute at at the top, but you’ll get there.

Ariel Landrum 8:06
We did We did take the bus and it dropped us up at the top, we got to also pack and bring our own food. With the Hollywood Bowl if it is a non leased event, which usually means if it’s not a big celebrity concert like like I think the Lumineers are coming to play at some point you can’t bring your own alcohol or food. And so with this event, you get to bring your own alcohol and food and so we packed a picnic for us four. We split it up. Stef and I brought the food and Liz and Dawn brought the drinks.

Stefanie Bautista 8:42
And also in planning to bring the food you can even you can either do what we did in that’s when we planned it, we packed it and we ate it at our seats. Or you can get there really early and basically do like a tailgate situation, which many many people do where you can drink your wine and have your beer and all your snacks and stuff outside of The Bowl before you go in. But we decided to just bring everything inside because we didn’t have time to be there all day.

Ariel Landrum 9:07
Well and there are restaurants nearby that you can actually order packaged meals that are called like Hollywood Bowl baskets. So if you have a sort of like favorite food bougie place, see if they if they have a meal pack that you can pick up that’s also an option as well.

Stefanie Bautista 9:24
Or if you just want to plan any of that you can buy it all there but you are going to be spending a lot of money because they overcharged everything there. So we had a couple of days to prepare for this. So I headed on over to our beloved Whole Foods to get some fruits, some cheeses, some charcuterie type things basically a charcuterie on wheels is what I was going for. So we had crackers we have different types of cheeses, grapes, blueberries, raspberries and the great thing about Whole Foods is that you can get all of these things already packaged for you and then you just have to put them in your cooler. Um, Ariel has a nifty little cooler and picnic basket that includes not paper plates, plastic plates, and silverware. And yeah, it’s just basically super convenient. Everything locks inside so I think you can get I did you get yours at Amazon?

Ariel Landrum 10:17
Yep, I got mine on Amazon.

Stefanie Bautista 10:19
Yeah. And yeah, basically we loved everything there because our friends were gonna bring the drinks. And we didn’t really pack too too crazy. I know some people do cooler backpacks. Some people bring like an actual cooler. But knowing that it is sort of a steep hill to go up there, you’ve got to be mindful of what you’re carrying. Because know that it will be on you until you sit down at your actual seat.

Ariel Landrum 10:44
Yep. And then I had packed some Pocky I had packed crackers to go with the cheese’s some dried fruit trail mix. And then we had a last minute contribution from your mom.

Stefanie Bautista 10:57
Yes, that’s right she made turon which is basically um, Filipino sweet lumpia. It doesn’t have any meaning. It’s saba, which is a type of banana. It’s a sweet banana that is rolled in sugar and then wrapped just like lumpia or egg rolls. And she made a ton of just coincidentally before we left, and so we grabbed like 20 of those suckers and put them in our bag.

Ariel Landrum 11:20
Ate some on the bus.

Stefanie Bautista 11:21
Ate some on the bus. Really great dessert or appetizer.

Ariel Landrum 11:27
And then Liz and Dawn, they brought was it red wine or white wine?

Stefanie Bautista 11:31
They brought red wine and also ginger ale, some sparkling water. And I think I’m I don’t even think we had regular water, I just drink the ginger ale because I was so thirsty. And me and Liz just destroyed that bottle of wine. So it was great.

Ariel Landrum 11:47
Having your own food there. You can eat it again before or even during the performance. During the performance it is very dark. And so if you cannot see your plate, that that could be a barrier. Also, if you’re eating when it’s light out, and you can see your food, people are still getting to their seats. So you’re often having to stop like what you’re eating to get up to let people get through. Because the seats are bleachers style where we were sitting at least.

Stefanie Bautista 12:15
Yeah, though the majority of those seats are bleachers style in the very back, it’s just green grass, and you just lay out a blanket, in the very front, if you are able to get tickets there, they have tables. And in the very, very front, they have like bigger tables. So you can get one of the box seats is what they call them. And you can split it with a group, I’ve done it many times, it does make a huge difference than putting everything on your lap, you feel very much privilege just having a table in front of you. But I mean, people have a lot of different ways that they enjoy their food at the Hollywood Bowl, if you ever want to do one of these events, but it’s non least events. Look it up on Google and a lot of people have tricks and tips that they use to have a great time themselves.

Ariel Landrum 13:01
Yes, people who go to the Hollywood Bowl, often I’ve learned are called Bowlers. I would say that it is a very affordable, fun, fancy date. So if you’re trying to find something to do with somebody you are wooing, I think going to these non lease events is a really good one, especially if you’ve packed your own food because you’re definitely saving money and doing that. And then if you get the bleacher seats or even the grass, you’re further away, yes, but live performances and music, being able to just enjoy each other’s company. Being outside. The those are things that I think are priceless. And these these tickets are within an affordable range, I would say.

Stefanie Bautista 13:44
Yeah. And I think they make it really accessible because the Hollywood Bowl is such a big venue. And I think in recent years, I want to say in the last like decade or so they’ve really been opening it up to more family friendly events and also kind of geeky inspired events. Before it used to just be the LA Phil which is great. The first couple times I ever went was to do assignments for college. And before that it was concerts that I would attend with my family. So I’ve seen like Earth Wind and Fire there. I’ve seen Chicago they’re like, you know, a lot of old school artists, but I think as more families are wanting to do these things together and it’s becoming more accessible for them. They have events just like this the Disney Animation concert.

Ariel Landrum 14:30
Yeah, yes. So the you have the La Phil the orchestra playing in front of you. You also have giant screens that are playing the animation that they are doing the music to. And then there were even singers there were Broadway singers that we’re singing the Disney Princess Songs, the villain songs, the songs that we sort of know and love. And one of them happened to also voice and sing a very specific character. And it was interesting to watch her sing the song and look at the animation that aligned to her voice. But she’s right there in front of me. But also, it’s the same person.

Stefanie Bautista 15:10
Isn’t it so magical? I think, the way they arranged many of these songs. So even though these Broadway artists aren’t the original ones, with that, with her as the exception, they did a wonderful job arranging these tracks and mixing them together so that they kind of held true to what they actually sound like. And I think it was very masterful that the way that they did it, just the whole program from start to finish. The conductor Thomas Wilkins, who was the conductor for the night, with was even really playful with the singers and they interacted a lot with each other. So I have the artists list in front of me, so I’m gonna kind of go down and list them: Adasa, who was in Encanto. She was one of the hosts along with Susan Egan, who we were talking about who played Meg in Hercules was also one of the hosts. James Monroe Iglehart. He was a special guests along with Adam J. Levy, Shoba Narayan, and Anneliese van der Pol, Cindy Winters, and the biggest guests were the students from the Orange County School of the Arts. I didn’t know that they played a huge role in this particular concert. And apparently a lot of alumni of Disney are also alumni of the Orange County School of Arts, but that also isn’t surprising seeing that Disneyland is an Orange County.

Ariel Landrum 16:29
Yes. And with the Orange County School of The Arts we had one of those songs they did was like a Peter Pan medley, and they had performers dancing, as if they were going getting ready to fly. And then they even did a Lion King performance. And it was “I Just Can’t Wait to be King” and orc, I mean, the choir, they were Simba. They were all singing Simba’s line versus having like one person be Simba and someone else be Zazu. They they were Simba and then one person Zazu. So you I thought that was really unique.

Stefanie Bautista 17:07
The soloist was Zazu. I was like, “Okay, a little b-side action like we never highlight Zazu.” But I mean, I think that’s wild. And they really took creative leaps in the arrangement of these songs. And I think it really paid off because it made these classic songs very fresh. And even though us as longtime Disney fans have heard these songs a million times, they were so dynamic in the way that they presented them.

Ariel Landrum 17:33
Yes and I they were also very mindful. So there was the “Everybody Wants to be a Cat,” by that the song in Aristocats. And there is a very racist scene with the Siamese cat playing the piano. And they didn’t include that. So they were very mindful of like updating what they were going to present so that we could honor like this legacy and enjoy this fun music without also having to be harmed by what then was a lot of stereotyping.

Stefanie Bautista 18:04
And I mean, that was part of the you know, the fact checking and all of this right, we wanted to make sure that Disney was aligned to how it’s been evolving in the years of late.

Ariel Landrum 18:13
One of the performances that really took me by surprise. Were the songs that were in The Hunchback of Notre Dame. I don’t remember that movie or the songs apparently because I was blown away!

Stefanie Bautista 18:28
Yeah, I mean, they sang “God Help the Outcast,” which I didn’t even know was like in the Disney repertoire at all. All I know, is the one that he sings while he’s swinging across Notre Dame. And I don’t even know what that’s called. And I was like, I think we need to rewatch this. And I still haven’t, but I will get there. It’s one of the forgotten ones. But seeing seeing the animation on the big screen and the orchestra play. It was so moving, how beautiful it was, it was as if we were in Paris, looking, you know, at Notre Dame and looking at all the stained glass inside the church. And it was it was very, very beautiful. And I was like, “Okay, I think this is a moment where a lot of people can rediscover Disney movies.” Because we all know the ones, you know, that have been recently, you know, in vogue, which is Frozen. And I mean, we’re always thinking stuff from Aladdin and Little Mermaid but Hunchback of Notre Dame has not been in anybody’s mind for a very long time.

Ariel Landrum 19:29
Yes, yes. I think that was another another reason to go to events like this to be reminded and be reintroduced to things that you’d forgotten that that should have should take space in your mind. I think that it was it was so beautiful. There were plenty of moments where I don’t know about you, but I was just like tearing up.

Stefanie Bautista 19:54
I cried many times, I’m already in my feels all the time. All the time. Any single little thing will make me cry. And I was crying from beginning, middle, and end. So many tears, so many emotions. I did not bring my kids this time because of course, this was a girls night. So it was my time to kind of relax and unwind with girlfriends. And I think when moms get that little time to themselves, all the emotions just come out and I was like, “Oh my God, Muana’s signing, I’m gonna cry now.” And yeah, I started crying. And then the princess medley happened then I started crying even more. So unless it was like a comedic thing, or like a villain thing. I was probably crying.

Ariel Landrum 20:34
Well, the comedic thing. You were really surprised and the villains medley that…Oh, who is this?

Stefanie Bautista 20:44
Anneliese van der Pol?

Ariel Landrum 20:45
Yeah, so yes.

Stefanie Bautista 20:46
I know her from that. So Raven, because she was ravens best friend. And I had no idea she was such a talented singer. And so just like all around amazing in her delivery, her humor, and she did not hold back. I feel like some of the singers, you know, they have a little bit of finesse when they sing. And especially if they’re doing a Disney princess song. They’re very elegant and graceful and that. Oh, no. When she went into the villains medley she went all out. I think it was the part where she was singing Ursula’s parts?

Ariel Landrum 21:22
Yes, her “Poor Unfortunate Souls,” that she she had sas, she had like conviction. It was. And we were, you know, we weren’t that far back. But we certainly weren’t seeing facial expressions. And yet I could see it on her from the way that it was. The music was coming out.

Stefanie Bautista 21:44
Yeah, she cackled. She cackled the biggest cackle ever. And I was like, “Wow!” It reminds me of back in the day in Fantasmic, you used to see Ursula come across the water, that she was a big animatronic, and I haven’t seen like, like Ursula come to life like that since then. And I thought that that was so impressive. And, you know, kudos to her and her partner. I think that’s Adam J. Levy, who was the male counterpart in the villains, little medley that they did. They were such a great duo. They played really well with each other, their voices were beautiful together. And it was my favorite medley of the whole night because it was so so intense.

Ariel Landrum 22:24
It was it was just lovely. Funny. The, you know, like you felt the villain energy. I was great. Then they did play off of each other well. There were a lot of times where, and particularly I think during the essentially the princess medleys, I want to say, we would see the performers be very strategic and where they’re walking and very intricate. This seemed like there might have been some ad lib and some play. It was very, or they just did a really great job of making look look like it was ad lib in play because it was just very light and fun. They did they started with Cruella, and then they had Scar’s song, a “Be Prepared.” They had Ursula song. Was there another one? Or was that it?

Stefanie Bautista 23:13
I think that was it. Because they didn’t sing. Jafar was on there for a minute.

Ariel Landrum 23:20
Yeah, he was he was Yeah, because it was singing the the part where he’s like basically dogging on Aladdin.

Stefanie Bautista 23:28
They also sang. The mom song from Tangled. Mother… “Mother Knows Best.” That was the song she also went ham on that song. Because that one is like a very Joan Crawford like, “No wire hangers!” Like, that’s what I remember if being.

Ariel Landrum 23:44
I think for me, and what I sort of like walked away from the event was one like, like that sense of camaraderie and community just seeing other people expressing, like their Disney selves, not at the park, right. And I think there’s just something about, like experiencing live music with other people that is just so touching and moving. And it’s like a synergy that it’s hard to describe.

Stefanie Bautista 24:10
It’s cathartic. Absolutely, I mean, it’s music, live music, for me is something that I do when I just need to let go mentally, because you can get so immersed in just listening to music, and then there’s the visuals in front of you. And of course, the animation is so beautiful. You get taken back to when ever whatever age you were when you saw any of those movies, so a lot of emotions come back, but you’re enjoying it also in the company of other people who not only enjoy, but also might have even worked on the film because we’re in Los Angeles. And I really liked that it was their little nod to the actors and writers strike and they did it a couple of times, right?

Ariel Landrum 24:50
Yeah, they had everyone stand up if they’d ever been if they’d ever participated in the Disney animation process, whether they were writers whether they wrote music, whether whether they were voice actors, and, you know, we all clapped for them. And I don’t know if they would have done that had the strike not been going on because this, this is a live performance, it’s not part of SAG-WGA and orchestra that that music part, I don’t think they’re part of it either. So this wasn’t a struck event for the singers who were happen also be actors and Broadway actors. But this event specifically wasn’t asking for those talents. So they were able to participate. But I think they were showing solidarity without, you know, overtly saying.

Stefanie Bautista 25:36
Absolutely. And, I mean, the Disney studios are historically located in Burbank, I mean, Buena Vista Street is just down the street from where we are. And also the main animation building is right off of the freeway that you take to get to downtown. And maybe they would have done it, but maybe in a different way. And I think honoring those people at the event was really great. The people who are next to us they have somebody who works for Disney animation, which is really great. Um, her husband stood for because she was in the restroom. And I, we all clap them as if it he was, and he was “No, no, it’s not me.” That was great for him for admitting it. Kudos to you, sir. You will have a long and happy marriage.

Ariel Landrum 26:17
Yes, yes. He she did come from back from the restroom, we found out that the work that she did was translations in multiple languages for the animations. And that apparently that is a very difficult thing to do, which I’m not surprised what also hadn’t been something that I conceptualized.

Stefanie Bautista 26:35
Yeah. Super sidenote. I know, last time I was at the parks there. I think it was the firework show that they have recently. It’s them singing “Let It Go,” or is it “How far I’ll Go..?” In different languages. It’s like a medley that they do, like during the fireworks are doing the projections. And it’s always like them in like Japanese in Spanish. And I was like, “Oh, they’re really incorporating this into the regular shows, which is I think awesome, because a lot of people are introduced to Disney films in other languages such as Spanish when they re aired them on regular channels here.

Ariel Landrum 27:08
If you go on Disney plus, and you click on Mulan, the animated not the live action. And you put it in Chinese the person who voices Shang is Jackie Chan, also sings the song.

Stefanie Bautista 27:20
Wow. Because as you all know, Jackie Chan is a C-Pop artist. He sings a lot of songs in Chinese. I believe it’s Mandarin that he sings in, right?

Ariel Landrum 27:30
Yes. And it says the, it says Chinese in two different options. And then that’s written in English. And then it’s in characters, which I’m assuming are Mandarin. And then the other characters might be Cantonese. But it’s the first option. Yeah, and then the my other my other very interesting hack is if you go to Ant Man, the first movie, and you go into extras, you can actually pull up Ant Man with a sign language interpreter who is do who has is interpreting ASL on the screen in real time, so…

Stefanie Bautista 28:06
That’s cool. They haven’t done that for any other Marvel movies. Just Ant Man?

Ariel Landrum 28:10
Not that I have seen. And I don’t know why Ant Man was the one. But yeah there’s there’s an interpreter. There they are. They’re making the facial expressions or they’re moving really fast. I haven’t had a chance to watch the whole thing to see if they switch. So if you go to a live event with an interpreter, they usually have more than one because you start to get tired. You do have to switch back and forth and they give each other breaks. But because this is recorded, I’m assuming it’s the same interpreter and the whole time that they’re able to do they’ll do the whole movie.

Stefanie Bautista 28:44
Yeah, so you’re telling me I can listen, I can watch an ASL interpreter. Do Michael Pena’s whole like yes, story is like prediction of how the heist is gonna go. I need to see this becase that is one of my favorite monologues of all time.

Ariel Landrum 28:59
Yes, yes, it is. It is awesome. And you can still put the subtitles up and you can still have sound out and so but it’s a real treat the interpreters just in the in the bottom right corner, just torso up just doing interpreting.

Stefanie Bautista 29:14
I think that’s really great. I hope Disney does that for a lot of films moving forward. Because that’s really helpful for the ASL community to see that. And I think that’s in post something super easy to impose on the screen that you’re watching. And I hope that more people catch on to that because I think that’s really cool.

Ariel Landrum 29:31
Yeah, it’s always beautiful to see and experience work in your your native language and ASL is a language.

Stefanie Bautista 29:39
Yeah, absolutely. And speaking of, you know, accommodating people with you know where they are, Ariel and I use a different way to get into The Bowl that day. Because me I’ve been going for a long time but I’ve been going with with the masses in mass. So I am usually the one trekking and I’ve done this many times. From the subway station, all the way up to my seat at the top of the bowl. Yes, I burn a couple calories. Is my hair messed up? Is my makeup messed up? Yeah, probably. So this time because you know, we are being kind to ourselves lately, and it is our Girl’s Day and we knew we were going to take a lot of pictures. She had a really cool way of getting in there. Without having to do all of that.

Ariel Landrum 30:24
Yes. So as I’ve mentioned, a couple of podcast episodes, I’m allergic to my own sweat. And I can break out in a rash. And hives on a good day, I can start to hyperventilate, my throat close on a bad day. And so anytime I can avoid sweating, I try to, and the Hollywood Bowl does have an ADA line, they have accommodations. And so we got in the ADA line, you take the elevator up, you walk around the stairs, and then you can take another elevator up to the higher seats or just take a smaller stair. And that’s it. You’re basically in and about maybe 10 to 20 minutes?

Stefanie Bautista 31:06
I’d say 8. It took us like less than 10 minutes, we were in the tunnel. And we did get there fairly on time, I’d say on time and on time is like having a minute to sit down, prepare all your food, not have to do a bunch of restroom breaks, even though you could if you really wanted to. So we got there. I feel like that was like the perfect time to get there. Not right on time not late, not super, super early, like everybody…

Ariel Landrum 31:33
The performance was at eight. And I think we got there at 6:30. And we probably got to our seats around what 6:45?

Stefanie Bautista 31:41
6:45… Seven, I’d say seven. Yeah, so we had time to chill and watch everybody roll in, people were finishing up their picnics, or even starting them. And like the big line to get in was just forming. If you don’t know, there’s like a big entrance with all the security monitors and all that in the front like right when you get to the top. And then there’s another section where the ADA parking is at the top top of the hill, that will get you to the upper most seats. And that has less people. But because it’s kind of narrow, a long line tends to form and like once the cars are there, the people are there people are queuing up, you kind of don’t know where any of the lines are, unless you just happen to be there. So it can be a little confusing. And it may take you longer to get up there. If you don’t really know exactly where you’re going.

Ariel Landrum 32:33
Yeah, it can take you about, what 30 minutes to even really bad times an hour to try and get inside because they have to also check your bags. And if you’ve packed your own food, you’re opening up all those pockets. So there’s like a wait that you have to go through. It’s not just getting in line and showing your ticket. And when it comes to accommodations, like the first thing is to be aware that they exist. And the second thing is to decide to use them. And I find that with my clients, a lot of the times there’s some feelings of shame around needing accommodations that we always have to work through. And I realize likem |Am I practicing what I tell my clients? Am I using accommodations when they’re available? Or am I saying no, I don’t need that someone else probably needs that, but not me.” Because then I’m I’m you know, that’s ableist thinking. And I’m downplaying like me having a good time by just an accommodation, which is reasonable. Like that’s the whole point is it’s a reasonable accommodation.

Stefanie Bautista 33:32
Yes. And even if you’re bringing young kids, I’m not saying like infants or anything, of course, like you’re pretty much slinging them on your back at that point. But if you have little kids who all of a sudden don’t want to walk anymore, which happens with all little kids, I think it’s really good to know that there are elevators there are, you know, not just the escalators that you can use so that you are in them are also having a good time you’re setting them up for a successful evening. Because you know, sometimes when you bring kids to these things, it’s their first foray into going to a big event sitting down watching live music. They might get that in small doses in the classroom. But the classroom is such a controlled environment, when you bring them out to concerts. This is kind of setting themselves up to when they’re a little bit older and of school age, when they see assemblies or when they see even performances at their school. These are small things to help them with that. And if you’re doing your best to make sure you’re sane they will have a really good time too.

Ariel Landrum 34:25
Well and you’re managing a lot of stimulation points. It’s not just watching the performers, not just the music, it’s not just the screens, but it’s the person sitting next to you that chewing it’s like the heat outside or all of a sudden gets really cold or it’s all the twinkling lights that people are wearing. Like all of those are multiple stimuli. It can it can be overwhelming for a little one.

Stefanie Bautista 34:47
Yeah, definitely. And, you know, we had a couple of instances of you know, of course, being at the Hollywood Bowl, it’s a group setting, right? You’re sitting very close with people they’re all on a bench with you and You know, me and Ariel, we’re very friendly. Like we engage with the people around us offer them food. I’m the person at the Dodger game giving Portos to everybody if I have a box. And you know, some people accept that and some people don’t, which is totally okay, people are there to enjoy the way they want to. But also, you do have to take into consideration the type of event that you’re in. So we’ve noticed a couple of things that we thought were very peculiar, very interesting for a Disney concert that was outside because you know, us we’re coming from a theme park mentality as well, where everyone is welcome.

Ariel Landrum 35:38
So one of the first things that that I overheard that I at intermission I talked to Stef about was the mom who works for Disney, who had to leave to go to the bathroom because she had to take her daughter to the bathroom. Because her daughter was becoming overstimulated and very scared. She just sounded so scared. I think the the music might have been very loud. And it was just she didn’t know how to filter it. She was scared. At a certain point, they were trying to calm her down. And then the couple directly behind me basically, like, yelled at them to just take the, Take your kid away, right? Why don’t you take that kid away?” And so out of embarrassment, that’s what the mother did. And like, Stef… I know that for probably Stef, she probably she didn’t hear that. But for me, I was like, “Well, you’re the adult, why don’t you just like tune it out and learn, like literally learn to calm yourself.” And then I know that Stef is aware, like, “Oh my fusses I do take them away to leave, try and calm them down, and then come back.” There’s like a back and forth or like, get the wiggles out, right? But by the second half, she was really trying to enjoy yourself. And they were really trying to calm her down. And I’d informed Stef of like what these people were saying, saying and then continued to say into the next half. And it was like irritating the both of us because we’re like, you’re in a group setting. You are listening to Disney music. You are also the adults who can be able to like manage your emotions. The lack of compassion, you’re getting to like your fellows, it was shocking.

Stefanie Bautista 37:12
Yeah, I think that I was probably singing so loud, either in my head or out loud that I didn’t hear this. But also, I knew that it was happening around me. But because I’m a mother, myself, and my kids have wild out in many situations, I was being the adult and I was tuning it out. And just focusing on the performance. And they were directly next to me. The the kid was actually next to me at one point. And she was really trying her best to deal with the really low light, it was dark outside, there’s a lot of different sounds that’s happening, people are clapping, people are singing. And she may not be experiencing those things every single day in her normal life, which is normal. And I think she was around three years old, which is the same age as my son, and he is a busy body like he needs to be up he needs to get around. They had multiple family members try to soothe her, asking, you know, trying to engage her because she knew some of the characters, and it was working. And I think you know, they just needed time. But I mean, knowing what that mom has been through and probably was going through at that time. It says if time doesn’t really matter, and you need a very immediate response from your child. But that is not really a realistic expectation of them. Because developmentally, they are trying to learn and process these things, too. You’re bringing a toddler into a big event like this, which should be a safe space, because it is a group setting. It’s a Disney Concert. These are characters that they are familiar with and getting to be familiar with. And I think you know, the musicality of it also is engaging. So even if you’re not a child, you’re also singing in your head. And I had some friends who were on the other side of The Bowl that I talked to after the event, we realized that we were at the same event, we didn’t even say hi to each other. We couldn’t even see each other because there’s a million people there.

Ariel Landrum 39:06
Like that’s how big The Bowl is.

Stefanie Bautista 39:07
That’s how big The Bowl is…

Ariel Landrum 39:09
You know, other people, you know, we’re there until after you check the stories.

Stefanie Bautista 39:13
Yes, until the Instagram Stories. Yep. And they are, you know, our age and they were all going out as girlfriends too. And they were simply just singing along and they were getting shushed and I’m like, I can’t believe that. You know, I think this is something that is engaging for both adults, kids. The orchestra, the kids who are performing any sort of participation, I don’t think would have diminished their performance. Because the speakers are so loud, the visuals are so big, and I think participating probably would have just contributed to the musical and the magical atmosphere of the entire concert.

Ariel Landrum 39:56
Yes, and I think it should be noted that this is very Very different than going to like a play. Like if you saw Beauty and the Beast in the play and you’re there to see the Broadway actors and you don’t want to hear the person next to you there’s a different decorum and expectation of being quiet being present. Not engaging like on your phone, not chewing or eating food, versus the Hollywood Bowl, being outside expansive, the many moments of like camaraderie and communication, the the fact that you’re supposed to feel immersed in the experience. And so yeah, just just shocking, I think again, more more odd odd behavior, I would expect that if I was like, at, at a concert hall, I and I would, I would expect a specific level of like professionalism or your outdoor face however you want to say it. And I think can really, really damper they experience I, I’m I not being a parent, but felt so bad that this like mother had to leave. Not only because she was not enjoying it, but also she freakin works for the company. Here there was a moment to like, celebrate her and her work. And it’s like, oh, no, you don’t get to do that. Because you’ll have a child that I bet if every one of you just let her take care of the daughter right away there, she wouldn’t have been scared. But because of the energy people were giving towards that child. I’m sure the mom felt it. And of course, her daughter felt it right. Your kids, your kids know, when you’re scared and frustrated.

Stefanie Bautista 41:31
A high level of anxiety, mean all around. It’s kind of like, you know, being on a plane and your kid is just dealing with the turbulence. And don’t get us wrong. If this was a solely LA Philharmonic concert with them playing Dvorak and you know, a specific symphony. The decorum is obviously different. Like this is a classical performance. This is akin to being at the Walt Disney Concert Hall, where no phones are allowed. You’re not you know, able to speak to somebody unless it’s intermission. Those things still hold true. If you’re at the Hollywood Bowl for that specific thing. However, you’re at a Disney Concert. We are watching cartoons. It is interactive, they even encourage you to sing along. I think that was you know, did they miss that? I’m not sure. But…

Ariel Landrum 42:20
I don’t know. Because then they asked the audience to sing along for the big Elsa number myself. I don’t I don’t I don’t know. I don’t get it. I don’t understand.

Stefanie Bautista 42:31
Yeah, I mean, again, these are things to, to look out for, if you are at a group event such as this. I think managing expectations is what we’re always talking about. But you know, some things are out of your control. And I think the least we could do is understand them from our perspective. I mean, Ariel even offered her goldfish if she wanted some. And she took them and, you know, she was able to enjoy the Sorcerer’s Apprentice a little bit, I think. And you know, she she was able to calm down. I think she just needed time. And unfortunately, some people around we’re not willing to give them that time, even though they could have probably given it and it would have been for the betterment of everybody around us.

Ariel Landrum 43:14
Yes. And I think the other thing is, there’s always more than one way you can like resolve a problem. If it was really disrupting your experience. I know the ushers would have accommodated you a different seat like that, that would have been an option. Had you taken it like, “Hey, it’s just really taking us out of the the mood, you know, everyone else seems to be fine, but we’re not what are other seats that could be available?” I honestly do not think that the Hollywood Bowl would have been like, “No, you got to stay right there.”

Stefanie Bautista 43:45
Or if they did, they probably would have set the precedent of, hey, everybody is trying to enjoy it, especially the children. So I mean, even people, let’s say who were there might have been somebody who had Autism, or had an auditory processing thing, and they’re trying to enjoy it to it might not even have been a child and you know, we would have would gladly have accommodated them as well. So maybe the staff would have been like, you know, unfortunately, these are the realities of having a public event. And, you know, try your best to be an adult and deal with it.

Ariel Landrum 44:17
Yeah, it’s, you know, people be peopleing…

Stefanie Bautista 44:24
People be peopling. It is true, my friend. But, I mean, at the end of the day, it was such a beautiful performance. And it was so fun. It did not feel like as long as it probably was because we were so engaged. I think it was great that they just focused on the animation. So even though there wasn’t any Pixar there wasn’t any Marvel or Star Wars. It made you hone in on the basics of what makes Disney so enjoyable, which is, you know, storytelling, and, you know, the emotions that are evoked by those stories and you reintroducing things that we haven’t seen in a really long time, refresh, it made everything so fresh. And, you know, it was it was just nostalgic and great.

Ariel Landrum 45:10
Now, before we end, I’m curious for you, as a teacher, what? What does this event like make you think of? Or like, how, how would you find yourself using something like this in the classroom or outside?

Stefanie Bautista 45:23
I mean, I think just teaching a lesson or even introducing the different ways that we enjoy music. Not everybody has a music program. I know that was one of the first things that got cut, when all the budget cuts happened long, long ago. So even as just like a regular general classroom teacher, if you have a little bit of time to introduce music, this is a great way to do it. It’s not necessarily just soundtracks, these are sing along songs, these are things that you can challenge their comprehension, you can challenge their reading, they’re really the processing of their emotions, this could be a social emotional thing. There’s so many great aspects to using music and animation in your everyday lessons. And encouraging families to go to events like this, I think is a really good way to tie in community as well, I would have loved to seen, you know, people from the same school going to something like this, or you know, going to outdoor concerts doing, you know, fundraising and things like that for kids who might not have the opportunity to go to these concerts and maybe fundraise for them to experience something special that they might not have. And I know we have a lot of people in Los Angeles who have kids that not only attend public schools, but they also work for places like Disney Warner Brothers Universal. So really, you can tackle it from a lot of different ways from connecting community connecting arts and creative performances. And also we had children on stage.

Ariel Landrum 46:53
Yeah.

Stefanie Bautista 46:54
So if you have kids who love to sing, who want to pursue performing arts, not only take them to things like this, but also say, “Hey, if you want to do this one day, you have absolutely can, you can use this and make a career out of this because that is absolutely possible.” Diversity is always needed. They highlighted diversity in a really great way, I think in the choices and music selections. And I think kids have so much more to learn from attending events like this, if you know they’re able to. And, again, going back to what that little girl experience, she might have taken something different from that had the environment been different. So really, you could use this as like a teachable moment for you know, a young person who wants to be more connected to the things that they listened and enjoy.

Ariel Landrum 47:46
Yes, yes. And I think for me, so some of you may know that, and we learned this, I guess from Wreck-It Ralph 2, that Disney princesses have an “I Want” song where they essentially pour their heart out to like the thing that they dream of and wish for the most. And an intervention that I’ve done in session with clients is we have made our own “I Want” songs. And what they have done is they’ve just listed out all the things that they sort of like hope for. And then we put it in a Chat-GPT and ask Chat-GPT to make an “I Want” song, that’s that’s a “Disney Princess I Want song.” And I know like AI is is big hot button issue, and it’s taking over the world or whatever nonsense, but in that case, they aren’t really making a song. It’s really more of like a poem. And it’s using the words of the things that they want. But I’ve had a lot of clients who’ve, like put that on their mirrors like they’re their aspirational goals. And it’s been a way to just incorporate Disney in a very unique way that is tailored to the individual versus like, you know, “Oh, that reminds me of this character, their experience.” It’s like, “Oh, no, you get to be sort of like the princess and you get to sing your I want song and see it come to fruition.”

Stefanie Bautista 48:59
That’s kind of like an auditory vision board. I like. That’s super cool. I really really liked that. I like middle schoolers can do that. I think that’s really cool. Although we have you know, middle schoolers High School, even fifth graders, I think that’d be something that I’m going to suggest to my friends. But I mean, I think all together this was such an enjoyable event. I hope they do it again in the future. Maybe even just a specific Pixar one would be really cool to hear a lot of their music because their music is so different from I think the animation, but also a special in their own way. That is it. We we went pretty deep into this. And we had a lot of feelings but you know as Disney movies do, they evoked a lot of emotion from us.

Ariel Landrum 49:44
So if you went to this experience or some other live performance for Disney music, go ahead and Tweet at us @happiestpodGT or DM us on Instagram @happiestpodGT.

Stefanie Bautista 49:56
Wait.. do we call it tweets still?

Ariel Landrum 49:58
Oh, I’m sorry… uhhh…

Stefanie Bautista 50:02
Don’t be sorry. That is not your fault. I don’t like that whatsoever.

Ariel Landrum 50:08
Yeah, I’m uh, I’m still sticking with tweet, because no one has given up an alternative. Ah, and I do not like the X. I don’t, whatever. So yeah, Tweet at us.

Stefanie Bautista 50:21
Tweet at us. And also, Ariel did a really great write up on our website as well. And she included all of our fun pictures. We had a jolly old time we really tried. Even though we were all humid and frizzy at the end of the night, it was all good. We took her cute pictures and it was fine. So if you had a great experience, go ahead and message us. We had a lot of fun and hopefully we’ll see you at the next event.

Ariel Landrum 50:46
Yeah, bye!

Stefanie Bautista 50:48
Bye everyone!

Media/Characters Mentioned
  • Mulan
  • Fantasia
  • Sorcerer Mickey
  • Encanto
  • Hercules
  • Meg
  • Tangled
  • Mother Gothel
  • Ursula
  • Ariel
  • Jafar
  • Scar
  • Simba
  • Peter Pan
Topics/Themes Mentioned
  • Mental Wellness
  • Americans with Disabilities Act
  • Disney’s 100th Anniversary
  • Disneybounding
  • Hollywood Bowl Experience
  • Accessibility and Accommodations
  • Emotional Impact of Music
  • Audience Behavior and Expectations
  • Educational Value of Disney Events
  • Community Engagement
  • Cultural Sensitivity and Inclusion
  • Family-Friendly Entertainment

Website: happy.geektherapy.com
 | Instagram: @HappiestPodGT | Twitter: @HappiestPodGT | Facebook: @HappiestPodGT |
 | Stef on Twitter: @stefa_kneee | Ariel on Instagram: @airyell3000 |

Geek Therapy is a 501(c)(3) non-profit with the mission of advocating for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
| GT Facebook: @GeekTherapy | GT Twitter: @GeekTherapy |
| GT Forum: forum.geektherapy.com  | GT Discord: geektherapy.com/discord |

Navigating Pop Culture Conventions

August 5, 2022 · Discuss on the GT Forum

https://media.blubrry.com/happypod/media.transistor.fm/25bda948/39ac614b.mp3

Podcast: Play in new window | Download | Embed

Subscribe: Spotify | Email | RSS | More

#30: Pop culture conventions, where fans and geeks gather to celebrate their fandoms, are often the most anticipated experiences of the year. This year, Stef and Ariel were blessed with the opportunity to speak as panelists at both WonderCon and the mega San Diego Comic-Con. In this episode, they share the ups and downs of navigating pop culture conventions.

Read the blog post for this episode for additional references and resources.

Become a member of Geek Therapy on Patreon: http://www.patreon.com/geektherapy

Transcription

Stefanie Bautista 0:10
Hello, everyone, welcome to the Happiest Pod on Earth. I’m Stef and educator who uses her passions and fandoms to help her students grow and learn about themselves and the world around them.

Ariel Landrum 0:21
And I’m Ariel, I’m a licensed marriage and family therapist who uses clients passions and fandoms to help them grow and heal from trauma and mental unwellness.

Stefanie Bautista 0:29
And here at Happiest Pod, we dissect Disney mediums with a critical lens.

Ariel Landrum 0:33
Why? Because we are more than just fans, we expect more from the mediums we consume. So Stef, what Disney Experience are we discussing today?

Stefanie Bautista 0:40
So it’s been a while since we’ve, you know, recorded and we’ve gotten back into the game. I know, as we always say, in our practices, mental health is number one. So we decided to take a little break for ourselves pay attention to what we need, the things that we need to do on our lives. But we went back into it full force with conventions. So it’s not necessarily a specific Disney experience. I think this is more of it encompasses everything that has to do with all geekiness all nerdiness anything fandom, definitely Disney is a big driving force in a lot of these things, because of all of its franchise acquirements. But conventions is our topic today. And we have done a lot of conventioning, haven’t we?

Ariel Landrum 1:27
Yes, yes. We have gone to a lot of conventions, I think maybe more you than me. Because I went to WonderCon and Comic-Con.

Stefanie Bautista 1:36
Yes. And I went to Anime Expo, which is one more than you.

Ariel Landrum 1:39
Yeah. And then we didn’t do Midsummer Scream because that’s always right after Comic-Con and I need like a break. And we are I know that both of us are going to try D23.

Stefanie Bautista 1:51
Yes, we are going to try with all of our minds and all of our Disney magic to do that. Because as you all have probably been seeing a lot of these in person conventions are coming back for the first time in 2022. So many people are eager, they’re willing to come back to the convention space to be with their communities, and also be with their tribes basically. And so what we’re finding is that a lot of these conventions are selling out. I know for myself, when I was preparing for Anime Expo this year, I did not realize that I was going to see many posts on Instagram saying they were sold out which is beyond anything that I’ve ever experienced before. I mean, for all of you con convention goers you all know that these things never sell out.

Ariel Landrum 2:35
I mean, with the exception of San Diego Comic-Con

Stefanie Bautista 2:37
With the exception of the big one. These almost never sell out. They’re usually still very niche communities that come together cosplay. But I think over the pandemic with the releases of so many platforms and so much accessibility to content. We’re just getting fans from everywhere. And it’s not a niche community anymore. As they say it’s cool to be a nerd now, right?

Ariel Landrum 3:02
It’s cool to be part of the geeky community.

Stefanie Bautista 3:05
It is it is so yeah, we attended quite a bit of conventions. We went into it. I know, both me and Ariel had been a little hesitant to be in the public space, especially since you know we are still in the middle of a pandemic. But we have been given some great opportunities, right?

Ariel Landrum 3:20
Absolutely. So So previously, before the pandemic, we would go to conventions every year, and on a different platform that’s been archived we actually went as press. And then even before that we were attendees. And even before that, I worked as a booth babe, which is somebody who passes out free things and stuff.

Stefanie Bautista 3:37
Ohh! Booth babe! Booth babe! I did not do that. I was always an attendee.

Ariel Landrum 3:43
So we have had many types of experiences of the convention. I think, the only experience that we haven’t had is being an exhibitor. I haven’t.

Stefanie Bautista 3:51
Yes.

Ariel Landrum 3:52
You?

Stefanie Bautista 3:53
But accidentally you were going to be an exhibitor this year at Comic-Con, right?

Ariel Landrum 3:56
Yes. And the other new experience that we had at WonderCon. And Comic-Con was we were panelists.

Stefanie Bautista 4:03
Yes. And I feel for us, it was just like a dream come true. I never thought that we would be at the level at this stage of I guess, in our geekiness that we would be presenting topics that people really wanted to hear about connecting with people who think just like us and share the same passions and fandoms as us and having some really meaty and meaningful conversations that lasts beyond the 45 minutes that they allow us to have.

Ariel Landrum 4:32
Yes. Being a volunteer or working at a booth working it’s essentially a W2 two or 1099 job you have to apply. When it comes to being a volunteer you also have to apply but usually volunteers. If you particularly San Diego Comic-Con because it’s so big. If you apply early and get approved, then you get passes for the whole shebang. So you end up not having to pay but you have to be prepared to work you have to be Be prepared to answer a lot of questions about the convention floor where things are about the panel’s. Really good volunteers who get chosen again next year are ones that create that connection and do the deep dive to learn about the convention and its size and where to walk around. But when it comes to doing something like press, being a professional, doing a panel, that’s it’s a whole other bar, where you have to, like, fill out paperwork, do a proposal. And when we had done it for press, you had to prove that you had a following you had people reading your content, or if you’re a podcaster, are listening to your podcast, or, you know, watching your YouTube channel, if you were saying that you were public, like a publication of some sort, you have to prove that. So for anybody who wants to have a press pass, if you don’t already work at a…

Stefanie Bautista 4:35
Like an established publication…

Ariel Landrum 4:48
You have to be willing to put in the work to make your own which means consistency, because that’s usually what garners the most attention.

Stefanie Bautista 6:02
Yes, definitely. And with those different levels, it’s kind of like, as an attendee, yes, you want to have fun a little bit. But when you have a purpose there, it’s all of a sudden, a different game, you have to make sure that you’re working having trying to have fun at the same time. But also, knowing that you have a responsibility there and knowing that you have to have a game plan coming in. Because when you’re making that jump from attendee to either volunteer or attendee to even press, you have to make sure that you’re getting what you need to get done. Because as you all know, who do attend conventions, the day just slips by, and it goes by so fast, and all of the sensory overload all of just the people overload, everything just kind of ends up getting in the way. So I know for myself making the jump from attendee to at least press, I had to, like totally prepare myself in a different mindset. I know for sure, I didn’t want to be a volunteer, because I didn’t want to work. I wanted to have fun. I didn’t want to work. But this type of work was a little bit different, because then I could put my perspective on things. But I did run into the problem of gathering all that information into a digestible way. And putting all of those things because there’s a lot you’re looking at a lot of things, a lot of things are being thrown at you, you’re experiencing a lot of different like either panels, Artist Alley, all that stuff. And then to be able to condense all of that information into something that’s digestible is not easy for a lot of people to do. So, like Ariel said, there’s many different avenues to be part of what is essentially a convention, but you just have to find the one that works the best for you.

Ariel Landrum 7:42
And burst a little bit of a bubble. Just because you get the press pass doesn’t mean that you get access to all of the things. There are even tiers, if it is a bigger convention, like San Diego Comic-Con, sometimes press gets special seating, but at smaller conventions, they don’t get preference in seating at panels. And they don’t get to automatically interview whoever they want. Obviously, larger press publications will get access to celebrities to be able to do sit downs, and Q and A’s. Whereas general press that comes from like blogs or YouTube channels that aren’t well established, but are still enough following that they can get a press pass, you’re probably just going to be able to just attend for free, which you know, is a money saver. So it’s not something to sneeze at. But don’t step into wanting to do those things thinking, “I’m going to now have these magic doors open to all of these and I get I get to meet like my you know, Chris Evans?”

Stefanie Bautista 8:39
Yes. Don’t think because you have a press faster, you’re automatically going to be IGN. And then you’re going to just give a sit there and people come to you. That’s not how it works. Although that would be great. That is definitely not how it works.

Ariel Landrum 8:53
We did press and we talked about being a volunteer and certainly being attendee is you just enjoying yourself. And we will focus on the attendee experience in a little bit, because that’s going to be everyone’s more general experience. But the next thing is being sometimes what they call a professional and the professional are usually individuals who get to be on a panel. Who either are running or moderating the panel, or are the key panelists in either a workshop or q&a format. And that was the the new thing that Stef and I were able to do this year starting with WonderCon and which is the sister convention of Comic-Con, so a little bit smaller, known as like the TV convention around here and is in Anaheim. And then we actually were able to because of that score, doing a panel at San Diego Comic-Con like the mothership of all geeky conventions.

Stefanie Bautista 9:49
Yes. And I think because there are sister conventions like that that is a way to get into the big leagues, right. I didn’t really think of it at first because is when we were at WonderCon, I was like, “Oh, this is it. We made it ya’ll.”

Ariel Landrum 10:03
“We don did it!”

Stefanie Bautista 10:05
“We don did it. We’re here in Anaheim, this is great.” Like, and they were coming out with so many cool things at WonderCon. Like people were actually like, bigger panels because I think I’ve only attended one or two WonderCons prior. And I think that was when Shazam first came out. And I remember this, like the size of it, because it was small, it wasn’t as overwhelming as Comi-Con, it was so much more accessible. And you know, of course, we’re next to Disneyland. So it’s always all good. And the people who normally would be Disney fans were there. So it felt a little bit more like home. We were, I felt very comfortable there. And I felt that it was a great foray into being a professional and a panelist because it didn’t feel foreign, even though we haven’t been in that space for a very long time.

Ariel Landrum 10:51
Well and then we’re talking about so for you and I, how the process went was we put in a proposal at WonderCon.

Stefanie Bautista 10:59
Months prior.

Ariel Landrum 11:01
Yeah, we put in, we put in each our own proposal, because what we’ve found out from peers who had done panels was that volunteers are the ones who look over the proposals, and they just get a pile. So we’re like, “Oh, well, we can increase our chances, if we each put one in. We didn’t think that they would both get chosen, where one of us had to do like you had to change the title of your panel and some of the goals.

Stefanie Bautista 11:26
And it was funny that I had to do that. And it was so nonchalant. They were just like, “You could just tweak it a little bit. And you know, we can we can accept it.” I’m like, “Oh, it’s that easy.”

Ariel Landrum 11:35
“It’s that easy?” And then we also had a friend Lorran, who also had a panel approved that she had asked me to be a part of and I was just like, “Oh, well, if our panels don’t get chosen, then maybe hers will.”

Stefanie Bautista 11:48
Yeah.

Ariel Landrum 11:48
So I went from like thinking I’d be on one to being on three.

Stefanie Bautista 11:53
And you’re really only preparing to be on one because I mean as as an attendee, you don’t even think you’re gonna get to that level at that point, or like, “Why? Why would they choose me?”

Ariel Landrum 12:03
Yes.

Stefanie Bautista 12:04
However, all these conventions, their goal is to connect with the people who love the content, right? Yes, they want to involve as much of the general public as possible. That’s what conventions thrive on. So knowing that they want to have real life people who can, you know, explain and talk about things that the general populace loves. So it is not that much of a surprise when you think about it from that perspective, because they do want a variety of programming. They just don’t want people going to a DC or Marvel or a Disney panel. They also want people who are consumers of this media, whatever platform you have, talking about why they love it, and in different angles too.

Ariel Landrum 12:46
And I think it’s worth it to note that a majority of these conventions, at least when it comes specifically to WonderCon and San Diego Comic-Con, they’re nonprofits, they’re huge. They look like they’re profitable. They’re nonprofits and, and not in their their mission statement involve education on pop culture media. So having panels that focus on learning about how to create a comic book learning about comic book law, learning about what it’s like to be a podcaster, learning how to voice act, all of those things are what make it rich. So for us, we we had three, I have three panels, Stef had two panels. And when we were chosen for our specific panels, we had to decide how we were going to do moderating, if it was going to be like co-moderating who we were going to have how we were gonna split it up. So the first panel was Lorran’s panel that I was a guest on and it was, Why Diverse Stories matter: Voices from the BIPOC LGBTQ+ Neurodiverse Community. And so the what we learned from Lorran, who had been doing panels at SDCC and WonderCon, consistently for a few years now, is that you want a variety of panelists, if yours isn’t niche, like we’re only talking about creating a comic book, then, you know, make it as diverse as possible. So she had actors, she had producers, she had comic book creators and graphic designers. So when we were thinking about the panelists for our panel, we had Coming Together on an Honoring AAPI Voices in Pop Culture, which was Stef’s panel, and then Celebrating AAPI Voices in Media, which was my panel, we wanted to do the same. So we had chosen panelists who were diverse in their professional background from our own.

Stefanie Bautista 14:39
Yep, exactly. And in doing those different types of panels, we had to make sure that the content had variety and that you know, we were attacking you know, the subject in different angles that were pretty much similar but a little bit different. And I think in crafting that it’s kind of like your writing up a podcast episode, or you’re writing up even just like a short essay, like, “How are we going to split up the subject in a meaningful way where everybody’s voices are heard?” And that is all dependent on your moderators, the people on the panel, their level of comfort of talking in front of an audience, because we also do want to honor that not everybody is great with public speaking, and they don’t have to be. And many of you know, the professionals that we had on our panel either had a lot of experience in that or maybe had little to no experience and that. For us, we were coming in as newcomers. So we are used to talking to each other on this podcasting, the resume, or also just talking with a bunch of friends. I think, finding the balance between those two is what we had to navigate and learn. And by the time that we did our San Diego Comic-Con panel, I feel like we kind of achieved a lot of the goals that we wanted to achieve. Because not only was the content, of course, all of our content, we love talking about all of it. But talking about different different subjects really impacts the flow of the panel and the flow of the conversation.

Ariel Landrum 16:09
And with our two specific panels being on the AAPI experience, the Asian American Pacific Islander experience, we had, of course, wanted panelists who were part of the community because it was meant to uplift the voices and celebrate the voices and honor the voices of our community. But we also wanted a diversity even in the AAPI. Oftentimes, you when you hear Asian American people immediately think of someone who’s East Asian. So we had a lot of Southeast Asians. And we didn’t have anybody who’s Desi or or Indian, but, you know, maybe something for the future. And we had a for my panel, a specific Creator, who was like, featured on all of the WonderCon like, advertising.

Stefanie Bautista 17:01
Yes.

Ariel Landrum 17:03
I was talking to her sway about like, I have to pick some people for a panelist and he was like, “Why don’t you just tweet at some people?”

Stefanie Bautista 17:10
Yeah. And honestly, that’s like, a felt like a reach for us. I remember when we were talking about it. We’re like, “Could we just try it?” And that is how we got Trung Le on our panel, because Ariel tweeted at him. And we’re not big tweeters, like, we’re not on Twitter all the time.

Ariel Landrum 17:28
Nope.

Stefanie Bautista 17:28
So this was totally like, shot in the dark.

Ariel Landrum 17:31
Yes. Yeah. And I did the same for our San Diego Comic-Con panel, which was titled,

Stefanie Bautista 17:40
“From the Screen to Your Plate: Food In Pop Culture.”

Ariel Landrum 17:42
Yeah.

Stefanie Bautista 17:43
I said it enough times.

Ariel Landrum 17:45
Yes. However, nobody responded to that. I was hoping Binging for Babish would want to be on. Or Feast of Fiction.

Stefanie Bautista 17:52
Or we got our panelists in very different ways for Comicon. And I think, see, and this is the power of the geek community and the power of our subject, which was food and pop culture, we were able to get some amazing artists and amazing collaborators, just by chance.

Ariel Landrum 18:15
Yes. Okay, okay, so for WonderCon I had asked individuals who I had known personally, they were my friends or individuals that Lorran knew. So these were these were all close friends and they had been on panels or her her friends had been on panels before. And then my my friends who was a psychologist and two app based creators, so they were in the graphic and and programming and web design art community. They were flying in from San Francisco, but they were someone that I had been collaborating with on creating apps. However, when it came to Comic-Con Stef and I did the divide and conquer where we both submitted proposals, we actually submitted five.

Stefanie Bautista 18:59
We did. Each.

Ariel Landrum 19:02
And with San Diego Comic-Con, only one got accepted. And even though we submitted the exact same thing with different names,

Stefanie Bautista 19:10
So we thought, “Oh, for sure, like our AAPI is gonna get picked for like something,” like because, okay, when we did the WonderCon panel, we had some meaningful conversation about what it is to be Asian American. I was like, I was so emotional, because I really feel like it’s a subject that I don’t get to talk about a lot, let alone with other female Asian American Pacific Islander creators, and to have a platform and to have people say, “Oh my gosh, I never thought that I would see like a whole full panel of female Asian American Pacific Islander creators and people who just liked the same things that I like, talk about what it is to see themselves represented in media.” That’s a deep topic y’all like 45 minutes could not contain the amount of knowledge and amount of just emotion and also real life situations that we could have dived into and we need like a part 1-234-567-8910 for it.

Ariel Landrum 20:02
Yes.

Stefanie Bautista 20:04
So going into Comi-Con we’re like, “Oh, for sure that’s gonna get picked.”

Ariel Landrum 20:07
Yeah.

Stefanie Bautista 20:07
Of course, lo and behold, the one that gets picked is the one about food.

Ariel Landrum 20:10
Yes, yes. So, when we were coming up with ideas, we thought about a Geek Therapy one, we thought about different AAPI ones. And we did we did one on Disney princesses, which we presented before, The Evolution of the Disney Princess, and then we’re like, “Hey, I don’t like the number four. I want the number five.” Number four is bad luck anyway. So let’s do five. “What should we do? We’re like we food.”

Stefanie Bautista 20:36
And I was like, of course, we can do food, there is so much to be said about geeky food. And we are always at a pop up, or we are always going to a themed ice cream day. Or we’re always like ever since you mean, me and Ariel have been friends. We’ve been doing pop ups and like consuming all sorts of foods that are themed from the time that it existed. So we were like, “Okay, no brainer, let’s do this.” And we came up with like, a really quick description was the last one that we submitted. And of course, that is the one that got picked. And we’re like, “Okay, well, then our approach is going to be a little bit different because we don’t have to have super professionals on this panel. This is going to be a different approach from all the other panels that we’ve done.” Which is like four.

Ariel Landrum 21:18
Which is four.

Stefanie Bautista 21:19
Four.

Ariel Landrum 21:20
the the thing about the food panel and proposals in general to be a panelist or to host a panel, yes, is that you need to request months in advance. And so as soon as WonderCon ended, Stef and I just put in our paperwork for San Diego Comic-Con, simply because one, we knew we were going to be busy and we didn’t want to forget the deadline. And two, we were just fresh off of that like glow from a convention.

Stefanie Bautista 21:45
Oh for sure.

Ariel Landrum 21:45
And like we just wanted to get do all the things.

Stefanie Bautista 21:47
Oh, yeah.

Ariel Landrum 21:48
Do all the things.

Stefanie Bautista 21:48
We can conquer the world.

Ariel Landrum 21:49
Conquer the world. And we just need to harness that energy. And so it had been like two or three months had gone by before we even heard anything. And a whole other thing of a Vegas trip happened with me and my friend Malaysha. That’s that’s its own thing. But I met someone on the plane, who, Joon and he is a shoe designer, and was also like opening up a K-popcorn chicken restaurant with his cousin. And I was like, “Oh, hey, we I made a proposal with my friend to San Diego Comic-Con. Would you be interested in being a panelist if it got chosen? And we just like exchanged Instagram and that was a thing. Low and behold, four days later, that was the one that was chosen. I told him about it. And he was our first agreed upon panelists.

Stefanie Bautista 22:38
Our first agreed upon panelists and I happened to be in San Diego visiting family at that time. And I was like, “I wonder what happened to our proposal?” Because I am literally across the street from the convention center at the Children’s Museum with my family. And I was like, “I wonder if I just searched Comic-Con and they ever responded?” And there it was, we were approved earlier that day to have our food and pop culture panel and I told Ariel, she was like, “I already have a panelist!” And I was like, |Get out of here!” And so we’re like, “Oh my gosh, we’re actually doing this like this is actually happening!” And so we had Joon on board, we had our good friend chance on board…

Ariel Landrum 23:15
Which you may remember him from the villains episode.

Stefanie Bautista 23:18
Yes. Fantastic. Fantastic human being also goes with us to many, many pop ups and you know, loves to eat just like us. So we were like, “Okay, great. We have four people, but two of them are moderators. So we kind of need a little bit more.” So we were, you know, kind of searching through, you know, our network of people. And we knew that as Asian American Pacific Islanders, Filipino Americans specifically, we knew that there were a lot of great Filipino projects that were going on around, Lumpia With a Vengeance,” which is a Kickstarter movie that had a part one, but is now advertising a part two. And we met a lot of the really awesome people over at WonderCon ironically, because of Chance as well.

Ariel Landrum 24:00
Yes, it’s a Chance. So what we’ve learned about panelists setting up is it’s oftentimes who someone else knows.

Stefanie Bautista 24:06
Yes it is who someone else knows it. I mean, it truly goes back to it’s who you know. And in this industry, even though we don’t consider ourselves to be mega part of the entertainment industry, there is bits and pieces of that. And I think we can definitely say as geeky professionals, we are in that industry now. It is definitely who you know, and the people you want to support and with the platforms that you have. So definitely as Filipino Americans, we did want to uplift our kababayan which is our, you know, our kin, and pretty much have people that are represented because they have a lot of really great projects happening. Like I said they had a part one now they’re gonna have a part two.

Ariel Landrum 24:46
A comic.

Stefanie Bautista 24:47
Yeah, a comic book as well. And ironically, they were doing a screening at San Diego Comic-Con. So we were like, “Hey, let’s see if we can get somebody on board from their team.” I was linked up to their PR person who was amazing and awesome. And I didn’t realize that we also worked around the same area because I work in historic Filipino town in the daytime. And we were able to get a Earl Baylon, which is one of the he’s a voice actor, he is on Netflix. And he is also one of the producers for Lumpia with a Vengeance. So he is also a very big foodie. And he also had a podcast and a YouTube channel where they would recreate recipes, and he was a perfect fit. So he was our number three. Yes.

Ariel Landrum 25:29
When it comes to going to conventions, one of the things that Stef and I love the most as Artists Alley. We love celebrating people who are creative fans that recreate our fandom, and also incorporate their own culture, their history into their artwork. I remember that when when we went to WonderCon we stopped by a booth where I had bought a Jollibee pin.

Stefanie Bautista 25:56
Genevieve Santos, she’s amazing.

Ariel Landrum 26:00
And so in doing that, you start to make connections. And sometimes you become a fan of even these artists, like there are regular artists that I visit regularly. And then there are actual like artists creators, so I had like signed comic books at San Diego Comic-Con. So creating connections with them ends up being a vital part of the community development when you go to conventions.

Stefanie Bautista 26:22
Definitely. And also seeing like, your culture represented. I think there are so many of us AAPI creators that are really starting from the ground up because you know, we weren’t always encouraged as young kids to be artists and you know, to love what we do and, and also represent ourselves in our craft. So like Ariel said, we love going to Artists Alley because that is where the grassroots of fandom like pretty much start off. Because I I myself, I’m an avid pin collector, I love collecting pins. I have so many pins everywhere all at once.

Ariel Landrum 26:55
Disney pins specifically.

Stefanie Bautista 26:56
Disney pins Yep. Disney pin pins specifically Anime pins, all of it. And going to Artist Alley. So timeline goes we did WonderCon. Anime Expo was next that I only went to. And I decided to go with, of course my family and I also decided to bring my little niece with me because it was her first convention. And she dressed up as Nezuko. And there were like 1000 Other Nezukos out there from Demon Slayer because everybody loves Demon Slayer. And that was my day to chill. Because like Ariel said, we always try to now have a day where we buy a lot of stuff our day to chill our day to you know, be with family or be with friends, what have you. So we go to Artists Alley, but then that was our chill day without my niece and we were like let’s go and see what we can buy pin wise. I had just bought a new Ita bag. And for those of you who don’t know what that is, it’s a clear bag that you can basically display all of your pins and buttons on. And it’s kind of like a walking advertisement of you. And everything you love. So if you see somebody who likes like Anime or like something that is similar to you, you can strike up a conversation with them, be like, “Oh my god, I love your pin!” And that is part of community building. So Artists Alley this year is kind of like other years at Anime Expo where it’s located in the basement of the convention hall because it used to be a small part of the exhibit hall but it has grown so much because anime content creators are its own thing. And like all artists from all source all parts of the country come to Anime Expo to have a booth and people can buy their items and not have to pay for shipping. Or back then before shipping was even really a thing you could only find them in Artists Alley. That’s why that is one of my favorite things to go to Anime Expo because you’re not always going to find official Japanese merchandise at a price point that you can afford anywhere. So artists are really what saved the day. So I’m walking through these halls and it is the Saturday of convention it is the most packed it is almost near impossible to get through one aisle, let alone I think they had 10 aisles of Artists Alley because people are packed like sardines and I am here with a stroller. My son’s asleep thankfully my my husband goes out to use the restroom or whatever. And so I’m like inching my way I live this is like worse than a busy day at Disneyland. I have literally walking inches to get to the end of the hall. And I happen upon this. This booth that look like a little cafe. I love coffee y’all.

Ariel Landrum 29:29
Oh no, no wait. She loves coffee so much that the one we worked as baristas at Whole Foods. They made a large cardboard cutout of her that people would hide in the freezer of her loving her coffee.

Stefanie Bautista 29:40
Yes.

Ariel Landrum 29:40
She was the lead coffee specialist.

Stefanie Bautista 29:42
I was the lead coffee. I bought all the coffee there so I I knew all of the coffee bars and I was we were getting coffee for free all the time. It was good times. So I love coffee a lot and so this booth automatically catches my eye because it has little awning. It has like a little cute pin display. Bored. And I’m like browsing around as I do. And mind you, there are people everywhere. So I can’t even move at this point. So I have no choice but to look. And I see that they had little pins that looked a lot like soda in a bag. And for those of you who have visited Southeast Asia or any, anywhere in Asia, really, when you buy street food out there, soda doesn’t come in a can. It doesn’t come in a cardboard box, it comes in a bag.

Ariel Landrum 30:25
A bag with a straw in it, and…

Stefanie Bautista 30:27
A bag with a staw in it.

Ariel Landrum 30:28
And if you go to Storytellers Cafe you can get a cereal milk in those bags in the straw. So what’s what has been what was street food is now bougie.

Stefanie Bautista 30:41
Is now bougie at the Grand Californian. That’s so funny. Um, but yeah, so I see it in a bag. And I asked the guy behind the counter like, “Is this Royal True Orange, which is the orange soda in the Philippines in a bag?” And he’s like, “It is!” And I’m like, “Oh my gosh, this is so cute. Like, who makes the pins?” He’s like, “Actually, my cousin makes the pins.” And so I’m like, “Oh, that’s really awesome.” And then I’m browsing a little bit more. And I’m like, “Hey, you know what, I’m gonna get a couple of these pins.” I got that. And also polvorón which is like a really sweet dessert that’s kind of powdery that comes in a little wrappings. That meant a lot to me, because I used to make those with my mom when I was younger. And it was like a really sweet treat that I love. And I still love to this day. And I was like, “I’m gonna buy some of these pins. But also, would your cousin be willing to talk to me because I actually have a panel…” And then I go into my whole spiel about how we have a panel at San Diego Comic-Con. And we would love to have creators like her who are artistic and use their craft to express themselves and their culture through food. And he’s just like, “Wait, are you serious? Are for real? Let me text her right now!” And then so he texts her and then the next day I set up a meeting with her her name is Celena, Sacramento, also known as Celine, Celena Bernice, and she is from LA. Ironically, she was, I think, getting lunch or something at that time, so she wasn’t there. But she had to step away from the booth a little bit. But Anime Expo was the only place that she would sell her things at that time. And she’d only been to San Diego Comic-Con as an attendee, and she was just like, “I would love to be on your panel.” She migrated here from the Philippines not that long ago. And she had some amazing stories to tell about being who she is in that space as a graphic designer. And it she said it also helped reinvigorate her craft. So I think it was like a win win situation. And I was so happy to have her on the panel and have her perspective, because it was such a unique one. And it made the conversations just so awesome.

Ariel Landrum 32:42
Yes. Now we have talked a lot about the panels that we did, and they will actually we’ll be putting the audio on the podcast and or if you want to actually watch them, we’ll be putting them on YouTube. I think that you all will enjoy sort of that adjunct to what we do.

Stefanie Bautista 32:57
Yes. And forgive us. We do not have professionals recording us. So if the audio is a little wonky. Forgive us we will improve…

Ariel Landrum 33:04
One was recorded on a phone my people we are not like, like, it looks like we’re that life. But we’re not that life.

Stefanie Bautista 33:10
No we’re not. We are grassroots just like you all. If you have tips and tricks about recording panels, we would love to hear about that. Because like I said, are like we said, being on these panels we are, they kind of just leave you to your own devices. And you kind of have to figure out how you want to record it. When you want to take your pictures. I know everybody has like the cute picture in front of like the in front of the panel and like the background, but you literally have to like take two seconds to do all of that stuff. Because you have like no time to prepare, and you have to just get it in or else you’re just not gonna get it in at all.

Ariel Landrum 33:45
And when it comes to managing expectations, some of it is some of your panelists might not show up, because their previous panel ran late or they aren’t able to attend anymore. Joon’s cousin who owns the K-Popcorn Chicken with him couldn’t come. So that’s why we had four instead of five, which was totally fine, because four ended up being the perfect number. And at San Diego Comic-Con, the slides wouldn’t load any of the images, because the internet was wack.

Stefanie Bautista 34:12
Beautiful, this beautiful slide. And because we were talking about food, you wanted to have recipes. And we wanted to like tell everybody how much because you know food, there’s so many different ways to communicate that and we wanted to attack it from all levels. And we had a QR code for everybody, which we will have hopefully on the podcast website for all of you guys to see. And none of it showed up. So we had to describe every picture.

Ariel Landrum 34:38
Which grateful that the QR code worked because people on their phones were able to see what you’re supposed to be able to see.

Stefanie Bautista 34:44
So yay for accessibility. We did it. Yeah, so things are not gonna go the way you want it to for all my teacher friends out there, you know, you can prepare a lesson to the tee to the minute to the second and have it be perfect. And then once you get up there at all falls apart. So this is just one of those things that it’s just the reality of it. And at the end of it, we all just had really fulfilling conversation that the audience was so engaged. Thank you for everybody who attended. Hopefully, we will see you all again. Because the guy there’s so there’s a guy in there who click click clicks away to see how many people are in the panel, and homeboy on the side just kept clicking away. And I was like, “Oh, whoa, there it is.”

Ariel Landrum 35:28
Yeah, the first three panels we did at WonderCon, WonderCon one a smaller convention. So we didn’t expect a lot of people. And then they were very niche. They were on AAPI experiences, or diversity. And so the the panel rooms, I would say, maybe like 40?

Stefanie Bautista 35:45
I would say, yeah, for WonderCon. Definitely, Maybe no more than 50?

Ariel Landrum 35:49
New Yeah, no more than 50 in the room. So we were just kind of expecting the same thing at San Diego Comic-Con. While there are more attendees at San Diego Comic-Con, we really factor that in. And oh my god, everybody loves food. And the interesting thing is, I don’t think I’ve ever seen a food panel. So maybe people were like, mind my phrase, hungry for this panel.

Stefanie Bautista 36:10
Oh, yeah.

Ariel Landrum 36:11
How many people do you think that we had in that room? And they just kept coming? My my my….

Stefanie Bautista 36:15
Oh, they just kept coming. And I was like, Are you lost? Did you Okay, so that was a couple of things that I thought about, actually, since it’s happened, because now I’ve had time to digest…

Ariel Landrum 36:24
Haha digest!

Stefanie Bautista 36:26
For me, I totally forgot how big the rooms were. And our room is 24 ABC. So I was like, okay, ABC. That means there’s three sections of a room that’s all compact together. And this is at the San Diego Convention Center. So we’re just right above the exhibit hall. Our panel is at 6:30. All the exhibit halls close at six o’clock. So afterwards if there isn’t a major panel in Hall H or like ballroom 20, which are the two big ones are the Indigo ballroom over at the San Diego Bayfront Hotel. If those are not as popular as people think they are, they’re going to want to just chill out before dinner. So I’m guessing a lot of people who were A just registering because it is the first day of convention center.

Ariel Landrum 37:09
Yeah, ’cause it was Thursday.

Stefanie Bautista 37:10
Registration was just down the hall from us. We were very accessible. And we were very fortunate to have that time slot because there weren’t a lot of big things going around. People just want to see what the convention is all about. And that is when you go see whichever panels are happening. And they always have a little agenda in front of every single room to see which panels are going on. And because some of them are niche, most people did gravitate, I feel like towards arts because it was a subject that everybody could relate to. Because people were dressed up as your friends and Good Burger costumes and.

Ariel Landrum 37:44
Ahh yes!

Stefanie Bautista 37:46
Your your little adoptees that you umm…

Ariel Landrum 37:49
We will talk about that in a little bit.

Stefanie Bautista 37:51
Yes. And it was right before dinner. So maybe people were a little bit hungry or just wanted to hear something a little bit different because like you said, I’ve never seen a food panel ever, and we’re not chefs, you’re gonna We’re home cooks at best; home bakers. We’re just foodies, and have lovers of foods. So I think maybe that also compelled people to just come check it out. And we were hyping there. I don’t know about anybody else. But that was the most hype panel that I’ve been on because the subject wasn’t so heavy. But it was very meaningful. But we were so excited to talk about it. I think that resonated in the room as well. So I would say maybe at the end of it, I would say near one about 100 people were in that panel?

Ariel Landrum 38:37
Well that day. So the the thing about our QR code and where our slides are, it counts, like how long or how many people have viewed or accessed it in that day, there was at least 120 people who viewed it. Just that day. And since then, I guess people are are viewing it afterwards, because there’s been over 300 people who have now viewed our slides to get the recipes.

Stefanie Bautista 39:02
That’s madness. I love that.

Ariel Landrum 39:06
What? You are accessing slides?

Stefanie Bautista 39:11
Slides that didn’t even work.

Ariel Landrum 39:12
Yeah, so thank thank you to those people.

Stefanie Bautista 39:16
think yeah, thank you to all of you.

Ariel Landrum 39:19
Rolling back a little bit. Okay, so, in talking about conventions first, do you want to hyper focus on this year’s conventions, and maybe starting off with Anime Expo because I didn’t go so what was that experience like for you?

Stefanie Bautista 39:33
Yeah, definitely. I mean, I go to Anime Expo every year, whether it’s just for one day, two days, all four days if I have the stamina, and also because Anime Expo always falls on the Fourth of July. There’s always a lot of family stuff going on. And it’s like the first. It’s the first holiday for all of the schools. So I always try to go in any way shape or form and I’ve been going since 20 a 2006, 2007.

Ariel Landrum 39:57
Wow!

Stefanie Bautista 39:57
Back when it was in Anaheim, where WonderCon actually is at the convention center. But man, it was Weeb Central. Like, you’re getting like the super niche…

Ariel Landrum 40:08
You’re like an Elder Weeb.

Stefanie Bautista 40:10
I am an Elder Weeb now I can say I mean, I feel like now a lot of a lot of people have been calling us Professional Geeks, which is awesome. Because we have achieved that level of success. But an all thanks to you all. But anyway, Anime Expo to me has always been home convention because A it’s always been somewhere in and around LA, whether it be Anaheim or the Convention Center where it now lives. And it always had a lot of opportunities for me to connect with anime that I wouldn’t necessarily be able to because we live in America, right anime is Japanese based. A lot of their products are just simply not here. I am very fortunate to live in Los Angeles where we do have a big Japanese American population. And so I can always travel to either Little Tokyo, Carson, Torrance… Any one of these enclaves even San Francisco, they have a big Japanese population out there to try and connect myself with merchandise with you know, like any little sort of thing to help me represent the anime that I love. So this year, was Anime Expo’s 30th anniversary. I had no idea. So there were a lot of cool things happening with Anime Expo because it was the 30th anniversary they were really hyping it up. It was back at the convention center in LA. And so…

Ariel Landrum 41:23
Okay the Los Angeles Convention Center.

Stefanie Bautista 41:24
Yes, the Los Angeles Convention Center right next to what is now called the Crypto.com Arena used to be called the Staples Center, not anymore…

Ariel Landrum 41:31
Dang crypto.

Stefanie Bautista 41:32
As a native Angeleno, I’m never going to call it the Crypto.com Arena, but that’s…

Ariel Landrum 41:36
Staples Center.

Stefanie Bautista 41:37
That’s a personal opinion of mine. It’s always gonna be Staples Center, always Kobe’s House. But they implemented a lot of different things that I feel like could have been done better. I understand that, you know, at first, when they were first advertising it, they said they were not going to verify COVID vaccinations. A lot of people were very upset about that, because they just said, “You know, you just have to monitor your health and make sure that you’re not sick.” But a lot of the panelists a lot of people who were coming from Japan, because Japan is still a closed country right now, they are not accepting any tourist, they are going to have a lot of they were or are going to have a lot of professionals at Anime Expo. And they didn’t want to risk exposure, which for all of us, especially for anime and the reach that it has now for younger audiences, a lot of parents and you know, me, myself, having my son, you know, having his first convention being Anime Expo after WonderCon. I didn’t want to risk that exposure either. And they realized that they needed to do a shift. So that’s when I first realized that we needed to do COVID vaccine verifications. And how they did that was they made you walk around the Convention Center, pretty far from where the actual entrances were, at the main Convention Center around the Staples Center, and into there’s like a street. It’s called Figaro. And it’s right between LA Live, which is like a shopping entertainment district, and the actual Staples Center and Convention Center. You had to walk all the way over there, get your COVID verification, and then come back. So it was a lot of walking. And mind you this is like the beginning of summer. So it’s just getting up into the 90’s here in Los Angeles. And so if you didn’t take advantage of that first registration day, all conventions, they normally have a day zero because there’s usually four days of registration. And Day Zero is when you get registered, especially for professionals, anybody setting up for the convention that has your day set up, get situated, get all of your credentials, everything that you need to have a good time at the convention to do what you need to do, basically. So if you didn’t take advantage of that day, you’re kind of screwed. Because you…

Ariel Landrum 43:43
Did you take advantage of that day? Did you know?

Stefanie Bautista 43:45
I definitely did I knew… because I had been doing this for so long. I always know to get my badge not on the day that I want to start doing convention things like going to the exhibit hall like seeing what I want to buy seeing what panels I want to attend. So luckily for me, because I don’t work too far from downtown. I was able to go get my badge first. But then with the amount of walking that I saw that I was going to do and the amount of walking people are going to be doing…

Ariel Landrum 44:10
Yeah…

Stefanie Bautista 44:11
In cosplay.

Ariel Landrum 44:12
Yes.

Stefanie Bautista 44:13
I was like, “Oh, I don’t know about this one.” So not only that, but they were also filtering out the lines that came into the convention center. I know for San Diego Comic-Con and WonderCon. You basically just walk into the doors, you verify your badge and you go in. This one they wanted you to be in a singular line and two entrances. And so these lines would snake around the Convention Center, around the Staples Center loop all the way back around… It was like being in line at Disneyland but like way more score connected. So for me, I know if you have been attending our panels, I am currently six months pregnant. So I am expecting a little one very, very soon. And convention going for me has definitely given a mama perspective as a different perspective altogether. But yeah, expecting Mama is definitely a even more different perspective because you have to think about how you are feeling. And if you are up for conventioning. Because for a lot of our friends who are considered disabled or it’s hard for them to get around, they have to think of other ways for them to be comfortable during convention because it’s a lot of walking a lot of sweating a lot of people around you, and you just want to be comfortable and enjoy yourself at the convention too.

Ariel Landrum 45:34
And I know even like prep work wise before attending a convention, at least the two or three weeks before I will start increasing my step count to be able to tolerate the amount of foot traffic and depending on the convention, like at San Diego Comic-Con this year, they didn’t renew the carpeting. So you were just walking on cement unless a booth had its own special carpeting or its own padding, at which the Star Wars’ booth had the best padding right next…

Stefanie Bautista 46:06
Oh I didn’t go to that one..

Ariel Landrum 46:07
Oh it was one right next to the Naruto bowl.

Stefanie Bautista 46:09
Oh!

Ariel Landrum 46:09
I just likes I would like slowly lean into those like costumes. Stand on the plantform.

Stefanie Bautista 46:15
That’s why you are standing over there. “I was, why are they, they’re not moving?”

Ariel Landrum 46:18
Oh. It was so good!

Stefanie Bautista 46:22
Yes, yeah, that’s definitely something that you have to take into consideration because not everybody can go full force 4 days straight. It’s like doing Disney World in a sense, because you have to make sure that you are your stamina is up to speed to be able to withstand and not be, you know, just dying at the end of the day of exhaustion and what have you. But anyway, I was actually able to be tipped off by somebody because I didn’t really want to walk again around the Convention Center to be in that line to get in because I was tired. I was with my two year old and my husband. And I was like, “I’m not gonna stand…” and pregnant. So I was like, “Is there another way that I can get into another line?” And they’re like, “Well, since you are pregnant, you can technically get an ADA badge, which is American Disabilities Act badge, because you are considered in the category of people who need assistance.” And so I’m like, “Oh, that’s fantastic.” I was able to get that badge and my husband was my helper. And because of that convention, the convention was so much more easier for us to navigate because I did not have to extend myself or overwork myself to the point of exhaustion.

Ariel Landrum 47:31
So in getting the badge, so you didn’t have it essentially, like the first day you got it the second day?

Stefanie Bautista 47:37
I did get it the second day.

Ariel Landrum 47:38
Okay. And then what were some of the accommodations that you received at Anime Expo? And how like, how did it change your experience?

Stefanie Bautista 47:48
Oh, absolutely. So the first day when I did not have the badge, I went into the general line. And people are just like, kind of like, shoveling you through kind of like cattle. It’s like, “Okay, scan your badge, make sure you scan it,” all that stuff. And that is a very stressful process. Because if you don’t know how to you have to scan your badge to the RFID scanner to make sure that you paid for your ticket, all that stuff. And that whole thing just to get it right. With my ADA badge, I went to a different line with much more friendlier people. And it didn’t seem like you know, they were hating life at that point. And, yeah, they were very accommodating. They were like, “Oh, it’s okay, you can take your time, we’re not rushing you.” There was no line to get in. They were very friendly. They made small talk with me. And then I was able to go into another entrance next to the main entrance. But it led right to the elevators to go up because there’s a lot of stairs around the convention center. But because of that, we had special seating for certain things. If you wanted to play video games, there were always like a separate section for people with the ADA badge. And if they saw that you did have an ADA badge, they would let you go into different entrances that made it easier to access certain things like panels, and also just special things that like giveaways and things like that.

Ariel Landrum 49:10
Okay, so I think maybe because Anime Expo is smaller than San Diego Comic-Con, it sounds like they gave you more accommodations then what it seemed like what we saw at SDCC.

Stefanie Bautista 49:22
Yeah, definitely. And on top of that, I guess it’s worth mentioning that even though you did not have an ADA badge, they did have special rooms that were quiet rooms and like manga reading rooms for people who wanted to just get away from the convention floor. And those were accessible on the second level of the convention, the Convention Center and all you had to do was just you know, go in there would just monitor how many people were in there. And if it was too loud outside you could go in it was air conditioned, quiet. Everyone’s just kind of on their phones with their headphones on. And yeah, you could you did not have to have an ADA badge to access that. And also a quiet manga reading room where you could just go in, and it was just a room full of manga. And if you didn’t want to be on the convention floor with all of the hullabaloo, you could just sit down and read manga and get your fix that way. And so that was really good, because you did not have to have a certain special badge if you just really wanted to get away and unwind, but also not leave the convention, you could utilize one of those two rooms as a regular attendee.

Ariel Landrum 50:30
Yeah, I think that accommodation is the one that one access to general public because you know, everyone kind of needs a moment to be able to decompress. And I know in talking to Josué, the Geek Therapy Podcast, and obviously founder of our network, he has worked with the Take This at conventions, and they have an AFK room Away From Keyboard.

Stefanie Bautista 50:57
Oh I love that!

Ariel Landrum 50:59
Where you get access to you just sit with a mental health professional, you get access to decompress, you’re given sort of additional supports, and it’s volunteers, as well as clinical staff. They don’t provide mental health services, like you’re doing therapy, but they help, you know, give you some emotional support, or maybe give you some support tools if you are becoming overwhelmed by the convention floor. And that is something that they had it like more gaming conventions. I think that is something they should implement at every convention.

Stefanie Bautista 51:29
Every convention. Especially the big ones!

Ariel Landrum 51:32
There’s just too much stimulus too much.

Stefanie Bautista 51:35
Yeah.

Ariel Landrum 51:36
There is a lot going on, and particularly for new people. But I also think of like kiddos who could just like need a place to like nap in their in their stroller or something.

Stefanie Bautista 51:44
Yeah, definitely, I know of just a thing that happens at conventions, you see people sitting everywhere, everywhere, any nook and cranny or wherever they can sit they will sit, because it is exhausting. Just doing all that walking constantly, you’re wanting to see everything you’re wanting to go out every floor, you want to go to every like experience. You just need a break sometimes. And you will see you know, people in cosplay just lying out on the floor or you know, just taking a break finding a place to eat. Because there’s very limited seating in front of where you can get food or the food trucks are outside or what have you. And so a normal thing is just seeing people laid out everywhere. But if we implemented something like that quiet room, or maybe even just like, even setting aside half of one of the halls just for a bunch of tables just to sit down, you don’t have to sit on the floor for those of us who can’t sit on the floor, or it’s hard for us to get up from the floor. That is definitely something that would encourage more people to go to conventions.

Ariel Landrum 52:43
Now, when it comes to accommodations, San Diego Comic-Con does a really good job. And they also do a very bad job. And this is where I think some conventions need to create like a pamphlet. So you you get a sticker or a special badge, you get something that markers that you are that you’re utilizing accommodations. And so for those who don’t know, I have a lot of severe allergies, one of them being Cholinergic urticaria. And what that means is I’m allergic to my sweat. Like, like y’all, San Diego Comic-Con in the heat…

Stefanie Bautista 53:27
It’s sweat city!

Ariel Landrum 53:28
In line. So I not only use a fan, I actually have a cool gel patch that I wear fairly regularly, I have an asthma inhaler to help me breathe, because what will happen is if my body gets too warm, and I start sweating, I will not only break out in a rash, but I will actually go into like an anaphylactic shock where I can’t breathe. So I finally decided this year that I would access the accommodations. That because my condition had just gotten so much worse, it was less manageable. I’m older, you know, it’s a thing you have to accept.

Stefanie Bautista 54:01
Yes.

Ariel Landrum 54:01
And you will go in and they will say, “Who needs accommodation?” You say “Me,” they’ll give you a sticker. And that’s it.

Stefanie Bautista 54:09
That’s it. Yeah.

Ariel Landrum 54:10
You have to figure the rest out. I don’t understand why they don’t have a pamphlet that says like, so there were outside activations that you needed to pre check in at the ADA booth. I didn’t know that.

Stefanie Bautista 54:21
I didn’t know that either. I thought you could just show up and then it just happened.

Ariel Landrum 54:24
So some of them, some of them you could show them and they have a separate line for you. But others like this year was the Game of Thrones, the House Targaryen one you needed to check in and some sort of virtual type check in at the booths. There were exclusives that had a specific line for individuals ADA again, you would have had to check in the booth. They didn’t tell me any of these things. They also didn’t explain how many people your handler badge could be given out to. Because what if your handler isn’t there that day or doesn’t have a badge? So remember that to get an San Diego Comic-Con you will are on a lottery. So you may get Thursday and Aunday but not Friday and Saturday. So who was going to come and assist me if I needed assistance?

Stefanie Bautista 55:08
Correct yeah.

Ariel Landrum 55:09
There were temporary day badges that you can get. But of course, I wasn’t aware of that. And so unless you are integrated with the community that has used these accessibilities, you would not have been aware. And then even when it was time to check in for you, we had asked, is there a decompression room and there wasn’t! How is it that small Anime Expo which isn’t a small anymore, but still a lot smaller in San Diego Comic-Con has a decompression room and yet San Diego Comic-Con doesn’t? They did have a nursing room. But it was literally a fake wall with curtains…

Stefanie Bautista 55:43
Yes.

Ariel Landrum 55:43
Behind the ADA check-in.

Stefanie Bautista 55:45
for those of you who breastfed not as comfortable as some other nursing rooms. I’ve been in nursing rooms in many different stadiums, and at least they have a plant in there’s, and a reclining chair.

Ariel Landrum 55:56
Nope, nope, none of that. And then even with some of the like the areas on the hall, like we talked about the decompression room is somewhere to sit. There, there’s nowhere to sit and they will tell you to stand up, they will tell you to get off the ground. If you were if you look like you’re blocking traffic, which makes sense. We don’t want to, you know, make a hazardous environment in case there’s crisis. But part, like part of the accommodation is that you can’t stand for long periods of time. And yet we have nowhere for people to sit?

Stefanie Bautista 56:28
Yes, exactly. And you’re right, they do a great job. And they don’t do a great job. Because although the verification process to get an ADA badge, of course, they’re not going to interrogate you and ask you lately, let me see your proof. They’re not going to do that. But the follow up to that is kind of like you said, you have to figure it out on your own. And unfortunately, for a lot of people who do fall into the ADA category, a lot of their lives are already figured out on your own. And so without that prior knowledge, you it can either make or break your convention experience. And so I think, you know, having that decompression room, or having a pamphlet of saying, you know, I feel like even and correct me if I’m wrong Disney, they have a specific like, they tell you where all of the ADA accommodations are on the map, I’ve seen that before, when you open it up, you see the little ADA little symbol that’s blue, and it tells you all of the different ways that you can access ADA accessibility through those things. So I think that system can be easily implemented into a four day convention where you’re not doing it every single day. Just a little thing like that. Because yes, there is a program guide that has, you know, it’s pages and pages of like descriptions and things like that. There’s also a map that is like, has all of these different explanations and things. So you know, these little tweaks could make a convention goers experience all the more better. And although more comfortable seeing that it’s already a pretty stressful situation.

Ariel Landrum 57:57
So just like our an older episode about managing expectations, when you’re going to Disneyland, you need to manage your expectation when you go to any convention, and particularly the bigger ones like WonderCon or San Diego Comic-Con. And the reason why is because in particular with San Diego Comic-Con, it is wider, it is longer there is a lot of like foot traffic you have to go through to get from one area to another. So if you have a panel that is at the San Diego library, which they do, then that’s part of Comicon. And then you’re trying to get all the way to Hall H that’s literally the other side of town, essentially.

Stefanie Bautista 58:37
Yeah. And when you’re on foot, it’s like and you’re walking outside, you’re not walking in like air conditioned vents.

Ariel Landrum 58:43
And so this is where I would say people who aren’t from SoCal and who don’t live in this area. I don’t think that they they immediately think San Diego, nice, cool, consistent weather in the 70s. And I think what you’re forgetting is that you’re in an area where a lot of the ocean breeze is being blocked by large buildings because it is in the Gaslamp District, and you are doubling the amount of people outside which just increases the heat. And then Comic-Con is always in July. And so the sun is just blaring on you. There’s where there’s barely any clouds and there certainly isn’t any like rain or cool mist.

Stefanie Bautista 59:20
Yeah.

Ariel Landrum 59:20
So you have to prepare for it being hot.

Stefanie Bautista 59:23
Yeah. And there is a level of humidity to your you’re physically walking. So depending on the amount of sweat that you produce in a day, whether it be doing 10 minutes of exercise or hours of exercise, which you are essentially are doing when you’re walking around Comic-Con you have to take that into consideration and know when to take your breaks. I know for myself I took a lot of breaks even just from walking to the parking from the parking lot where I parked which was near Petco Park where the Padres play and going to the Convention Center. I took a break at the Hilton just to decompress because I knew I needed it. I wasn’t going to make it all the way to the Convention Center. And even if I did, would it really be worth it because once I got there, would I be even able to enjoy what I wanted to enjoy because I was so exhausted.

Ariel Landrum 1:00:09
Absolutely.

Stefanie Bautista 1:00:10
So I mean, that. And parking is a whole nother thing too if you’re not from the area because San Diego Comic-Con is the only convention that I know that does not have super accessible parking right away for somebody who does not know how the process works beforehand.

Ariel Landrum 1:00:27
some of the things you have to be mindful of is how you’re going to get parking how you’re going to get around, and what you’re willing to carry. So what any convention if you can bring at least water and snacks, you are pretty good. However, most conventions have free swag, and your bag starts to fill fairly, fairly fast, and it starts to get tiring to carry. And if your car is nowhere near the Convention Center, if you had to park off site, like if you went to WonderCon had to park in a completely different parking structure, then you have to be willing to know that either, “I’m going to carry this around all day. Is it worth it? Is this is this swag worth it for me?” And when it comes to the scheduling, if you are wanting to your what I have found, I should say what I’ve found successful is having a specific day that is like your convention floor day and having a specific day that is your panel day and just sacrificing on my floor today, I’m not going to those panels on the panel day, I’m not going down on the floor. So I’m probably not going to collect every day’s buttons for something or enamel pin. And I know that I’m not going to see whatever it is a large panel for whatever TV shows going on. So I have to after really be willing to sacrifice so that’s part of managing my expectation.

Stefanie Bautista 1:01:42
Yes. And of course, as it happens, whatever you have to do at the Convention Center, something’s always going to collide with it, something’s always just gonna be either 10 minutes into what you wanted to do, or 15 minutes into, you know what you are doing. So you just have to manage those expectations. And you have to just say to yourself, you know what, I’m going to try to do my best, I’m going to try to enjoy what I need, enjoy, get whatever I need to get done, and enjoy everything else. Because everything becomes way less enjoyable when you have these high expectations for yourself. And you know, logistically, it’s just not going to happen. I know for for WonderCon. And this is kind of going back to the different levels of convention participation. You you are nervous to you know, be a professional, you want to do your best you want to show up for both your panelists, your audience and everything. So even from me that’s nerve wracking…

Ariel Landrum 1:02:36
Oh, people know that you’re professional, because your badge says so…

Stefanie Bautista 1:02:41
Yes to you, you have to kind of change your mindset a little bit. And for me doing WonderCon for the first time, I was definitely butterflies in my stomach, I did not know if it was gonna go off well, or if people are gonna like me, or if people are gonna, you know, be engaged with what I want to say. And all of that, you know, me and Ariel, I feel like we’re very, you know, good in preparing most of our content. And even with that level of preparation, there’s still a lot of anxiety that comes around it like, is everyone going to show up on time, like, there’s a lot of moving parts to that. And I think managing the expectation of let’s just get up there, do what we need to do, and enjoy it afterwards. Definitely, I had to keep that in the back of my mind in order to survive.

Ariel Landrum 1:03:27
Okay, so my Comic-Con babies. Here’s the thing big. Because San Diego Comic-Con is so large. And I think for people who don’t go to conventions, they don’t understand. It is so large, it literally takes over all of San Diego. If I go to the Ralph’s grocery store, everybody’s dressed up as a superhero. And they’ve got Excelsior, like on the windows and cardboard cutouts. And they have like Monster Energy drinks that they’re handing out because they’re know that there’s going to be more people. And they that’s a great way to advertise, give out free swag.

Stefanie Bautista 1:03:55
For sure.

Ariel Landrum 1:03:56
If you even if you don’t get into the convention, you could just go to the town and walk around and get so many free things and see so many experiences that aren’t exclusive to badge holders.

Stefanie Bautista 1:04:06
Yep.

Ariel Landrum 1:04:07
And pretty much every three years or so, if you go for three years in a row, you kind of got the idea of what you need to do. And that’s around the time where you meet new people who it’s their brand new time and you do something called you adoptees where you adopt someone into your group you into your fold. And so my my friend Alex, he his adoptees are these two really cool Canadians, Ravi and Shawn. And so this year apparently was my adoptees because I adopted Xavier and Greg and they weren’t new to conventions, but they were definitely new to San Diego Comic-Con and we spent almost every single day together once we adopted them the very first day on Preview Night and there was there’s some benefits of being essentially adopted or or at least included in the fold right for From your Comic-Con attendees. One of them being this year because of COVID. And needing to get the bat, the wristband that says that you’re vaccinated, they had two areas where you can get verified. And so there was the one right out front of the Convention Center, which snaked around the entire Convention Center like…

Stefanie Bautista 1:05:22
Oh, yeah…

Ariel Landrum 1:05:22
Four times.

Stefanie Bautista 1:05:23
I’m sure that’s those are the pictures that you all probably saw on Twitter or Instagram or Facebook of just like the madness of what that line was because it was right in front of the Convention Center where everybody takes all their pictures of cosplay everything.

Ariel Landrum 1:05:35
And what ended up being as if there was another one that was actually a lot shorter than not a lot of people knew about, and it was at the Marriott Hotel. So we immediately told them, “Go to the Marriott Hotel, get get your vaccine verification there, because the line is gonna be a lot smaller, and you’re gonna get into the convention sooner.” And remember, these tickets are very expensive. So you want to make use of as much time as you can. And if you have Preview Night, Preview Night only lasts I think from like six to nine so you don’t have a lot of opportunity to go into the convention floor and check it out. So that was our one of our first tips. Our other tip being the free shuttles. What most people don’t know is that Comic-Con has free shuttles that will take you from different hotels, so even if you’re really far away, you don’t even need to get a car or parking if you don’t plan on carrying too much stuff or you do the check in like we talked about.

Stefanie Bautista 1:06:29
They’re like huge charter buses to they’re not just like, you know, short buses…

Ariel Landrum 1:06:32
Short but yeah, they’re not they’re not they’re not like, like passenger vans.

Stefanie Bautista 1:06:38
Yeah, they’re not passenger. We’re not like like shuttles you would think they’re like big charter buses.

Ariel Landrum 1:06:42
Yeah, huge charter buses. And then the other suggestions that we’d given them was ways to get onto the different activations. Ways to get into Hall H we didn’t get into Hall H on the big mega Saturday. And we we stayed out in that line till 2-am ya’ll.

Stefanie Bautista 1:07:02
Oh my gosh!

Ariel Landrum 1:07:03
2, 2am There were some shenanigans happening and lots of our group was honestly the noisiest I’m sure there’s a Twitter Thread out there of someone who’s just trying to like sleep. And yeah, I think that, remember that that’s part of the culture and the community. I hope that if any of you decide to go to conventions, you can find an established group that looks cool that you can integrate yourself with because having convention friends, friends you only see at convention, it’s like a whole different vibe. It’s a whole new level.

Stefanie Bautista 1:07:33
And just a disclaimer, I was not in that line until two o’clock, I tapped out early because since yes, I am six months pregnant. Me and our friend Chance, who was kind of my my handler, like all of my handler, we were each other’s handlers. Because you know, we both have accommodations that we needed to take into consideration. We tapped out early. So we were kind of on a different trajectory as everybody else had had been a couple years earlier. I would I was right there with Shawn Ravi and our friend Alex and I would be at those lines, just you know, having a blast because like Ariel said, having convention friends that you only see at convention is very special because it is something unique and special to you. And you know, that sense of community is just irreplaceable.

Ariel Landrum 1:08:16
In switching to Disney specifically because the Disney podcast there is a Disney convention.

Stefanie Bautista 1:08:25
Oh, yes.

Ariel Landrum 1:08:27
Called D23 which basically as mega San Diego Comic-Con, because Disney owns so many of the franchises that we love. Have you ever been?

Stefanie Bautista 1:08:35
I’ve never been I do have friends who are part of D23, which is a club. It is a fan club that you have membership to not as exclusive and not as exclusive as Club 33 where you have to be invited in and it’s just like, you know, a whole thing. But D23 is where you get special releases. You get like a newsletter in the form of a magazine with like special art. There’s a lot of different perks to being a detail D23. Member. Yes. But yeah, D 23 was founded in March 10 2009. So it’s not very old, not very new. But I think as a convention that has grown over the years, because of all of its acquisitions, it has become something that is now its own entity. I know, being a part of San Diego Comic-Con and being a part of WonderCon they would always have like a Marvel panel, they would always have like, you know, some sort of Disney panel or Pixar or whatever. They have slowly been pulling away from these conventions because they want to focus on their own. So every year, just like this year, “Marvel’s not going to do a big thing!” And you know, “Marvel’s gonna do it all at the D23.” Yeah, this year at San Diego Comic-Con Marvel did the most and had like literally everybody under the sun for Phase Five and Six and yeah, total lie.

Ariel Landrum 1:09:45
Lie.

Stefanie Bautista 1:09:46
So now I don’t know what they’re gonna do for D23. It has to be something big because it is their own thing. So it is that is definitely the next milestone for us as a Disney podcast.

Ariel Landrum 1:09:57
Neither of us have been and it is a September this year. And we have a goal to, to get there in whatever way possible, but preferably, we were hoping to try and do press. I just I don’t think that we could create and propose a panel at this point. It’s actually too late. Like we’re recording this episode in August and it’s in September. So I’m assuming that that is, that’s close.

Stefanie Bautista 1:10:26
And, like we, it’s, it’s nearby, it’s in Anaheim. So hopefully, fingers crossed, we can get there. But if you know you have any experiences with d3 23 Please shout us out and tell us your experiences because we’d love to know we’re going into this blind.

Ariel Landrum 1:10:46
So if you have any ideas of how we can get into D23.

Stefanie Bautista 1:10:51
Shout us out. Let us know.

Ariel Landrum 1:10:54
If you have some convention experiences or if you’ve incorporated people to your group, some adoptees, just, you know, tweet at us @HappiestPodGT or DMS on our Instagram @HappiestPodGT.

Stefanie Bautista 1:11:07
Yes, we are so excited to be back. I know that we have a lot of content coming up. I know we’ve been pushing out a lot of episodes that we are kind of backlogged on, you know, life gets in the way. And that’s totally okay. We are all for taking care of ourselves and taking care of yourselves. In this new season. Now that we are coming semi out of this pandemic a little bit into more normal times, we understand that when we first started this podcast, it was a whole different world. So now we are navigating this in a different space. And we would love to hear your experiences, or maybe even at our next panel whenever that happens. Let us know and if you have any ideas of what other things we can think and talk about, we would love to hear from you. Because if we learned anything from these conventions is that creating a network of geeky professionals like you and I really makes this community so special.

Ariel Landrum 1:12:04
Yes. All right. Have a great rest of your summer. Buh bye!

Stefanie Bautista 1:12:09
Alirght bye, everyone.

Media/Characters Mentioned
  • Good Burger
  • Demon Slayer
  • Lumpia With A Vengence
Topics/Themes Mentioned
  • ADA
  • Accessibilty
  • Pregnancy
  • Nursing
  • Chest feeding
  • Conventions
  • Community
  • Integration
  • Friendships
  • Friend groups
  • Scheduling
  • Managing expectations

Questions? Comments? Discuss this episode on the GT Forum.

—

 Website: happy.geektherapy.com
 | Instagram: @HappiestPodGT | Twitter: @HappiestPodGT | Facebook: @HappiestPodGT |
 | Stef on Twitter: @stefa_kneee | Ariel on Instagram: @airyell3000 |

Geek Therapy is a 501(c)(3) non-profit with the mission of advocating for the effective and meaningful use of popular media in therapeutic, educational, and community practice.
| GT Facebook: @GeekTherapy | GT Twitter: @GeekTherapy |
| GT Forum: forum.geektherapy.com  | GT Discord: geektherapy.com/discord |

Primary Sidebar

  • Email
  • Instagram
  • Twitter

Welcome to The Happiest Pod on Earth! On the Geek Therapy Network we believe that the best way to understand each other, and ourselves, is through the media we care about. On this show, we focus exclusively on Disney!

Hosted by Stefanie Bautista and Ariel Landrum!

Subscribe to Podcast

Apple PodcastsAndroidby EmailRSSMore Subscribe Options

Recent Episodes

  • All the Feels in Inside Out 2
  • Magical Ink
  • Queer Cheer: Disney Dreams & Rainbow Realness
  • Celebrating Juneteenth and Diversity in Disney
  • Dynamic Disabilities: From Accommodations to Accessibility
Copyright © 2025 · Geek Therapy · Privacy Policy