When describing his proposal for the Experimental Prototype Community of Tomorrow—later known as EPCOT, one of Walt Disney World’s few unique theme parks—Walt Disney stated that he envisioned it as "always in a state of constant evolution." It is surprising, therefore, to learn that while outwardly Disney parks adhere to this concept of perpetual evolution—adding, removing, and modifying attractions in step with the times and technological progress—internally, disused areas are left abandoned to their fate, not only occupying valuable real estate but also serving as unsettling reminders of the past.
This was the case with EPCOT’s Wonders of Life pavilion, which housed educational exhibits on health and the human body, theatrical shows such as *Cranium Command*, and the *Body Wars* simulation ride. It opened its doors in 1989 and, following a gradual decline over several years, closed permanently in 2007. Yet, rather than being demolished and rebuilt, the attraction was left exactly as it was: closed and empty, but otherwise completely preserved.
Director: Joshua Bailey
Writers: Joshua Bailey, Matthew Serrano
Stars: Adam the Woo, Dan Bell, Matt Sonswa
The 2018 theft of Buzzy—the bug-eyed animatronic pilot from *Cranium Command*—stands as the most publicly well-documented transgression of this kind within the Disney parks. In his documentary *Stolen Kingdom*, director Joshua Bailey uses this incident as a central focal point to unravel an intricate web of thefts by urban explorers, rule-breaking by Disney employees, and black-market transactions involving props, costumes, and other Disney artifacts that should never have fallen into private hands—a practice stretching back many years.
It is a project designed to fascinate both die-hard Disney fans and those with a casual interest in what goes on behind the scenes—a realm known for its tight-lipped secrecy. But what appears to be a celebration of the anarchic spirit turns into a frustratingly inert portrait of a handful of obnoxious and arrogant individuals—one that brushes against deeper themes such as discovery, rebellion, friendship, and ethics, yet ultimately fails to draw any conclusions.
Bailey, who possesses some familiarity with the world of urban exploration—a term referring to a form of exploration of man-made structures, typically abandoned ones, which often entails trespassing—offers a brief overview of its history, specifically as it pertains to Disney theme parks. Some of the protagonists are no longer with us or declined to participate in the documentary—such as Adam the Woo, one of YouTube’s earliest urban exploration vloggers—but several of them are interviewed throughout the film.
Their conversations, while guiding the narrative, also complicate it—particularly as the mystery surrounding the disappearance of Buzzy, along with other alleged illegal activities in which one or all of them may have been implicated, intensifies in the third act. Bailey’s contacts prove invaluable in this regard. It is astonishing just how many activities his interviewees admit to engaging in on camera—whether it be trespassing, tampering with operational attractions (two explorers, Dave Ensign and Ed Barlow—operating under the pseudonyms "Hoot" and "Chief"—created a checklist of every scene and animatronic character to explore within EPCOT’s *Horizons*, an obscure attraction that envisioned life in the future and closed in 1999), or stealing and reselling backstage items, ranging from *Haunted Mansion* costumes to attraction manuals.
Some of these individuals—including Hoot, Chief, and Matt Sonswa (a vlogger banned for life from Disney parks and known for dangerous, illegal activities such as climbing roller coaster tracks and infiltrating Disney’s Discovery Island park, which has long been abandoned and overgrown)—express a genuine interest in discovering how the attractions work; this, they claim, is the primary motivation behind their actions. Others, such as Patrick Spikes—a former Disney World employee and owner of the social media account "Backdoor Disney," who quickly emerges as the central figure of *Stolen Kingdom*—seek more tangible rewards, particularly once they realize just how easy it is to get away with their deeds.
In this sense, *Stolen Kingdom* serves as a magnet for die-hard Disney fans (whom one of the documentary’s subjects affectionately dubs "Disney freaks") as well as for true-crime aficionados. It is entertaining from start to finish—if only for the sheer audacity of the explorers' actions, visually demonstrated through archival photos, mobile phone footage, and social media content that complements the interviews. Nevertheless, it always feels as though it is missing an essential ingredient.
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