As someone who has spent countless hours exploring the thrilling realms of theme parks and horror events, I can confidently say that the evolution of Halloween Horror Nights (HHN) at Universal Studios is nothing short of breathtaking. This year’s HHN is not just a haunted house experience; it’s a testament to diversity, creativity, and the limitless potential of horror as a genre.
John Murdy, the creative director for Halloween Horror Nights at Universal Studios Hollywood, recalls the moment he realized the event’s popularity: “When my first daughter was born, someone approached me to ask for a photo while I was out buying diapers! I had to put the diapers down first!” Murdy chuckles, explaining that nowadays, the event has become as famous as a Hollywood movie star, which seems strange since it takes place in a theme park.
Murdy’s expertise underscores the expanding market share of theme parks within the $12 billion annual Halloween industry. According to Philip Hernandez, editor of the Haunted Attraction Network, “Halloween continues year-round.” Events such as Midsummer Scream, Halloween conventions, and trade shows extend the haunting season. Many haunts stay open for Krampus celebrations throughout December, and January marks the start of our first buying convention.
During fall, Disney and Universal attractions are among the busiest, trailing only behind peak seasons such as summer and winter holidays. In 2019, the then-chairman and CEO of Universal Parks & Resorts, Thomas Williams, referred to Halloween Horror Nights (HHN) as an “extra month” of income for their parks worldwide. He stated at a Bank of America event that they host Halloween celebrations in all their parks globally, and it’s a massive after-hours ticketed event that generates significant revenue.
As a die-hard fan, I can’t help but feel that places like Six Flags and Knott’s Berry Farm share a similar excitement. “Halloween has transformed into one of our most significant periods in the year,” says Edithann (EA) Ramey, Six Flags’ “Chief Fright Officer” and CMO. “From a seasonal perspective, it carries more weight than the winter holidays, largely due to our role in the ‘scream economy.’
Martin Palicki, editor of the Theme Index and Museum Index: The Global Attractions Attendance Report, notes that while each park is adopting unique strategies, they’re significantly boosting revenue and footfall during traditionally sluggish or non-existent periods. Furthermore, he highlights the increasing popularity of Halloween events at their global parks as a clear demonstration of its worth. Palicki remarks that Halloween has become so significant for these parks that it’s sparked demand for a holiday celebrated elsewhere only in theme parks.
theme parks tend not to share attendance or earnings figures related to their late-night events, but Hernandez explains that we can estimate the profitability of these events by considering various factors such as the high number of ticketed events, additional costs, premium experiences, and merchandise specifically designed for Halloween. Additionally, it’s worth noting that these events are not included in the usual admission cost, unlike Christmas events which often are.
Add-ons significantly reduce wait times or grant early access to attractions for guests, allowing them multiple visits over several nights for an additional fee. As Jeff Tucker, a writer and director at Knott’s Scary Farm, puts it, “In the past, you’d buy a ticket and rush through the park because you only had one night.” However, with people returning each night, the experience of enjoying the event has transformed entirely.
During the day, Disneyland’s Happiest Haunts tour and Universal Orlando Resort’s Unmasking the Horror nighttime tour provide exclusive glimpses into their annual seasonal events. “VIP” experiences on these nights offer priority seating for shows, bypassing lines, special meals or themed lounges. The cost for these options ranges from $100 to $400 for the general public and a more expensive $5,000 to $8,000 for private events. These premium experiences help dedicated fans foster stronger connections with the brand, making guests more likely to return, according to a Disney representative.
The duration of these events is evolving, with the Halloween season now extending from Halloween all the way to the Day of the Dead. Universal’s Halloween Horror Nights (HHN) in Hollywood lasts for 40 nights, while Orlando hosts it for 48. The Oogie Boogie Bash at Disney’s California Adventure has become a 27-night event that was snapped up in just 11 days after being offered for sale in July. Mickey’s Not-So-Scary Halloween Party in the Magic Kingdom, which started on Aug. 9, is also fully booked. Tucker notes that there doesn’t seem to be a limit to how many nights these events can run, as society has enthusiastically embraced this holiday in ways we never thought possible.
This situation is being significantly impacted by parks’ ambition to forge a connection between two traditionally bustling seasons. They aim to achieve a full attendance return on any given day they host their independently priced events, as stated by Palicki. Additionally, the weather plays a role in this shift. As Ramey points out, “Our summers have grown increasingly hot.” Thus, with Halloween approaching, not only can you revisit when it’s cooler if you’ve already been, but we can offer you something entirely fresh, making your return feel necessary and exciting due to the unique experience at the park.
The ambiance of Halloween at American theme parks has not always been as grand as it is today. For instance, Disneyland started celebrating in 1959 with only a few days set aside for locals to enjoy an enhanced trick-or-treat experience or a few frightening moments amidst smaller crowds and the opportunity to ride the park’s roller coasters during the nighttime. As Mike Aiello, creative director of HHN at Universal Orlando Resort, recalls, the event had its humble beginnings in 1991 when it was first introduced in Florida. In essence, it all started as a trial with three nights over one weekend, featuring just one haunted house and some masked characters wandering through parts of the park. It truly began in the simplest manner possible.
Changes became apparent in the late 1990s and carried on through the 2000s. Cedar Fair’s acquisition of Knott’s led to an extension of its Halloween events schedule, while Six Flags’ event kept growing beyond its Houston park. During this period, Universal Studios underwent significant transformations in their content creation and marketing strategies, as noted by Aiello. Similar to HHN Hollywood’s Murdy, he identifies 2007 as a pivotal year for these changes.
At this point, Jack the Clown, one of the event’s distinctive figures (a group of unique “masters of scaremonies” characters), made an appearance alongside horror movie legends Freddie, Jason, and Leatherface. This instantly sparked a sense of excitement, not just in increased attendance, but also within the Hollywood community. For the first time ever, a filmmaker attended our event, and it was Tobe Hooper, who directed Texas Chainsaw Massacre. While I can’t exactly count how many times this has occurred since, that moment stood out as when I realized, “Oh my god, they’re paying attention. We’re onto something here.
That buzz continued during The Walking Dead’s run, its massive success leading to multiple haunted mazes and scare zones at HHN, L.A. premieres on property, and cast walkthroughs of houses. Around that time, Disney expanded the holiday to its cruise lines for Halloween on the High Seas. Running six weeks through mid-September and October, “they’ve become so popular that they book out as early as six months in advance,” a Disney spokesperson tells THR.
As a thrill-seeking enthusiast, I must admit that the amusement park experiences of today bear little resemblance to their humble beginnings. These modern-day wonderlands are nothing short of grand spectacles, brimming with capital, manpower, and an abundance of creative energy. Parks like Universal and Six Flags invest heavily in their events, meticulously planning years in advance to draw in visitors. During the season, Six Flags alone employs a staggering 6,000 people to keep their events running smoothly across multiple parks. Even before the main season kicks off, they host special pre-season events such as Scream Break at Six Flags Magic Mountain and Nightmares Revealed preview in August.
The parks are not only increasing their Halloween offerings, but they’re also broadening the ways they interact with visitors. Knott’s Berry Farm isn’t just offering more haunted attractions; it’s reinventing its abandoned mining town theme by coming up with original fright ideas as Tucker points out, “creating our own nightmares is what we’re known for.” However, many mazes are longer than before, and the park’s social media offers glimpses into the production process. Visitors can choose to attend variety shows, magic acts, or comedy performances such as the popular “The Hanging,” a satirical look at the year’s best and worst celebrities and pop culture.
This year, an art exhibition showcasing holiday-themed pieces and merchandise from Knott’s Berry Farm will be on display. What makes this event special is not only the appearance of horror icon Elvira, who has been a popular draw for many decades, but also her in-person return for several days. As Tucker puts it, “With Knott’s, they aim to narrate a story and honor the local community.” Similarly, Hernandez adds that this is part of their celebration.
Six Flags has transformed its regional Fright Fest event into a nationwide phenomenon called Fright Fest Extreme, significantly increasing the use of studio intellectual properties across its multiple theme park sites. This year’s event boasts an impressive 20 combined houses and scare zones, featuring branded mazes from six different studios and distributors such as “Army of the Dead”, “The Conjuring” universe (including “The Conjuring”, “Annabelle”, and “The Nun”), “Saw”, “Stranger Things”, “Texas Chainsaw Massacre”, and “Trick ‘r Treat”. Ramey explains, “We invite people to think, ‘What if the place that offers adrenaline-pumping rides can also broaden the definition of excitement?'” He describes how Six Flags pitched itself to Hollywood as a venue capable of amplifying the thrill experience. Although these films often focus on psychological horror, Ramey emphasizes that for Six Flags, it’s all about creating a truly thrilling experience.
Based on the test of IP houses last year in L.A. and New Jersey, as stated by Ramey, “the demand was unprecedented.” This means that integrating all the intellectual properties will require financial and resource investment, but it’s expected to yield a good return on this investment. Moreover, it continues a tradition of rides inspired by DC characters or local legends that spans decades. As Ramey explains, “each ride has a story, which was crucial when designing the houses. Integrating movie IP takes this to another level.” For the company, this means increased attendance, but for consumers, it’s about providing an exciting experience they are familiar with and eager to enjoy. Essentially, it offers a unique thrill in a different way.
Similar to Disney’s daytime activities, nighttime continues to cater primarily to families, allowing adults to don costumes as well. It offers enhanced trick-or-treating experiences with Mars-branded sweets and a unique twist on what your social media snapshots will capture, mentions the Disney representative. Both coasts also showcase imaginative aspects such as fireworks displays and parades, complete with event-specific additions or ride transformations like “The Nightmare Before Christmas” at The Haunted Mansion. A significant part of the allure of Disney’s after-hours events is the appeal of our villains, who are favorites among guests, the Disney representative shares with THR. In fact, some of these characters were previously only available in the parks during Halloween time prior to the announcement of Magic Kingdom’s Villains Land.
According to Palicki, Disney’s theme parks have seen an opportunity to leverage their intellectual property for this event, primarily to market new merchandise and food & beverage options. He emphasizes that the retail aspect is significant, especially for Disney. This year, they’ve broadened this initiative through a collaboration with Children’s Starlight Foundation, whereby Disney will match sales from up to 20,000 costumes destined for families with hospitalized children during the holiday season.
Universal consistently strikes a balance between satisfying attendees’ desires and innovating for future success, as Aiello notes, making it one of the few events that transforms experiences like haunted houses, scare zones, and shows annually. This commitment to change remains steadfast even with the return of franchises such as Hollywood’s Texas Chainsaw Massacre 50th Anniversary house or Universal’s Classic Monsters IP. As Palicki explains, the theme park industry recognizes that continuous investment and fresh capital are essential for prosperity. This principle applies equally to Halloween events; it’s crucial not to repeat the same formula year after year. Instead, people crave something novel and distinct each time they visit.
A responsibility lies in making guests feel as if they’re stepping onto a horror film set, according to Aiello, stemming from the legacy of being part of the studio that pioneered the horror genre. Every aspect, from character development to makeup, prosthetics, and even early design choices, is aimed at meeting this high standard. Murdy further notes that this approach was driven by a personal interest and revolutionized the industry. Moreover, being located within a movie studio aids this endeavor as some of the things they create are actually used on movie sets, allowing them to utilize the skills of scenic artists, carpenters, production designers, prop masters, costume designers who work on films and television shows.
This year, the design teams surpassed boundaries in residential architecture, such as with the A Quiet Place maze, which showcases realistic, life-sized animatronic versions of the movie’s CGI monsters that were first practically implemented. Unlike traditional mazes, this one relies on sound effects and atmospherics rather than music for its unique audio environment. As explained by Aiello, some areas aren’t completely silent, but the acoustics in the room alter subtly, creating an effect similar to a sound booth where only your voice or heartbeat can be heard. This immersive experience has drawn prominent collaborators like Wan, Jason Blum, John Carpenter, Eli Roth, and Jason Reitman, who all graced the red carpet at the Hollywood premiere of this innovative event.
Collaborators on this project include Blumhouse, along with musical talents such as The Weeknd, who adds his residence to the list of collaborators that already includes Alice Cooper, Rob Zombie, Slash, and Black Sabbath. The residence, titled “After Hours: Nightmare Trilogy“, is described as a modern interpretation of Dante’s Divine Comedy inspired by The Weeknd’s last two albums and an upcoming release. In this immersive experience, guests will be part of the purgatory party at a massive club reminiscent of The Weeknd’s recent tour stage set and featuring either the old man from Dawn FM or the younger self from After Hours as the DJ. In the house, Jim Carrey’s voice provides the “disconcertingly calm interstitials that can be found in Dawn FM,” according to Murdy. “It is unlike working on a movie, television show, or video game because it is much more interpretive,” says Murdy. “There are music videos and films, but what we do here is live, so it’s a distinctive art form of its own.
Houses similar to last year’s “Exorcist: Believer” in HHN can serve as promotional tools for upcoming projects. Murdy explains, “Sometimes we’re ahead of a film’s release, and that’s when I think, ‘We’re like the ultimate movie trailer.’ We have the audience that will be going to the cinemas in the park every night.
The event is making an effort to cater to its diverse audience by featuring a variety of representations. For instance, deaf actors in “A Quiet Place,” Latin American mythology in L.A.’s “Monstrous,” and androgynous icons from Orlando’s Sinister and Surreal are expanding the visibility of different groups in horror. This year’s Universal Classic Monsters: Bloodlines maze is a significant shift for the traditionally male-dominated franchise, as it presents an original story with characters like Anck-Su-Namun from The Mummy and the Bride of Frankenstein, accompanied by a score composed by Sarah Barone, who has been nominated for an Emmy and collaborated with Hans Zimmer.
According to Lora Sauls, Orlando’s senior director of creative, Kelly Malik initially proposed the idea of highlighting some of the lesser-known female Universal Monsters this year in our haunted house production. Working hand-in-hand with their Hollywood counterparts, Kelly developed a fresh narrative for these monstrous females and introduced a new leading character named Saskia VanHelsing.
According to Murdy, the genre of horror is experiencing a resurgence, and this is reflected in the variety of non-Universal brands, platforms, and styles showcased at the event. Examples include the horror-comedy series “Late Night with Chucky” from the L.A. park, as well as the bi-coastal production “Ghostbusters: Frozen Empire,” which combines supernatural comedy with horror and science fiction elements. Murdy explains that they have been pushing the boundaries of what can be considered horror, and this is the direction they’ve been taking in recent years – exploring where else they can take it.
It’s possible that his team has already set up for the upcoming Universal Fan Fest Nights this spring. Among the new attractions unveiled are experiences based on popular franchises such as “Dungeons & Dragons,” The Wizarding World of Harry Potter, major anime titles like “One Piece” and “Jujutsu Kaisen,” and a bridge set piece from the third season of “Star Trek: Picard.” According to Scott Strobl, executive vice president and general manager at Universal Studios Hollywood, the immersion level guests will experience during Halloween Horror Nights will be similar to what they can anticipate, as he shared in a statement with THR.
Despite a decline in guests’ disposable income and the post-pandemic travel surge stabilizing at theme parks, Hernandez believes that the popularity and bustle surrounding top-tier special events at venues such as Knott’s, Six Flags, Universal, and Disney could provide insights into how theme parks might adapt their business model. He suggests that these parks have transformed what was once a ‘shoulder season’ (a period of reduced activity between peak seasons) into something more attractive than the summer months, potentially making it a key aspect of their future success.
Originally, this tale was published in the October 9th edition of The Hollywood Reporter’s magazine. If you’d like to get the magazine, you can subscribe by clicking here.
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2024-10-10 19:26