It Was Never Called a Monument to the Past
Walt Disney’s Carousel of Progress is closing on July 6th, 2026.
If you want to ride it one final time in its current form, July 4th weekend is your window. And I say this not just as a practical note – I say it because I mean it. Please go if you can. Book through MouseFanTravel.com and go. Because time moves faster than we think, and this is a chapter that is about to close.
Now. I know you have feelings about this. I have read the comments. I have read the threads. I have watched the TikTok videos. And I want to be very clear: every single one of those feelings is valid. The grief, the anger, the cautious optimism, the complicated mixture of all three at once – all of it is a testament to how much this attraction and its memories mean to us. That kind of feeling does not exist anywhere else in the world the way it does in Disney fandom. And I love that about us.
But I also think that if we are going to have a real conversation about what is happening and what is coming, we owe it to this attraction – and to Walt himself – to start from the beginning. The real beginning. Because I believe that when you understand the full story of the Carousel of Progress – where it actually came from, how many times it has already changed, and what Walt Disney himself said about the places he built – the announcement that sent the internet into full eruption this week looks like something very different.
Not a betrayal. A restoration.
I want to make that case. And with me to make it is James Grosch from Guide2WDW – a voice I have respected in the Disney community for a long time, whose passion for theme park history and the craft behind the magic makes him exactly the right person to have for this conversation.
What You Will Discover in This Episode
- The full announcement – exactly what Disney said, what is changing, and what is staying the same
- Why July 4th weekend is the final window to experience the current version – and why now is the time
- The story most people don’t know – how Carousel of Progress began not at the World’s Fair but in Walt’s imagination in the late 1950s as Edison Square, a planned extension of Main Street USA that was never built
- Why Walt was personally obsessed with this attraction from the beginning – and what Uncle Orville’s toes have to do with it
- The Sherman Brothers connection – the same duo behind Mary Poppins wrote “There’s a Great Big Beautiful Tomorrow” that same year
- What Progress Land actually was at the 1964 World’s Fair – not just a theater but an entire immersive experience and exhibition
- Why the Disneyland version was different from the World’s Fair version, why the move to Walt Disney World brought another change, and why GE replaced the Sherman Brothers theme with “The Best Time of Your Life”
- The 1993 overhaul – new voices, the Sherman Brothers song restored, and the final scene that has been sitting unchanged for over 30 years
- The emotional math problem – why the gap between the penultimate scene and the “future” act grew to over 80 years, and why that undermined the show’s entire purpose
- The full breakdown of all four new scenes – the 1969 moon landing, Halloween 1985, New Year’s Eve 1999, and an off-planet future drawn from John Hench’s original concept sketches
- Why the off-planet finale may permanently solve the “tomorrow becomes today” problem that every previous version of the show could never crack
- The Walt Disney animatronic – what we know, why it matters, and what the reaction to the Disneyland figure tells us about what is at stake
- Why Sarah stepping into the spotlight in Act Two is something worth celebrating – and what it took sixty-plus years to get there
- The four camps of fan reaction Lou identifies – and why the most interesting one is the people who feel both things at once
- What Walt’s own quote about Disneyland being “a piece of clay” tells us about his mindset for all of this
- James Grosch’s gut reaction to the new time periods – and why he was surprised by how quickly he got on board
- Why James thinks Walt would have looked at 30 years of standing still and said “what took you so long”
- Lou’s three-part case for why this update is right – the emotional math, the future problem, and Walt’s own philosophy
- The argument for bringing the 1993 version to Disneyland – and why Lou pushes back on it from both a guest experience and a business perspective
- Why the carousel has always been changing – and why the deepest irony of this whole story is that the attraction literally teaches us to embrace progress until it comes for the thing we love
- Lou’s invitation to listen back to Episode 710 with the late Jim Korkis for an essential piece of Carousel of Progress history
- The WDW Radio Clubhouse prompt: if you could put one artifact from any era into the new scenes, what would it be?
Timestamps
- [00:00] – Cold open and teaser
- [01:45] – Welcoming James Grosch from Guide2WDW
- [02:09] – The wildest ride in Walt Disney World right now is the internet
- [03:07] – Why Lou waited before sharing his thoughts – this deserved a deeper conversation
- [03:38] – Why the emotion around this announcement speaks to how important the attraction is
- [04:46] – With great power comes great responsibility – and why Lou would rather be on the Bluey project
- [07:48] – The full official announcement – July 6 closing, 2027 reopening, top-to-bottom reimagining of every scene
- [08:30] – What was announced at Destination D23 – the Walt animatronic and 1964 World’s Fair replica
- [08:46] – The four new time periods – 1969 moon landing, Halloween 1985, New Year’s Eve 1999, off-planet future
- [09:45] – For the first time in the show’s history, Sarah steps into the spotlight in Act Two
- [10:02] – What is staying – John, Sarah, the kids, Uncle Orville, Grandma, Grandpa, the Sherman Brothers theme
- [10:45] – James’s initial gut reaction to the new framework – and why he was surprised
- [12:53] – Why the original show worked – it was not history to those audiences, it was memory
- [15:08] – Why history is essential context – and where this story really begins
- [15:22] – Edison Square – Walt’s original vision for Main Street USA in the late 1950s
- [16:36] – How Edison Square became the centerpiece of GE’s Progress Land at the 1964 World’s Fair
- [17:03] – What Progress Land actually was – more than just a rotating theater
- [17:46] – The rotating theater concept – Walt’s obsession with the audience discovering something new in each act
- [18:02] – The Sherman Brothers and “There’s a Great Big Beautiful Tomorrow” – a belief, not just a song
- [18:51] – Walt’s personal fingerprints – Uncle Orville’s toes and the level of detail he demanded
- [19:00] – The design principle that made it work in 1964 – the oldest guests in the audience had personally lived through every era
- [21:01] – The move to Disneyland’s Tomorrowland after the World’s Fair – and the most significant change to the final act
- [21:30] – Progress City – Walt’s personal vision of Epcot as a real community, not a theme park
- [22:41] – One of the last major attractions to carry Walt’s direct creative fingerprints
- [24:12] – Walt’s Look Magazine quote – “To me, it’s a piece of clay. I can knock it down and reshape it.”
- [25:52] – The move to Walt Disney World in 1975 and the new theme song – why GE pushed for “The Best Time of Your Life”
- [27:16] – Why Lou loves “The Best Time of Your Life” and still hears “There’s a Great Big Beautiful Tomorrow” in Tomorrowland’s background music
- [27:45] – The 1993 update – Sherman Brothers song restored, new voices, a new final scene
- [28:13] – The challenge that began in 1993 – what felt contemporary has been unchanged for over 30 years
- [28:43] – The emotional math problem – why by 2026 the show skips more time between its last two acts than it covers in the first three combined
- [30:00] – What happens if you don’t change it – James on why preservation would lead to its eventual removal
- [32:46] – Show 710 with Jim Korkis – Lou’s invitation to go back and listen for deeper history
- [33:46] – Why Lou thinks this update is not a betrayal but a restoration – three-part case
- [33:46] – Part 1: The emotional math has to work across generations – and the new timeline makes it work again
- [35:41] – The moon landing as a multi-generational shared moment – what grandparents will say to grandchildren in that theater
- [36:40] – Part 2: The future problem is finally solved – why every previous final act became dated fast
- [37:09] – Why an off-planet future set in the distant horizon cannot become obsolete the same way
- [37:32] – John Hench’s original concept art – connecting the past to the future
- [38:09] – Part 3: Walt himself updated this show – the 1993 version is itself a reimagining
- [39:03] – What is authentic to Walt is not a specific date or set of appliances – it is the spirit
- [39:45] – The fan idea of sending the 1993 version to Disneyland – James on the appeal of it
- [41:57] – The moon landing as collective optimism – James and the Artemis launch, son on his lap, father on the phone
- [43:12] – Lou’s pushback on moving the 1993 version to Disneyland – guest experience and business perspective
- [45:25] – Why the hardcore Disney history fan and the average guest have very different needs from that real estate
- [46:48] – James’s dream park with every version of Carousel of Progress stacked on top of each other
- [47:08] – Disney’s broader strategy – reinvigorating high-capacity classic attractions while major expansions are under construction
- [48:38] – Why updating Carousel of Progress, like Buzz Lightyear, effectively adds park capacity
- [50:29] – Why it matters that it is still Walt Disney’s Carousel of Progress and not a sponsored reinvention
- [51:52] – The four camps of fan reaction Lou has identified from reading comments and threads
- [54:14] – Imagineers who grew up during these decades – the show is being updated by people who love it
- [55:13] – The nuanced reaction – “That’s not history, that’s when I was a kid” – and what that dissonance is really about
- [57:29] – The internal conflict fans are having – mourning the loss and being excited at the same time
- [59:08] – The central irony – the attraction teaches us to embrace progress until progress comes for the thing we love
- [59:29] – James – for the first time, Carousel of Progress will really earn its spot in Tomorrowland
- [01:00:42] – Community voices from the WDW Radio Clubhouse – Becky Mankin, Tim Brown, Sean Roberson
- [01:02:19] – The timeline isn’t just out of date for us – it’s out of date for our kids
- [01:02:29] – John Hench quote from Designing Disney – “Life is wonderful after all”
- [01:03:37] – Lou on the “time capsule” argument – and why calling it a time capsule misunderstands what Walt built
- [01:04:07] – Why Lou trusts Disney and the Imagineers on this project
- [01:05:06] – The Walt animatronic – what the Disneyland reaction tells us about what is at stake
- [01:05:33] – Sarah in Act Two – why Lou celebrates this after sixty-plus years
- [01:05:59] – Acknowledging the short notice problem – less than six weeks from announcement to closing
- [01:06:30] – The most performed stage show in American history – why a show that stops evolving becomes an artifact
- [01:07:27] – What would Walt say? James’s gut feeling: “What took you so long?”
- [01:08:01] – Lou holds both – the nostalgia and the optimism – and why that is the right place to be
- [01:08:47] – Grief is real and valid even when you believe in what is coming
- [01:10:25] – Lou’s June Meet of the Month announcement – a group Carousel of Progress experience in Tomorrowland
- [01:11:21] – Lou’s closing thought – it was never called Walt Disney’s Monument to the Past
- [01:12:00] – The carousel has always moved – and after 30 years of standing still, it is moving again
- [01:13:17] – Episode 710 with Jim Korkis – go back and listen
- [01:13:58] – Where to find James Grosch – Guide2WDW everywhere, Guide2Disney on Instagram, guide2wdw.com
- [01:15:27] – Final question: what scene are you most excited for and why?
- [01:15:39] – James picks Y2K – and what he would put in the scene (his Tamagotchi)
- [01:16:17] – The Clubhouse prompt – what artifact from any era would you put into the new scenes?
- [01:16:47] – Lou’s closing – cannot wait to experience the new show together
- [01:14:47] – Mouse Fan Travel outro and closing
The Full Story – From Edison Square to 2027
Where It Actually Begins
The story most people tell about Carousel of Progress starts at the 1964 World’s Fair. But that is not where it begins.
It begins in the late 1950s, at Disneyland, in Walt Disney’s own imagination.
Walt had a vision for a new area called Edison Square – a planned extension of Main Street USA built around a walkthrough experience called “Harnessing the Lightning,” designed to show how electricity and technology had transformed the American home and the American family. Edison Square was never built. But no good idea ever died in Imagineering, and no good idea ever died in Walt’s mind. It sat there, fully formed, waiting for the right moment.
That moment came in 1964, when Walt was developing attractions for the World’s Fair and returned to the Edison Square concept. Working with the Imagineers, he evolved it into the centerpiece of General Electric’s massive Progress Land pavilion. And Progress Land was not just a theater with a rotating show – it was a full experience and exhibition. Guests moved through different exhibits, engaged with the future, and at the center of it all was the story of the American family living through a century of technological change.
The rotating theater where the audience moves and the stage stays still was genuinely innovative at the time – and Walt was not just enthusiastic about it, he was almost obsessed. He wanted the audience to feel like they were discovering something new in each act, not watching it from a fixed point. The Sherman Brothers – the same duo who had just written the score for Mary Poppins, which was in theaters that very year – wrote “There’s a Great Big Beautiful Tomorrow.” And it was not background music. It was a statement. A belief. A promise.
Walt’s personal fingerprints are all over this. He wanted Uncle Orville’s toes to wiggle in the bathroom scene. He was that invested in the details.
And critically – the design principle that made it work in 1964 is everything for understanding what is happening now. The show was built so that the oldest guests in the audience had personally lived through every single era depicted on stage. It was not history to them. It was memory. Grandma could lean over and say, “I remember when that was how we washed clothes.” Grandfather could tell his grandkids what an icebox really felt like on a hot summer day. The whole emotional architecture of the show was built on that inter-generational handshake.
The World’s Fair to Walt Disney World – The Changes Nobody Talks About
When the World’s Fair closed, the attraction moved to Disneyland’s Tomorrowland. It was updated and revised. The most significant change was to the final act – Walt reworked the conclusion to showcase Progress City, his own deeply personal model for the future and what he called EPCOT. In the 1967 version at Disneyland, guests were transported at the end of the show via speed ramp to a second floor where they could look out over a massive, extraordinary scale model of Walt’s vision of the future. What you see on the Tomorrowland Transit Authority PeopleMover today is a very small piece of that model.
Walt passed away in December 1966. The Disneyland version opened in 1967. This is one of the last major attractions to carry his direct creative fingerprints – and understanding that is not just a historical note. It is the central reason so many people feel so intensely about what is changing now.
When the show moved to Walt Disney World in 1975, it changed again. The Sherman Brothers theme was set aside at GE’s insistence – “There’s a Great Big Beautiful Tomorrow” was a song about the future, but GE was trying to sell appliances today. The replacement, “The Best Time of Your Life,” had its own charm. But the song was not the only change – scenes were updated, the show was revised.
And then in 1993, the last major overhaul. The Sherman Brothers song came back. New voices. A new final scene – a holiday gathering with family, showing off the latest technology. In 1993, that meant phones and laser discs and a virtual reality headset. It felt contemporary. Contemporary in 1993. It has been sitting unchanged on that stage for over thirty years.
The Emotional Math Problem
Here is the clearest argument for why change was necessary – not emotionally, not philosophically, but mathematically.
The original show covered about 45 years through its first three acts, from roughly 1900 through the mid-1940s. Each act was about 15 to 20 years apart. You could feel the accumulation of progress.
By 2026, the gap between the penultimate scene – still set in the 1940s – and the “today” scene is over 80 years. The show is now skipping more time between its last two acts than it covers in the first three combined.
The generation that personally remembered those early-century scenes is long gone. The 1940s lives in history books, not in anybody’s living memory. And the future that felt exciting in 1993 – the VR headset, the laser disc – is not just dated. It is laughable. Ancient. The attraction did not become a museum because it was designed to be one. It became one because Disney stopped turning the carousel.
What Is Actually Changing
Here is what Disney officially announced. Every single scene is being reimagined:
The new Walt Disney animatronic will be modeled after the 1964 Disneyland Goes to the World’s Fair television special, with replica props from that era – the Tower of the Four Winds, the Tiki Birds, Small World dolls. This is where the story begins now.
Act One: Summer 1969. The family gathered around the television watching humanity step onto the moon for the first time. A nationally shared moment of collective wonder.
Act Two: Halloween 1985. New gadgets. New appliances. New cultural references. And for the first time in the history of this attraction – Sarah steps into the spotlight. After more than sixty years of John narrating the family’s story, Sarah takes center stage. She is the one showing the audience what the future of everyday life looks like.
Act Three: New Year’s Eve 1999. The dawn of the internet age. Y2K. The dial-up tone. The chunky cell phones. The iMac. Everything that was revolutionary in one decade and taken for granted in the next.
The Final Act: A distant, off-planet future. Not trying to predict next year or the next decade – but drawing from John Hench’s original concept sketches for a home beyond Earth. Not a near future that will become the past in three years. A distant horizon that, as James Grosch puts it, if it starts feeling dated in ten to twenty years, we have bigger problems.
What is staying: John, Sarah, the kids, Uncle Orville, Grandma, Grandpa. The Sherman Brothers theme. The rotating theater. The show’s essential architecture. And Walt’s name on the marquee.
The Case for Why This Is Right
Three reasons.
First – the emotional math works again. The whole genius of the original show was that every generation in that theater could find themselves in it. A grandparent watching the moon landing scene in 2027 can lean over and say, “I watched that on television. I remember exactly where I was.” A parent in the 1985 scene can start laughing and try to explain to their kids what it was actually like when microwave popcorn was a revelation. A thirty-something in the 1999 scene can describe Y2K to a child who has never heard a dial-up tone. That is the inter-generational handshake Walt designed. The new timeline restores it.
Second – the future problem is finally solved. Every previous version of the final act had the same unavoidable problem. Tomorrow becomes today. Today becomes yesterday. And now you are stuck. The 1993 update gave us a “today” that lasted maybe a year before it started dating itself. In 2026, it is ancient. Setting the finale off-planet – in a distant future that is not trying to predict the near term – may solve this permanently. And it does so in the most Tomorrowland-appropriate way possible: not by predicting the future of next year, but by dreaming about the far horizon. Exactly what Walt did.
Third – Walt himself updated this show. The Disneyland version was different from the World’s Fair version. The Walt Disney World version was different from both. The 1993 version that people are fighting to protect is itself a reimagining – new voices, new script, new final scene. It is one iteration across a long line of iterations, and it was always meant to be followed by another. What is authentic to Walt is not any specific date or set of appliances. It is the spirit. The optimism. The family. Technology as a source of wonder. The belief that tomorrow is something to get excited about.
Walt said, “Disneyland is a piece of clay. I can knock it down and reshape it to keep it fresh and attractive. That place is my baby.” He said that in 1964, as he was developing Carousel of Progress. That is his mindset. That is what we should carry into this.
The Irony at the Heart of All of It
James Grosch named it perfectly: the attraction is teaching us to embrace progress – until progress comes for the thing we love. Then every generation wants to freeze their version of it in time.
And Lou named the deepest layer: this is not really about the Carousel of Progress. It is about the passage of time itself. When you hear that the 1985 scene is now history and the 1999 scene is something your kids have never experienced firsthand, you are not just being asked to let go of an attraction. You are being asked to accept that you are part of that story now. That your childhood is history. That is a daunting thing to look at directly.
Every emotion is valid. Grief is valid. Excitement is valid. Both at once is valid. What matters is that when the curtain opens for the first time in 2027, we are all in that theater together.
What Walt Would Have Said
James’s gut answer, without hesitation: “What took you so long?”
The carousel has always moved. It is in the name. And after more than thirty years of standing still, it is moving again. It was never called Walt Disney’s Monument to the Past.
Go Back and Listen – Episode 710 with Jim Korkis
Before or after this episode, do yourself a favor and go back to WDW Radio Show 710. Lou did a deep dive into the history, legacy, and future of Carousel of Progress with the late, great Jim Korkis – one of the most knowledgeable voices in Disney history. Stories from people who worked on the attraction. People who knew Walt. Questions that are more relevant right now than they have ever been. It is part Wayback Machine, part Disney scene investigation – and it is essential listening for this moment.
Your Artifact in the Carousel of Progress
James Grosch would put his Tamagotchi in the 1999 scene.
Now it is your turn.
If you could place one artifact from any era – the moon landing summer of 1969, Halloween 1985, New Year’s Eve 1999, or the off-planet future – into the corresponding scene, what would it be? A toy? A piece of technology? Something from the kitchen? Something from your own childhood that defined that moment?
Lou wants to hear from you.
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Don’t Wait
One last thing – and Lou said it at the end of this episode in a way that is worth repeating.
Sometimes we think we are always going to have more time. More time to do the thing. To say the thing. To go have the experience. And then one day the window closes, and the last time you were there without knowing it was your last time.
If you want to ride the current Carousel of Progress, now is the time. July 4th weekend is the final window. Plan your trip through MouseFanTravel.com and go. Say goodbye on your own terms. And then wait – with hope – for what is coming next.
There is still a great big beautiful tomorrow.
Join the Conversation
Now I want to hear from you.
What does the Carousel of Progress mean to you? What’s your memory – your person, your trip, your moment? Are you excited for 2027? Are you still grieving? Are you somewhere in between?
Call the voicemail and tell Lou about it. He wants to hear about your kid’s face when they meet Bluey. He wants to know your Buzz Lightyear score. He wants to know if Soarin’ got you. And he wants to know what your favorite food is at Disney’s Animal Kingdom. The arepas are the correct answer.
Thanks again to James from Guide2WDW for joining me this week!
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