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Escape from Tomorrow: Disney, institutionalized whiteness, and the difficult knowledge of being

In January 2013, Escape from Tomorrow, Randy Moore’s directorial debut, premiered at the Sundance film festival. The surrealist fantasy follows Jim White (actor Ray Abramsohn), a newly-laid off, sexually frustrated father on a family trip to Walt Disney World, as he encounters the darker side of “The Happiest Place on Earth” and subsequently suffers a mental, and eventually, physical breakdown. Touted as a feat of guerilla filmmaking techniques, the film was shot almost entirely inside the gates of Walt Disney World in Orlando, Florida and Disneyland in Anaheim, California, without the permission of The Walt Disney Company, a fact that has brought the film considerable media attention. In April 2013, Escape from Tomorrow was hand-selected by Roger Ebert to be screened at his film festival in Champaign, Illinois. On the festival website, Michal Oleszczyk (2013), while acknowledging the film’s shortcomings, praised its “effrontery” and described the central theme of the film as “the terror of ubiquitous entertainment” (para. 5). In spite of the enthusiastic reception it received at Sundance and the endorsement of famed critic Roger Ebert, the film has been far from a commercial success, grossing just $63,297 in its opening weekend in October 2013, when it was simultaneously made available to the public via Video On Demand and theater screenings in select cities (IMDb 2013). Clearly, Escape from Tomorrow was not destined to garner the box office figures achieved by the blockbuster hits that opened the same weekend, but it nonetheless achieved the purpose set forth by Randy Moore, who describes the film as his “personal attempt to make sense of what felt like a very artificial childhood, brought on by our cultural obsession with these fake, manufactured worlds of so-called fantasy” (quoted in Carey 2013, para. 10). Neither that cultural obsession nor those manufactured worlds of fantasy are accidental; rather, both are carefully cultivated via entertainment corporations, none of which seems to have as much global influence as Disney. The Walt Disney Company is a major multinational entertainment corporation,