Gilbert Gottfried’s Work with Larry David Jeopardized Seinfeld

-Welcome back!
-Thank you. -So happy you’re here. -That’s an ad lib —
“Thank you.” That wasn’t wasn’t rehearsed. -I want to talk to you
about your podcast, but I also want to
ask you about this. You’re active on — I guess it’s
an app called Cameo. -Yeah, it’s, where you
send out — They make a request, and you send out
video shout-outs. That’s the company that
Brett Favre got in trouble — -Brett Favre, yeah.
-Brett Favre. He got in trouble because
some bad Nazi group — As opposed to the good
Nazi group. -Yeah, you can’t lump
them all together. -Yeah.
-Yeah. -You know, it’s no reason —
A couple of bad apples is not a reason to condemn all
of the Third Reich. -No.
-So, he got — See? He made apologies. With me, if they pay me,
I’ll do stuff for al-Qaeda. -You will. Yeah.
-Yeah. Yeah. I’ll be on the phone going, “Yeah, I just wanna make sure
I have infidel. Yeah, the proper pronunciation.” -Your podcast —
this is nearing 300 episodes. This is you interviewing people that you loved
when you were young. Is that a good
way of describing it? -Yeah. There’s — We’ve had on Dick Van Dyke, Carl Reiner,
Bruce Dern. -And I believe, like,
you’ve maybe had 8 to 10 people who are over 90 on your podcast. How has that been? Because they probably don’t even
understand what a podcast is. -I was originally going to
call the show “The Before It’s Too Late Show.” -Yeah, I think that’s a —
-Yeah. It’s like, if someone’s
in their 80s, people — You know, I got a great
tweet from someone after one person I interviewed
in their late 90s, and they said that
the podcast proves people don’t have to worry about being
in their 80s and 90s. -Well, that’s nice.
-Yeah. You know, that’s supposed to get
a sentimental round of applause. [ Cheers and applause ]
Yes. -I want to ask —
You know, because one thing — You know, you talk to people
who were important when you were young. You worked with some people that
have, like, very big careers. Larry David.
You did a show with Larry David. -Yeah. I did a show with —
Larry David wrote it. And it was
called “Norman’s Corner,” and it was terrible. And it was so bad a show
that when Seinfeld was trying to sell
his series, they said, “Who’s creating it with you?” And he said, “Larry Da–”
Well, he said “Larry David. Larry David
is running the show.” And one of the executives said,
“Isn’t he the guy that wrote that piece of [bleep] for
Gilbert Gottfried?” -It almost cost the show.
-Yes, yes. -Just having worked with
you once. Yeah. -Yes. And, you know, I got in
trouble on that cameo one time, because I called someone a goy. -A goy?
-Yeah. And I said — To the woman who
was complaining, I said, “Do you know what a goy is?” And she didn’t, so I sent her
a picture of you. Because you’re
the ultimate in goy. -Yeah, thank you. -Yeah. It’s like Hitler watches
you and goes, “Too gentile.” -Wait. I have something else
I want to — This is very exciting.
This is an anniversary of sorts. 27 years ago today,
“Aladdin” came out. -Yes.
[ Cheers and applause ] -I mean, Iago. -Finally, you’re applauding
when you’re supposed to. -What was it like
when it first came out? Do you remember,
like, the premiere? -It came out. There was, like —
It was winning awards. There were raves about it. They were comparing it to
“Gone With the Wind.” And they were saying to me, “You’re this iconic character,
the parrot.” So, I was working,
doing a job in California, and my hotel
was near Disneyland. So I walked over there
and I said to the girl at the ticket place — I said,
“I’m Gilbert Gottfried, the parrot in ‘Aladdin.’ Is there a way I can get
a V.I.P. pass?” And the girl, with one of those
smiles, like — she goes, “Everyone’s a
V.I.P. at Disney.” And I said to her,
“Yeah, but not everyone can get you fired, bitch.” -Well, I think that’s as good a
place to leave it as any. Gilbert Gottfried, everybody!
[ Cheers and applause ]

How Disney’s Tower of Terror Works

This video is brought to you by NordVPN. Keep yourself protected online by going to to get 75% off a 3-year plan. Link below. The Twilight Zone Tower of Terror at Disney’s
Hollywood Studios is often regarded as the best thrill ride to ever come out of Disney
Imagineering. The attraction seamlessly combines a 13-storey
drop tower with immersive dark ride elements, all tied together with detailed storytelling. The ride was considered to be an engineering
marvel when it opened in the summer of 1994, and although it may not have some of the advanced
technologies that are common on rides built more recently, it is still an impressive achievement
even by today’s standards. The Tower of Terror was such a success for
Disney that it was replicated on three separate occasions, at California Adventure in 2004,
Tokyo DisneySea in 2006, and Walt Disney Studios Park in Paris in 2007. The Tokyo version utilized a different theme
and storyline compared to the other 3 towers, and I personally find it to be the most aesthetically
pleasing of the 4 attractions. In 2017, the California version was re-themed
to the Guardians of the Galaxy film series, which included the addition of animatronics
and large screens for the show scenes, however the overall mechanics of the ride remained
unchanged. The first Tower of Terror in Orlando and the
most recent installation at Disneyland Paris both maintain the Twilight Zone theme which
is based on the classic tv series that aired from 1958 to 1964. The four Tower of Terror attractions are all
similar in concept, however the original Hollywood Studios version features a unique ride system
that is far more complex than the others, and it offers an experience that can’t be
found anywhere else. The tower portion of the ride building is
60.7 m in height, and it houses two 48 m tall elevator shafts where the drop sequences take
place, along with a large mechanical room above the shafts for the elevator motors. The rear portion of the building is about
half of the overall height at 32.0 m tall, and it contains the dark ride component of
the attraction along with the queue, load and unload areas, maintenance and control
rooms, and the gift shop. There are 4 elevator shafts located at the
back of the ride, and these connect to the main drop shafts through horizontal passageways
at the 1st and 5th show floors. After guests go through the hotel lobby, library
pre-show, and boiler room scene, they then board one of the 4 rear elevators at the second
floor. At this point, it appears that the elevator
car is the ride vehicle itself, but guests are actually boarding a semi-autonomous vehicle
that is positioned inside the elevator car. The ride vehicles are loaded onto the elevators
on the 1st floor below the passenger loading area, and they are held in place by a locking
mechanism on the floor of the elevator car so they don’t shift as the elevator moves. Once the passengers have boarded, the ride
starts by lifting the elevator to the first show scene. For the two inner shafts, the show scene is
located on the 3rd floor, and for the two outer shafts, the scene is located on the
4th floor. All four show scenes are identical, but they
are offset like this to conserve floor space. When the elevator doors open, the passengers
see a long corridor where 5 hotel guests seemingly appear out of thin air. The figures then disappear in a burst of electricity
as the hallway goes dark to reveal a single window in a field of stars. This scene is accomplished with two primary
techniques that Disney uses quite often: forced perspective and an optical illusion known
as Pepper’s ghost. The opening of the corridor is life-size,
but the walls, floor, and ceiling all slope inwards so that the height at the very end
is only about 1.2 m. This makes it appear much longer than it really
is when viewed from the inside. The wall at the end of the corridor is a rear-projection
screen with a projector placed on the opposite side. At the beginning of the scene, a normal wall
with a window is projected onto the screen, but the wall fades out of the image as the
lights go out to give the illusion of a window floating in space. At the front of the corridor just behind the
first arch, there is a large pane of glass oriented at a 45-degree angle that spans the
entire width and height of the hallway. This aligns with a second perpendicular hallway
where another rear-projection screen is hidden out of view. The 5 hotel guests are projected onto this
screen, and the image is reflected in the pane of glass making them appear in the middle
of the corridor. This illusion is known as Pepper’s ghost,
and it is the same effect that was famously used for the ballroom scene in the Haunted
Mansion. After the ghostly figures disappear, the projection
screen slides out of the hallway to reveal fiber optic cables that are used to create
the star field. Many of the walls in the corridor are scrims
made out of fabric, and fiber optic cables are actually hidden all over the show scene
behind the walls, as well as inside the elevator car. When the set goes dark, the light from the
cables shines through the scrims, and the cables in the perpendicular hallway are reflected
in the glass to make the star field appear three-dimensional. After the corridor scene is complete, the
elevator is then lifted to the 5th floor where the ride vehicle exits into the 5th dimension
show scene. This scene features a number of visual effects,
including a second star field that is achieved by two large mirrors with fiber optic cables
hidden behind them. The mirrors are oriented at an angle to each
other in a v-shape, and as the ride vehicle approaches, they slide apart to allow it to
pass through. Although there are 4 loading elevators and
4 corridor show scenes in the ride building, there are only two 5th dimension scenes on
the 5th floor. The four loading elevators are arranged in
pairs, and each pair connects to one of the main drop shafts through a single show scene. The horizontal motion for this part of the
ride uses a trackless system where the semi-autonomous ride vehicles navigate across the 5th floor
from one elevator shaft to the other. The vehicles are known as wire-guided AGV’s,
or automated guided vehicles, and they are equipped with sensors that ride close to the
floor surface. There are wires installed in the floor that
are used to transmit radio signals to the vehicle, and the vehicle is programmed to
follow the wires in a similar fashion to a line-following robot. The signals can also be used to control the
speed, direction, and orientation of the ride vehicle as it travels along the pre-determined
path. If the ride loses power and the radio signals
are cut off, or if something falls onto the floor and covers a wire, then the vehicle
will come to a stop automatically. The wire guidance system can be quite sensitive,
and it is one of the primary causes of downtime for the ride. Once the ride vehicle exits the 5th dimension
scene, it then boards an elevator car in the drop shaft for the main drop sequence. The elevator cars here are similar to the
ones used in the 4 loading shafts, and they also have a locking mechanism to secure the
ride vehicles in place. The ride has 4 pre-programmed drop sequences
that it can execute, and the computer selects one at random for each ride. Each sequence consists of a number of varying
drops and launches up the tower, with one full drop from a height of 39.6 m, or about
13 storeys. At the top of the ride, elevator doors on
the front of the tower are opened, giving guests a birds-eye view of Hollywood Studios. The two drop shafts actually extend about
8 m above this point inside the tower, but the top portion is not utilized during the
drop sequences. A certain distance is also required to safely
bring the elevator car and ride vehicle to a stop at the bottom of the tower, and so
the maximum drop height that passengers experience before braking is only about 27.4 m. The ride system that is used for the drop
sequences is based on the traditional traction elevator, and it is not that different from
an elevator that you might find in a normal high-rise building. The system was designed by the Otis Elevator
Company, and it uses two giant induction motors to accelerate riders up and down, reaching
a maximum speed of about 63 km/h. One motor is positioned above each elevator
shaft in a mechanical room at the top of the tower, and each one weighs nearly 60 metric
tonnes and can generate 2,000 HP. Each motor is connected to two cable drums
in series, and there is 1 solenoid brake on the end of each drum for a total of 4 brakes
per elevator. Two steel cables are wound onto the first
drum, and these extend down through the floor where they connect to the top of the elevator
car, which travels along rails that are fixed to the walls of the shaft. A single cable is more than strong enough
to support the full weight of a car along with a fully loaded vehicle, but two cables
are used for redundancy. Two additional steel cables are wound onto
the second drum in the opposite direction, and they are attached to a counterweight that
is used to offset the weight of the elevator car. The counterweight travels along its own set
of rails inside the shaft, and it weighs about as much as a single elevator car with an empty
ride vehicle so that the motor only needs to supply enough power to raise and lower
the weight of the passengers. Two more cables extend off the bottom of the
counterweight, and they run around a compensation pulley at the bottom of the shaft before connecting
to the bottom of the elevator car. This closed loop allows the motor to pull
the elevator car downwards, resulting in acceleration that is faster than a freefall. When the motor spins in one direction, the
car is pulled up from above, and when it spins in the opposite direction, the car is pulled
down from below. The result is an intense experience unlike
any other elevator where riders experience complete weightlessness one moment and are
pushed into their seats the next. But just like any regular elevator, the Tower
of Terror features a number of redundant safety systems that keep guests safe. First, there are the 4 solenoid brakes on
the cable drums that are used to control the speed of the elevator. Each brake has 2 arms with friction pads that
are clamped against the drum by a pre-loaded spring. There is a solenoid at the top of the brake,
and when electricity flows through it, the resulting electromagnetic force pushes a plunger
outward which separates the pads from the drum. When the flow of electricity is cut off, the
electromagnetic force is stopped, and the spring pushes the pads back against the drum. The friction between the drum and the pads
slows the drum down and brings the elevator car to a stop. This design is fail-safe because the brakes
are always active in their default state when the solenoid is powered off, and they will
stop the ride automatically in the event of a power failure. If the brakes were to fail, then a mechanical
speed governing system on the elevator car would activate emergency friction brakes that
clamp onto the elevator guide rails. There is a similar speed governing system
on the counterweight as well, so both the counterweight and the elevator car can be
brought to a stop by the emergency brakes. In the unlikely event that both steel cables
supporting the elevator car were to snap, this would also activate a set of emergency
brakes to prevent the car from falling down the shaft. If all of these safety mechanisms were to
fail simultaneously, which is extraordinarily unlikely, then the falling elevator car would
create a cushion of compressed air in the bottom of the shaft which would help to slow
the fall. There are shock absorbers installed at the
bottom of each shaft that would help to break the fall as well, however these are not designed
to catch an elevator car in a freefall. Fortunately, this has never occurred on any
of the Tower of Terror attractions, thanks to an over-engineered design and redundant
safety systems. While we’re on the topic of safety, I want
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back into Tower of Terror. After the ride has completed its drop sequence
in the drop shaft, the elevator then moves to the first floor where the ride vehicle
reverses out of the elevator. The vehicle moves backwards to the unloading
area, and it rotates 90 degrees for the guests to exit onto the unloading platform. While the vehicle is in this position, an
inductive charging system in the floor is used to charge the onboard battery in the
same way that you might charge a cell phone on a wireless charging pad. This is the only time during the entire ride
cycle when the vehicle is stationary on the ground, and so its also the only time when
the battery can be charged. The battery provides the vehicle with just
enough power for its self-driving and communication functions, and this is one of the reasons
why there is no audio or lighting onboard any of the ride vehicles. Instead, all of the ride’s audio and lighting
systems are located within the show scenes and inside the elevator cars. Once all of the guests have unloaded, the
ride vehicle then moves to the rear of the building where it boards one of the 2 loading
elevators on its half of the ride, and it is lifted up to the loading platform for the
next group of passengers. Since there are 2 loading elevators paired
with each drop shaft, each half of the ride can accommodate 4 ride vehicles operating
at any given time: 1 at the loading platform, 1 in the show scenes, 1 in the drop shaft,
and 1 at the unloading platform. This means that a total of 8 vehicles can
be cycling through the attraction at once, giving a total ride capacity of nearly 2,000
guests per hour. And since the two halves of the ride are independent
from each other, one side can often operate by itself when attendance is low or when the
other side is down for maintenance. This ride system makes the Tower of Terror
very efficient, however Disney decided to make changes to the design for the California,
Tokyo, and Paris versions to increase the capacity further and reduce downtime. Since the wire-guided AGV’s were a common
source of reliability issues, they eliminated the need for self-driving vehicles by removing
the 5th dimension scene and the 4 loading elevators. The corridor scenes that were previously attached
to the loading elevators were moved over to the drop shafts, and a second show scene was
added at the 5th floor. The scenes vary quite a bit between attractions,
especially with the recent conversion of the California tower to Mission: Breakout, however
they all originally featured similar effects like forced perspective and Pepper’s ghost,
as well as other mirror tricks. Since the new ride layout does not utilize
AGV’s, the loading platforms had to be relocated to the drop shafts, but here the ride vehicles
are loaded and unloaded outside of the elevators. Once passengers have boarded a vehicle, it
is pushed into the elevator car by a mechanical grab that travels along a track, and after
the ride is finished, the grab pulls the vehicle back out of the elevator for unloading. A second loading area was also added one level
below the first, which allows one vehicle to be loaded while a second one is going through
the ride cycle. The elevator system itself is essentially
identical to the original one used in Orlando, but here it is used for the main drop sequence
as well as moving between the show scenes. Since each drop shaft can only accommodate
2 ride vehicles in this configuration, a third shaft was added so that a total of 6 vehicles
can cycle through the attraction at a time. This greatly increased the overall capacity
of the ride, and it also allows two shafts to remain open when one is down for maintenance. There’s no arguing that the second iteration
of Disney’s Tower of Terror is a far more optimized design compared to the original
Hollywood Studios version, however it doesn’t quite offer the same immersive experience
that you can only find in Orlando. While Tokyo may have the best aesthetics,
and California may have the most engaging storyline, there’s still something special
about the journey through the Hollywood Tower Hotel and crossing over into the 5th dimension
that Imagineers simply haven’t been able to reproduce. Hey everyone, I hope you enjoyed today’s
video about Disney’s Tower of Terror. Let me know what your favourite Disney attraction
is in the comments, and I’ll try to make a future video about the engineering behind
it. Please subscribe if you want to see more content
from this channel, and don’t forget to hit the bell to get notified as soon as new video
comes out. Thanks for watching, and I’ll see you in
the next one.

This Is What It’s Really Like To Work As A Disney Princess

Working as a Disney princess sounds like a
job straight out of a fairytale. But there’s a lot more to the position than
you would think. Here’s what some workers have revealed about
what it’s really like to play Disney royalty at a theme park. If you’re auditioning to become a Disney
Parks princess, you should know that you might have to start at the bottom before you make
it to the top. While the standard audition process for other
productions usually involves learning lines and mannerisms specific to one character,
your audition to play a Disney princess is actually your audition to play any of Disney’s
many beloved characters. In other words, even if you ace your audition,
you might not become royalty right away. As a former Disney princess explained in a
Reddit AMA, The overall process can be pretty brutal as
well. An anonymous woman who once portrayed Rapunzel
at Disney World spoke to Insider about her experience, revealing surprising details about
her audition process. The former Disney princess, who asked to be
called Brianna Smith, said, It’s probably not shocking to hear that women
have to look a certain way in order to become a Disney princess, but you may not have realized
that these women also have to be a specific height. In an interview with Insider, a former Disney
World Rapunzel revealed that one of the most important aspects of being a princess is uniform
height. To play a standard Disney princess, performers
need to be between 5’4″ and 5’7″. However, to play a pint-sized princess like
Tinkerbell, one has to be between 4’11” and 5’1″. Katie McBroom, who used to play Snow White
and Princess Leia, told BuzzFeed that the height requirement exists because actors at
Disney have to be able to fit into costumes that already exist. Basically, they don’t make a costume or uniform
specifically for each new actor. The Disney staff doesn’t do costume alterations
for each specific actor, so if your measurements aren’t exactly right, you’re not getting the
gig. Aside from height, your physical appearance
is extremely important when you’re a Disney princess. A Disney princess who goes by Becca told Refinery29
that Disney has a certain style that they expect their employees to follow. Some of the guidelines of this “Disney look”
prevent performers from coloring their hair any shade that doesn’t look natural and
insist on fingernails being neatly manicured and natural in shade. Becca revealed that management keeps an eye
on the princesses’ appearances and can tell them if they need to “fix” something. The former employee added, A Disney princess speaking anonymously told
Real Simple that they also have to watch how they look when they aren’t on the job, saying, All work and no play makes a perfect princess,
we guess. “Whatever.” Playing a Disney princess means attracting
a ton of attention from guests, and sometimes things can get really personal. Brianna Smith told Insider that during her
time playing Rapunzel, one woman told her that she had recently suffered a miscarriage. Disney princess Becca told Refinery29 that
she’s had similar experiences, saying she’s seen all sorts of guests throughout her time
in the parks. Other than overly excited kids, Becca revealed
that adults are often just as enthusiastic and even emotional, saying: There’s a lot of training that goes into
being a Disney princess, not unlike most other jobs. Often referred to as “princess school,” it’s
where Disney princess hopefuls go to learn everything about the character they’ll be
playing, including their background, how to apply their makeup, their official signature,
and their unique voice, personality, and quirks. “Oh! Hi, I’m Tinker Bell! But, all of my friends call me Tink.” Brianna Smith told Insider that you have to
know your assigned character “inside and out,” and revealed that she used to rewatch the
movies all the time to get a better idea of who her characters were. Smith explained: An anonymous princess who portrayed Belle
at a Disney Park told Cosmopolitan magazine that princesses have to smile for “an hour
straight” and can only drop those smiles when they are behind closed doors on a break, revealing: The former princess also said that her time
spent interacting with the guests was limited because princesses are told they have to greet
172 guests every hour. She explained that there were ramifications
if princesses failed to meet the magic number, and if a they racked up four strikes, they
could be fired. Former Disney princess Emily Cook Harris revealed
to Reader’s Digest that the job is not as easy as it seems, saying, For many, another grueling part of being a
princess was the constant improvisation that was involved. Katie McBroom told BuzzFeed, McBroom explained that a lot of people try
to get the princesses to break character by bringing up random things like Nintendo, which
characters like Snow White couldn’t possibly know about. McBroom revealed she’d simply respond by
saying things like, “Oh, I don’t know what you mean.” An anonymous princess echoed these sentiments
to Real Simple, saying, Of course, knowing the movies inside and out
is infinitely helpful in knowing exactly what the park-goers are talking about so you, err,
your character, can formulate the appropriate response. The guests who try and make the princesses
to break character are mostly harmless, but there are some who have ulterior motives. The princesses sometimes have to deal with
dudes who take it upon themselves to play the role of Prince Charming and flirt with
the actresses while they’re in character. “Do people assume all your problems got solved
because a big, strong man showed up?” “Yes, what is up with that?!” “She IS a princess!” An anonymous princess who played Belle told
Cosmopolitan that one uncomfortable part of her job was dealing with visitors who would
blatantly hit on her while she was in character, revealing: “Guys, I find that really distasteful.” While being a Disney princess may seem like
a great job, not every gig is regarded so highly. One position a lot of employees don’t want
is the role of a furry character, but most every princess has to don an uncomfortably
warm and cumbersome costume for a bit before moving on to the likes of Snow White and Cinderella. At Disney Parks, fur characters are any character
who wears a full face costume and doesn’t talk. One former princess told Insider that the
powers that be can make a performer play any fur character, saying, An anonymous princess told Cosmopolitan magazine
that playing a fur character is “exhausting,” saying, Despite the highly uncomfortable and even
dangerous circumstances, playing a fur character is reportedly a requirement. In Reddit thread, a former princess revealed
that performers aren’t allowed to train as a princess unless they’ve paid their dues
in fur training. Like any other job, Disney employees deal
with a certain social hierarchy, and unfortunately, the princesses don’t always have the best
reputation. Speaking to Insider, one Disney princess insinuated
that the princesses are the “queen bees” of the Disney employees. She explained there is an “unwritten social
hierarchy” behind the scenes, saying: “Oh look, you guys! I’m Rapunzel!” “I gotta say, that seems right. You’re adventurous, a little crazy, and way
too into your hair.” Another former princess revealed a similar
experience in a Reddit thread, saying that many of her co-workers perceived her as being
stuck up, something she insists couldn’t be farther from the truth. The anonymous actress wrote, Additionally, an anonymous princess shared
with Real Simple that she believes the princesses got a bad rap because others assumed they
thought themselves to be “really pretty” or wanted to be “real-life princesses.” Though, according to the actress herself,
that was never actually the case. Disney princesses are always on their toes,
and not just because of uncomfortable glass slippers. The performers portraying your favorite Disney
characters are expected to be able to play any other character at a moment’s notice. Emily Cook Harris told Reader’s Digest that
last minute schedule changes are far from unheard of, meaning a princess will often
have to take on an entirely new role. While they’re not technically princesses,
Harris revealed that she once had to go straight from playing Alice in Wonderland to jumping
in character for Wendy Darling from Peter Pan. The actress told Reader’s Digest: Similarly, the princesses have to make sure
they look and act exactly right so that they can completely mimic the other employees playing
the same exact princess in a different area of the park. For example, if two Snow Whites are wandering
around the park, they’re both expected to look the same, talk the same, and have the
same signature. Otherwise, you run the risk of really freaking
out some kids. Employees don’t just have to look exactly
like the Disney princesses they’re playing, they also have to sound like them. That means performers have to train rigorously
to nail the princesses cadences, catchphrases, mannerisms, and they often have to learn to
change their natural speaking voices entirely. An anonymous princess told Real Simple that
performers go through a ton of voice training with a dialect coach, explaining, A Disney employee told BuzzFeed that a Disney
character’s voice is typically higher than an employee’s actual voice. The anonymous worker revealed, Beauty is pain, and apparently the life of
a Disney princess is, too. Check out one of our newest videos right here! Plus, even more List videos about your favorite
stuff are coming soon. Subscribe to our YouTube channel and hit the
bell so you don’t miss a single one.

Working at Disney Be Like…

I’m noticin’ a spike in Disney related videos here on YouTube I ain’t complait-in’ All I’m sayin’ is… none of y’all turkeys love Disney more than me I just can’t be up on here every week talking about Tangled and Brave That’s going to hurt my street cred! I be going to the cypher I cant be in the middle of a freestyle battle and have these dudes clowning on me Lemme tell what kind of cast member I was.
I would work my 8-hour shift at Disney, clock out and hang out at the park the rest of the day until the park closes by myself! Waka Flocka: ♫I go hard in the ♫ ♫ pa – pa – paint ♫♫ I do miss workin’ at Disney, I’m not gonna lie However, comma, there’s some thing I won’t miss. For example, I won’t miss how everybody and their mom would be hittin’ me up asking for free tickets. Gettin’ phone calls at 6:00 in the morning like “Hey bud, I’m gonna need you to meet me at the gate tomorrow, I’ll need aboooouuuuut…. 15 passes.” “Uh… [sigh]… who is this?” “[scoff] It’s me, Charlie” “Remember that time I gave you gum in school that one time?” “Anyways, I was driving by a playground, and I saw these kids and I was like” “‘Hey! Who wants to go to Disney? I know a guy!’
I don’t even know any of these kids.” “So if you could just meet us tomorrow — hold on, hold on.” Charlie: “Amelia, put down that knife!” Charlie: “I knew I shouldn’t have let you guys watch Fight Club!” Charlie: “Adande, let me call you back.” But something else I miss, I missed cast member relationship drama. You know how many Disney employees would only date other employees? Like I’m sure you guys have heard friends make a pact like “Ok, if I’m single, and you’re single, and we both turn 30, we’re just gonna get married, ok?” At Disney here’s how it goes: “If I’m single, and you’re single, in…. mmmm…..I dunno, 30 seconds, yeah, we should date.” “If — er — I can’t even wait that long. I’ve already changed my Facebook status, it’s offish. It’s Facebook offish.” If you’re a straight single guy working at the Disney parks you have like a 98 percent chance of getting a girlfriend if you get hired. Here is why: A number of really good looking guys around you… don’t even like girls. That eliminates a lot of competition right there. And after that there’s only really two other types of straight guys left at Disney: There are the regular straight guys, and then you have the “extra happy” straight guys. They usually carry around a fanny pack, just in case they have to time travel back to 1998 they go to the park with their Kylo Ren doll and they push it around in a ‘lil stroller and they’re really concerned about trading pins. There’s nothing wrong with these guys. It’s just they’re not really concerned with getting a girlfriend. So I said you have a 98 percent chance, but in reality that’s like a 3000 percent chance you have of getting a girl coz there’s virtually no competition, which kind of confused me coz I had no girls, and I was not that guy. Just one thing that happened to me at Disney, I’m sure this happened to some of you guys you have coworkers that actually don’t put forth that much energy, or maybe they put forth the same or even less but they’re the ones getting rewarded. So if you do anything and you like exceed expectations you get what they call a Fanatic Card. Everybody would get Fanatic Cards except for me. There was one kid in the college program who was literally breaking rules and getting Fanatic Cards. Be talking to the manager like “Man, you remember them cheerleaders that came thru last weekend?” “Yeah, of course, how could I have not – of course I do!” – “I got one of their phone numbers.”
– “That’s great – omg, that’s amazing!” – “I went back to one of their hotel rooms.”
– “You’re saying yes to a guest request.” – “I made out with her too.”
– “Oh, what?!” – “Actually, I made out with two of them.”
– “You’re just showing that you’re a team player.” “That’s what I love about you, you work well with others.” “And – you know, when I left their hotel room, I stole their purse.” “G Wilikers! You’re going above and beyond the call of duty modern warfare.” “They had a hundred dollars in it too, and I bought some crack with it.” “That’s – that’s it, that’s it, I’m giving you a Fanatic Card.” So one day, I just got bored. I wasn’t even trying to get a Fanatic card right? Disney put this temporary Beach Ball Kiosk next to Indiana Jones, And the guy who was running it was actually my boy Renee So I got this idea, I went over to Renee I’m like, “Renee. Lemme borrow one of these beach balls, son.” He gave me one of the big beach balls And I walk into the theater and I tell everybody: Hey guys is it cool if I pack everybody’s section? Now everyone at Epic hates packing the theater, when you gotta get down front and yell in front of everyone “Hey guys! Can you scoot in? Fill in all available space!” Everybody hates doing that I even hated doing that So I get the beech ball and go down front “Everyone! I need you guys to do me a favor” “If you guys all scoot’n over here, then I’ll do a back flip! Off of this rail” Everybody scoots in. I get up, do a back flip (yay! *furious applause*) This is a three-man job, I packed everybody’s section, over twenty-two hundred people By Myself! Flocka: ♫ I go hard in the ♫ ♫ pa-pa-paint ♫♫ Then once everybody was packed in, “since you guys have been so awesome, guess what? We gonna party! And I bring out the beach ball, and throw it to the crowd and everybody’s like crazy with the beach ball EDM music festival up in this piece. Steven Aoki shows up and starts throwing cake The manager got wind of this, I started doing this for every show. You could tell they hated the idea, that I was having so much fun I wish you would come down here and say something, I wish you would but you can’t! And not only that, after each show Renee has a line around the block of people tryna buy beach balls Get on my level! This happened every weekend for three weeks in a row You think I got a fanatic card for this? Na! The manager was so salty, they were making it obvious that they don’t want me to get a fanatic card Renee got a fanatic card for selling so many beach balls! Kay, so they started handing out fanatic cards to the guests in line who don’t even work here! You know what, fluff it! Two tears in a bucket. One weekend I go in there, I pack the theater, bust out the beach ball. And then the AV tech guy Walks in and he’s like “Uhh hey uuh whats your name tag say?” “Ada- adalandaly-ada-adaline?” “You can’t be given em’ the beach ball?” “Oh yeah?! Why nah?” “Uhh see we, the see the tech booth, right up, see right there? We got buttons, pyrotechnics and uhh pyrotechnics” “Can’t have the balls flying in there and it might push a button, might blow some stuff up.” “Uh yeah, I can’t take the ball away right now because these guys are waiting for the bass drop.” “Uhhhhhhhhh yeah no.” “Yeah okay, here’s an idea, how bout’ I stand along the perimeter outside the tech booth” “and as soon as the ball comes close, STOP!” “Stiff arm! Just knock it away” “Because I mean the ball weighs zero point negative five ounces anyways” ” So even if it landed in there… it wouldn’t press any buttons” “Listen Adele, uhhhhhhhh no.” And after they shut down all my fun, they went back to rewarding everyone else. “Uh, uh uhhhh, errrr! Look at Steven! Look at em’!” “He’s role playing with the guests.” “He’s not role playing!” “He’s Captain Hook, the little boy is Peter Pan” “and the little boy stabbed him with a imaginary sword, and now he’s-” “Look at him he’s role playing! He’s playing dead!” “The little kid pretended to stab him two hours ago! There’s flies buzzing around his mouth!” “He’s over there taking a nap!” Manager: “Stop hating, hater.” Manager: “Steven get up! Come back to the office with me, lemme give you a fanatic card!” Manager: “Adande, look at ‘im! He doesn’t even want to break character for fanatic card!” Manager:”Steven, okay, you know what Steven? You can stay right here I don’t want to mess with your mojo” “I’ll go to the office, I’ll come back with like, 15 fanatic cards!” Swoozie! WOO (crowd cheering) Where you guys from? We’re from Vancover It’s going down (Music)

Working with Segregationists Comments Don’t Hurt Joe Biden’s Popularity

-Let’s get to the news. According to a new poll,
the controversy surrounding former Vice President
Joe Biden’s recent comments about working
with segregationists had no impact on his popularity. Here’s what his popularity
looks like. [ Laughter ] Party officials have released
the ground rules for this week’s
Democratic primary debates, and candidates will have
60 seconds to answer questions and 30 seconds to respond
to follow-ups. Follow-ups like, “I’m sorry.
What was your name again?” [ Laughter ] “No, no, not you, the other one
who looks like you.” President Trump today bragged
about Wall Street performance, tweeting,
“Stock market is headed for one of our best months
in the history of our country. Thank you, Mr. President.” [ Laughter ] Is he thanking himself
in his own tweet? That’s like leaving yourself
a voicemail the morning after you masturbate
to say you had a good time. [ Cheers and applause ] “Anyway, call me back. You know the number
because it’s this number.” [ Laughter ] First Lady Melania Trump
announced today that her director of
communications will shift over and become the next
White House press secretary. It turns out
you don’t really need your own communications director when you never actually,
you know, communicate. [ Laughter ] Boeing is currently
in possession of so many malfunctioning
737 MAX jets that they have started
storing the planes in their employee parking lot. Either that
or Jerry in marketing finally got that raise. [ Cheers and applause ] “Wow. Wow, Jerry, looking good.” “Yeah, thank you.” The LEGOLAND amusement park
in New York has constructed the world’s
smallest pride parade made exclusively
out of toy bricks. “Oh, no, ours is smaller,” said Alabama. [ Laughter and applause ] IKEA has begun testing
its own food-delivery service. Unfortunately,
it also comes unassembled. [ Laughter ] Federal officials today
announced the launch of a program
to combat robocalls, which they are calling
Operation Call it Quits. “Sorry, that name
is already taken,” said Trump’s personal trainer. [ Laughter ] [ Cheers and applause ] Disneyland this week opened
its new “Star Wars”-themed park. The park has nine sections, but it’s only worth
seeing the first three. [ Audience groans ] [ Cheers and applause ] [ Laughter ] You didn’t love it. But it doesn’t matter,
’cause this next one… [ Laughter ] It was reported —
[ Laughs ] [ Laughter ] It was reported today that Cuba
will open its first sex shop. It’s called Fideldo’s. [ Laughter ] [ Cheers and applause ]

Things To Do In Line At Disneyland And Apps To Play On Your Phone While You Wait For Rides

in this video I’ll be showing you apps
that are really good at Disneyland to play while you’re waiting in line for
the rides so of course the first app you want to get is a Disneyland app –
this isn’t for the rides but just to know the wait times for the rides so I’m
gonna get out of this app okay there is a good app for when you’re in line for
the rides that goes along with the rides it’s Play Disney it will be for
certain rides sorry I got a new phone so everything okay everything’s not
gonna be updated because I have to like re login okay so I’m just gonna kind
of show you but not like get into the app so Play Disney is gonna be something that you’re gonna be wanting to play in certain lines so when you’re in line for
Peter Pan or certain rides you’ll want to play the play Disney app in the line
so kind of just download the app and then kind of watch for what rides are in
and then it kind of connects with it and you get points and stuff um kingdoms turn this it’s kind of like a fun game
like all the Disney characters and stuff just kind of a fun game to play because
it’s all you know all Disney so it’s kind of fun like I said I have a new phone
so it’s restarting everything turn it up it’s not playing oh no sound oh well
so that’s a fun game to play so anything that’s Disney themed basically
is really fun for Disneyland okay for little girls the Palace pets is fun
because it’s the Disney Princesses and their pets so this one’s really cute my
daughter likes this one even though she’s a little older she still she still
likes it so like that’s Cinderella’s puppy so that’s kind of a fun game to play for
little girls Disneyland Explorer this one isn’t
really like a game but since you’re at Disneyland it’s you know Disneyland
it’s kind of you’re just scrolling through Disneyland and you go through
downtown Disney you go through like the hotels area it’s kind of like see how I’m
just scrolling through even though you’re at Disneyland you’re like oh I’m
here I don’t need to look at this it’s still and see there’s toontown just
kind of fun or if you’re going for the first time and you want to just download
it to show your kids it would be fun anyway so that’s another one puzzle ones
are fun to like word cookie and mahjongg solitaire Sparkle those are always fun
games to play and then Disney CR so Disney Crossy roads that’s a fun one to
play cuz it’s Disney again so it’s kind of just I have to log into everything okay and then um emoji plaits it’s all the Disney emojis so I don’t know how to play this one my daughter always plays this one and she loves it it’s kind of like all these little
games that play with it Disney emoji so that one’s a good one to
play to for kids my favorite one to play at Disneyland is the it’s Ellen’s game
heads up and we have the Disney parks deck I think they’re all 99 cents to get
the addition of the extra decks so the Disney parks one if you get this one
it’s really fun I’ll show you kind of how okay so you got like you know
Ariel’s little crab dude got to tilt it down
Peter Pan obviously those easy ones so you just explained explain the characters
they guess it’s on their head their foreheads and then like you explain you
know Lilo’s little alien character then they say stitch and they guess it
right Woody’s little horse character they’ll guess bullseye and then they get to
write you know Aladdin’s princess they guess Jasmine they guess it right you know
then they say California adventures water show then guess world of color
it’s all like and then Frontierland you know they just say like the land in
Disneyland that’s like cowboys and western themed you know this up then what
everybody wears your Disney man that’s Minnie Minnie mouse ears so that’s how you play
anyway that one’s my favorite one lots of people play it in Disneyland and
there they play the other ones too like the mime one act it out our favorite one is the Disney parks one because obviously that’s like perfect for
Disneyland so and then just some other things to do in line – when
you’re waiting besides you know people watching is playing I spy or twenty
questions just like or the hand slapping game when you try to have two hands out
each and you like try to slap it or you know rock-paper-scissors
just stuff like that comment below what kind of fun things do you like to do in
line that are creative that most people don’t think to do because I’m always
looking for new things to do in line while we wait for rides I hope this
video helps give you some ideas of some new apps you can do when you’re waiting in line for the rides that Disneyland if you liked this video give it thumbs up
and subscribe for more Disneyland videos like this thank you for watching you

Abigail Disney not happy with workers’ conditions at theme park


Industrial Engineering at Walt Disney Parks and Resorts

what inspires me everyday is knowing that our guests are waiting a long time to come here and saving up to have those precious memories with their families as an industrial engineer I get a look at where the attractions going to go how the guests are going to interact with it and what experience we want our guests to have one of my favorite things about working in the industrial engineering department is it we really focus on the collaborative as opposed to the competitive work environment so constantly I'm going back and forth and asking my counterpart who supports the other Park and saying how would you handle this situation and kind of brainstorm a lot of things together one thing that I love about the Industrial Engineering rotational program is in the past five years I've been able to support three very different client areas first I started off at Disney's textile services which is one of the largest laundries in the world next I went to Disney Cruise Line I was on the team that helped planned at the Disney Wonder relaunch in 2016 I looked at the guest experience both on board and at Disney's Castaway key and then planned for how we were going to change during the relaunch in Spain and then afterwards look at how guests were experiencing our beautiful new spaces now I support the master planning team that looks at the needs for the next 10 years at our part coming from the outside and starting work at Disney was a complete paradigm shift for me now I needed to get inside the guests head to understand their dynamics wants and needs I loved focusing and trying to find patterns and problem-solving mostly then once I found out about Disney it was really incredible that we could apply all of these problem-solving than that mindset and working with people to a theme park environment after my sophomore year I applied for an internship here that was a really incredible experience for me I just started full-time about a year and a half ago I think the greatest part about working here is that I'm sitting directly at a table with the vice president of the park with the GM's of all the park and they all know me by name and everything we do we want to give the guests that wow we want to completely immerse them in a new environment I got the opportunity to support so many different areas distribution horticulture textile services Disney Cruise Line all the parks entertainment Disney vacation planning Disney Spring and here I get to partner with all of these to keep pushing forward and deliver on industry trends everything that we do is telling a story we have so many numbers that we're always looking at and so what we do every single day is try to take these numbers and see how do we place this on a page to really tell a story and really make our point come across you're constantly focused on the guest experience like that's what it all comes back to we have our four keys here and it's safety courtesy show and efficiency and while efficiency is important at top of mine for me it's really not necessarily always going to be the most important thing so we're tying it back constantly to Walt's vision and what the guests experience ultimately will be in the end of the day this year I was very honored to be nominated by my peers to get the Legacy Award this embodies Walt's dream create and inspire every day I get a dream big with all my partners here to figure out what we want to provide for the guests and also to look at their experiences and create those memories I love that I'm part of teams that's looking into the future and using strategy and advanced analytics to come up with those products and the new attractions to make sure that they have a balanced and very fun experience here

Rafiki’s Planet Watch – Full 2019 Renovation Tour – Animal Kingdom

hey guys Henry here at the newly reopened conservation station for the keys planet watch Animal Kingdom I'm gonna give you a little tour of what's changed what's the same and what's going on in here so as you come in off the train what was originally the entrance is now exit only so don't go in that way go in secret passage to the left the affection section is still here also known as the petting zoo area about all the animals for you to interact with we shop here right now is appropriately Oh Lion King stuff as are all the characters that you draw in the animation experience do you have frames for sale so you're really proud of the drawing that you did in the class [Applause] as you enter all the animal divots are still down to the left most of the center has been taken over by the as you can see the animation experience does take a while the better room is pretty big crowd for this show and all of the educational exhibits are still intact as they were the main difference is that the doc McStuffins meet-and-greet is no longer there you can't meet Rafiki here anymore and the sounds of the rainforest exhibit is covered by trees to be appropriately Concord take them all to consider Lord ask you know you are going to be headed inside for your animation experience and you are welcome to hang out with us we are looking at kawaii who is our milk people trained in the art fitness courtyard for the last two weeks with our birds but you know what hasn't been here with our really cool experiences with our Packman monica is going to help wedding be successful that's what we're doing all the time we want him to be able to earn those treats that we're offering them so she's making it a little bit easier movie in that perch a little bit closer we feel like that too and they can't rate we wanted to says it's awesome so the more that clay does this with all of you around the more and more quick he'll be at knowing exactly what this behavior is at home did all the smart that's really fast so Coletti is gonna head on out of here in just a second and I want you guys to hang out if you don't have to rush inside because we might have another murder – you got a problem out here – hanging out as well do you guys have any questions anything that we can wait exactly delivering content Kevin things like insects that would be flying around please one of his favorite foods and spit yes so we'll see if you want to maybe even do one or two months before he has done out of here you guys are just showing up my name's Larry I'm over here this is brew our knob for milk learning in this environment today second everything out