Slamdance Review: Stolen Kingdom Offers a Fun Yet Insightful Glimpse into Disney Enthusiasts

      Depending on whom you consult, the cultural influence of the Walt Disney Company can be seen as either a delightful phenomenon or a relentless nightmare. From Marvel to Pixar, 20th Century Studios to Lucasfilm, and theme parks spanning from Orlando to Tokyo, with cruise ships sailing in between, Disney’s presence is ubiquitous. Given this immense visibility and impact on people's lives, it's not surprising to witness peculiar fan communities emerge––like Disney Adults who cling to their childhood wonder long after growing up. Joshua Bailey’s Stolen Kingdom explores one of the more extreme branches of Disney fandom through urban explorers, whose fascination with Walt Disney World extends far beyond the theme park's official boundaries. It offers an entertaining, albeit superficial, glimpse into a strange subculture that, while occasionally humorous, leaves much to be desired.

      Bailey employs a hopscotch narrative structure to introduce the mystery of a missing animatronic from a defunct attraction before delving back in time to explain urban exploration. Interviews with various YouTubers illustrate the appeal of documenting their excursions through abandoned and forgotten sites, with Disney World’s popularity and strict security making it a prime location for filming and gaining fame. The park's vast size and the high cost of dismantling closed rides often result in their abandonment, and for Disney, these remnants of the past are not worth preserving in their vault. Some fans beg to differ: one interviewee expresses his view that theme park attractions are art pieces, meaning Disney must contend with die-hard fans willing to take risks by exploring restricted areas. An obvious connection could be made between Disney capitalizing on nostalgia while pushing back against fans who do the same, but Bailey chooses not to explore this link.

      Instead, the film transitions to the ’80s and ’90s, featuring former Walt Disney World employee Dave Ensign as he captured footage of himself and friends engaging in various antics in the park. Much of the footage is entertaining, such as the moment someone sneaks Playboy magazines onto the set of a dark ride at Epcot, though it may not reveal much new for anyone who experienced summer jobs as a teenager. Bailey guides us through this light historical overview to illustrate a generational connection––Ensign uploaded his footage to YouTube in the late 2000s, inspiring others to showcase offstage activities.

      This serves as a considerable setup to explore the absurd and entertaining developments of Disney fandom in more recent times. Ensign, now older and more reflective, reminisces about his youth while also comprehending and respecting others who are equally obsessed with Disney. After the passing of one of Ensign’s closest friends (and accomplices during their time at the park), he films himself honoring the friend’s last wish: to scatter their ashes at Magic Kingdom, a task he accomplishes after sneaking them past park security. Bailey’s direction mirrors Ensign’s perspective, treating his subjects and their passions with respect and avoiding mockery, while also acknowledging the extremities of their obsessions.

      The film takes a different direction in its final act by focusing on former Disney World employee Patrick Spikes, who previously operated an account called Back Door Disney. Like Ensign and the urban explorers, Spikes relished sharing the park’s behind-the-scenes elements with others. However, when he uncovers a market for selling old ride components, things take a criminal turn, ultimately leading him to steal a large animatronic. While Spikes insists on his innocence, he becomes the primary suspect as the police begin to investigate the theft, and in a single day, his operation collapses.

      Bailey strikes gold with Spikes as a subject––his pitiable nature and lack of shame evoke a character straight out of a Coen brothers comedy. He is bold and unapologetic, displaying a lack of self-awareness, as evidenced by his indifference to being banned by Disney while surrounded by park memorabilia in his room. A highlight of the film occurs when Spikes recounts the day he was arrested, describing it as though he were a mastermind several steps ahead of law enforcement. Bailey contrasts this narrative with footage from the police interrogation that presents a more desperate and humorous perspective on the events.

      Stolen Kingdom successfully highlights the moments where people's affection for Disney veers into more unsettling territory with tangible legal consequences. While the film is a brief and enjoyable watch, Bailey struggles to connect the various themes in a way that matches its finest moments. Considering the decades of history and the diverse ways people become enamored with just one aspect of the Disney corporation, there’s a feeling that Bailey has only skimmed the surface of a much more profound topic. Nonetheless, what he captures is sufficiently entertaining, providing a glimpse into a subject brimming with potential.

      Stolen Kingdom was screened at the 2025 Slamdance Film Festival.