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Storyland Locations is proud to announce its sponsorship of the 2026 American Alliance of Museums (AAM) Annual Meeting — one of the museum community’s most significant global gatherings of leaders, practitioners, and cultural institutions.

AAM champions equitable, impactful, and community-focused museums by connecting people, fostering learning, and nurturing excellence across the sector. Representing more than 35,000 museums and museum professionals worldwide, AAM works to “better our communities, and our world, through collaborative human‑centered experiences, education, and connection to histories, cultures, the natural world, and one another.”

Each year, the AAM Annual Meeting brings together museum professionals from around the world to share research, operational insight, and new approaches to public engagement. The event serves as a vital forum for exploring how museums continue to evolve as spaces for learning, storytelling, and community connection.

Working in partnership with Storyland Studios, Storyland Locations brings exhibits and environments to life through a uniquely strategic and creative approach.

“At Storyland, we start by listening,” said Ben Thompson, CEO of Storyland Locations. “We collaborate closely with museums and science centers to understand who they are at their core. From there, we carefully match stories and intellectual property that complement and reinforce their vision, while also thinking deeply about how those stories best serve the public.”

Storyland Studios is a multi-disciplinary design firm that believes in the power of story to create transformative experiences, experiences that engage guests’ emotions and connect us to something bigger. We work across the Theme Entertainment space, uncovering and developing unique stories that build incredible experiences

Story is especially vital in museums, where visitors often encounter ideas, objects, or cultures for the first time. Whether exploring art, science, history, or global perspectives, story is the thread that connects us to place, time, and one another. Storyland is passionate about collaborating with museums to create experiences that inspire lifelong curiosity and personal transformation.

“We work side by side with our clients to craft experiences that are authentic, intentional, and aligned with their mission,” said Mel McGowan, Chief Creative Officer, Storyland Studios. “Every touchpoint can be designed to deliver emotional resonance — supporting the AAM’s commitment to connection, learning, and community.”

Storyland Locations’ sponsorship of the 2026 Annual Meeting reflects its ongoing commitment to the museum and cultural sector. By aligning storytelling, design, and intellectual property with each institution’s purpose and audience, Storyland Locations helps museums strengthen their impact and deepen public engagement.

By supporting AAM in 2026, Storyland adds its voice to the wider mission of championing museums as essential community infrastructure — spaces that preserve culture, spark dialogue, and support lifelong learning.

We look forward to connecting with museum leaders, partners, and collaborators at the 2026 AAM Annual Meeting this May.

Registration for the 2026 AAM Annual Meeting is now open.

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For examples of Storyland’s previous museum work and immersive visitor experiences, visit the team’s recent projects: Poverty Encounter, an engaging narrative environment designed to deepen empathy and spark conversation about economic justice; the Auburn–Opelika Visitor Experience, a story-driven cultural gateway celebrating regional identity and community heritage; Unclaimed Baggage, an inventive experiential retail environment that weaves narrative and place into discovery; and Titanic: The Artifact Exhibition, a globally recognized touring exhibition that brings one of history’s most compelling stories to life through immersive storytelling and authentic artifacts.

Storyland Locations, the experiential development firm founded by partners of global experience design and strategy firm Storyland Studios, will be bringing the reimagined Titanic: The Artifact Exhibition to a series of US locations in the wake of its European success.

The new exhibition launched in Poznań, Poland, on 22 November 2025, and its immersive elements, including a 360° cinematic gallery, VR experience, and interactive environments, are resonating with visitors, with over 70% of guests choosing the VR up-sell option.

These elements draw on Storyland Locations’ contemporary storytelling expertise, honed in theme parks, to create a scalable, global experiential platform for the touring exhibition sector.

Read more about the the experience’s immersive transformation here.

 

Unmatched VR tour

Following its success in Europe, the exhibition is gaining significant traction ahead of its highly anticipated US tour.

The upcoming rollout will extend to the four corners of the US, with locations confirmed in Portland, Cleveland, Las Vegas, and Orlando.

Furthermore, Ohio’s Great Lakes Science Center will host the premiere of the Titanic VR experience.

Produced in partnership with Titanic: Honor & Glory, this will offer an unparalleled opportunity to become immersed in the Ship’s grandeur. This is the most detailed and complete VR tour of Titanic ever created, and includes areas of the Ship that have not previously been visible to the public.

Kirsten Ellenbogen, Great Lakes Science Center president and CEO, says: “We are excited to bring genuine Titanic artifacts to Northeast Ohio alongside a groundbreaking immersive experience that provides vital context.

“This is an important and unique cultural and educational experience that has drawn record crowds in other cities, so we are honored to be bringing this global phenomenon here.”

“Working with Ben Thompson and the team at Storyland to bring Titanic: The Artifact Exhibition to the Science Center has been seamless,” says Amanda Taunt, Great Lakes Science Center VP of operations.

“The Storyland team were ready with insightful historic data from past locations to demonstrate the financial opportunities of the exhibition for us, and Ben was very considerate through the contract negotiation process. As head of operations, I couldn’t ask for a more collaborative partner.”

“As we are getting deeper into planning for opening, their team has been responsive and very attentive in making sure the exhibition will be successful for not only them, but us as well.”

“We look forward to opening in May, especially as 2026 marks the 30th anniversary of the museum, and our third engagement with Titanic: The Artifact Exhibition!”

Storyland Locations and Experiential Media Group recently agreed a two-year, multi-city deal with highly respected European promoter High Note Events, for the new and improved Titanic: The Artifact Exhibition.

Featuring insights from Kevin Blakeney
Director of Master Planning
Storyland Studios

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Landscape architecture in theme parks is often described through what guests can see: the trees, the pathways, the rockwork, the outdoor spaces that feel immersive and intentional. But from the inside, it’s less about surface beauty and more about experience, expertise, anticipation, and understanding how a theme park actually operates.

As a result, we can design in a way that solves problems long before they ever become visible.

That depth of knowledge is where real value lives for clients.

I came into themed entertainment through landscape architecture very deliberately. I saw it as a way to bridge creativity with practicality – to work in a field where storytelling mattered just as much as buildability. Theme parks don’t allow for design that only looks good on paper. Everything has to function, be maintainable, meet safety standards, and still deliver an emotional experience for millions of guests. Landscape architecture sits right in the middle of all of that.

Experience That Starts Before Anyone Notices

One of the clearest examples of landscape expertise shaping a guest experience is Disneyland in Anaheim. In the late 1990s, the resort expanded its sense of place far beyond the park gates. The arrival experience was redesigned so that guests began to feel immersed not at the turnstiles, but at the freeway off-ramp. Landscape, lighting, graphics, and streetscape worked together to create a consistent visual language that quietly told you: you’re somewhere different now.

From a guest perspective, it just feels welcoming. From a design perspective, it required deep understanding of guest psychology, traffic flow, city infrastructure, and long-term maintenance. It needed an understanding of both landscape architecture, and theme parks specifically. Knowing how early an experience should begin, how far the “bubble” should extend, and how to integrate with a surrounding city isn’t something you solve late in design – it’s something you anticipate from day one.

Seeing the Problems Before They Exist

A big part of working in themed entertainment is learning to ask questions before anyone else thinks to ask them. Where will guests see the outside world when they shouldn’t? How will maintenance vehicles reach this area five years from now? What happens during an emergency evacuation? Where does the fire truck go? Where do utilities run? How will this look not just from inside the land, but from the backstage road behind it?

View control is a great example. Screening isn’t just about hiding something ugly, it’s about knowing what will be ugly if it’s left unaddressed. Landscape architects use planting, landforms, fences, and walls to manage sightlines and guide the eye, shaping how guests move and what they notice. That kind of foresight only comes from having worked in these environments repeatedly and knowing where issues typically arise.

Without that experience, it’s easy to design something that looks fantastic but creates operational headaches later.

Theming from All Angles

A good example of how this expertise plays out is in how rockwork, planting, props, and scenery come together to solve real design challenges.

Rockwork is one of the most visible scenic elements in a theme park and plays an important role in establishing scale and identity. You rarely see something like the Matterhorn anymore, where the mountain is 360 degrees. So although rock work is great for creating something iconic, like the spires in Batuu, like the Cadillac Ridge for Cars Land, planting helps soften the edges, and it gives you a little bit more of that 360 view you’re trying to create with screening from both sides.

But it’s only one part of the immersive picture. True immersion comes from the full composition – rockwork, landscape, architecture, props, and smaller scenic details working in concert. Each has strengths and limitations, and we need to understand how they interact.

In lands like Cars Land or Galaxy’s Edge, rockwork creates iconic forms and anchors the environment. Those features are typically designed to be experienced from within the land, which raises practical questions early on: how does the area read from a resort road, a neighboring land, or a nearby attraction?

Landscape architecture helps address those concerns. Planting, landforms, and layered screening are used to soften edges, add height, and manage sightlines. For example, along the Rivers of America at Disneyland’s Galaxy’s Edge, this meant combining rockwork with tiered planters – often called “birthday cake planters” – to elevate large trees and create effective screening between lands. Rockwork set the structure and story, while landscape provided adaptability and long-term visual continuity.

By understanding how scenic elements work together across an entire property, we can deliver an integrated approach that helps resolve sightline and screening issues early, before they become costly problems later. 

Storytelling in the Details

Landscape architecture in theme parks isn’t just about setting a scene; it’s about reinforcing story through thousands of small decisions.

In Tomorrowland 1998, one of the lesser known storytelling choices was making all of the landscape edible – citrus trees, ornamental cabbage, and other food plants supporting an agrofuture idea. It wasn’t something most guests consciously noticed, but it made the land feel cohesive and intentional. That’s often where the strongest storytelling lives: in details that don’t demand attention but reward it.

In newer lands like Galaxy’s Edge and the Wizarding World of Harry Potter, that approach has become foundational. Landscape materials, paving patterns, planting choices, and drainage solutions all have to make sense within the story.

For example, in Galaxy’s Edge, the marketplace wasn’t just themed to look interesting—it was designed as if villagers had built it themselves over time. Drainage channels run through the space because real settlements need them. Materials look weathered because that’s what would have been available in-story.

That level of consistency requires both storytelling expertise and real-world construction knowledge, so that every design decision can be filtered through a simple question: would this make sense if this place were real?

When There Is No Visual Rulebook

Not every project comes with a clear visual reference. Some lands are based on older IPs, genres, or entirely new stories. In those cases, landscape architects often help define the rules rather than follow them.

Dark Universe at Epic Universe is a good example. Drawing inspiration from classic monster films and gothic horror, the land isn’t tied to a single on-screen environment. Instead, it required building a believable backstory – a 1600s German village – then letting that logic guide material choices. What kind of stone would be used? Why is there a fountain in the square? What purpose does it serve?

Answering those questions early helps avoid design decisions that feel arbitrary later. For clients, that means fewer revisions, clearer approvals, and a stronger final product.

Designing for Operations from Day One

One of the most overlooked aspects of theme park design is how much of it is driven by operations. Landscape architects spend significant time coordinating with operators to understand maintenance requirements, access needs, and safety protocols.

Fire lanes, hydrants, service roads, utilities, and backstage circulation all fall within the landscape scope. Even roller coasters intersect heavily with landscape architecture. Engineers design the track, but landscape architects plan evacuation routes, high-reach access paths, and maintenance circulation – finding ways to make all of that functional without it feeling like infrastructure dropped into a park.

Queues are another area where experience matters. Modern queues are longer, more complex, fully accessible, and often partially outdoors. Landscape architects lay them out, ensure ADA compliance, integrate shade, seating, drinking fountains, and sometimes restrooms. When done well, queues become part of the attraction rather than a necessary inconvenience.

At the end of the day, the value of theme park landscape expertise isn’t about making bold statements. It’s about quietly solving problems early, asking the right questions, and creating environments that work beautifully because so much thought went into things guests will never notice.

Placemaking Beyond the Theme Parks

What’s great about the way theme parks have approached landscaping is how it’s being mirrored outside of the themed entertainment world. More and more people want themed stories outside of theme parks. So being able to do more placemaking that’s less generic, that’s more tied into what a venue is doing, or selling, or the history of a place is really exciting, because landscaping is being seen as adding real value and a true ‘sense of place’.

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About Kevin Blakeney

Kevin is an experienced master planner and landscape architect, having led and coordinated the design and development of immersive themed environments and attractions globally, now serving as Storyland Studios’ Director of Master Planning.

He has worked on a number of THEA award winning projects, including Star Wars Galaxy Edge, Universal Beijing, and has most recently overseen the area development scope and budget throughout all design phases of components of Universal’s Epic Universe.

When your mission is to ‘make our city be the best place in the country to be a child’, where do you start?

At Crossroads Mall, it starts with a seemingly simple school model, where barriers to learning are removed, and each child is provided with access to high-quality education.

We spoke with Chris Brewster, Superintendent of Santa Fe South Schools, to take a closer look at the inspirational Crossroads Renewal Project; a project that hopes to achieve long-term growth, development, and opportunity in an underprivileged community.

MR: Tell me how you got started Chris – what’s your background?

CB: My background is in education; I am a charter school superintendent and had the honor and privilege of starting a school over 24 years ago to serve underprivileged communities in Oklahoma City. This school now serves just under 5,000 children.

I also serve as board chair for the Crossroads Renewal Project.

MR: How did your experience in education grow into a mission reaching far beyond one school?

CB: One of my passions is finding ways to make our children healthier and happier—considering what we could do as a community to provide a better, more nurturing, and healthier environment for our children to grow up in.

Education is simply critical to human flourishing. At a macro level, we know highly educated children are more prone to go to college. College educated people generally can access better jobs, make more money, and pay more taxes—you can put a dollar value on a high school dropout vs high school graduate vs college graduate. In Oklahoma City, 90% of Oklahoma City Public School kids qualify for free or reduced price meals at school. Managing the reality of poverty has a profound impact on their likelihood of going to college or reaching their full potential. So the long-term game plan is a generational shift in the poverty levels of our community.

Unfortunately, the problems that are endemic to high-poverty communities are profoundly difficult for children to overcome. I felt like there must be a better way to educate and engage these children.

I started to look for durable school reforms that would last longer than one leader, not reform du jour, but things that would have an impact long-term.

I came across the community schools model. Profoundly unsexy, not fancy, almost irritatingly simplistic.

What it proposes is this: If there are no barriers between the educator and the learner, more high-quality education is likely to take place. In a situation where children can receive the education without unnecessary speedbumps along the way, the learning outcomes are more profound.

MR: What kinds of barriers do you see?

CB: Education can be the frontline of defense for so many unrelated things, especially in high-poverty communities. For example, making sure kids have food; their emotional wellbeing; their health—all of these things take time, energy, and resources.

The teacher becomes the one delivering these frontline social services over and over again, and when they’re doing this they are not teaching.

Additionally, time lost from school for things like health issues create further barriers. Poverty stricken children will lose many days of classes due to issues as simple as dental health because residents of under-resourced communities need to drive all over town to find affordable places of care. As a result, something as simple as a cavity ends up becoming an abscess and then an extraction, and then the child loses weeks of teaching to something that should have been cared for and prevented.

The core question we ask is, “Can we make our city the best place in the country to be a child?”—and everyone rallies around that idea and is very engaged. Empirically, we can unfortunately prove our city is one of the worst places in the nation to be a child. It would seem we are content with very poor health and education outcomes and recurring poverty. With the Crossroads Renewal Project, we are calling people to solve really challenging problems, but to do so in a collaborative and systematic way.

MR: How do you foresee removing some of these barriers?

CB: Placing these critical services in proximity to schools closes this gap very rapidly. By putting, for example, a dentist in the school and a doctor in the school, students can get treated and back in class. If children are healthy, they can learn well. This is the community schools model. With Crossroads, we started playing around with the idea of scalability.

What if we could provide high-quality academic environments around a core of social services so that we could serve large numbers of children and families in profoundly impactive ways? And this is where the concept of an integrated school and service hub started to emerge.

MR: What was your next step?

CB: We started off thinking about size and space, and Crossroads Mall seemed like the perfect solution. Malls, like many around the world, are needing to be re-purposed—Crossroads Mall is an existing building, in a central location, so it ticked a lot of boxes.

Santa Fe South moved in about seven or eight years ago, starting with one of the mall’s four massive anchor stores, each about 200,000 sq ft spread over three floors. The interior concourse itself spans 365,000 sq ft over two floors.

What used to be a retail store became Santa Fe South’s flagship high school, home to roughly 1,000 students. Later, a middle school moved into the top floor, adding another 800 students to the building—1,800 in total under one roof.

Four years ago, we expanded again, acquiring the northernmost anchor store and transforming it into an elementary school that now serves 600 children. Today, Santa Fe South owns 26 acres and two of the four anchor stores.

The rest of the property—the mall concourse, the other two anchor stores, and 64 additional acres—was acquired by the nonprofit, the Crossroads Renewal Project (CRP), in order to develop with a mix of healthcare and service providers.

Across the ring road that encircles the property, there’s also another high-performing charter school with 1,600 students. Together, the two schools serve nearly 4,000 children at this specific location, either directly on-site or immediately adjacent. The steady flow of families to and from the property twice a day creates a critical mass of foot traffic—exactly the kind of energy needed to bring a space like this to life.

MR: What kind of impact has the project had to date?

CB: Visitors can see that the schools that have already been repurposed are full of thriving kids. They don’t need to imagine what it’s like to have life back in the space, life is there for observing! Public charter schools tend to struggle with facilities. They don’t receive the same public funding to buy or build facilities which makes them radically restricted in their growth. In this mall space we have been able to do the redevelopment of the property at a fraction of the cost and demonstrated what can happen if you repurpose industrial space with an eye for value and efficiency.

We have been able to build out quality education space for less than half of what local public school districts are spending.  If you really are thoughtful in the design-build process, you can build much more economically, serving as a better steward of the public dollar.

MR: It sounds like you have two really fantastic school models in place already – what else do you see happening in terms of growing education opportunities at the Mall?

CB: We are considering the build out of more secondary seats in one of the other anchor stores. As we grow out another several hundred quality seats in the space, these can be various school iterations such as vocationally specific secondary environments with industry certificates; a leadership academy and an early college model high school program.

Also welcome are private schools, micro schools, and incubation for school start-ups. When fully iterated, we hope to have 5,000 to 6,000  kids in the mall property and adjacent in really high-quality schools of all types.

We’re open to any type of education, as long as it’s high quality. And we have to have collaborators in all areas, whether that’s schools or other partners.

MR: Let’s talk more about the collaborators; outside of education, tell me more about the other services and potential collaborators that are key to making this work?

CB: Our mission has evolved to be a calling together of people with good conscience in the city to concentrate goods and services in once space – the mall concourse has basically been redesigned as a new ‘main street’ for South Oklahoma City. All the activities, childcare, grocery stores, and banks are in proximity to the people we serve.

One of the most enjoyable things is exploring how to make this space beautiful and enjoyable. Storyland was exceptional in bringing this to life, the way it looks, the way it flows, the play spaces, the recreation, the restful spaces. Creating a place that draws people in where they can meet with a friend or go to a small business incubation space.

Importantly, the businesses that we invite in have to be able to prove that they will be both sustainable and successful at meeting their mission. Companies need a world-class product, and a world-class mission. E.g. for a coffee shop, instead of Starbucks, we have a ‘Not Your Average Joe’—a successful non-profit coffee shop where 70% of the workforce are special needs adults.

We’re also looking at green spaces and biodiversity, filling green spaces with plants that are native to Oklahoma. The outside space is a sea of asphalt right now. We have probably 65 acres that are paved with very little green space. The concept drawings literally turn this place into a green space and a park for the community, for families. Being able to turn the outside, the exterior space, into a much more community-friendly space is something we’re very focused on.

MR: What options are you looking at for healthcare?

CB: Quality healthcare is the most important component of the Crossroads Renewal mission, and the most complex to execute. We have one hospital and many providers who want to lease space with us, but we were not sure how to organize them all. Thankfully, Dr. Reid Hebert of Hilltop Clinic, who serves on the board of CRP, has agreed that Hilltop Clinic is equipped to step in and organize the healthcare facilities, and all healthcare providers will operate in the top floor of one of the box stores.

Dr. Reid Hebert shared a story that captures the challenge: he might diagnose a child and prescribe medication, only to see them sick again weeks later, not because the treatment didn’t work, but because the parent couldn’t get to a pharmacy that accepted their insurance.

In our healthcare hub, the pharmacy will be right next to the clinic, alongside orthopedic care, physical therapy, and other essential services. Everything will be in one place, with multilingual staff ensuring families get the help they need without navigating the usual maze of healthcare. This solution is designed around wellness, not sickness.

MR: What would you say are the main challenges you’re facing at the moment?

CB: We need to be at 58% occupancy and just below market rates in rent to be sustainable, which is our goal for 2028, moving to full capacity in the following years.

We intend for this to be sustainable long-term and not built on constant contributions, which also means we need everybody to thrive.

We have 120,000 sq ft in initial commitments and need 225,000 committed inside the interior space. We’re burning hard between now and January to circle up these folks.

It’s not a typical development with investors. This is a non-profit staged build up, and although the concept looks good on paper, we’re having to prove the possible, as it’s not available anywhere else in the country. Yes, malls are being repurposed, but they’re not being repurposed around the core of thriving children.

MR: What are the potential obstacles to the realization of this vision?

CB: This is a giant, complex project that may not work in the way we ideally envision it to be. If the philanthropic community does not feel the calling that we do, then our plan would be to still maintain the schools and the healthcare component, but to demolish the concourse and turn it into a green space. At the very least, we’ll be building a space that is good for kids. Ultimately, we could make our vision smaller…but hopefully not!

We’ve processed through due diligence, raised $9.5 million for the acquisition of the space, and had 300+ meetings with individuals and organizations that have expressed an interest in the space. There’s a lot of momentum to bring this back to life, so we are optimistic.

MR: What would you say is your biggest hope for the future?

CB: What Storyland has done has been exceptional in keeping this vision alive and forward facing. When I show my concept deck with the artist renderings, it speaks to people through the way it values kids and desire for the city to thrive and I cannot overstate how valuable that is!

I want to prove the possible—high-quality education and healthcare, and a collection of services that provide a concentric circle around the community, but also a place for people to drive to at night and weekends because it’s a beautiful place for families to be.

The most valuable asset in our state is not oil and gas or sports teams, it’s our children! Brilliant potential leaders, pastors, doctors, parents, teachers, astronauts—as long as we’re wise and we invest.

About Crossroads Renewal Project

Crossroads Renewal Project is reimagining Oklahoma City’s historic Crossroads Mall into a thriving community hub dedicated to making the city the best place in the country to be a child. Anchored by Santa Fe South Schools, the redevelopment aims to combine high-quality education, healthcare, retail, dining, and green spaces while removing barriers to learning and opportunity. Backed by local foundations and community partners, Crossroads is transforming an abandoned mall into a model for sustainable, child-centered urban renewal.

About Storyland Studios

Storyland Studios is a full-service experience design firm with offices in the US and Europe. We imagine, design, and create immersive experiences and environments that lift the Spirit. Storyland Studios team Members and Executive Leadership include alumni from The Walt Disney Company, Walt Disney lmagineering, Pixar Animation Studios, Universal Studios, and LEGOLAND® – all passionate about creating immersive storytelling experiences that shape culture and connect with people on an emotional level.

Nashville, TN

November 18, 2025

Today, at the International Association of Amusement Parks and Attractions’ preeminent industry conference, the IAAPA Expo, Stand-Up Comedian and Entertainer, Nate Bargatze announced that his company Nateland is partnering with Storyland Studios, a themed entertainment architecture and design firm based in Southern California, to explore the concept and feasibility of a Nashville-based theme park. In announcing his project, Bargatze has further demonstrated to the world just how serious he is about his desire to bring family fun to his hometown of Nashville, TN.

“Nate and Nateland are committed to good, clean, family-friendly entertainment.  We live in middle Tennessee and recognize the need for a major attraction for people of all ages in the Nashville area.  We’re excited to see what our partnership with Storyland Studios will bring” said Felix Verdigets, CEO of Nateland Entertainment.

Working closely with state and local officials, the Nateland Experiences division of Nateland and the Storyland design team are reviewing possible sites in the greater Nashville area for the planned 100+ acre park. In addition to the entertainment offerings in the good, clean family fun park, key amenities such as retail, dining, and even a hotel are being considered.

“This project has been a long time coming, and we’re thrilled to officially announce that we have embarked on this journey with Nate, Felix, and the entire Nateland team,” said Mel McGowan, Founder & Chief Creative Officer of Storyland Studios. “Our goal is to create a truly premium themed entertainment experience right in Music City that reflects the unique humor and heart of Nateland, while also delivering a world-class destination for families.”

While it usually takes many years for a new park to be built, the feasibility study itself is slated to be completed in Q1 of 2026. Armed with this study and a compelling concept, the Nateland Experiences team will be turning its attention immediately toward investors with a goal to continue development shortly thereafter. Given the current interest in Mr. Bargatze’s entertainment endeavors, the expectations are high for energetic investment participation.

Read more: First Imagery of Nateland Unveiled

 

About Nateland Entertainment

Nateland is an evolving entertainment platform consisting of Touring, Digital, TV/Film and Experiences.  Our company is a home for comedy, stories, and the people who tell them. It’s a collective of stand-up specials, touring comics, original TV and gameshows, box office movies, and a growing presence on YouTube and beyond. From live experiences to digital content, Nateland brings together a community built on curiosity, humor, and connection.

 

About Storyland Studios

Storyland Studios is a global destination and experience design firm dedicated to creating places that inspire, educate, and entertain. By putting story at the center of every project—from theme parks and cultural landmarks to educational institutions and conservation centers—the company transforms visions into compelling realities. Their multidisciplinary team specializes in architecture, experiential design, interactive media, and strategy, ensuring every project delivers a powerful and unforgettable narrative journey.

 

Nate Bargatze Bio

Hailed as “The Nicest Man in Stand-Up,” by The Atlantic Magazine, and “One of the Funniest People,” by CBS Mornings, Grammy & Emmy-nominated comedian, NY Times #1 bestselling author, podcaster, director and producer Nate Bargatze is selling out shows and breaking venue attendance records with more than 1.2 million tickets sold in 2024. He is currently the #1 earning comedian in the world according to Pollstar’s recent report, and #12 in overall live tour tickets sales, putting him in the company of Coldplay, Madonna and U2. Billboard recently announced that Bargatze set a new record for the biggest one-year gross by a comedy performer in history.  He is currently on his 2025 Big Dumb Eyes World Tour and continuing to break arena attendance and ticket records weekly. Most recently, Nate hosted the 77^th Primetime Emmy Awards on CBS, which was the highest rated Emmy’s show in the last 4 years.

Up next, Bargatze will host his new comedy game show, The Greatest Average American, premiering February 25^th on ABC and Hulu. Co-created and executive produced by Bargatze and John Quinn (Price is Right), TGAA celebrates the power of being perfectly average. Each round features challenges and trivia as contestants try to guess how everyday Americans think and live. In the end, one player will be crowned the Greatest Average American and get the chance to win the ultimate grand prize: the average American salary of $67,920 (and extra to cover taxes).

Bargatze recently published his highly anticipated first book, Big Dumb Eyes: Stories From A Simpler Mind, from Grand Central Publishing which instantly became the New York Times #1 best-selling book. It remained on the New York Times Best-Sellers list for 11  weeks.

Bargatze hosted Saturday Night Live for the second time last fall, to rave reviews, with Vulture.com asking the question, “Has Nate Bargatze Cracked The SNL code?” Last December, Nate co-produced a holiday variety special, Nate Bargatze’s Nashville Christmas, with Lorne Michaels for CBS.

On the silver screen, Bargatze will soon star in the family-friendly comedy, The Breadwinner, for TriStar Pictures which he co-wrote with Dan Lagana. He will also serve as an executive producer. The film will co-star Mandy Moore, Colin Jost, Will Forte, and Kumail Nanjiani and will be directed by Emmy winner Eric Appel.  For more information and tickets go to: natebargatze.com.

 

Press Contacts

Nateland

Rob Greenwald

rgreenwald@2pmsharp.com

 

Storyland Studios

Nathan Smith

nathan@storylandstudios.com

Storyland Locations, the new venture founded by partners of global experience design and strategy firm Storyland Studios, has agreed a two-year, multi-city deal with highly respected European promoter High Note Events, for a new and improved Titanic: The Artifact Exhibition.

Storyland Studios to Transform Public Sector Experiences Through Storytelling, Awarded Contract with University of California 

Storyland Studios, a global leader in story-based destination and experience design, today announced it has been awarded a landmark cooperative contract with the University of California (UC), in partnership with OMNIA Partners, the nation’s largest cooperative purchasing organization for public sector procurement.

This strategic agreement enables Storyland to bring its unique philosophy of narrative-driven placemaking to the University of California system and to public agencies nationwide through the OMNIA Partners cooperative contract. The scope extends beyond digital marketing to encompass holistic destination development and place-making, using immersive storytelling to enhance education, navigation, and community engagement. 

“This partnership signifies a powerful alignment of vision,” said Shawn Stewart, VP of Strategic Storytelling at Storyland Studios. “We believe every campus, every public space, has a story to tell. Our mission is to use immersive design not merely as a tool, but as a language to deepen learning, create intuitive wayfinding, and foster a profound sense of place. We are moving beyond information delivery to creating emotional connection.” 

The comprehensive agreement covers a wide range of creative services, including: 

• Immersive Digital Experiences: Augmented Reality (AR), Virtual Reality (VR), and Mixed Reality (MR) solutions to bring educational content and campus histories to life. 

• Destination Development & Placemaking: Theming, architectural storytelling, and environmental graphics that transform campuses and public facilities into cohesive, engaging narratives. 

• Interactive Storytelling: Digital installations and interactive exhibits that turn complex information into compelling, accessible journeys. 

• Wayfinding & Strategy: Intuitive navigation systems and master planning rooted in a clear, overarching story. 

Joe Sibal, Director of Interactive Design at Storyland Studios, added, “For decades, we’ve used interactive storytelling to immerse guests in new worlds. Applying this expertise to an academic institution of the University of California’s calibre, renowned for its excellence and innovation, is a thrilling opportunity. We’re not just building websites or apps; we’re crafting digital ecosystems that add depth and dimension to the student and visitor experience.” 

This contract builds on Storyland’s proven track record of designing for purpose-driven organizations. Like their recent partnership with the MSC Foundation to create a beacon for ocean conservation in The Bahamas, Storyland sees this agreement as a chance to apply its “Cause and Commerce” philosophy to the public sector. 

“The opportunity to work with OMNIA Partners is a significant milestone,” said Sean Featonby, Director of Business Development at Storyland Studios. “We are honored to join their network. This is more than a contract; it’s an invitation to support the mission of higher education and public organizations across the country. We are designing narrative-led experiences that have a positive, lasting impact, empowering students, staff, and visitors to become active participants in their community’s story.” 

Through this partnership with OMNIA Partners, Storyland Studios is now a readily available resource for public agencies seeking to elevate their physical and digital environments through the power of story. 

View all of Storyland’s public education offerings on OMNIA’s site.

 

About Storyland Studios
Storyland Studios is a global destination and experience design firm dedicated to creating places that inspire, educate, and entertain. By putting story at the center of every project—from theme parks and cultural landmarks to educational institutions and conservation centers—the company transforms visions into compelling realities. Their multidisciplinary team specializes in architecture, experiential design, interactive media, and strategy, ensuring every project delivers a powerful and unforgettable narrative journey. 

About The University of California
The University of California is a world-class public research university system with 10 campuses, six medical centers, three national laboratories, and a statewide agriculture and natural resources program. Learn more at www.universityofcalifornia.edu.  

The University of California (UC) and OMNIA Partners are proud to offer UC campuses, affiliated institutions, and public agencies nationwide with a portfolio of cooperative contracts through the Lead Agency Marketing Partner (LAMP) program. These contracts have been competitively sourced by the UC, formally adopted on behalf of the UC System, or competitively sourced by another public institution and are available for the UC System to utilize as well as other public agencies nationwide. 

About OMNIA Partners
OMNIA Partners is the nation’s largest and most experienced cooperative purchasing organization, dedicated to providing public sector and higher education institutions with a streamlined, compliant procurement process. Their portfolio of leading contracts offers agencies access to pre-vetted suppliers for a wide range of goods and services. 

 

When PortAventura World became a B Corp in 2022, a clear message was sent that the business had a laser sharp focus on sustainability.

PortAventura World has been focused on sustainability since its inception in 1995, and in 2008 they committed to the UN Global Compact, expanding their sustainability efforts to social and governance initiatives. Over the years, they have steadily embedded sustainability into their core business strategy, moving from a parallel sustainability program to a fully integrated, purpose-driven approach.

We caught up with Choni Fernandez, Chief Sustainability Officer, to understand how PortAventura World is planning to continue leading the industry in sustainable best practices, and the challenges it faces in implementing a holistic strategy.

 

Marie Rayner (MR): Hi Choni – thank you for meeting with us today. As Chief Sustainability Officer, you have a big role to play in PortAventura World’s sustainability strategy – what do you enjoy about your role?

Choni Fernandez (CF): My role blends being the sustainability director with customer service and communication. It has been an incredible journey for me – we have started from scratch and year by year we have been able to construct sustainability into all the different departments. This has truly become my passion because we have learned how sustainability can be a real driver into the overarching PortAventura World strategy.

Photo Credit: PortAventura World

MR: What was the starting point for Port Aventura World?

CF: PortAventura World opened in 1995 as the first theme park in Spain. It was already built with a sustainable vision and respect to the environment, partly because we have water scarcity in the area, so it was important to develop the project to take care of natural resources. This vision was in the origins of the park.

Since then, we have integrated responsible management into our business strategy – starting in 2008 when we committed to the United Nations Global Compact and its 10 principles.

From that point on, we talk not only about environmental, but also social issues. So this became a holistic approach considering suppliers, employees, and customers.

 

MR: And how did you manage that evolution – how did you move the business through the stages, to get to where you are now?

CF: At the beginning the sustainability strategy was parallel to the business strategy. Over time we have fused them, so now sustainability belongs to the business strategy of the company. We moved ourselves to a purpose-driven company, and that’s the reason why we decided to certify as a B Corp. Not only did we want to change our attitude, we also wanted to protect at a governance level that the company has a purpose, and that all stakeholders should look after this purpose.

It has been an evolution. We used to have a mission, now it’s evolved to a purpose. It’s the reason why we exist. That is, we exist to create unforgettable experiences, which also have a positive impact on people and on the planet.

This is not an empty sentence, it’s the philosophy and the reason why we succeed. The purpose is translated into strategy, actions, and then investment in resources. Being a purpose driven company is really a way to set the future path the company wants to follow.

 

MR: This is a fantastic way to look at purpose and strategy. How did you build support and buy-in from your stakeholders?

CF: When we think in terms of purpose and having a positive impact on people, the first thing we need to do is have direct contact with our stakeholders, and have the feedback and information about what they expect from our company.

We started with different surveys and focus groups to really understand the expectations on the company from different stakeholder groups.

This was really amazing. For example, some of our most important stakeholders are our suppliers. We have 1,200 suppliers – as big as Coca Cola and as small as a painter from the local area.

We met with them to understand their expectations, explain our ambitions, and understand how they could be part of it.

This was very much an open discussion, we wanted to listen to them and understand their feedback, with the hope that they could become part of our plan.

The answer was super positive and amazing, and now the dialogue with suppliers is an annual event that has grown enormously; we have supplier awards for the best service, the best sustainability solution, and the highest score in H&S.

Our suppliers are part of the PortAventura World community and as a result of this, we have a better engagement and relation from these stakeholders.

With regards to employees, we ran different surveys asking them ‘what do you think the company can do better?’, ‘What are the activities and projects that we can put in place for you?’

This survey ran before and after the pandemic and health and wellbeing was a consistently high priority for our employees, along with training and development. As a result, we started to create a wellbeing program with different workshops on e.g. healthy eating, stopping smoking, etc. Our wellbeing program has been so strong that we have created our own training room inside the resort offering both mental and physical wellbeing programs to all of our employees.

 

MR: It must have been rewarding to see the program grow and have a positive impact on employees?

CF: As with all sustainability initiatives, we start off small, we consolidate, integrate, and embed the action into the company, then we make it bigger. The wellbeing program started off as the result of a survey – now all the employees that participate have increased employee engagement, and we’ve also reduced absenteeism. It’s important to measure the return on sustainability projects, because part of what makes something sustainable is how it creates value.

 

MR: Completely agree! We’ve talked about suppliers and employees, are there any initiatives that have come from customer feedback?

CF: We run surveys for customer satisfaction every day in our parks and hotels. We learned that some groups with e.g. special needs/disabilities were not happy with the experience.

So we took these insights and developed a plan to improve inclusivity inside the resorts.  This included improvements for autistic guests.

One of the most visible things we did was  introduce Julia from Sesame Street – the first character to be diagnosed with autism. She is part of a show in our Sesame Street area. Not only do autistic children see representation through Julia, she also helps children to learn about autism.

We have also prepared pictograms for these children who do not have the ability to express themselves properly with language. This simple action, to prepare pictograms that provide guests with the ability to express themselves, is actually a big improvement in the guest experience for these customers.

Through this, we are increasing the engagement with this group of customers and improving their experience – which is what we want. We want every guest to have a wonderful time at PortAventura World. But additionally, this increased engagement is also driving more visits to the park for people with special needs.

Sustainability is not a ‘nice to have’, it’s something that must also create value, and we need to incorporate it into our P&L. We need to show that if we invest in our employees, increase their engagement and reduce absences, this investment has a real translation to the P&L. Sustainability projects can reduce costs or increase revenues – this is very possible and needs to be demonstrated in a way that the Chief Financial Officer will understand!

Photo Credit: PortAventura World

MR: Some of these projects can take time to show revenue, etc. Are there times when it’s difficult to explain the return on investment or the impact on the P&L?

CF: Sustainability at our starting point was the environmental side. It’s easy to explain that if you use solar panels you can save money on your electricity bill, but sustainability is not only about the environment. That is only one-third of a holistic approach, we also need to take care of the social part and the governance, obviously – the ESG.

Sustainability is a long-term project. Sustainability Managers manage different inputs across various departments. Many times the returns are not immediate. For example, when you want to increase the number of guests visiting the park with different disabilities, this is a step-by-step process. You need to set a target and be confident that you are going to deliver on these expectations.

So taking the same example – we have our character with autism, Julia, but now we need to train our staff so they can understand and be supportive of the needs of neurodiverse guests.

We’ve started small and we will keep on expanding this program. In several years we will be able to demonstrate how many people have arrived because we have a special program. Today we’re talking about autism, but next we might be looking at programs for visually impaired guests. These are challenges, but they are also opportunities.

It’s fascinating that, in our industry, we have the opportunity to be really accessible for everybody. Not all businesses have the opportunity we have – we are in an industry that makes people happy! Our purpose is to create unforgettable experiences and we cannot lose the opportunity to enlarge this purpose, so that everybody really can enjoy our parks. And not just theme parks, but also museums, water parks and other experiences.

We have this absolutely amazing opportunity to really be entertainment for everybody, to really create a positive impact on people, because we leave nobody behind.

MR: Do you see your sustainability strategy as being a driver of visitors to your park?

CF: A small percentage of guests do choose PortAventura World because we address specific inclusivity, accessibility, or dietary needs, for example. But for most visitors, sustainability isn’t the primary driver of their decision. They come for our unique rides and wonderful shows, and while sustainability may not be what brings them here, they really appreciate that we are investing in those projects.

Where we see sustainability making a real difference is with our B2B customers (travel agencies, event organizers, and companies using our conference center). For them, the sustainability report is often the first thing they ask for, because they need to be confident we align with their own commitments.

It’s a privilege to set an example in the industry, showing what we expect from sustainability and inspiring others to adopt more sustainable practices. The interest is growing every year as more companies ask themselves how to embed sustainability into their own business models. Together, we’re helping to strengthen sustainability across the entire industry.

And it’s clear: year by year, this becomes more critical. Companies that fail to adapt risk losing both B2B and B2C customers.

 

MR: How do you see sustainability continuing to grow?

CF: By engaging our people, partnering with suppliers, listening to our guests, and learning from the industry, we build awareness and influence. Sustainability becomes something tangible that our employees, our suppliers, and our guests can understand.  This creates a ripple effect because they also explain that to their families, and to their community, and to their neighbors.

I think we’re really helping to spread sustainability to all our stakeholders – whether it’s suppliers, peers in the industry, or others. And honestly, our employees are our best ambassadors because they see what we do every day and carry that message forward.

 

MR: What has been the most rewarding initiative you have worked on?

CF: One of the initiatives I’m most proud of is PortAventura Dreams Village, where we welcome families with seriously ill children for a week’s stay in their own villa. We have 10 villas in total, each with bedrooms, fully adapted private bathrooms, and a private outdoor space, along with access to shared areas like a central garden and a clubhouse. Families receive all their meals – either in the parks or at the clubhouse café – and enjoy unlimited access to all of our parks.

The families who come are often facing very difficult situations. The children are dealing with complex illnesses, and this gives them the chance to spend quality time together, to feel like a family again, and to simply enjoy themselves. We also try to arrange visits so that children with similar conditions come at the same time, which helps both the children and their parents connect with others who truly understand what they’re going through.

It’s a program that has been a real life lesson for me. What makes it even more special is the way our employees volunteer their time – running workshops, face painting, or just playing with the children after their regular shifts. They go to the village because they want to improve the positive impact on the families.

Photo Credit: PortAventura World

MR: What are the barriers to achieving your goals and how are you overcoming these?

CF: A big barrier for a lot of companies can be demonstrating that sustainability creates value for the company. Sustainability needs to talk the same language as CFOs. One of the things to demonstrate is that it’s an investment and not a cost.

Engage and involve all stakeholders. Sustainability is not a journey that you can do alone. You need all people on board, including visitors, suppliers, shareholders. Everybody should be on board in the same way.

 

MR: What excites you most about the future? What innovations are you currently seeing in the market that you would like to bring to your projects?

CF: One thing that is going to help us a lot is going to be technology and AI. That’s really something that will help us be more efficient in capturing data, for example, determine all electricity after consumption, much of this data is now recovered manually, we need technology to capture all of this data in a more efficient way.

AI is also going to help us create customized customer experiences. We can learn much more about our customers, likes, special needs, pain points. This is also a field that can really be improved with technology and AI.

 

MR: How would you sum up PortAventura World’s success with its sustainability strategy?

CF: It has been possible because we have shareholders and management that trust in it and have really understood that we need sustainability to be a more resilient, stronger company, and to create this value for the company. Our shareholders – and the investors behind them – really believe in the power of the company, and I’m very grateful for their support.

 

About PortAventura World

PortAventura World delivers unforgettable experiences for the whole family. The resort includes PortAventura Park, with more than 40 rides; Ferrari Land, a one-of-a-kind park in Europe; Caribe Aquatic Park; a convention centre; five themed four-star hotels; and a themed five-star hotel. Located a short drive from Barcelona, PortAventura World is a B Corp-certified themed resort and one of Europe’s largest family leisure and holiday destinations. Over the past 29 years it has welcomed more than 100 million visitors. Every visit becomes a unique adventure thanks to our guests and the dedication and professionalism of our team. Learn about employment opportunities at: https://www.portaventuraworld.com/us/work-with-us and join our world of unforgettable experiences.

About Storyland Studios

Storyland Studios is a full-service experience design firm with offices in the US and Europe. We imagine, design, and create immersive experiences and environments that lift the Spirit. Storyland Studios team Members and Executive Leadership include alumni from The Walt Disney Company, Walt Disney lmagineering, Pixar Animation Studios, Universal Studios, and LEGOLAND® – all passionate about creating immersive storytelling experiences that shape culture and connect with people on an emotional level. storylandstudios.com

Storyland Studios, a global experience design and strategy firm, has shared insights from Rob Moffat, principal director of landscape and area development, a former Disney Imagineer who trained under Disney Legend John Hench.

Moffat also served as owner and Principal of ima, an international landscape architecture practice that supported Disney and the global themed entertainment industry for decades. With over 25 years of experience, he has shaped landscapes for Disney, Warner Bros., and major international destinations.

Today, he continues to guide Storyland teams in designing environments where artistry, storytelling, and guest well-being converge.

More than just finishing touches

Moffat leads Storyland’s landscape architecture practice, supported by a talented team including Kevin Blakeney, director of master planning, who has experience in themed entertainment and destination design for projects like Shanghai Disney Resort, Hong Kong Disneyland expansions, and other large international destinations.

“Guest experience is something we encounter in our everyday lives—it could be as basic as driving somewhere, walking through a public space, or enjoying a theme park,” says Moffat. “But it’s all an experience, and it’s either a good one or a bad one, even if we’re not really paying attention to it.”

“Yet for landscape architects, guest experience is at the heart of what we do. Whether it’s a hotel, theme park, or retail environment, people want to escape their everyday life. We always have to ask the question: Are people going to come and use this space? Are they going to want to experience it, be there, and then want to come back?

“As landscape architects, we’re the glue of a project. We interact with architects, civil engineers, lighting designers, graphics and wayfinding, and project stakeholders. Together, we shape the canvas that everything else is built on.

“The best projects are where we have a great relationship with the architect and work together to integrate both the building architecture and the landscape architecture, so they don’t feel like two separate entities.”

Problem solving & sustainability

Many believe landscape architects just “add greenery,” but their role is complex. They balance environmental regulations, circulation, water use, and safety, as well as how a space feels.

“Sometimes we’re seen as cake decorators, but really it’s not that at all. It’s how everything is put together. We deal with circulation, environmental constraints, and existing site challenges. A lot of our approach is really problem-solving with creativity.”

When it comes to problem-solving, Rob is an advocate of 3D design: “When an entire project is in something like Revit, we have the opportunity to see things early on. It’s much cheaper to make mistakes within a 3D model than during construction! The ability to minimize challenges and deal with them in the model environment gives us the data we need to make educated decisions.”

A key aspect of problem-solving is its impact on sustainability, which must be addressed in design, operations, and guest experience.

“Some clients see sustainability as more regulatory or compliance-driven, while others look at landscape architecture as a way to creatively be more sustainable—whether that’s biodiversity, water conservation, planting to encourage shade, and so on.

“And this becomes another puzzle to resolve—particularly because there are fewer green sites available. Often, we’re dealing with a lot of challenges on an existing site, and we need to understand how environmental ambitions align with the physical constraints of the site itself. It really becomes a challenge of how we balance effectively, pushing and pulling the different requirements that come onto a project.”

Moffat says it is his team’s responsibility to educate clients on best practices and show how design impacts sustainability, helping them see the effects of their choices.

Trilith Studios

Storyland partners with Trilith Studios in Atlanta, a major film hub (formerly Pinewood Studios) where films like Ant-Man, Superman (2025), and Coppola’s Megalopolis have been shot. It also features Town at Trilith, a residential community with homes, shopping, and dining.

The latest project at Trilith, Trilith Live, is set to open in early 2026. It will include dual sound stages for TV shows like Family Feud, iconic movie props, immersive sets, and a reimagined theatre experience.

A recent project for Moffat and Storyland involved designing a vibrant landscape for the Trilith Live plaza, converting outdoor spaces for the performing arts centre, cinemas, and public areas into an urban park.

Features include glowing aggregate paving that lights the way at night, sculpted mounds that frame performances and provide casual seating, and flexible spaces adaptable for yoga, concerts, or festivals.

“What I love about the design is how the space changes from day to night with glow-in-the-dark aggregate, and then through the seasons too,” says Moffat. “We’ve identified plants that bloom at different times of the year, and even in winter—with the leaves gone—the trees still add interest with their structure.

“At the end of the day, we’re really the pre- and post-show of that facility—the performing arts, the live stage studios, and the nine-theater cinema. It’s about setting the stage for the excitement of what guests are about to experience, while also providing the flexibility to host different events, scale for various audiences, and share the stories of Trilith and the movies in new ways.”

Beyond the shows, it’s about the everyday experience; an urban park with design details that enhance the journey, offering various ways for people to connect with and enjoy the space.

Landscape architecture isn’t just about plants and paving; it’s about guiding guest experiences, integrating various disciplines, and shaping lasting environments. It combines creative vision with practical engineering, irrigation, and architecture to create an experience that connects people to the places around them.

Earlier this year, Storyland Studios announced that it is seeking attraction, retail, dining and entertainment developers and operators as part of phase one development of LIBERTYLAND, a family Retail, Dining and Entertainment District (RDE) located near Mount Rushmore and Rapid City, South Dakota.