One notable exception to the lack of queue-screens is Star Tours, which opened at the park in 1987, a motion simulator ride based on the Star Wars films. Visitors to this attraction encounter several screens as part of the queue for the ride, which is located in the futuristic-themed (and thus, post-television) Tomorrowland. The screens only appear towards the end of the queue near the ride’s entrance, where visitors are passed through more quickly, thus avoiding the annoying repetition effect that McCarthy describes as occurring in medical waiting rooms. The screens thus serve both as an early reward for waiting through the rest of the line, while also signaling a mental shift into the realm of active entertainment.
|Star Tours timetable in Aurebesh script|
Of course, the real final screen is the ride itself, which, unlike many of Disneyland’s other rides that physically move guests, relies almost entirely on viewer perception of the screen. Thus, to an even greater extent than a static television set, Star Tours depends on Morse’s concept that “any mobility experienced by the television viewer is virtual, a ‘range’ or displaced realm constituted by vectors, a transportation of the mind in two dimensions” (205). Star Tours depends vitally on the viewer’s willingness to transport their mind to mimic movement, but it—and all the other rides—also depend on their willingness to suspend disbelief in traveling between the dimensions of reality and the prescribed fictiveness of the theme park.