Sometimes it takes many years, even decades, for a popular Disney film brand to enter the theme parks in the form of an attraction. For instance, while the Voyage of The Little Mermaid first graced Disney’s Hollywood Studios only two years after the film’s debut, over 20 years passed before a ride shaped up in the parks.

Now the exquisite dark ride exists at both Disney California Adventure Park and Walt Disney World’s Magic Kingdom. In this first section of two-part edition of Disney In Depth I will share five films that deserve to be translated into theme park attractions.

Wreck-It Ralph smashed box office records for a Disney animated film in its opening weekend, and won over critics and audiences no less. With its creativity, heart and passionate storytelling, Wreck-It Ralph signals Walt Disney Animation Studios is back in the game, so to speak. This edition of Disney In Depth will explore what has led up to this new hit for the studio, as well as what awaits.

Many individuals say the Disney Renaissance began with 1989’s The Little Mermaid, with following entries Beauty and the Beast, Aladdin, and The Lion King reaching even greater heights – everyone seems to leave out the forgotten The Rescuers Down Under. Regardless, this represented a period of unparalleled imagination and inspiration within the studio, continuing for several years to follow. Then came the slump. Audiences were no longer interested in musicals, so it seemed, and Disney animation switched gears into the sci-fi realm with productions like Atlantis: The Lost Empire and Treasure Planet. Computer animation emerged, and with that advent Disney entered the new arena with misses like Chicken Little and the awkward-yet-smart Meet the Robinsons. None of these performed all that wonderfully. It had appeared as though Disney lost its touch. But the studio had some exciting developments up their sleeve.

We were all shocked to discover when Darth Vader revealed himself to be Luke Skywalker’s father. But we experienced perhaps even more shock when news broke this week that The Walt Disney Company was acquiring Lucasfilm, George Lucas‘ 41-years-strong company. Now, Mickey Mouse will be both Vader’s and Luke’s parent, though not by blood — what an awkward “modern family” that deserves some critical examination.

Puns and jokes aside, this $4 billion purchase follows what has been a whirlwind of new ventures for Disney in just the past seven years since Bob Iger attained the role of CEO of The Walt Disney Company. 2006 marked Disney’s purchase of Pixar. 2009 signified Disney’s purchase of Marvel. And now 2012 represents news of Disney’s purchase of Lucasfilm. One can only imagine what the Mouse House will obtain in 2015 if this ironically-consistent pattern of buying a big entity every three years continues. These heavily-expensive, but ingenious acquisitions reflect Disney’s focus of branding and leveraging well-known and well-received properties.

Frankenweenie, director Tim Burton‘s stop-motion comedic horror spoof, opened to a disappointing $11.4 million last weekend, representing American audiences’ disinterest in a black-and-white animated film about a boy who resurrects his beloved dog. The supposed early financial failure, or rather letdown, underscores an even larger issue in the film community.

Sadly, moviegoers just fail to resonate with material, or at least check out content, that differs from the norm. This edition of Disney In Depth highlights the many issues that have faced Frankenweenie, a satisfactory film mixed with cleverness and heart, but shocked by disinterest.

We are told in Peter Pan that through having faith, trust, and pixie dust, we can fly. To soar. To flee from society, even if only briefly. We believe in this magic for the hope that our worries will disappear. Disney seems to possess that touch on individuals, especially “geeks” like me, who find value in a break from reality for the hope of dream-like atmospheres.

Since the devastating massacre in Aurora, Colorado, struck the United States with another tragedy, in an environment where many Americans seek diversions – at the movies – I began thinking of the importance of escapism in our society. Though we cannot avoid actuality, and boy would it be unhealthy if we denied truth, I feel we must continue to place merit in visiting worlds of whimsy. Whether they be fictional in the form of Disney films, or where the lines become blurred even further in the Disney theme parks, Americans shall always depart from reality in favor of some fantasy.