Disneyland, as an entity of virtual illusion, makes people believe that Disney is different from the outside world. It is a world with absolute positivism, naivety, dreamy happiness, painlessness, and innocence. However, in the description of Baudrillard’s immersive sequence of Disneyland, it is already more real than the real, reversing the real and the illusion, and even concealing the real existence. The collective joy makes the collective drowse in the homogenous bubble of entertainment and fantasy, giving up self-consciousness and the negation of others. I regard amusement parks as an epitome and metaphor of China’s rapid development over the past two decades. At the cost of morality and conscience, people numbly indulge in the carnival of rapid development and huge profits. Why do we like theme parks? The design of the amusement park uses algorithms to quantify human desires to the highest degree, satisfying our dream to become the protagonist in the fairy tale, so as to obtain redemption and salvation. Do almost cult-like dances and movements declare freedom? Or is it obedience after being disciplined? A big hand falls from the sky, its heavy color and huge volume seem to symbolize the omnipresence of political or technological power.
