The state’s quarterly theme-park injury report for the final three months of 2025 includes a Nov. 25 death following a ride on Revenge of the Mummy, an indoor roller coaster at Universal Studios Florida.
An unidentified 70-year-old woman was unresponsive and later died at the hospital, according to the report compiled by the Florida Department of Agriculture and Consumer Services. The state’s major theme parks self-report about visitors injured on rides if they result in at least 24 hours of hospitalization.
The summary “reflects only the information reported at the time of the incident,” the report says. “Due to privacy-related concerns, the department does not receive updates to initial assessments of a patron’s condition.”
A Universal spokesperson said via e-mail that the company does not comment on pending claims. The Orlando Sentinel has requested records for the scene and date from the Orlando Police Department.
The Mummy ride, which opened in 2004, reaches 40 mph as it rolls through dark Egyptian-themed scenes and fiery effects amid appearances by animatronic Imhotep and scarab beetles plus a drop hill of 39 feet. It has appeared on the quarterly report about 20 times since opening, including the death of an Apopka man who fell from the loading platform onto the tracks in 2004. He died after a related surgery, and his death was ruled an accident by the Orange-Osceola Medical Examiner’s office.
The latest injury report, posted Thursday, has a mix of spinning rides and high-intensity attractions and roller coasters, including Epic Universe’sStardust Racers.
On Nov. 6, a 78-year-old man had chest pain after being on the Epic coaster, and on Nov. 14, a 61-year-old man had cardiac arrest on the ride. Stardust Racers is considered Epic’s most intense ride, with dueling trains going up to 62 mph and a top height of 133 feet. Both sides include one inversion, sudden launches and intertwined-rails moments. The coaster debuted with the Universal Orlando Resort park in May.
Of the nine fourth-quarter reports filed from the three Universal Orlando parks, five involved Epic rides. Other incidents included Monsters Unchained: The Frankenstein Experiment, where a 41-year-old woman had numbness and visual disturbance on Oct. 4; on Oct. 25, a 19-year-old woman had altered mental status during Mario Kart: Bower’s Challenge, a flat ride with virtual-reality elements; and on Nov. 14, a 47-year-old woman had nausea after Yoshi’s Adventure, a slow-paced flat ride.
At Islands of Adventure, a 45-year-old women had motion sickness and stroke symptoms after riding the Incredible Hulk Coaster on Oct. 13 and a 49-year-old woman had chest pain after being on Jurassic World: VelociCoaster on Nov. 30. Also at IOA, a 61-year-old woman had lower back spasms after Doctor Doom’s Fearfall, a drop-tower ride.
At Walt Disney World, three Epcot incidents are on the new report. On Nov. 12, a 72-year-old woman was disoriented after exiting Guardians of the Galaxy: Cosmic Rewind, an indoor coaster; on Nov. 23, a 59-year-old woman had breathing difficulties while exiting Test Track; and on Dec. 28, a 35-year-old woman lost consciousness while on The Seas With Nemo and Friends, a low-speed dark ride that travels through an aquarium.
At Magic Kingdom theme park, a 65-year-old woman felt chest pain after Peter Pan’s Flight ride on Oct. 28, and a 42-year-old woman had a seizure while on Mad Tea Party, the spinning ride commonly called the teacups, on Nov. 22.
A 75-year-old woman had “stroke-like symptoms” aboard Slinky Dog Dash, a roller coaster at Disney’s Hollywood Studios, on Nov. 28.
Mechanical birds, bears and princesses have chirped, growled and sung in Orlando’s theme parks for more than 50 years. The animatronic trend shows no signs of fading, as new figures arrive in new places at Walt Disney World, and Epic Universe introduces batches of lifelike characters.
The additions range from a planned electronic version of Walt Disney at Magic Kingdom to a lumbering Frankenstein’s monster figure that debuted with Epic in May.
“People still enjoy seeing lifelike figures of their heroes, villains and others come alive,” said Dennis Speigel, CEO of International Theme Park Services. “I think this is one area that continues to evolve, and I don’t think we’ve seen anything yet.”
Technological advances are enabling the improved illusion of the figures, said Brian Orr, show systems studio executive with Walt Disney Imagineering.
“The way that we can now simulate, the way that we now design, the way that we now can generate content for these and in style — like it is moving like the character that everybody sees and recognizes from the film … I think that’s really the appeal of like, ‘Wow, not only did I see Elsa on the ride, but I felt like it was Elsa. It moved, it performed, it looked at me,’” Orr said.
In Zootopia: Better Zoogether!, the Tree of Life Theater at Disney’s Animal Kingdom Theme Park is the epicenter of a citywide celebration with a livestream watch party of the Zoogether Day festivities. Among the audience of mammals big and small is an all-new Audio-Animatronics figure of off-duty ZPD officer, Benjamin Clawhauser. Guests can see Clawhauser in his new look – sporting glow-in-the-dark necklaces and his favorite Gazelle tee shirt – when the “4D” show opens Nov. 7, 2025. (Walt Disney Co.)
Other planned figures include Buddy, a support-bot, in the ongoing update for Buzz Lightyear’s Space Rangers Spin at Magic Kingdom; Scooter and other Muppets in the retheming of Rock ‘n’ Roller Coaster at Disney’s Hollywood Studios; facelifts for Frozen Ever After figures at Epcot; and the addition of Walt Disney himself at the beginning of Carousel of Progress at Magic Kingdom.
These come on the heels of the first animatronic to represent Walt Disney, which debuted at Disneyland in California this summer.
“I think that has breathed a lot of life back into the animatronics and from the highest level,” Speigel said.
Figures frightening, formidable
Universal Orlando installed animatronics inside Epic Universe’s Wizarding World of Harry Potter — Ministry of Magic, Monsters Unchained: The Frankenstein Experiment ride and elsewhere.
“Everyone has their normal lives that they’re going through, and that comes with people wanting to be transported,” said Gregory Hall, assistant director, creative design for Universal Creative. “We have the opportunity to bring new technology and use it for good and use it to entertain and inspire people.”
The Monsters Unchained ride is peppered with figures in action, including Dracula, Mummy and the Creature from the Black Lagoon.
Frankenstein's monster and Dr. Victoria Frankenstein are focal points of the preshow leading up to Monsters Unchained: The Frankenstein Experiment at Epic Universe. (Patrick Connolly/Orlando Sentinel)
A crowd-pleasing scene happens in the Unchained preshow with new character Victoria Frankenstein and Frankenstein’s monster, who strides into the room. It’s a moment that prompts applause from Epic visitors, Hall said.
“That was the first time we made a figure on that scale walk,” Hall said. “And then he’s right next to Victoria, and they’re using extremely different technology.”
Another big animatronic project was the “erumpent,” a charging beast in the Harry Potter and the Battle at the Ministry ride.
“We’re really all about, how do we get the fastest, smoothest motion moving this giant thing?” said Anisha Vyas, director of projects for Universal Creative. “It needs to be really visceral. It needs to move really fast. It needs to be moving really fluid,” she said. “Getting it to move and stop is not hard. Getting it to look pretty and gorgeous and realistic? That’s hard.”
And the motion must be repeated for each load of passengers.
“We ensure every guest has the same experience,” Vyas said.
It all started with a bird?
The seed for Disney’s animatronics — the company trademarked the term Audio-Animatronics in the 1960s — goes back to Walt and Lillian Disney’s purchase of a miniature caged-bird decoration that tweeted. That eventually led to Enchanted Tiki Room attractions such as the one at Magic Kingdom, which opened with the park in 1971.
Animatronics got a major boost from “Great Moments With Mr. Lincoln,” developed by Disney for the 1964 World’s Fair in New York. Guests watched the faux former president give a speech, and Speigel witnessed this on a high-school trip to the event.
“When he put his arms on that chair and he stood up and talked, the whole audience, I remember, just gasped,” he said.
The 1960s technology propelled the show’s status, said Bob Rogers, chairman of BRC Imagination Arts. Otherwise, it might have been forgotten quickly, he said.
“The fact that it was just a robot, not a human, was the charm,” Rogers said.
Waiting for Walt
Fast forward to 2025 and the installation of the Walt Disney animatronic at Disneyland. “Walt Disney — A Magical Life” is temporarily taking the place of the Lincoln animatronic presentation there. Some fans have criticized the look of the new figure.
“It looks fine to me from a distance,” said Jeremiah Good, the Florida correspondent for LaughingPlace.com, “But people that were there for the opening that were in the front row filming every bit of it were going that doesn’t look a thing like Walt.”
Critics are more forgiving about animatronic looks for animated beings as opposed to actual humans, Good said. He awaits the Walt Disney figure slated to join Carousel of Progress next year.
“That is supposed to be a little bit older of a Walt, so that’ll be interesting to see,” Good said.
“I think there are some opportunities there for the point in Walt’s life,” said Imagineering’s Orr, who noted that Florida’s animatronic would be seen in shorter but more frequent bursts at Magic Kingdom than its counterpart in California. “I also think there are things just logistically about the run time of shows — if you just look at the run time of the Disneyland, the frequency of that show, versus something like Carousel of Progress that is cycling through.”
Louis the Alligator, Tiana and critters perform inside Tiana’s Bayou Adventure at the Magic Kingdom. (Joe Burbank/Orlando Sentinel)
Tech talk
After pneumatic and hydraulic phases, animatronics are now settling into an all-electric era with computerized programming.
Last year, Walt Disney Imagineering gave a public peek into the process with an episode of “We Call It Imagineering” on YouTube. This preceded the debut of figures for Tiana’s Bayou Adventure, the retheming of Splash Mountain at both Magic Kingdom and Disneyland.
A big challenge was the development of Louis, the trumpet-toting alligator, considered one of WDI’s largest and most dynamic figures.
“There’s a lot of moving parts. “So you have all of these layers, you’ve got fabric and it all has to be in sync,” said Sonny Chapman, principal illusion maker, in the episode. Louis’ big belly, upper torso and arms must work together with the costuming, all while he’s bouncing, looking happy and blinking.
Imagineering has expanded into “stuntronics,” creating figures that can perform elaborate aerial acrobatic feats, including one dressed as Spider-Man at Disney California Adventure theme park. The company has also developed knee-high DBX droids, which made appearances at Disney’s Hollywood Studios this summer.
“They’re wonderful not just because they’re robots, but because they are animated and they are written with stories.” Rogers said. “They express emotions. They’re doing things. They get frustrated when they can’t do what they’re trying to do. … That’s just wonderful.”
Animatronics have proven, multigenerational staying power.
“A lot of our engineers went to school just to work on animated figures. … That’s their thing,” Hall said. “They’re studying their whole lives, and they make their entire lives, and it’s time for their generation to show the next generation how to pass the baton. This is one of those moments that’s even bigger than just [theme] parks.”
Vyas points to their entertainment value.
“I just think they bring so much life to the environment,” she said. “I absolutely love that at Epic Universe we’ve doubled down on that. I really think that it just takes it to the next level.”
“Walt Disney — A Magical Life,” featuring an Audio-Animatronic representation of the visionary Disneyland founder, opened May 16, 2025, as part of the park’s 70th anniversary celebration. (Brady MacDonald/Orange County Register/TNS)
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