11 Secrets of Former Blockbuster Employees

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For nearly three decades, Blockbuster was the friendly neighborhood video store for movie-lovers around the United States—and its employees were our friendly neighborhood movie gurus. Though a few independent Blockbuster franchises are still bravely soldiering on around the country, the company had its heyday in the 1990s to mid-2000s, when video tapes and DVDs were still the dominant way to watch a movie. Doling out recommendations and patiently dealing with our late fee complaints, Blockbuster employees were a crucial part of our movie-watching experience, and frontline observers of the changes in our movie consumption. Mental_floss talked to a handful of former Blockbuster employees about what it was like to work at the video rental franchise from the company's heyday through its decline.

1. THEY RENTED MOVIES FOR FREE.

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Working at Blockbuster had plenty of perks if you were a movie lover. Employees not only received five free rentals a week, but got to watch new releases a week before they became available for rental. Matt, who worked at a Blockbuster in southeast Michigan from 2004 to 2009, explains that the free rental policy was really a win-win for Blockbuster and its employees. “This was actually a necessity because you’d have movie buffs and store regulars come in and ask for recommendations,” he explains. “It was a good way to catch up on movies I missed or had never heard of. I definitely dug up some oddball gems this way.”

2. THEY HATED IT WHEN YOU COMPLAINED ABOUT LATE FEES ...

Over the years, Blockbuster experimented with a range of policies regarding late fees. For a while, the store tried a “no late fees” policy, which, according to former employees, replaced late fees with a confusing “re-stocking fee.” Regardless of policy, employees say dealing with late fees was among the most annoying parts of the job.

“People proved to be astoundingly bad at math, and though they’d agree on how long they kept the movies they had and how much each of them cost for the night, they were just unable to comprehend how they owed us the amount they did,” explains Lex, who worked at Blockbuster in Scranton, Pennsylvania, from 2012 to 2013. “Dealing with people trying to get out of what they owed was basically how we interfaced with 40% of our customers on a daily basis.”

Brie, who worked at a Blockbuster in Salt Lake City from 2007 to 2008, during its “no late fees” era, explains that customers would always fight her on the store’s $1.25 restocking fee. “I would say 95% of the customers would fight me on paying them 100% of the time,” she says. “Customers would argue, ‘What is this restocking fee if not a late fee?’ You’re totally right, I know, it’s a loophole to get around saying it’s a late fee. I didn’t make it up, please don’t fight me on it.”

3. ... BUT THEY'D TRY TO HELP YOU OUT IF YOU WERE POLITE.

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When it came to getting out of late fees, there was really only one strategy that worked: Be nice. “Once I hit Shift Lead status, I would make deals with customers and try to waive a fee or two here or there if customers were regulars or particularly nice,” says Brie .

“We were able to minimize some late fees, eliminate others,” says Tim, who worked at a Blockbuster in East Greenwich, Rhode Island, from 2004 to 2007. “Come in calm and respectful and apologetic, poof, you owe $0.00. Come in hooting and hollering and it’s ‘I’m sorry, sir. There’s nothing I can do. You cannot rent another movie until you pay your $3.75.’”

4. THEY KEPT SECRET NOTES ON CUSTOMERS.

If you ever caught an employee giving you a strange look or holding back a laugh when you tried to rent, there’s a chance there was a note left on your account. Blockbuster used point of sale software that let employees look up your account information, and leave little warnings for each other if you habitually tried to worm your way out of late fees or misbehaved.

“People would constantly complain about late fees, so we had a system where you could write a note in the computer, like ‘Forgave one late fee, don’t do it again,’ or ‘This guy constantly turns in tapes late and says he paid his fees,’” says Mike , who worked at Blockbuster in Malden, Massachusetts, from 1999 to 2003. “Depending on who wrote the note, it could be very professional or sometimes it would just be like, ‘This lady is crazy.’ It would be flashing in yellow and you’d be keeping one eye on the customer, and one eye on the screen, trying to read it, and sometimes trying to keep a straight face.”

5. THEY COULD SEE YOUR ENTIRE RENTAL HISTORY.

If you rented anything embarrassing, you can bet your local Blockbuster employee noticed. “When customers brought up tapes, you’d see their previous rentals automatically,” explains Mike . “So, you’d see like, a thirteen-year-old girl renting Titanic for the twentieth time. You wouldn’t say anything, though.”

6. THEFT WAS A BIG ISSUE.

Customers were constantly finding creative new ways to steal merchandise. Matt remembered the “slashers” who would “show up with a boxcutter hidden on them and sneak around the store, slitting the spines on DVD cases and stealing discs,” while Lex recalled a guy who figured out how to remove the magnetic locking strips from DVD cases. “He’d always steal the weirdest, most arbitrary movies,” she explains. “He’d steal sequels of things and not the originals, or individual discs of TV show season collections. I don’t know if he was just trying to tear down the system slowly from the inside, or if he just had very specific interests.”

Mike, meanwhile, says the most notorious criminal to terrorize his Blockbuster location turned out to be a 10-year-old boy. “We had the full security system at Blockbuster—video cameras, security gates, magnetic locks on the cases—but somebody kept stealing video games. Our manager was totally baffled. He started to think it was an inside job,” says Mike. “It turned out it was a little ten-year-old kid. His mom found all the video games under his bed and turned him in. She brought the games back and we promised not to press charges, but the mom wanted us to scare the kid straight, like Maury Povich-style. So the manager and I ended up in the back room with this little ten-year-old kid who’s crying his eyes out. We had no idea what to do. It’s like, there’s our master thief who’s outwitting our corporate security system, and he’s just a kid.”

7. CORPORATE LOGIC WAS A BIT OF A MYSTERY.

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The employees at individual Blockbuster locations didn’t get to choose which products they ordered to rent or sell. Everything was decided by corporate headquarters, whose logic could sometimes be difficult to discern. Back in the early 2000s, that often meant receiving hundreds of copies of new releases to rent, which stores would later struggle to sell off, or receiving books and magazines that customers never even noticed were there.

Gladiator was the biggest movie that came out while I was at Blockbuster. We had so many copies, just walls and walls of Gladiator. Then, later on, we couldn’t sell them. We had like 200 copies left and nobody wanted them,” recalls Mike. “We’d also sell video game guides and magazines, and they would never sell. At the end of the month, we’d rip the cover off and throw them away. Sometimes instead of tossing them, I’d take them home—to this day, I have so many books without covers.”

8. THINGS REALLY STARTED TO UNRAVEL TOWARD THE END.

By 2012 or so, when the chain was really struggling to stay afloat, Blockbuster locations would often receive seemingly random shipments of movies to sell off, says Lex. They’d set up large tables around the store covered in DVDs for sale. “It was a completely random assortment of stuff,” recalls Lex. “We’d have, like, 50 copies of some mediocre 5-year-old romantic comedy, and then two copies of Indiana Jones and the Last Crusade (and none of the rest of the series), and then 12 copies of some obscure art-house film. There was no curation.”

“The most bizarre thing,” he concludes, “is that we had 135 copies of Dinner For Schmucks. I made it its own table. On the Black Friday I was there, we had a ‘door busters’ sale, with select, new DVDs for $5 a piece. We got 24 DVDs to sell—not 24 titles, 24 individual DVDs. Of those 24 DVDs, six were Dinner For Schmucks. The 135 copies were already selling for $3 apiece. We didn’t have much of a Black Friday rush that year.”

9. THE SWITCH FROM VHS TO DVD WAS PURE CHAOS.

Long before Blockbuster lost its showdown with streaming video, the company was faced with another seismic technological shift: the transition from VHS to DVD. According to Ben, who worked at a Blockbuster in central Pennsylvania from 2001 to 2002, the company struggled to get rid of its excess VHS tapes once the medium became obsolete. "We pulled them by the hundreds and put them on sale," he recalls. "After a few weeks, we started pulling them for destruction. It was kind of a shame, but it was fun at the same time. We just smashed the hell out of them behind the counter. I was washing through an ankle-deep layer of black plastic and magnetic tape … Later destroy pulls were authorized to instead send to local charities, but that first big one was fun.”

10. BEING A MOVIE BUFF WASN'T A JOB REQUIREMENT ...

You didn’t have to be a cinephile to work at Blockbuster. Most managers were more interested in hiring people who were reliable and punctual than employees who could recite the entire filmography of their favorite director. “You didn’t need to love movies at all,” recalls Mike. “You just had to get there on time.”

11. ... BUT MANY EMPLOYEES REALLY LOVED MOVIES.

Nevertheless, many Blockbuster employees really did love movies. “My interview basically amounted to them making sure I was a human that could read,” says Lex. “But everyone I worked there with was pretty big into games, movies, and TV, and we spent a lot of time talking about them.”

11 Secrets of Storm Chasers

Drew Angerer, Getty Images
Drew Angerer, Getty Images

Every year, people around the world board up windows, stock up on essential supplies, and flee their own homes in anticipation of severe weather events. But for storm chasers, tumultuous weather is an invitation to move toward the danger. Some endure precarious conditions during hurricanes, tornadoes, and other storms in order to take readings that might later prove useful to meteorologists. Others are simply attracted to the beauty of the storms, capturing nature’s violent expressions in what could be considered an extreme form of landscape photography.

There's no shortage of opportunities for storm chasers. The U.S. each year sees an average of 1253 tornadoes—a massive column of spinning air borne out of thunderstorms and creating winds up to 250 miles per hour. Hurricanes are fueled by heat from oceans and threaten coastal regions with heavy rain and wind. Though it doesn’t have quite the same reputation, even a simple, raging thunderstorm can produce enough hail and high winds to cause chaos. Each is dangerous, devastating—and, in the eyes of storm chasers, beautiful.

To better understand what motivates these individuals to seek out cataclysmic events, Mental Floss spoke to three extreme weather specialists. Here’s what they had to say about airborne houses, armored trucks, and why you won’t usually see any of them wearing a helmet.

1. For storm chasers, a hurricane can feel like an acid trip.

A satellite image of Hurricane Irene in the Caribbean Sea in August 2011 is pictured
Hurricane Irene is shown over the Caribbean Sea in a satellite image from August 2011.
NOAA via Getty Images

With just 13 hurricanes hitting the continental U.S. since 2010, chasing hurricanes requires a passport and a willingness to spend days making connecting flights to international destinations. As a result, hurricane hunters are a small subgroup of the storm chaser demographic. Why do they do it? For Josh Morgerman, a hurricane chaser based in Southern California and star of the Science Channel’s upcoming Hurricane Man, being exposed to hurricanes on Long Island in his youth created an association between a severe storm and excitement. “My whole life is hunting that feeling again and again,” he tells Mental Floss. While he still pursues that rush, Morgerman's chief objective is to measure air pressure and log observational data that can assist meteorologists in analyzing storms. (Chasers can also measure factors like humidity, wind speed, and temperature.)

Unlike tornadoes, which have a very clear visual identity as they spin in a cone shape over land, hurricanes just look like a fierce concentration of weather. That combination of heavy rain, wind, and flying debris can be hard to explain unless you’ve experienced it firsthand. As fierce weather rages in the area known as the eyewall, the eye, or center, inside is peaceful. Morgerman says that jarring contrast is a little like an acid trip. “In a severe hurricane [the eyewall] is quite incredible,” he says. “Some sound like a train or like wolves howling. Hurricane Michael, the building I was in was shaking. The windows were breaking. With storms like that, you can’t see anything. Everything just turns white. You just see flying wreckage. It’s an unbelievable spectacle to behold." In the eye, though, "It gets calm. The sky is blue ... There’s something very acid-trippy about that.”

2. The movie Twister influenced a lot of storm chasers.

A publicity photo from the 1996 film 'Twister' depicts actor Bill Paxton looking at a tornado
Hulton Archive/Getty Images

In 1996’s Twister, Bill Paxton plays a tornado chaser who braves a series of severe weather events. For many chasers, the movie was a milestone, prompting a lot of people to get into the field themselves. “It’s the reason I got into it,” says tornado chaser Greg Johnson, who now collects footage to sell to news outlets. “There was this romantic notion of storm chasing. There are a lot of things the movie got right."

There was one exception. "One thing it didn’t get right is the human toll. The damage associated with these storms. The movie underplayed the destruction and death. In real life scenarios, it’s far worse than anything they show in the movie.” A chaser’s first priority, he says, is to stop and help anyone who might need assistance.

3. Storm chasers don’t spend much time actually inside the storms.

Support scientist Tim Marshall stands outside of a vehicle to observe a supercell thunderstorm in Lamb County, Texas in May 2017
Drew Angerer, Getty Images

The life of any storm chaser is supposed to be thrilling, and it is—for a few minutes or hours at a time. Most chasers spent the majority of their careers traveling toward a storm, either by driving toward it or, in Morgerman’s case, flying. He might be in a hurricane for hours; a tornado might touch down for just a few minutes. Johnson also says he spends much of his time traveling. “When you see videos on YouTube of incredible tornado events, recognize what you’re seeing is the 1 percent of the time,” Johnson tells Mental Floss. “You’re not seeing countless hours at truck stops sleeping on the hood of a truck doing nothing.”

4. The real danger for storm chasers isn’t the weather. It’s the traffic.

Traffic is redirected during a tornado in Linwood, Kansas in May 2019
Kyle Rivas, Getty Images

Severe weather can cause high winds and flooding, but it’s not always nature that winds up being physically threatening, especially because chasers spend so much of their time traveling. (In fact, there’s been only one fatal incident as a direct result of a tornado, when chaser Tim Samaras, his son Paul, and colleague Carl Young were trapped in their vehicle and picked up by 200 mile-per-hour winds during the El Reno tornado in 2013. All three died.)

According to Montana-based storm chaser and National Weather Service meteorologist Cory Mottice, experienced chasers know to fear traffic more than the weather. “In a more highly populated area, you have to worry about traffic congestion,” he says. “A storm might be coming down through Oklahoma and you might be out of danger initially. But as the storm is getting closer, people are worrying and start panicking. They’ll pull under overpasses and get stuck on the road with a tornado coming at them.”

Johnson agrees, adding that injury from storms can often take a back seat to traffic accidents. “The thing that keeps me up at night is the driving, not the tornado,” he says. “The tornado will generally go from point A to point B along a defined path. It’s very well-behaved. The quickest way is a straight line. It’s very visual. You can see where it is and you can avoid it. Driving is a completely different story. Put enough miles on and you’re bound to see a bad accident.”

5. Storm chasers drive armored vehicles.

A reinforced vehicle is pictured near a tornado
Courtesy of Greg Johnson // @tornadogreg, TornadoHunter.com

Driving in pursuit of a tornado requires a little more than simple guts and a willingness to get close to a massively powerful weather event. Chasers need their version of a Batmobile. According to Johnson, professionals usually opt for an armored truck to help insulate them from the destructive power of the storm. “We’re not just driving around in a pick-up truck,” he says. “I have a roll cage to prevent it from being crushed. It’s designed to go off-road. It’s heavier than a normal truck. The steel roll cage adds weight. There’s exterior coating to prevent punctures in the vehicle.”

While the roll cage is heavy, the goal isn’t to make the vehicle heavier so it's harder for a tornado to pick up. “At the end of the day, if you’re caught in a tornado capable of throwing the vehicle, a weight difference of 500 or 800 pounds won’t matter. Tornados can pick up combiners. Those things do happen. I’d rather the truck be lighter and easier on gas.”

6. Storm chasers have seen flying houses.

A weathervane is mounted on the roof of a house
Lobro78/iStock via Getty Images

Storm chasers don’t want to drive directly into a tornado or other severe weather event. They just want to get close enough to obtain readings or to take photographs. Johnson tries to get within 200 or 300 yards to snap photos, which is still close enough to see how intense wind speeds can be. “I’ve seen a house flying through the air,” he says. “I saw a truck flying across the road 50 yards in front of me.”

7. Storm chaser equipment can take a beating.

Jan Dutton of WeatherBug.com tracks Hurricane Isabel in Ocean City, Maryland in September 2003
Mark Wilson, Getty Images

Most chasers hit the road with doppler radar, laptops, cameras, and other equipment to help them analyze data and capture images. If you’ve wondered how they can do that without putting themselves at risk, the answer is simple. For still photography, Mottice puts the camera on a tripod outside while he remains in the truck. That keeps him out of danger—but his equipment is another story. "I have my camera and gear on a tripod. I’m in the vehicle taking remote pictures. The hail can hit the camera. Wind is an issue.” Some chasers bring back-up equipment in case their gear gets pummeled.

8. Storm chasers know they should wear helmets. (But they usually don’t.)

A storm warning sign is pictured
arcady_31/iStock via Getty Images

With flying wreckage cutting through the air, it would stand to reason storm chasers should equip themselves with helmets. Few do, however. “I’m embarrassed to say I don’t wear a helmet,” Morgerman says. “Fans have been pushing me to wear one for years … the whole [television] crew is wearing helmets. I don’t want anything to encumber the experience.”

9. Storm chasers can suffer physical effects.

Hurricane Ike is seen over Cuba in a photo taken by the International Space Station in September 2008
Hurricane Ike is seen over Cuba in a satellite image taken by the International Space Station in September 2008.
NASA via Getty Images

An experienced chaser knows how to plan routes that keep them safely away from tornadoes. For hurricanes, they scope out buildings able to withstand the force of the storm. All that planning, however, doesn’t mean they always walk away unscathed. Morgerman says the violent winds of a hurricane’s eyewall can leave enduring effects. “The intense gustiness can cause rapid pressure changes that can really hurt your ears,” he says.

10. Storm chasers know that thunderstorms can be incredibly destructive.

A storm chaser drives a car with a smashed windshield
Courtesy of Greg Johnson // @tornadogreg, TornadoHunter.com

Most people assume hurricanes and tornadoes represent the pinnacle of danger when it comes to storm-chasing. But according to Mottice, a severe thunderstorm can match or exceed them in destructive power. “Some people think a severe thunderstorm warning with 80 mile-per-hour winds is no big deal, that the tornado is the big deal,” he says. “But winds produce more damage than some tornadoes. In Montana, a storm produced 120 mile-per-hour winds. They can do a lot of damage.”

Mottice also tends to be wary of hail during storms. Once, he says, “I didn’t know a storm was blowing up behind the one we were chasing. We got caught in the core of that one. It threw golf ball-sized hail on us. The vehicles on the roads had broken windows.”

11. Storm chasers worry they might be setting a bad example for amateurs.

Hunter Anderson, a meteorology student at St. Cloud University, films a storm near Limon, Colorado in May 2017
Drew Angerer, Getty Images

In the storm-chasing community, there’s much debate over what separates a professional from an amateur. Generally speaking, professional storm chasers get paid for their work, whether that be compensation for footage or photography. But there's no licensing necessary to chase a storm, and anyone can pursue extreme weather. Morgerman, who has likely been in more hurricanes than anyone alive—he says the Science Channel verified the claim for his television series—believes amateurs who follow chasers on social media might get the wrong idea. “I remember being a 15-year-old weather nerd wanting to have these experiences. I worry I’m setting a bad example. I worry some kids will watch what I do and try to do it but without the experience and knowledge that I have.”

12 Secrets of Roller Coaster Designers

People ride a spinning roller coaster in the Santa Cruz Beach Boardwalk Park
People ride a spinning roller coaster in the Santa Cruz Beach Boardwalk Park
hanusst/iStock via Getty Images

Back in the early 20th century, engineers attempting to push the limits of roller coaster thrills subjected riders to risky upside-down turns and bloody noses. A century later, coaster designers rely on computer software, physics, and psychology to push the limits of the roughly 5000 rides in operation worldwide. To get a sense of what their job entails, Mental Floss spoke with several roller coaster specialists about everything from testing rides with water-filled dummies to how something as simple as paint can influence a coaster experience. Here’s what we learned.

1. Getting strapped in might be the most exciting part of the roller coaster ride.

Known as a “thrill engineer,” UK-based Brendan Walker consults with coaster manufacturers and parks on the psychology of riding the rails. In his experience, riders getting secured into their seats are at the peak of their excitement—even more so than during the ride itself. “The moment the lap bar is being locked down and you have that feeling of things being inescapable, that you have to suffer the effects of the ride, is the highest moment of arousal,” Walker says. “The actual ride might only achieve 80 percent of that excitement.”

2. Designers test roller coasters with water-filled dummies.

Bill Kitchen, founder of U.S. Thrill Rides, says it can take anywhere from two to five years for a coaster to go from idea to execution. Part of that process is devoted to the logistics of securing patents and permits for local site construction—the rest is extensive safety testing. “We’re subject to ASTM [American Society for Testing Materials] standards,” Kitchen says. “It covers every aspect of coasters. The rides are tested with what we call water dummies, or sometimes sandbags.”

The inanimate patrons allow designers to figure out how a coaster will react to the constant use and rider weight of a highly trafficked ride. The water dummies—which look a bit like crash test dummies, but filled with water—can be emptied or filled to simulate different weight capacities. Designers also sometimes use the kind of crash-test dummies found in the auto industry to observe any potential issues prior to actual humans climbing aboard.

3. Every foot of roller coaster track costs a lot of money.

Thrill seekers go upside-down while riding on the Mind Eraser roller coaster in Agawam, Massachusetts
Thrill seekers go upside-down while riding on the Mind Eraser roller coaster in Agawam, Massachusetts
Kirkikis/iStock via Getty Images

There is absolutely nothing random about the length of a coaster’s track. In addition to designing a ride based on the topography of a park site, designers take into account exactly how much space they’ll need to terrorize you and not an inch more. When England’s Alton Towers park was preparing to build a ride named TH13TEEN for a 2010 opening, they asked Walker exactly how much of a drop was needed to scare someone in the dark. “It was a practical question,” Walker says. “For every extra foot of steelwork, it would have cost them £30,000 [roughly $40,000].”

4. Rollercoaster Tycoon brought a lot of people into the business.

The popular PC game, first released in 1999, allowed users to methodically construct their own amusement parks, including the rides. As a proving ground for aspiring engineers and designers, it worked pretty well. Jeff Pike, President of Skyline Attractions, says he’s seen several people grow passionate about the industry as a direct result of the game. “I remember when the game first got popular, I would go to trade shows and there would be kids looking to get into it using screen shots of rides they designed. The game definitely brought a lot of people into the fold.”

5. Paint makes a big difference in coaster speed.

A group of tin metal cans with colorful paint
scanrail/iStock via Getty Images

For all of their high-tech design—the software, fabrication, and precise measures of energy—a good coaster ride can often come down to whether it’s got too much paint on it. “The one thing that will slow down a steel coaster is a build-up of paint on the track rails,” Pike says. “It softens where the wheel is rolling and hitting the track, which increases the drag.” A good, worn-in track will have gray or silver streaks where the wheel has worn down the paint, making it move more quickly.

6. A roller coaster’s skyline is key.

Brian Morrow, former Corporate Vice President for Theme Park Experience at SeaWorld Parks and Entertainment, says that the looming curvature of coasters spotted as guests drive toward and enter the park is very purposeful. “It’s like a movie trailer in that we want you to see some iconic coaster elements, but not the whole thing,” he says. “You approach it with anticipation.”

7. Some coasters arrive as giant model kits.

Whether a coaster’s theme or design comes first is largely left up to the end user—the amusement park. But for some rides, manufacturers are able to offer pre-fabricated constructions that designers can treat like the world’s biggest Erector Set. “Sometimes I work on rides that have already been built,” Walker says. “They’re produced by a company and presented almost like a kit with parts, like a model train set. There’s a curve here, a straight bit here, and you can pick your own layout depending on the lay of the land.”

8. Wooden roller coasters are weather-sensitive.

If you’ve ever been on a wooden coaster that seems a little shaky from one trip to the next, check the forecast: It might be because of the weather. Pike says that humidity and other factors can shrink the wood, affecting how bolts fit and leading to a slightly shakier experience. “The structure itself can flex back and forth,” he says. It’s still perfectly safe—it just takes more maintenance to make sure the wood and fasteners are in proper operating condition. A well-cared-for wooden coaster, Pike says, can usually outlast a steel model.

9. The time of day can affect the coaster experience.

“A coaster running in the morning could run slower when cooler,” Morrow says. “The wheels are not as warm, the bearings are warming up. That could be different by 2 p.m., with a slicked-up wheel chassis.” Coasters experiencing their first-ever test runs can also be slightly unpredictable, according to Pike. "Those first trial runs [during the testing phase] can be slow because everything is just so tight," he says. "A lot of coasters don't even make it around the track. It's not a failure. It's just super-slow."

10. Roller coaster designs can come from unusual places—like Jay Leno’s chin.

The twisting, undulating tracks of coasters can often be the result of necessity: Pike says that trees, underground piping, and available real estate all inform designers when it comes to placing a ride in a specific park. But when they have more freedom, coasters can sometimes take on the distinctive shape of whatever happens to be around the designers at the time of conception. “We had a giant piece of land in Holland that just had no constraints, and we were sitting around talking," Pike says. “And we started talking about Jay Leno’s chin.” The ride was a “loose” representation of the comedian's jaw, but “it is there.”

11. Roller coaster riders double as performers.

A woman taking a ride on a rollercoaster at Oktoberfest in Munich, Germany
A woman taking a ride on a rollercoaster at Oktoberfest in Munich, Germany
exithamster/iStock via Getty Images

For Walker, the best advertising for a coaster is having spectators watch riders de-board after an exhilarating experience. “It’s all about that emotion,” he says. “A spectator basically asks, ‘What’s making them so aroused? What’s giving them such pleasure?’ The line for the ride is the audience. Imagining yourself on the structure becomes a very powerful thing."

12. The future of coasters is vertical.

Biggest, fastest, longest—coasters are running out of superlatives. Because rides can only be designed with so many drips, rolls, or G forces, some companies are looking to the sky for their next big idea. Kitchen has been overseeing design of the Polercoaster for years: It’s a sprawling, skyscraper-esque ride that uses electromagnetic propulsion to carry riders upwards instead of across horizontal tracks. “We want to put it in places where land is very expensive, like the Vegas strip,” he says. “You can only do that if it takes up a lot less space.” The project is set to exceed the 456 feet of the current tallest ride, Kingda Ka at Six Flags in New Jersey. “It’ll be the world’s tallest—and hopefully the most fun.”

This list first ran in 2017.

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