Disney and Carroll
A Wonderful Collaboration
By Kelvin Cedeño
Part 4: Alice in Wonderland (1951)

After years of pursuing a film adaptation of
Alice’s Adventures in Wonderland, Walt Disney was finally able
to make that dream a reality, even if by this point, everyone else
around him was more onboard than he was. Production 2069 kicked off
in 1947, and thus came the all-too-familiar challenge of once again
trying to make Lewis Carroll’s classic into a workable narrative. It
was decided that instead of just adapting the first book, they’d
combine elements of Through the Looking Glass and What
Alice Found There. That gave them a wealth of material to work
with, perhaps too much.
Virtually every sequence from both books was
considered at some point except for the chess piece royals (they
were too tied into the Looking Glass plot and would conflict
with the playing card royals) and Humpty Dumpty (Walt felt he talked
far too much). Walt thought about developing a romance between a
younger White Knight and Alice in order to give the story more
heart, but the story team advised against this as they felt it was
tampering too much with the source material. They were again faced
with the problem of making a narrative out of a series of vignettes.

Little flourishes in the way of repeat characters
would help connect the segments a bit better, many of which were
layovers from David Hall’s 1939 storyboards. The character of the
“Drink Me” bottle, created for that version so that Alice would have
someone to interact with in the hallway, would change into a
Doorknob. The Dodo (originally only seen during the Caucus Race in
the book) would appear again during the White Rabbit’s house segment
in place of Pat the guinea pig. Alice would be given the goal of
catching the White Rabbit as opposed to her less concerned goal in
the book of finding the Queen’s garden. This would allow the White
Rabbit to make periodic visits in and out of segments he was never
apart of in the novel, most notably the Mad Tea Party. Giving the
Mad Tea Party a better sense of whimsical purpose would be the
transfer of the unbirthday concept from Humpty Dumpty to the Hatter
and Hare. The use of Wonderland food would be made more consistent
in that liquid would always equal growth while cookies would equal
shrinking. Alice would be shrunk for the Garden of Live Flowers
sequence rather than being her normal size. To help raise the stakes
during the climax, Alice would be the one put on trial, not the
Knave, and a wild, insane curtain call of a chase would top it off.
From a narrative standpoint, Walt felt that even
with all of these tweaks to the material, it still wasn’t strong
enough. It was decided that a great emphasis needed to be placed on
two things. The first of these was the art direction. The original
illustrations of the books by John Tenniel were synonymous with
Carroll’s text. In fact, Carroll himself was very particular as to
how the characters should be depicted to the point where Tenniel
almost turned down the offer to illustrate Looking Glass.
Walt had purchased the rights to the artwork, but Tenniel’s designs
weren’t really suitable for animation. The character designs took a
more streamlined approach but with enough recognizable features to
still make them feel iconic.

The world of Wonderland itself also posed a
challenge. The book illustrations were often closed in on the
characters so that there usually wasn’t a sense of what the
environments were like. Even the text kept descriptions to a bare
minimum. Help would arrive in the form of Disney concept artist Mary
Blair. She had been with the studio since 1940, but it was the trip
she, Walt, and the other animators made in 1941 to South America
that really shook up the way she approached color styling. She was
influenced by the bold colors and striking patterns she came across
during that Good Neighbor Policy tour and took those ideas with her
back to the studio. Those concepts, mixed with her own sense of
whimsy, resulted in modern-yet-fantastical stylings the studio had
never seen before. This made her a natural to spearhead the look of
Alice.
Her approach was more dreamlike and fancifully
skewed than the lush realism of David Hall’s ideas. Wonderland in
her eyes was filled with glorious Technicolor as well as curious
shapes and eccentricities (armchairs lodged on walls, spoons with
bends in the middle, slanted surfaces, etc.). Blair’s designs were
so bold that in many cases, little had changed from the concept art
to the final backgrounds. It suited the Disney approach of trying to
make the material as fun as possible, and it helped sell the idea
that this was a fantasy world only animation could truly do justice.

The other key factor Walt felt could drive the
material was music. Virtually every segment would feature a new
song, and while some were taken from Carroll’s text, most would be
new. Tin Pan Alley songwriters Mack David, Al Hoffman, and Jerry
Livingston (who were also penning the songs for Cinderella)
were hired for the project, but the only song of theirs that was
chosen was “The Unbirthday Song.” Bob Hilliard and Sammy Fain (the
latter of whom would go on to write the music for Peter Pan)
would write the majority of Alice’s tunes, though Gene De Paul and
Don Raye would contribute “’Twas Brillig.” Over 30 songs were
collectively written for Alice, and the following are what
appear in the final film accompanied by a score from Oliver Wallace
(all of the numbers are by Hilliard and Fain unless otherwise
noted):
“Alice in Wonderland”
“In a World of My Own”
“I’m Late”
“The Sailor’s Hornpipe” (Traditional)
“The Caucus Race”
“How D’Ye Do and Shake Hands”
“The Walrus and the Carpenter” (Adapted from Lewis Carroll)
“Old Father William” (Words by Lewis Carroll)
“We’ll Smoke the Blighter Out”
“All in the Golden Afternoon”
“A-E-I-O-U”
“`Twas Brillig” (Words by Lewis Carroll, music by Gene De Paul and
Don Raye)
“The Unbirthday Song” (Words and music by Mack David, Al Hoffman,
and Jerry Livingston)
“Very Good Advice”
“Painting the Roses Red”
Interestingly, of the many songs not used in the
final film, one particular number would find new life elsewhere.
“Beyond the Laughing Sky” was a wistful, melodic tune sung by Alice
during the real-world opening. Similar in tone and theme to “Over
the Rainbow” from MGM’s 1939 musical The Wizard of Oz, the
number was dropped for two reasons. First, it was deemed too risky
to open such a wild and madcap picture with such a slow tune
(coincidentally, “Over the Rainbow” was cut for a short time for
this same reason). Second, the notes were deemed too difficult for
Kathryn Beaumont to attempt. A new song, “In a World of My Own,”
would replace it which was more upbeat and more in Beaumont’s range.
That wouldn’t be the end of “Beyond the Laughing Sky’s” life,
however. Composer Sammy Fain would be assigned to Peter Pan,
and when trying to come up with a main title number for that
picture, remembered “Laughing Sky.” He had Sammy Cahn wrote new
lyrics to the same melody, and the song became “The Second Star to
the Right.”
With the story, design and songs mapped out, it was
time to cast, and no role would be more important that than of Alice
herself. In the midst of all the chaotic and eccentric characters
that would parade in and out of the film, Alice needed to be played
by someone with a good head on her shoulders, someone who could
balance both the character’s sophistication and wide-eyed wonder.
Walt’s first choice was none other than actress Margaret O’Brien. A
veteran child actress who won a juvenile Oscar for her role as Tooty
in Meet Me in St. Louis, O’Brien was one of the biggest child
stars at Metro-Goldwyn-Mayer. Walt intended for his picture to
feature a star-studded cast, and having O’Brien in the lead would
certainly draw in audiences. On top of that, Walt knew MGM wasn’t
going to let O’Brien out of her contract with them, and he was
hoping to ally with them as a distributor as he wasn’t too
enthralled with RKO Radio Pictures (who had been distributing all
his features since Snow White and the Seven Dwarfs).
In this instance, Walt’s instinct faltered. MGM
decided not to renew O’Brien’s contract in 1949. Walt snatched her
up only to find out why MGM had let her go in the first place: her
mother Gladys was a no-nonsense agent who was always demanding more
money. Walt and Gladys got into heated debates over Margaret’s
salary, and he eventually let her go four days after making the
casting announcement. Funnily enough, one of Margaret’s co-stars, a
British girl who was essentially a mute extra in The Secret
Garden, would win the role after also being let go by MGM:
Kathryn Beaumont.

Beaumont had done a very early test on August 26,
1947 in which she sang “Brahm’s Lullabye.” Nearly two years had
passed before the now-eleven-year-old Beaumont was finally chosen.
The press was waiting in Walt’s office for her first meeting with
him. Upon entering, she was surprised to find how friendly he was
and how he acted like there was no one else in the room but them.
The two of them sat together and completely ignored the
photographers surrounding them. Walt opened up a dual volume edition
of both Wonderland and Looking Glass, showing Beaumont
which chapters he intended on using for the film. From that point
onward, she felt as though she were a key part in the process and
was never talked down to. Beaumont began recording on June 19, 1949.
Walt would go on record to say that she was exactly the Alice he
needed in that her voice wasn’t too British so as to turn off
domestic audiences, but it wasn’t too American so as to turn off
purists.
The White Rabbit seemed to be a challenging role to
cast as two actors came in to record before a third one was finally
chosen. First was Paul Frees who is best known to Disney fans as the
original voice of Ludwig von Drake and as various voices on The
Haunted Mansion and Pirates of the Caribbean attractions. Frees
recorded tests as both the White Rabbit and the Dodo but wasn’t
hired for either role. Next came Dink Trout who actually was cast
and began recording dialogue as both the rabbit and the King of
Hearts. At some point, however, it was deemed his voice wasn’t quite
right for the rabbit, but he was still kept on as the king. Bill
Thompson eventually landed the role along with that of the Dodo.

Stan Freburg (Lady and the Tramp) was hired
as the voice of the Jabberwock, but his entire sequence was cut
during production just before animation started (it’s unclear how
far along he got into recording, if at all). The scene would’ve
taken place in Tulgey Wood. Alice at this point would’ve been so
pre-occupied with finding her way home, that she’d pay no heed to
all of the warnings throughout the forest of the Jabberwock. When
the creature appeared, he’d grow upset at his inability to scare a
now-frustrated Alice and would break down and cry. Alice, fed up
with all of the nonsense, would wish for him and all of the Tulgey
Wood creatures to go away, and when they comply, she’d be left in an
empty void. The Jabberwock’s deletion happened late enough into
production that the Little Golden Book Alice in Wonderland Meets
the White Rabbit (whose art by artist Al Dempster was being
worked on simultaneously with the film) features the character.
The cast was compiled of well-known actors,
particularly radio ones. Walt wanted to ensure that not only would
the voices be distinct and colorful, but that the names would get
audiences into seats. Alice in Wonderland was the first
Disney animated film to have its cast listed all over the marketing,
and it would be the first to have end credits. Many of these actors
already had a history with Disney, and even the ones that didn’t
would go on to do so. The final film would feature the following
actors:

Kathryn Beaumont (Alice)
Ed Wynn (Mad Hatter)
Richard Haydn (Caterpillar)
Sterling Holloway (Cheshire Cat)
Jerry Colona (March Hare)
Verna Felton (Queen of Hearts)
Pat O’Malley (Tweedle Dee, Tweedle Dum, Walrus, Carpenter)
Bill Thompson (White Rabbit, Dodo)
Heather Angel (Alice’s Sister)
Joseph Kearns (Doorknob)
Larry Grey (Bill)
Queenie Leonard (Iris, Bird in the Tree)
Dink Trout (King of Hearts)
Doris Lloyd (The Rose)
James MacDonald (Dormouse)
The Mellomen (Card Painters)
Don Barclay (Miscellaneous Voices)
Three directors would oversee the production, a
common trait in animated films from Walt’s era. They were Wilfred
Jackson, Hamilton Luske, and Clyde Geronimi, and Alice in
Wonderland’s fragmented narrative made it a logical decision to
split the segments up between the three. The following is a complete
sequence breakdown with the accompanying director for each:
Sequence 1: Opening (Wilfred Jackson)
Sequence 2: Down the Rabbit Hole (Wilfred Jackson)
Sequence 3: Alice and the Doorknob (Hamilton Luske)
Sequence 4: Caucus Race (Hamilton Luske)
Sequence 5: Walrus and the Carpenter (Dee and Dum) (Clyde Geronimi)
Sequence 6: The Rabbit’s House (Hamilton Luske)
Sequence 6.5: Garden of Live Flowers (Hamilton Luske)
Sequence 7: Caterpillar (Hamilton Luske)
Sequence 7.1: Bird in the Tree (Clyde Geronimi)
Sequence 7.5: Cheshire Cat (Clyde Geronimi)
Sequence 8: Mad Tea Party (Clyde Geronimi)
Sequence 9: Tulgey Wood (Clyde Geronimi)
Sequence 9.5: Painting the Roses Red (Hamilton Luske)
Sequence 10: Croquet Game (Wilfred Jackson)
Sequence 11: Trial (Wilfred Jackson)
Sequence 12: Ending – Chase (Wilfred Jackson)

Partially to keep costs down, a live-action version
of the film was shot for the benefit of the animators. Most of the
actors hired to voice the characters would also physically play them
for this reference version, most notably Kathryn Beaumont. Due to
the strange nature of Alice’s adventures, Beaumont was put into odd
contraptions to better help with the stunts. These included rigging
that would drop her for the rabbit hole scene, giant boxes she had
to push out of the way to represent the card chase, and a machine
she rode on top of for the croquet game (which was rather
reminiscent of bullriding). For the White Rabbit house sequence, an
actual model of the house was constructed for her to sit inside of
while her limbs dangled outside. The animators thought this wasn’t
doing them any good since they couldn’t see her and her how her body
was contorting within the confined space. Another house was created
out of simple frames so that Beaumont could remain visible.
Ed Wynn was famous for his adlibs, and Alice
was no exception. During the live-action reference filming, he came
up with dozens of off-the-script gags using props from the tea
table. His tomfoolery so amused the filmmakers that they decided to
work them into the script. There was one problem, though. When Wynn
tried to recreate these gags for the sound booth recording, they
fell flat. Walt suggested they use the actual audio from the
reference filming for the final film. After a great deal of patching
and clean-up work by the sound editors, they managed to make a
workable soundtrack out of Wynn’s soundstage performance.

With the dialogue recorded and the live-action
reference film completed, it was time to work on the animation
itself. Walt had a core group of animators who had worked on many
films with him and who he entrusted in supervising the final
character designs. They were fondly known as the “Nine Old Men”
despite being in their 30s and 40s, and while each would have a
plethora of films under his belt, Alice would be one of only
three times all nine would work together on the same project (the
other two instances being Cinderella and Peter Pan).
Each was known for bringing a particular flavor and perspective to
character. For example, Milt Kahl and Marc Davis would often get the
protagonists due to their subtle and realistic draftsmanship. Frank
Thomas and Ollie Johnston, due to their close friendship, were
usually assigned characters that would be interacting often and had
a pre-established relationship (sometimes this would apply to
villains and their minions, sometimes to supporting characters).
Ward Kimball always got the comedic characters, and due to Alice’s
nature, he supervised the most characters out of anyone. The
following is a list of all Nine Old Men and the characters they had
worked on in Alice in Wonderland.
Les Clark (Alice)
Marc Davis (Alice)
Ollie Johnston (Alice, King of Hearts)
Milt Kahl (Alice, Dodo)
Ward Kimball (Tweedle Dee, Tweedle Dum, Walrus, Carpenter, Cheshire
Cat, Mad
Hatter, March Hare, Dormouse)
Eric Larson (Alice, Caterpillar, Queen of Hearts)
John Lounsbery (Flowers, Cheshire Cat, Mad Hatter, Tulgey Wood
Creatures)
Wolfgang Reitherman (White Rabbit, Dodo, Walrus, Carpenter, Bill,
March Hare)
Frank Thomas (Doorknob, Tulgey Wood Creatures, Queen of Hearts)

To help ensure the success of his 13th
animated feature, Walt decided to go all-out in an unprecedented
marketing campaign. He kicked off the promotional push with his
first-ever television special on Christmas Day 1950: One Hour in
Wonderland. Sponsored by Coca-Cola, the special featured
himself, Kathryn Beaumont, Edgar Bergen, Bobby Driscoll, and Hans
Conried as the Magic Mirror. The scenario was that he was throwing a
Christmas party at the studio, and for the entertainment, the Magic
Mirror would show various shorts and clips from films. These
included “The Silly Song” from Snow White and the Seven Dwarfs,
the tar baby sequence from Song of the South which featured
the famous “Zip-A-Dee-Doo-Dah” number, the Mickey Mouse short
Clock Cleaners, and the Pluto short Bone Trouble. To top
it all off, Walt unveiled most of the Mad Tea Party sequence from
Alice in Wonderland seven months before the public would see the
whole film in theaters. The show was a smash and convinced Walt that
television was a viable way of promotion.

Two more forays in television would follow for
Alice’s marketing campaign, those these would be part of other
programs. “The Fred Waring Show” dedicated the second half of its
March 18, 1951 episode to the film. Both Kathryn Beaumont and
Sterling Holloway appeared as their characters in costume amidst
sets designed by Mary Blair. Several musical numbers from the film
were performed by the actors and Waring’s chorus (also donning
costumes), and a clip of the March of the Cards sequence was
presented. On June 14, “The Ford Star Revue” aired a segment called
Operation Wonderland. Narrated by James Melton, it was
essentially a “making of” piece, taking viewers on a tour of the
different departments that help make an animated feature. The most
fascinating aspect of this was the peek at the live-action reference
footage, the only known remnants that have been known to survive
save for one other piece to be discussed later.

At long last, Walt Disney’s Alice in Wonderland
had become a reality. It had its premiere on July 26, 1951 in
London’s Leicester Square. Unfortunately, Walt was dissatisfied with
the final product, and both critics and audiences agreed with him.
He felt it was too cold a picture and that the laughs in the film
weren’t earned without some tears to help give them substance. The
animators felt similarly and blamed the episodic structure. Ward
Kimball compared it to a series of vaudeville acts with each segment
trying to outdo the next and that in the midst of it all, only the
cool-headed Cheshire Cat emerged as a success. Marc Davis didn’t
think Alice herself was a very interesting heroine for the viewers
to root for and mused that perhaps if she had Dinah with her to
interact with, there might’ve been more of a spark. Purists weren’t
pleased at how fast and loose Disney adapted Carroll’s books, and
the general public felt the film too odd and alienating. On a $3
million budget, Alice only made back $2.4 million
domestically.
In a time where Walt would re-release his films to
theaters ever seven years, Alice in Wonderland became
relegated to television. It was the first of his films ever to air
and did so as the second episode of his Disneyland series on
November 3, 1954. And so that seemed to be the film’s fate until the
early 1970s. Alice had become a cult favorite at college
screenings due to its surrealism and colorful imagery. Disney
decided it was time to bring it back to theaters and did so on March
15, 1974. The success of this release encouraged Disney to
re-release it again on April 3, 1981, thus pushing the film’s
popularity further.

On home video, Alice in Wonderland has been a
bit of a litmus test to gauge consumer interest. The film would be
one of the first from the studio released with each passing format
since it’s a recognizable enough title to warrant attention without
Disney having to spoil one of their crown jewels early. It debuted
on Betamax in 1981, and both a VHS and laserdisc release followed
the next year. In 1986, it would be one of the first titles to
kickstart the “Walt Disney Classics” collection on VHS. Due to an
influx of both knock-off versions as well as bootlegs, a black flap
was added to the artwork in 1991 that emphasized it as being “The
Original Animated Classic!” A laserdisc released soon followed. With
1994 would come another collection and yet another edition of
Alice on both VHS and LD: “The Walt Disney Masterpiece
Collection.”
On November 22, 1995, Alice in Wonderland
would be part of the “Exclusive Archive Collection” – a collection
of laserdiscs aimed squarely at film fans containing generous
rosters of supplements. Alice arguably received the most exhaustive
treatment of these titles as, along with a new restoration, it
contained the following bonus material:
* Music and Effects Track
* The History of Alice in Wonderland
* Sir John Tenniel’s Illustration for the Lewis Carroll Books
* An Alice Comedy: Alice’s Wonderland (1923)
* A Mickey Mouse Cartoon: Thru the Mirror (1936)
* 1939 Storyboards for Unproduced Feature Version
* 1943 Storyboards for Unproduced Feature Version
* Final Sequence Breakdown
* Deleted Storyboard Concept: Alice Daydreams in the Park
* Design Concepts
- Mary Blair
- Wonderland
- The Tulgey Wood
* Character Design
- Alice
- The White Rabbit
- The Queen of Hearts
- Tweedle Dee and Tweedle Dum
- Flowers
- The Cheshire Cat
- The Mad Hatter
- The Caterpillar
- Miscellaneous Characters
- Deleted Characters
* Main Title Designs
* Photo Gallery
- Live-Action Reference Filming
- Studio Production
- Voice Talent
* Publicity
- Posters
- Lobby Cards
- Pressbook
* Trailers
- 1951 Theatrical Trailer
- 1976 Re-Release Trailer
* Walt Disney TV Introductions
- Disneyland Television Show
- The Wonderful World of Color
* One Hour in Wonderland
* Operation Wonderland
* The Fred Waring Show (Excerpt)
* Song Demos and Tests
- The Caucus Race
- I’m Late
- J. Finleson Test
- The Unbirthday Song
- Tea Party Dialogue Sequence
- Alice in Wonderland
- In a World of My Own
- Dream Caravan
- If You’ll Believe in Me
- The Jabberwocky Song
- Beware the Jabberwock
- `Twas Brillig
- The Walrus and the Carpenter
-- Part 1, Version #2
-- Part 2, Version #1
-- Part 2, Version #2
-- Part 3, Version #1
- Garden of Live Flowers Dialogue Sequence
- Rose Garden Sequence
- How Doth the Little Crocodile
- Paul Frees Auditions
-- Dodo Bird
-- White Rabbit #1
-- White Rabbit #2
- The Lion and the Unicorn
- Beyond the Laughing Sky
-- Demo
-- Gloria Donovan Audition
- Everything Has a Useness
- Instrumental
- Dance Instrumental
- Entrance of the Walrus and the Carpenter
- Alice and the Cheshire Cat
- Gavotte of the Cards
- Mock Turtle Soup Song
- So They Say
- Humpty Dumpty
- Entrance of the Executioner
- When the Wind is in the East
- Brahm’s Lullabye Kathryn Beaumont Test
- Beautiful Soup
- The Carpenter is Sleeping
- Speak Roughly to Your Little Boy
- Will You Join the Dance
- Finale
* Alice in Wonderland BBC Radio Broadcast
* BBC Christmas Radio Broadcast

A year after closing out the “Walt Disney
Masterpiece Collection” on VHS (its second release in the
collection), Alice was again one of the kickstarter titles
for what was then called the “Walt Disney Gold Classics Collection.”
It was here, on July 4, 2000, that the film debuted on DVD, but it
was a lackluster affair. Besides recycling the 1995 laserdisc
transfer, the disc only had the Operation Wonderland
featurette, a storybook and trivia game narrated by Kathryn
Beaumont, two sing-alongs (“All in the Golden Afternoon” and “The
Unbirthday Song”), and the 1974 reissue trailer.
Another collection, another Alice in Wonderland
release: the Masterpiece Editions were meant to be bonus
feature-laden 2-disc DVD sets of films not quite prestigious enough
to be part of the elite Platinum Editions, but respected enough to
be showcased here. Pocahontas, Lilo & Stitch, and
Mary Poppins were meant to join Alice in this lineup, but
they ended up with their own edition titles. Alice stood as
the sole Masterpiece Edition on January 27, 2004 and would be a
massive improvement over the Gold Classic release. It was given a
dramatic new restoration by Lowry Digital, and all of the video
features from the Archive LD were ported over (though only a handful
of stills and audio were brought in). The set added a new recording
by Jim Cummings of the discarded Cheshire Cat song “I’m Odd,” a
featurette on “Beyond the Laughing Sky’s” transformation into “The
Second Star to the Right,” and a Virtual Wonderland Party
(essentially a children’s interactive show with Alice characters).
To cross promote the theatrical release of the Tim
Burton film, Disney released an “Un-Anniversary Edition” on March
30, 2010. This release was the Masterpiece Edition with new artwork
and two new features: a retrospective featurette “Reflections on
Alice” and the deleted storyboard sequence “Pig and Pepper”
presented by Disney directors John Musker and Ron Clements. Finally,
on February 1, 2011, Alice in Wonderland made its
high-definition debut on Blu-ray via a 60th Anniversary
Edition. For this release, it was once again given a complete
restoration makeover unlike any before, carried over all of
Un-Anniversary Edition supplements, and added the following: the
groundbreaking “Through the Keyhole” feature which acts as mix
between a documentary, film commentary, and video gallery, Ollie
Johnston’s pencil test of Alice shrinking, newly-discovered
live-action reference footage of the Alice and the Doorknob sequence
(with accompanying commentary by Beaumont), a color version of Walt
Disney’s 1954 television introduction, and an interactive “Painting
the Roses Red” game.
With all of its television airings, its late
blooming into the theatrical reissue venue, and its multiple
incarnations on home video, Alice in Wonderland has moved
from a film Walt was disappointed in to one of the studio’s most
popular animated classics. It was a film ahead of its time, and yet
all of Walt’s previous attempts showed that it was also the right
one. Its interpretations of Lewis Carroll’s characters have defined
the way the general public imagines them, and viewers have marveled
at its wit and style. One might think this would mark the end of
Disney’s relationship with Carroll, but there was still more to
come.
In the next part of this series, we’ll be taking a
look at the Disney Channel series “Adventures in Wonderland.”