White Paper | Intellectual Properties and the Branded Experience

Thinkwell’s 2015 Guest Experience Trend Report Focuses on Consumer Trends in Location-Based Entertainment Infused with Intellectual Properties

The recent surge in popularity of intellectual properties (IP) appearing in everything from theme parks and attractions to merchandise and museums had us at Thinkwell wondering whether this phenomenon will be an enduring profit generator for IP owners and the operators of entertainment and education venues. Does the presence of an IP lend credibility, trustworthiness, and value to a venue and would consumers be willing to visit this venue more often? Especially as more location-based entertainment (LBE) venues start to incorporate IPs, would visitors spend more money and time on their experiences and should IP owners start to license their properties more heavily to explore that possibility?

The 2015 Thinkwell Guest Experience Trend Report was created to answer questions like those. For the past two years, Thinkwell has published Guest Experience Trend Reports that investigated the behavior of guests as they explored theme parks and museums and how technology could be utilized to enhance or improve their visits. For the 2015 Guest Experience Trend Report, Thinkwell examined not only the behavior of guests as they navigated experiences, but also the reasoning behind deciding to go and make purchases at LBE venues.
Thinkwell had a nationwide survey conducted that polled over 1,000 adults with children to analyze their spending choices at family-friendly LBEs, specifically family entertainment centers, children’s museums, aquariums & zoos, and restaurants. The goal of the survey was to determine whether families would be inclined to visit one of those venues more often and spend more money on purchases if they were completely infused with a specific IP from a major motion picture, television show, video game, or book.

The results, while not entirely surprising, confirmed that families are indeed willing to spend more on an experience at an LBE if it featured a specific intellectual property. What was surprising however was that the results showed respondents would be less willing to spend an increased amount of money or time at an IP-specific educational experience versus an IP-specific entertainment experience.
Most respondents still preferred authentic and traditional experiences at children’s museums and didn’t necessarily feel that adding an IP would increase the value of the educational experience. Even at zoos and aquariums, which toe the line between education and entertainment, a smaller percentage of respondents stated they would pay more for things like annual memberships, merchandise, and souvenirs at an IP-specific location. But when going out for fun at family entertainment centers however, a much larger segment of respondents stated that they would be willing to spend more money and time on an IP-specific experience.

Entertainment Versus Educational Experiences
An astonishing 76% of the survey respondents stated that they would enjoy the experience at a family entertainment center more if it were infused with a recognizable IP from a motion picture, television show, video game, cartoon, or book. More than 62% of respondents also said they would be willing to spend more money on food, souvenirs, and merchandise if they included characters or imagery from a favorite IP. Not only did respondents claim that they would be willing to spend more money at a family entertainment center if it was IP-specific, 72% also stated they would visit more often than if it was a generic LBE venue.

Though an impressive 61% of respondents also stated they would visit a children’s museum more often if there were exhibits based around a child’s favorite IP, only half of respondents stated they would be willing to pay more for an annual membership, merchandise, or souvenirs despite having IP-specific elements at the museum. In a more traditional educational institution, respondents did not feel that having IP-specific exhibits added any value or incentive to visit the venue more often, nor were they inclined to spend more money on purchases there.

Even at a zoo or aquarium, which blends education and entertainment, only little more than half of respondents stated they would want to visit more often if there were IP-specific exhibits. Because respondents claimed that the primary reason they visit a zoo or aquarium is to spend time together as a family and not to see new or existing exhibits, having IP-specific overlays would not be a compelling enough reason for visitors to visit more often or purchase more merchandise or souvenirs.

While the previous three LBEs might be reserved for special occasions or weekend activities, 76% of respondents stated that eating out at a restaurant is a normal weekly activity. If an IP-themed restaurant was an option in addition to casual chain restaurants, fast food restaurants, and neighborhood restaurants, a majority of respondents stated that it would be a logical choice for their families when eating out. Particularly since a kid-friendly atmosphere was the most important factor for families in choosing a restaurant, having an IP-specific environment would please kids and parents alike, with Disney™, Star Wars™, and Harry Potter™ being popular IPs for influencing families on their themed restaurant choices.

The Why and Why Not
The study conclusively revealed that respondents would indeed be willing to visit an IP-specific LBE venue more often and spend more money on these experiences. But what were the motivating factors for these preferences? Based on 1,032 open-ended answers, the respondents who were more likely to prefer an IP-specific LBE stated that the experiences would be “more fun,” “make the kids happy,” and “make the experience more special.” These respondents felt that seeing recognizable or familiar characters and elements would be a treat for the kids and would be far more entertaining that visiting a generic LBE.
For the respondents that did not feel more inclined to visit an IP-specific LBE, cost was the biggest deciding factor against choosing these experiences over generic ones. These respondents did not feel that an IP-infused experience added any value for the implied increased cost, nor did they feel that the quality of the environment, food, merchandise, or souvenirs would be any better at an IP-specific LBE. Other consistent responses were that an IP would make the experience “too commercial,” “trendy,” and “distracting” so that families wouldn’t be able to fully enjoy their time at an IP-specific LBE.

The Value of Intellectual Properties
After examining the survey responses, the 2015 Thinkwell Guest Experience Trend Report concludes that IP owners can absolutely benefit from licensing and infusing their IPs into family entertainment centers, children’s museums, zoos & aquariums, and restaurants. Respondents were generally positive about wanting to experience IP-specific LBEs and were willing to pay more money and spend more time at these venues. So to answer our initial question about whether extending an IP could be an enduring profit generator, the study confirms that there is a demand for it and IP owners should invest in meeting that demand.
“Thinkwell has believed in the power of an intellectual property in attracting and retaining guests since the very beginning of the company,” said Craig Hanna, Thinkwell’s Chief Creative Officer. “This study highlights that the value of blockbuster brands and IP is only getting stronger, even in an increasingly crowded market, and that the public’s thirst for IP hasn’t been quenched yet.

Museum of the Future

MUSEUM CONUNDRUM
Recently my colleagues and I were discussing museums over lunch. We all have a passionate interest in museums of all kinds, to one degree or another. We each had a memory to share about a favorite exhibit, a particular artifact, or even a favorite display technique, but something else came up that was very intriguing. Although we pronounced our undying affection for museums of every type, none of us had actually been to one as a guest in months. In fact, as it turns out, this relatively diverse group of writers, producers, creative directors, and artists, the so-called “interested” individuals who would seem to be the heartiest museum-goers, were all uniformly unenthused about the promise of a museum outing. Why?
We had the typical excuses: the museums are too hard to get to, the parking is a hassle, the price is too high, I can only go on the week-ends when the crowds are bad. All of these are legitimate, but none of them so daunting that they would really keep us away if the museum were compelling enough. And there’s the rub– they just… aren’t. The more we talked, the more we realized that generally museums aren’t worth going out of our way for. In some cases, they aren’t compelling enough to even warrant a spot on our recreational pastimes list (when discussing why we choose to go to museums when we do, one person replied, “When there’s nothing better to do”).

Bikeworldtravel / Shutterstock.com
Bikeworldtravel / Shutterstock.com

In light of all other entertainments, museums feel slightly out of touch. Even the word “museum,” feels archaic and dusty, like an invention from the 19th Century that has outlasted its usefulness. The word brings to mind the vaulted, marble floored institutions filled with relics, sarcophagi and other musty dead things behind glass or encased in formaldehyde. This is the iconic Hollywood location; the “Museum of Antiquities” visited by characters ranging from Indiana Jones to Curious George. Of course, that image doesn’t necessarily jive with the reality of today’s museums, but even the edgy architecture and the modern compulsion for Science Center interactivity cannot overcome our reluctance to go. We know it’s good for us, but so is oatmeal.
Art museums, meanwhile, elicited off-putting visions of stark minimalism: lean, streamlined galleries with a hint of erudition that left us feeling cold and out-of-place: these galleries are for experts and aficionados, certainly, but not for lay folk. The art itself is beautifully displayed, typically, but in a surreal vacuum of context. In so many cases, the works are presented with a succinct text panel, with barely any room to share even the most compelling stories about the piece, its creator, or of its time. This information is surprisingly hard to find; relegated to text on handouts or the monotonous banter of an audio tour.

TOO MUCH STATIC
While we have become increasingly spoiled by instantaneous access to information and entertainment literally at our fingertips, museum exhibits are frustratingly undynamic. The content is selected, processed and delivered down a one-way pipeline; an authoritarian board selects and presents the information that they deem worthy of our consumption. The typical museum communicates through lectures, not dialogue, and there are few ways within the museum itself for guests to pose questions or explore tangential ideas that the exhibits might inspire.
For better or worse, we live in an age of instant gratification and information access. The Internet provides an infinite web of information over which we wield complete control. Type in any subject and in a keystroke you have hundreds of relevant links that let you dive as deep into content as you want; even Wiki your own. As you do, you’ll inevitably stumble across another topic that strikes your fancy, and off you go on a whirlwind, stream-of-consciousness infosearch that could continue infinitely, if you so desire.

You don’t even need a computer anymore! Hold an iPhone in the air and with a touch on the screen and the right app, you can find out the name of the song that is playing in the elevator, and what artist or artists recorded it. Take a picture of any product anywhere with the same iPhone and another app will “look” at the picture, identify the product and then scan the Internet for more details, including make, model, and msrp. With the tap of another button, you can download the song or order the product online (after price-comparing on multiple sites for the best value, of course). And with the advent of services like iTunes, TiVo, and Netflix (along with home theater systems that rival the local cineplex’s) even television and the movies are under our beck and call.

IN THE DRIVERS SEAT
We’ve grown fond of this control. Rather than follow a designated path the curator has chosen for us, we prefer to choose our own and use the museum exhibits as a jumping off point for further investigation across many disciplines. The internet provides links to all sorts of tangential topics, how can the museum do the same and allow us to explore equally fascinating (and sometimes tangential) topics of our choosing?

Technological overlays could enhance the presentational nature of static exhibits and transform them into interactive research tools that put the guest in the driver’s seat. Imagine a digital heads-up display, integrated into a clear display case or panel in front of an art piece. With gesture recognition hardware linked to a computer database, the art or artifact becomes the touch point for multi-disciplinary research. Through the display, the guest can explore, not just the piece itself, but also the history of the object, the tools and techniques used to create it, the historical timelines that parallel its creation. You could, with the wave of a hand, learn more about the artist, link to other works that have a significant connection, grab a virtual magnifying glass and drag it across the canvas to “see” the brush work up close, or open video clips of experts and curators sharing interesting information about the item, and then record and share your own insights about the item for others to access.

Audio programs have become a ubiquitous part of the museum experience, but often they are simply dry recitations of facts and figures. These could be diversified to provide a unique point of view, to provoke a laugh, an epiphany or an opposing viewpoint. Imagine these audio devices featuring a selection of different voices each providing their own personal and sometimes biting commentary. What if, instead of the faceless avuncular voice museum audio programs currently employ, we could hear Jon Stewart’s take on this exhibit? Or David Sedaris? Or the creator of the artwork that’s on display. Suddenly, each visit to the museum takes on a new personality and a new point of view that contrasts sharply with the last, leading the guest to make their own conclusions and form their own opinions.
In this way, the audio track enhances the exhibit like the director’s commentary on the bonus tracks of a motion picture DVD. Taken to the next logical conclusion, the audio commentary might be guest-created, with personal observations and Wikipedia-like modifications. Now the audio programs function like blog entries on the Internet, entries which are oftentimes more enjoyable than the articles themselves.

We want to play. We want to touch things, turn them around, take them apart,see how they work. Play is an important learning tool for both children and adults, and museums should provide hands on labs for grown ups whenever possible. Perhaps this is a painting studio, where we can get a first-hand appreciation of art techniques like highlights and shadows, brush work, color mixing, and so on. It might be an adult-scale paleontology dig pit, with real equipment instead of sand pails and shovels. Perhaps this is a kinetic physics lab, where we can create our own kinetic sculptures, build DaVinci’s incredible machines, or play with light and sound. This isn’t just an assortment of science center, touch-the-button-interactives, but a working shop where we can deconstruct, analyze, and touch the rudimentary components of the exhibit.

This is a place where the current museum model would be exploded: where the back-of-house spaces, the archives, the workshops, the libraries, would all be available to the public for unlimited use, and would no longer be the exclusive domain of the museum staff. This is an institute where the guest is the creator, the researcher, and the arbiter of the museum’s ever-changing content.

MUSEUMS AS AN EVENT
Ultimately, we see a blending of all these programs and resources until the museum becomes the anchor and hub for a new entertainment, a multifaceted and wide-ranging event, designed and directed by the museum, that immerses guests completely within the exhibit experience. The subjects of these events could be a single artwork, artifact (a White Star Lines dinner plate, say), even a significant date, 1492, for example, or 1968. Imagine an art event, for example, which is anchored by a single work, but which allows you to explore your own path within multiple disciplines as defined by the work. The art work is the catalyst for a totally unique, self-directed experience through connected subjects.

Say the featured work is, for example, Seurat’s A Sunday Afternoon on the Island of Le Grand Jatte. Surrounding the main piece are supporting, cross-discipline experiences that are totally unique, yet connected to the original piece through which you can freely roam. The evening begins with dinner in the restaurant surrounded by Seurat’s other works while the artist himself (a performer, in this case) discusses their importance. Afterwards, you might step into Seurat’s studio if you wish, slip on a smock and get your hands dirty as you paint and begin to understand and appreciate “pointillism”.

In the studio, you can see how the artist worked in a world without Photoshop and art supply stores. You might explore the chemistry paint and the colors Seurat used, how his canvases were framed and stretched, even how he made his own brushes.
Another hall then immerses you in a living history of the era, in a pub, perhaps surrounded by (and interacting with) the people depicted on the canvas. By talking with them, you learn their hopes, dreams, and daily struggles, and see and explore the social influences under which the art was created. Through open discussion you can understand why was this piece created, what the artist was trying to say, what he was responding to culturally or politically. In yet another gallery, you could trace the evolution of the piece in previous and future works. How was the creation of this painting inevitable, and how has it transformed what came after? Who were the other great thinkers, creators, pioneers at the time of this piece’s creation? In any case, the subject of the exhibit, whatever it may be, becomes impeccably relevant and indelibly memorable for the visitor.

Ultimately, we see the museum as a versatile destination with multiple uses. A sort of contemporary salon: a place where people can dine, sip coffee, read, share ideas, research, create. With a lush coffee shop or café at its core (that is interwoven with, not isolated from the exhibits), this new museum would become a hang-out, a social and ideological gathering place, with a library, a theater, even a creative laboratory with accessible studios and workshops.
During our discussion, one of my colleagues blurted, “My God we’re inventing college!” Indeed, like a college campus, this museum provides a safe haven for open discussion, exploration, invention and research, but this place would be available to students of every age, not just college kids.

OUT OF THE BOX
As we continued to explore these “what ifs,” we almost simultaneously realized that we had yet to really smash the old museum model. We may have shaken up the contents of the box, but we hadn’t yet taken them out of it. All of these previous notions assume that the museum is a separate institution located off the beaten path in its own separate and self-contained building.
But why must the museum insist we go to it? Instead, what if the museum board thinks more like a retail developer: find a way to bring the museum to where the people already are?

There is no good reason for museums to assume the additional effort and expense to physically add restaurants, workshops, libraries and theaters to create a social hub, when these destinations already exist and are thriving. In the latter half of the 20th Century, Main Street gave way to the suburban shopping mall. Ironically, in the 21st century, the mall is ceding to the lifestyle center: destinations where shopping and entertainment (complete with green spaces, rides and multi-use concert venues) commingle to create a bustling place to see and be seen. These regional neighborhoods, with their residential condominiums and apartments hovering above retail stores, movies, restaurants, even bowling alleys, have become America’s new Main Streets.

Museums exhibits would fit in this place as naturally as Starbucks. These smaller, satellite locations could either stand alone or work in support of a museum’s flagship institution. The museum would provide the brand for a franchise, not of stores, but of exhibit galleries through which the museum’s artifacts and programs would rotate. By inserting itself in a residential address that also happens to be a thriving commercial hub, the museum becomes an integral part of the neighborhood, where a visit to the gallery is as daily a routine as a grande latte.
In this location, guests are not captives in the museum. With their membership or paid admission, they can enter and exit as often as they like during the day. They can browse the galleries at their leisure, in digestible chunks, and then take a break and discuss the content over a meal at an adjacent restaurant, bistro, or coffee house, where still other exhibits are on display.

The museum also has the opportunity to extend beyond the gallery walls and provide a thematic overlay to the lifestyle center. Exhibits could become interwoven into the landscape and signage of the entire plaza, providing content while drawing guests to the facility at the same time. Museums used to be the exclusive domain of the IMAX theater, but not any more. More and more studios are releasing large format versions of their films (now in digital 3D!) and the IMAX experience is quickly becoming de gigeuer at the local multiplex. Rather than compete with the studios, the IMAX could become a shared resource, showing the museum’s short subjects during the day and early evening before transitioning to the feature films later on.

What museum staffs cannot forget, whether they like it or not, is that museum admissions are, in the eyes of the guest, entertainment dollars. The money they pull from their pocket to pay the entry fee comes out of an ever-dwindling discretionary budget, and though that entertainment dollar is limited, entertainment options are anything but. Never mind the lofty mission goals and educational standards; today’s museum is competing directly with movies, theme parks, corporate brand experiences (i.e. The World of Coke, M&M’s World, etc), nightclubs, and restaurants for a tiny share of that precious entertainment dollar. Rather than compete against these other offerings, we see museums collaborating with, intermingling among, and even perhaps, branding them.

In these challenging economic times, when endowments are dwindling and promised contributions shrink or disappear entirely, the museum must begin to focus on the sure revenue stream: admissions. True, most museums generate less than 25% of their revenue from ticket sales, and the average visitor spends less than $1.00 on retail and food and beverages, but these are past statistics, not rules. Why not open a restaurant within the museum walls? Why not build a gallery smack in the middle of a retail hub? Why not aggressively pursue the visitor’s entertainment dollar? This doesn’t mean turning away from the institutions goals, but it does require creativity to find a way to achieve the mission within a new business plan, one that focuses on the desires and interests of the guest, and that means understanding, responding to, and delivering on their expectations.

Museums & the Digital Revolution: Consumer Trends in Mobile and Interactive Technology Integration in Museums

As museums and the visitors they attract are evolving, is this a space looking for increased digital and mobile interactivity?
Last year, Thinkwell released the company’s first Guest Experience Trend Report revealing the growing trends among Theme Park guests and their use of technology when they visit Theme Parks. Surprisingly, the results revealed that younger guests were much less concerned with mobile integration and that families and older guests primarily have an appetite for consumer-oriented mobile integration in theme parks.
This report inevitably led Thinkwell to think about this topic in relation to the company’s other specialized fields. We asked ourselves if we thought these results would carry across the various market segments in which we practice. With such high focus on technology and mobility in our lives today, are guests looking to integrate technology into their visitor experiences? Museums and the visitors they attract are evolving, so Thinkwell asked, is this a space looking for increased digital and mobile interactivity? The 2014 Trend Report honed in specifically on the current museum guest experience and visitors’ expectations and desires for such digital and mobile integration.
Thinkwell began a nationwide survey analyzing behavioral patterns in relation to guest experiences in museums. The survey reached over 1,400 museumgoers and found that 69 percent of the respondents bring mobile devices (tablets and/or smartphones) with them while visiting a museum. Of that 69 percent, a total of 73 percent used their device during their visit, most notably to take photos. Similar results were found in last year’s report on theme park mobile integration.
Though museums are using indoor GPS systems in conjunction with apps to push location-appropriate content to visitors, tailored to the exhibit they are in, Thinkwell is only seeing about 32 percent interest in such a feature. This result explains why over half of museum app users have uninstalled or not installed an app due to concerns about personal information, and 19 percent turn off the location tracking feature on their cell phones. Results show that this consumer market is not extremely eager for location-aware app advancements to enhance their in-museum experiences.
WHAT MUSEUM GUESTS LIKE
When asked to rank what they find to be the most beneficial features of museums, respondents chose as their top three: educational for me and/or my family, the ability to see real art and artifacts, and the content of the exhibits. Guests are visiting a variety of museums, from art to history to zoos and aquariums to get the personal satisfaction of bettering themselves and their families through education and learning.
The desire to see real art and artifacts contradicts a report from last year that suggested guests would be satisfied with highly accurate reproductions, as younger generations gravitate towards content and experiences, rather than originals. Our findings show that across all age demographics, guests highly value access to the authentic artifacts and art pieces available at museums, citing it as the second most important aspect of museums.
In regard to features that could improve a visitor’s experience, 42 percent would like to see more interactivity incorporated, and 40 percent of respondents feel that the use of audio related to a topic or object would be beneficial. Interestingly, a small minority of respondents would like to see an increase of adult-only extended hours and events. The interactivity guests seek is not limited to those found in digital devices. Visitors are interested in social and personal interactions that break beyond the four walls of the museums, with activities such as: after-hours events, classes and presentations from artists and subject-matter experts for children and adults, and kids crafts. They are more interested in increased human interactivity than in digital integration such as mobile apps or 3D printed, touchable objects.
On average, visitors spend a total of three hours at museums per visit. Not only do respondents ages 18-44 spend more time per visit than those ages 45 and up, they are also more likely to visit museums more often. Forty-four percent of respondents ages 18-44 visited museums 5 times or more during the past two years, while only 32 percent of those ages 45 and up did so.
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WHAT MUSEUM GUESTS DO NOT LIKE
While Thinkwell had many findings in the annual Guest Experience Trend Report pointing to the positive qualities of museums, we also found that over 57 percent of visitors are highly concerned with cost of entry for museums today.
Other negative factors affecting museum visits included overcrowding and outdated content. Respondents felt strongly about having newer exhibits and special events as encouraging factors of repeat visits. Overwhelmingly however, 88 percent of respondents ranked their last museum visit as quite enjoyable or better.
Some believe that digital integration in the museum space is necessary to expand the experience both virtually and in terms of new types of physical space to engage those accustomed to interacting with a screen. However, Thinkwell’s findings reveal that the museum space is one used to escape screens and the digital world. Guests are focusing more and more on the authenticity of the art and artifacts.
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MOVING FORWARD
In an increasingly interconnected and digital world that gives easy access to infinite amounts of data and information, the value and role of museums has come into question. While it’s clear that museums need to adapt to shifts in technology, guests still look to them for authority and authenticity. Digital technologies can be helpful to museums in order to supplement their content, but visitors still crave social interactions, personal enrichment and access to original, authentic objects. Custom experiences can be tailored to the individual, but guests still want those experiences to take place in a physical space with real live experts there to teach them and answer questions.
“We believe the best way to engage visitors in an experience is to have them participate in stories they can relate to and that are authentic and compelling,” said Craig Hanna, Chief Creative Officer of Thinkwell Group. “Museums are competing not only for time but also attention. Consumers can get content from their mobile devices. Museums need to do what they do best—present authentic content in a meaningful way that connects with their core constituencies—while also incorporating digital technologies to keep those experiences fresh and up to date with consumer expectations.”
“The results of the survey are fascinating and, for museums, heartening. Real stuff, real stories, real human experiences: it’s what museums do best, and it’s what visitors crave,” said Cynthia Sharpe, Senior Director of Cultural Attractions and Research for Thinkwell Group. “In conjunction with the fantastic research done by Jay Greene’s group at the University of Arkansas at the Crystal Bridges Museum of American Art regarding the value of field trips and the importance of facilitation, it bolsters the approach of using personal digital technology as a tool in the storytelling and educational arsenal. The educational and emotional impact of seeing real artifacts and experiencing great interpretation is paramount.”
Survey Respondent Demographics
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Qualifying participants were United States residents over the age of 18 who had visited a museum/exhibit in the past 24 months. Of the 1,407 respondents, 42 percent were male and 58 percent were female. Nineteen percent were between the ages of 18-29; 26 percent between the ages of 30-44; 28 percent between the ages of 45-60; and 27 percent are 60 and above. Household incomes ranged between $25,000 and over $150,000. Less than 1 percent held less that a high school degree, 6 percent held only a high school degree, 29 percent had some college or an Associate degree, 40 percent had a Bachelor’s degree, and 27 percent had a Graduate degree. The survey found very little correlation, if any, between gender or location and current mobile behavior or interest in increased mobile integration for museums experiences.
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Infographic | Museums & the Digital Revolution: Consumer Trends in Mobile and Interactive Technology Integration in Museums

Thinkwell’s findings of their nationwide survey analyzing behavioral patterns as they relate to existing and potential mobile integration into the museums and exhibit experience is illustrated in the infographic below. This survey marks the second release of Thinkwell’s Guest Experience Trend Report, which provides market research insights to the themed entertainment industry. The annual report measures and distills consumer interests in varying topics related to guest experiences.
Thinkwell's 2014 Guest Experience Trend Report - Infographic
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