For more than twenty years, Goths have gathered in Disneyland to celebrate their own unofficial annual holiday: Bats Day in the Park. These tourists have created their own fusion of personal aesthetics and the Disney brand, practicing a form of adaptation. To be sure, Disney has always relied on their own forms of adaptation—adopting a literature of previously known stories and retelling them with the marketable and appealing Disney brand. In this essay, Elizabeth McQueen argues that a closer look reveals that such practices have created a sort of breeding ground for recasting, adaptation, and performance of the Disney canon’s stories and characters. Disneyland theme parks are no exception. In fact, they have created a stage, rehearsal room, and underground conference of guests who can retell stories and recast characters to make them their own heroes. McQueen provides a deep analysis of Disneyland’s various Social Clubs, which some have accused of being gangs, small groups of regularly visiting Disneyland fans who radically adapt characters and spaces to work with their bodies. These subcultures or fandoms adapt characters and stories that are typically cast in supporting or antagonist roles within Disney’s films, marketing, consumer products, and the staging of Disneyland itself to the point that the character individuates, becoming a more vibrant and resonant story within the park.