->''"In your text, treat Africa as if it were one country. It is hot and dusty with rolling grasslands and huge herds of animals and tall, thin people who are starving. Or it is hot and steamy with very short people who eat primates. Don't get bogged down with precise descriptions... The continent is full of deserts, jungles, highlands, savannahs and many other things, but your reader doesn't care about all that, so keep your descriptions romantic and evocative and unparticular."''
-->-- '''Binyavanga Wainaina''', "[[http://granta.com/how-to-write-about-africa/ How to Write About Africa]]"

Take a classic tale or even reality itself. Strip away all the complexities, boiling the source material down to a few tropes and a barely coherent plot. Congratulations! You now have the perfect blueprint for [[FollowTheLeader cashing in on the original's success]]. The characters are flatter than in the original, and the tropes have lost their [[JustifiedTrope justification]], but surely the fans won't mind. Another word for this concept is a "simulacrum".

Quite often, the writers producing the Theme Park Version have entirely [[MisaimedFandom misread the original]], and are [[{{Fanon}} relying on other people's interpretations.]]

[[TropesAreNotBad This isn't always a bad thing, however.]] A simplification of the rules, characters, and activities present in the media can be used to [[RuleOfDrama help streamline]] [[RuleOfFun the experience,]] as long as it is used carefully and deliberately. While dumbing down the material means that it isn't as complex or interesting, it also trims out [[InfoDump a lot of]] Exposition, making the media either more accessible or less restricted.

Compare with AdaptationDecay, AdaptationDistillation, {{Flanderization}}, LostInImitation, SmallReferencePools, WereStillRelevantDammit, CowboyBebopAtHisComputer, and PopculturalOsmosis; contrast with PragmaticAdaptation. Theme parks themselves have their own Theme Park Version -- SouvenirLand.

See also: {{Flynning}}, FluffyCloudHeaven, FireAndBrimstoneHell, PlotTumor, HollywoodAtlas.



[[folder: Anime & Manga]]
* Almost all references and/or parodies of anime & manga in Western culture show the Theme Park version of the mediums, filled with big-breasted, [[PantyShot short-skirted]] schoolgirls, HumongousMecha, and {{Notzilla}}-like creatures ([[CriticalResearchFailure despite the fact that Godzilla is not an anime character]]). Almost the only time a reference/parody of manga/anime in Western culture ''isn't'' this is when the creator himself is actually an anime/manga fan.

[[folder:Comic Books]]
* The NinetiesAntiHero is the theme park version of the acclaimed graphic novels ''ComicBook/{{Watchmen}}'' and ''Comicbook/BatmanTheDarkKnightReturns.''
* The comic versions of ''ComicBook/SilentHill'', where the complexity of ''Franchise/SilentHill'' has been reduced to endless gun-battles, incoherent story lines, and hideous artwork. Arguably, the same can be said of the games past ''Silent Hill 4'', which are designed by different creative teams than the originals. However, this may also be described as a developing case of AdaptationDecay.
* ''ComicBook/{{Urbanus}}'' did this to the Netherlands in "De laatste Hollander" (the last Dutchman). And generally to Belgium itself, too (being a Belgian comic).
* ''ComicBook/JudgeDredd'' has been criticised for using national stereotypes for all countries other than the United States ([[SelfDeprecation including Britain]], interestingly). A couple, particularly Britain and Japan, have since been fleshed out somewhat due to a number of {{spinoff}}s taking place in them. [[{{Oireland}} Ireland]] takes the trope to its logical extreme, by being ''literally'' one big theme park.
* Taken literally in ''ComicBook/TheSandman''. In one of the last issues, Hob Gadling visits a renaissance fair. Given that Hob is 500 years old, he is offended and depressed by the inaccurate portrayal of medieval life. And, incidentally, [[YouFailHistoryForever that's not even going into the issue of the Middle Ages and the Renaissance being two (mostly) distinct time periods]].
* One ''ComicBook/TheAuthority'' story written by Creator/GarthEnnis has a member of the SAS read a book a former teammate just published about his exploits, so filled with Hollywood-esque BS and Theme Park Versions of events he can't stop laughing: "What'd he do, pass seating contest when he was ''twelve''?" When he meets the guy at his book signing, he laughs along with them, pointing at the adoring fans behind and commenting that "[[ViewersAreMorons all they want is fucking]] {{Rambo}}".
** This is likely a jab at [[http://en.wikipedia.org/wiki/Bravo_Two_Zero Bravo Two Zero]] and the minor fad for SAS veterans writing [[VeryLooselyBasedOnATrueStory highly embellished]] or [[BasedOnAGreatBigLie flat-out bogus]] memoirs.

* Propaganda films, in general, are designed precisely not to educate but to stir up opinions. One famous example is Creator/FrankCapra's ''Why We Fight'' series of U.S. "Informational" films during World War II, which essentially depicts UsefulNotes/AdolfHitler as a real-life [[DastardlyWhiplash Snidely Whiplash]] with trimmed ends while the Allied peoples were all AlwaysLawfulGood -- even UsefulNotes/JosephStalin (never mind Stalin's own atrocities before the war). Notably, Capra saved a lot of time by just translating Nazi propaganda films into English to make them look scary. Needless to say, the series drew fire for being less than accurate -- one reviewer, a Polish-American, denounced the series as "a conglomeration of patriotic exhortation, crackpot geopolitical theorizing, and historical mischief making," that the series deliberately falsified the facts to justify the Allied cause. This reviewer was particularly incensed by the depiction in the series of the Nazi invasion of Poland in 1939, that the Poles were seen as woeful failures while the Soviets that later invaded were seen not as fellow invaders but as guiltless saviors who only invaded Poland to stop the Nazi advance.
* DarkestAfrica is The Theme Park Version of Africa, an entire continent reduced to a few stock sets.
* In the 1956 ''Film/InvasionOfTheBodySnatchers'' movie, the pod people came out of pods, which eventually ended up being trucked all over the place to spread the invasion. When the movie was remade in 1978, the invaders first came as spores which grew into flowers. But pods are still being trucked all over the place, because [[TheCoconutEffect that was in the original]], even though carrying around the smaller and less suspicious-looking flowers would make far more sense from the aliens' standpoint.
* It should be noted in the film ''Franchise/JurassicPark'', a movie about an actual themed dinosaur park with actual dinosaurs, not all the dinosaurs are from the Jurassic period; in fact most of them are from the Cretaceous period. (Cretaceous Park doesn't sound very cool, though, and the whole Jurassic-vs-Cretaceous thing is actually noted in the book: the guy bankrolling the operation says that they couldn't very well have a dinosaur theme park without a ''T. rex'', Jurassic or not Jurassic.)
** Lampshaded repeatedly when characters admit that their park is an exercise in idealism and does not accurately represent the period (or even the dinosaurs, for that matter). The saner characters repeatedly criticize Hammond for failing to conduct proper research, and these failures consistently lead to dangerous results.
** One of the characters blatantly states that a lot of the dinos died in the Cretaceous period. The film averts this and seems pretty aware that Jurassic is just a cool name.
* In ''Film/JurassicWorld'', the head scientist explicitly calls out the fact that the creatures they're creating are not accurate to prehistoric dinosaurs, but are 'dinosaur-ish'. This is largely an in-universe explanation for the discrepancies with discoveries about dinosaur feathers and fluff that have been made since the first movie was filmed.
* Film versions of Literature/TheThreeMusketeers are often theme park versions, most notably in reducing the complicated character of Cardinal Richelieu into a BigBad. The four musketeers usually get reduced to archetypes as well.
* One needs only be aware of [[Creator/RolandEmmerich who directed]] ''Film/ThePatriot'' to know that it's an action flick in period clothes and not a historical documentary. That said, pull up a seat:
** The movie depicts the British committing Nazi war crimes and generally living on the other side of the MoralEventHorizon while wearing rather oddly colored uniforms. [[ColorCodedForYourConvenience The dragoons HAD to wear red!]] [[ViewersAreMorons You wouldn't be able to tell that they were British, otherwise!]]
** It also includes plenty of [[YeGoodeOldeDays supposedly historical]] clothing, with the result that several of the women are running around practically in the equivalent of their underwear. Oh, and with loose, flowing hair, despite the fact that infrequent bathing and dangerous (to long hair, anyway) working conditions made it necessary to bind one's hair up and wear a cap over it, just to keep it clean and away from the fire, the sickle, the ax, the animals, the gate, the hot kettle, and so on.
** And good heavens, the public displays of affection -- the movie is chock-full of anachronistic sexy smooches and embraces in front of disapproving parents, the army regiment, or the whole town. The lead and his romantic interest start kissing in public the first time they mention their feelings for one another. There are also a few instances of modern "sex humor" that utilize words or euphemisms which didn't yet exist or were uncommon at best.
** The young woman, romantic interest of the lead's son, is much too "modern" in her outspoken behavior towards the townsfolk. She reproaches the men of the town during a wartime meeting IN CHURCH, and yet the shock and repercussions are at a minimum. Not to mention that her impassioned speech basically boils down to "Fight for your beliefs, guys!" with very modern turns of phrase. It would seem that none of these educated, thoughtful adults who have been living during a time of war had ever once paused to grapple with the philosophical questions of life, or the practical matter of whether or not they wanted to take up arms and join the militia.
* The live action feature film version of the Japanese manga series Great Teacher Onizuka parodied this idea by showing the abandoned remains of a (fictional) failed theme park called "Canadaland." Flashbacks to the park's glory days were... embarrassing, to say the least.
* ''Film/{{Westworld}}'' contains what is ''literally'' the theme park version of TheWildWest, TheMiddleAges, and AncientGrome, inhabited by realistic robots that are there primarily so park visitors can "kill" them or [[{{Sexbot}} have sex with them]]. All three are YeGoodeOldeDays for the park visitors, but [[DoAndroidsDream less pleasant]] for [[RobotRebellion the androids]]...
* While many of the movies in the Franchise/DisneyAnimatedCanon are [[PragmaticAdaptation Pragmatic Adaptations]], they are often seen as Theme Park Versions of their sources due to PublicMediumIgnorance. It doesn't help that most people are generally familiar with the ''actual'' Theme Park Versions, from the literal theme parks, spin-offs/sequels, crossovers, or merchandise. Considering the popularity of those Theme Park Versions however, the company obviously has no intention of correcting this mindset towards the original films, much to the vexation of fans.
* ''Series/SexAndTheCity 2'' is set in a theme park version of Abu Dhabi, which was actually filmed in Morocco.
** Almost ''any'' Arab country in a live-action movie is actually Morocco. It has a big enough desert to build sets in (far enough away from major cities), while being secular enough that nobody will come and arrest your actresses for not wearing burqas.
* ''Film/QuestForCamelot'' fits the trope description perfectly; pretty much everything that happens in the movie, happens because it happens in this sort of movie. The fact that it doesn't make sense for that particular thing to happen didn't stop the writers from putting it in anyway.
* Disney's Beauty and the Beast falls prey to this trope in its sequel, Disney/BeautyAndTheBeastTheEnchantedChristmas. It takes place in the Enchanted Castle, has Belle, The Beast, and the Enchanted Objects. . . and has pretty much nothing else related to the original film.
* ''Franchise/PiratesOfTheCaribbean'' can be said to be this for pirates and piracy, if only because it ''was'' based off an amusement park ride. However the franchise has notably opened up a lot of the general public's SmallReferencePools concerning piracy (such as the East India Trading Company) even if it often takes artistic liberties with them.
* ''WesternAnimation/TheCareBearsAdventureInWonderland'' is this with Wonderland, compared to the actual place in ''Literature/AliceInWonderland''.
* Pretty much ''every'' college-themed movie ever made depicts TheThemeParkVersion of college life. HighSchool life, on the other hand, has actually managed to avert this since the early-'80s.
* The ShowWithinAShow in ''Film/{{Pleasantville}}'', supposedly an archetypal [[TheFifties 1950s]] sitcom, actually represents The Theme Park Version of '50s sitcoms. In all fairness, not only does Pleasantville contain strong elements of satire, but the entire disbelief of the outside world in the Show Within a Show is only introduced by interaction with characters from the "real" world. Considering that many sitcoms never refer to the world outside the town in which they are set, it's not really much of a stretch.

* ''[[Literature/GulliversTravels Several Voyages to Remote Nations of the World by Lemuel Gulliver]]'' is a beautifully multi-layered satire on religion, politics, science and human nature while also being a delightfully hilarious parody of various contemporaries and the travelogue genre as a whole. It is vicious, often mean spirited, funny on oh so many levels, and brilliant beyond measure. For some indecipherable reason, however, it keeps getting made into books and movies for children.
** Notably, most of these bastardized versions cut out the second two books altogether (and occasionally don't even get as far as Brobdignag), which are where it starts descending from political satire into a satire of progress and human nature. It's pretty easy, after all, to make a land of tiny people and a land of giants into kids' fare, much harder to turn a land of sapient horses and feral, evil, raping and squabbling humans into kid friendly material.
* ''Literature/DonQuixote'': Three centuries before [[HollywoodHistory Hollywood]], the chivalry books [[LowestCommonDenominator writers]] of the Renaissance (1400–1600 AD) already had created the theme Park Version of the Middle Ages: [[MedievalEuropeanFantasy A past that never was, full of marvelous elements, exotic (and a lot of times exclusively imaginary) lands that could extend any time between the fall of Rome (AD 475) to the Discovery of America (AD 1492)]]. Don Quixote wants to revive this past that, at least for him, is troperrific. So, in chapter XLIX, part I, the Canon (who himself is a coveted fan of chivalry books) recriminates Don Quixote:
-->'' “How can there be any human understanding that can persuade itself there ever was all that infinity of [[IncorruptiblePurePureness Amadises]] in the world, or [[KnightErrant all that multitude of famous knights]], all those [[TheEmperor emperors]] of [[TheKingdom Trebizond]], all those [[BloodKnight Felixmartes of Hircania]], all those [[CoolHorse palfreys]], and [[DistaffCounterpart damsels-errant]], and serpents, and [[OurMonstersAreDifferent monsters]], and [[OurGiantsAreBigger giants]], and [[{{Escapism}} marvellous adventures]], and [[AWizardDidIt enchantments]] of [[MagicAIsMagicA every kind]], and [[ThisIsTheFinalBattle battles]], and [[ContrivedCoincidence prodigious encounters]], [[ErmineCapeEffect splendid]] [[GorgeousPeriodDress costumes]], [[SatelliteLoveInterest love-sick]] [[EverythingsBetterWithPrincesses princesses]], [[TheLancer squires]] [[StandardHeroReward made counts]], [[PluckyComicRelief droll]] [[OurDwarvesAreAllTheSame dwarfs]], [[LoveLetterLunacy love letters, billings and cooings]], {{Swashbuckler}} [[ActionGirl women]], and, in a word, all that [[ClicheStorm nonsense]] [[MedievalEuropeanFantasy the books of chivalry]] contain?''
* Creator/JRRTolkien's works are a notable victim. In ''Literature/TheLordOfTheRings'', {{Mordor}} has a lot of fertile areas thanks to all that volcanic ash, the characters speak a wide variety of archaic accents and dialects, and victory is achieved through rejection of power. In the many books and films written "in the style of" Tolkien, their Mordor looks like [[FireAndBrimstoneHell Hell]], characters speak YeOldeButcheredeEnglishe, and victory is achieved through force of arms.
* If you think what happened to Tolkien's work is bad, what [[Creator/FrankFrazetta Frazetta]] and [[Creator/ArnoldSchwarzenegger Ahnuld]] did to Creator/RobertEHoward's Conan is worse. The original is an articulate if uneducated man fluent in every common language and a few that aren't who dresses as one would expect a mercenary in a medieval milieu to, not a piece of DumbMuscle in a furry loincloth, never mind what the movie did to the deeply philosophical [[Literature/{{Kull}} Kull]].
* ''Literature/BraveNewWorld'' applies this trope to RefugeInAudacity, in which it calls that trope "Savage Reservations". You can visit these places ''like a theme park''. Take a moment to analyze that.
* The novel ''England, England'' focuses on the creation of a literal Theme Park Version of well, England, on the Isle of Wight.
* CosmicHorror stories are, [[SarcasmMode as we all know]], all about [[ThingsManWasNotMeantToKnow forbidden knowledge]] (usually acquired from [[TomeOfEldritchLore blasphemous books]]) and [[GoMadFromTheRevelation sanity-blasting]] [[EldritchAbomination tentacled god-monsters]] that are just ''waiting'' to exterminate (and [[ImAHumanitarian optionally eat]]) all of humanity [[WhenThePlanetsAlign once the stars are right]]. Never mind that the actual story canon of Creator/HPLovecraft alone is a good bit more varied and nuanced than that...
* Used in Jenna Black's ''[[Literature/ReplicaSeries Replica]]''. The Basement is a part of what used to be the state of New York. Anyone who is born here tends to be poor, undereducated, and make most of their money via illegal activities. There are several popular night clubs that are the theme park version of the Basement itself; many wealthy and better off tourists frequent these clubs.
* The Pieter Aspe detective novel ''De Midasmoorden'' the main villain of the story wants to [[spoiler: buy all houses in Brugge and turn Brugge into a theme park version of itself, just as is the case in cities such as Venice. He even hires people to explode some monuments in the city]].
* Examined in the short story "Everyday Use" by Alice Walker. In it, the African-American narrator's daughter is a pretentious Black Panther wannabe who claims to have reconnected with her African heritage, but is clearly just parroting the Theme Park Version of African culture without actually understanding anything.

[[folder:Live-Action TV]]
* The American version of ''10 Years Younger'' pretty much forgets what made the show different from other makeover type shows. The British version made a point of stressing that the treatments that people get on the show were simple and relatively cheap, that ordinary people could normally afford. The cosmetic surgery was kept to a minimum with more focus on age flattering clothes, hairstyles and (for the women) makeup. The American version however has the guests go through extensive plastic surgery and play up the emotional affect of the age polls at the start to make it pretty much the same as ''Extreme Makeover''.
* The college-themed show ''Series/{{Undeclared}}'' attempted to avert being this. Unfortunately, heavy amounts of ExecutiveMeddling prevented ''Creator/JuddApatow'' from reaching this goal.
* Pretty much any KidCom featuring high school students will depict TheThemeParkVersion of [[HighSchoolRocks high school life]].
* ''Series/GameOfThrones'', acclaimed as it is on its own, has been accused of being this towards its source material ''Literature/ASongOfIceAndFire''. Arguably a legitimate criticism as some trope-defying situations from the book series become victim of a far less complex interpretation in the series. For example, the books followed Catelyn Stark instead of Robb Stark (focusing on the mother of the traditional hero instead of the hero himself), but the series disregarded this and focused on Robb instead, relegating Catelyn to the sidelines.

* Music/SteelyDan's song "[[http://www.youtube.com/watch?v=ocfR3CIPFJo Aja]]" is a parody of this approach to Asian culture.
** "[[http://www.youtube.com/watch?v=2A0wGO3c2T8 Deacon Blues]]", from the same album, is a parody of this approach to jazz music and culture.
* The entire “Exotica” genre, popularized in [[TheFifties the 1950s]] by Les Baxter, is basically the Theme Park Version of a stew of various ethnic musics (largely but not limited to Polynesian and African music).
* During the '80s, HairMetal became The Theme Park Version of HeavyMetal music in general (For The United States at least). The fans reacted, and formed what is now known as "Extreme Metal".
** During the '90s, it was NuMetal.
** These days, metalcore has become The Theme Park Version of HeavyMetal.
* ArenaRock is the theme park version of ProgressiveRock, keeping the bombast but losing the weirdness, favoring slick, radio-friendly melodies instead of [[UncommonTime weird time signatures]].
* PostGrunge is the theme park version of {{Grunge}}.
* Pop punk is the theme park version of PunkRock and hardcore punk.
* After the debut of Creator/{{MTV}}, NewWaveMusic devolved into the theme park version of itself, with the familar pretty-boys with spiky hair, contrasted with the more adventurous early years.
* The revived '90s version of Music/TheMisfits is generally seen as this to the original band. The new version sings almost exclusively about horror films, leaving behind the violence, rape and other generally disturbing themes that were also part of the Glenn Danzig era.

[[folder:Myths and Legends]]
* In Middle Eastern legend, genies are powerful and independent spirit beings; stories of [[GenieInABottle genies serving humans]] are rare, and gain part of their sense of wonder from the implication that at some point there was a human magician powerful enough to force a genie into servitude. Servant genie stories -- "Aladdin" in particular -- have circulated in the West without the relevant context, leading to a perception that serving humans is a usual thing for genies; in at least one [[Franchise/DisneyAnimatedCanon well-known film version]] of the Disney/{{Aladdin}} story, the plot resolution explicitly relies on the idea that all genies are ''by definition'' required to live in lamps and grant wishes unless their human masters wish them free.

* Creator/{{Bally}}'s ''Pinball/MataHari'' pinball does this to the RealLife character, simplifying her to simply "sexy German spy." [[NoPlotNoProblem Not that there's much of a plot anyway]].
* ''[[VideoGame/ThreeDUltraPinballThrillRide 3-D Ultra Pinball: Thrill Ride]]'' invokes this literally by using just the core attractions from the RealLife Hershey Park ThemePark.

* Creator/BuffaloBill's ''WildWest'' shows were highly succesful at the end of the 19th century and the start of the 20th. They claimed to be historically accurate representations of the era and spared no costs to give the audience what they wanted with Native Americans, cowboys, stagecoaches, dramatized gun fights and horse riding. In reality all of it was a romanticized version that nevertheless caught on in the general consciousness, especially in Europe where the ''cowboys and Indians era'' has always remained popular.

* The ''VideoGame/{{Civilization}}'' games are The Theme Park Version of... Civilization. No one disagrees it's an AcceptableBreakFromReality, though.
** And ''Civilization Revolution'' is itself the simplified Theme Park Version of the Civilization games, intended for kids as in introduction to the series.
* ''VideoGame/{{Ryse Son Of Rome}}'' does this to Ancient Rome, by taking [[ArtisticLicenseHistory wild liberties with History]] such as having Nero's Rome sacked by barbarians - the city also having hydraulic technology for lifts way ahead of its time -, as well as Romans fluent in [[TheQueensLatin Queens Latin]], ExplodingBarrels and [[EverythingIsBetterWithExplosions shell shock]], a [[Film/{{Gladiator}} gladiator duel between the Hero and some guy named Commodus]], along with borrowing indiscriminately from Greek and Roman mythology, which end up playing as [[DeusExMachina plot convenience]]
* In-universe in ''VideoGame/GoldenSunDarkDawn''. The Psynergy Training Grounds are literally a theme park based on the story of [[VideoGame/GoldenSun the first two games]], apparently made by Isaac fans who a) don't get the significance of the [[AntiVillain Fire Clan]], b) don't get the significance of the [[PlayerPunch Doom Dragon]], and c) don't get that ''[[DudeWheresMyRespect Felix was a good guy all along]]''. Among other things.
* Any open-world, free-roaming "crime-sim" that isn't ''VideoGame/GrandTheftAuto''. Any at all.
** The ''SaintsRow'' series milks this trope for all it's worth, and still manages to come out on top.
*** That probably has something to do with Saints Row doing it ''deliberately'', or serving as satire of most crime fiction (at least from the second game on).
* ''MetalWolfChaos'' appears to be set in America as imagined by Japanese games developers who have only ever seen it in action movies.
** Then again, the entire game runs on a mixture of NarmCharm, RuleOfCool and CrazyAwesome. Accuracy probably wasn't a huge priority.
* {{MMORPG}}s that are very linear and/or lack many of the player-driven gameplay elements are referred to as '[=themeparks=]' since they lack the freedom of the ''QuickSandBox''. There is typically on emphasis on killing non-player characters compared to non-combat related activities, such as dancing, crafter-based economies, decorating, or socializing. However, even games considered 'sandboxes' tend to feature themepark elements, such as missions/quests and dropped-based loot.
** ''VideoGame/WorldOfWarcraft'' is a much smaller version of Azeroth and Outland than is generally depicted in the lore and in the previous games. While generally all the important details are there and in (mostly) the right places, all the continents are scaled down so as to not affect gameplay -- creating the Theme Park Version of ''VideoGame/{{Warcraft}}''. Funnily enough, it causes SequelDisplacement for the rest of the series.
*** There are other things wrong. Places are missing, as is one of Azeroth's moons (despite models of it appearing in Northrend Dungeons), Teldrassil looks like a humongous stump with a forest growing from its remains rather then the thriving tree it is in lore... The list goes on.
*** As expansions have come out, some missing places have been restored. The second (blue) moon has been restored, and it is now possible to visit some places that were missing originally. Some still remain unaccounted for, however.
*** Espen Aarseth actually points out that the game's Azeroth is similar to Florida's Disney World in size (before expansions) and layout in addition to purpose. "Both contain different thematic zones connected by paths, roads, and rail-based transportation, which cater to differing tastes, age groups, or levels."
* ''VideoGame/NeedForSpeed II'' has tracks taking place in exotic locales such as [[LandDownUnder The Outback]] (depicted as a rocky desert cutting through UsefulNotes/{{Sydney}}), The Himalayas (snowy mountains and a small village), and Northern Europe (which contains the Autobahn, a Germanic village, and castles within the same driving distance.
* ''{{Spore}}'' does likewise for the cycle of life. And civilization... and, umm, ''[[StandardSciFiSetting Dune]].''
* Bullfrog's ''VideoGame/ThemePark'' games are the theme park version of... running a theme park.
* ''VideoGame/NintendoLand'' is a literal example. The minigames that comprise it are based on various Nintendo games and simplified, with the premise that they're attractions at a Nintendo-themed amusement park. RuleOfFun is very much at play.
* Most characters in ''VideoGame/PunchOut'' are over-the-top national stereotypes (even the Japanese ones,) with the Wii version showing them coming from The Theme Park Version of their respective countries.
* ''Franchise/AceAttorney'' pares down lawyering to the bare essentials: evidence, witness testimony, cross examination, and yelling really loudly when you spot an inconsistency. [[RuleOfFun No one's complaining.]]
* Like ''Nintendo Land'', the ''VideoGame/SuperSmashBros'' series is centered around the long history of Nintendo's video game library and its various characters.
* Making ''MarioKart'' clones is one of the the most common ways to make the compact versions out of serious motorsport events. EA made ''[[UsefulNotes/{{NASCAR}} NASCAR Kart Racing]]'' and Codemasters made ''[[FormulaOne F1 Race Stars]]'', for examples.
* ''VideoGames/TeamFortress2'' - the (playable) cast features 8 men from the Theme Park Versions of America, France, Germany, Scotland and the Soviet Union. The ninth, the Pyro, is a FeaturelessProtagonist.
* In ''VideoGame/FatalFury 2'' and its expansion ''Special'', Andy Bogard's stge is set in Italy for some reason (he is an American McNinja, after all). The fight takes place on a boat that seems to be running through the channels of Venice, passing by the Coliseum and the Leaning Tower of Pisa.

[[folder:Western Animation]]
* When ''WesternAnimation/TheSimpsons'' [[Recap/TheSimpsonsS10E23ThirtyMinutesOverTokyo go to Japan]], they dine in a Theme Park Version restaurant of the ''United States'' called Americatown, complete with sarcastic waiters dressed as cowboys that state that they don't know anything as a result of America's educational system and also work in producing poor quality cars and inferior electronics.
---> '''Homer:''' ''(genuinely amused)'' [[SarcasmBlind Oh, they got our number!]]
** In almost any episode where the Simpsons leave Springfield, their destination is the Theme Park Version. Notable examples include France, Australia, and New York City, but the standout is Capital City, the state capital of The Simpsons' unnamed state that functions as a combined Theme Park Version of New York and Los Angeles, meant to invoke classic Big City tropes.
* Parodied in ''WesternAnimation/SouthPark'' where the kids ask Jimbo, who fought in Vietnam, about some info for a school report. Jimbo literally gives a theme park version and the kids get an F.
* In the "Old Days" festival in ''WesternAnimation/HarveyBeaks'', apparently only four things happened in the 1970's: hippies, flower power, Afros, and disco.

[[folder:Real Life]]
* UsefulNotes/TheAmericanRevolution as taught in US public schools. The British villain in ''Film/ThePatriot'' was an {{Expy}} of somebody who is remembered for such lovely habits as [[MoralEventHorizon shooting people who are surrendering to him]], when he's not being politely ignored because the US & the UK are friends now.
** Banastre Tarleton received a HistoricalVillainUpgrade in ''The Patriot'' (the claim about him shooting people as they surrendered is at the very least controversial). Meanwhile, the main character in that film is in part an HistoricalHeroUpgrade of Francis Marion, who was at least as unpleasant.
*** The Expy (Tavington) received the villain upgrade, not Tarleton himself, just to clarify. In ''The Patriot'', Tavington does not survive the war while Tarleton went on to a career in politics, as shown in the film ''Film/AmazingGrace''. The Marion expy seemed to be a combination of a few militia leaders rather than just Marion.
** Moreover, the war is frequently (and wrongly) depicted in starkly [[BlackAndWhiteMorality black and white]] terms as a heroic revolt against tyranny. The colonists were extremely divided on the issue of independence and the reasons for the war were... complex.
** This is averted in High School Advanced Placement courses, which go deeper into the complexities of the causes and results of the war and the attitudes on both sides.
* The Great Depression: The stock market crash did not cause the economy to collapse. At most, it was at the time the latest in a string of worsening economical conditions. Additionally, few if any stock brokers threw themselves from windows to their deaths. We have had stock market crashes, including some rather bad (by some estimations, worse than that of 1929, depending on how you consider the numbers) since then which have come in times of both economic bust and boom.
** The New Deal did not singlehandedly end the Depression, nor did Roosevelt fully follow through on his campaign promises. The government investment in social welfare programs and other institutions had more of a political rather than economic function The exact efficacy of the New Deal legislation is the subject of a great deal of partisan political bickering but even pro-Roosevelt economists like Paul Krugman argue that it was America's entry in UsefulNotes/WorldWarII that really restored the economy.
** While many of the programs brought by Roosevelt have remained, some of them such as the Works Projects Administration, ended during the Depression itself, and since that was concerned to employing theatrical artists and performers, as well as folklorists, this has allowed the era to retain an afterglow as GloryDays of political action. Skeptics like Creator/GoreVidal argue that the New Deal was little more than a BreadAndCircuses attempt so as to assuage fears of communist takeover and that it was post-war legislation like the G. I. Bill that had a bigger impact in restructuring the class system then any of the New Deal programs did.
* These days, many museums and tourist guides inevitably promote real nations, monuments and cultures in this way, often to the exclusion of sub-cultures and counter-cultures. The French critic Creator/RolandBarthes noted that during the era of General UsefulNotes/FranciscoFranco, Spanish tourist brochures never discussed Moorish Spain and the Arab influence on Spanish culture and language. He pointed out that in the age of travel, countries generally tend to promote a one-sided and one-dimensional vision of culture to choose as representative of the complex whole.
* Huis Ten Bosch: a Japanese theme park that recreates The Netherlands.
** And even more so with Madurodam, the Dutch theme park version of The Netherlands (in miniature).
* The Window of the World in Shenzhen, China contains scale models and reconstructions of the world's most famous landmarks and tourist attractions. This makes it the Theme Park Version of global tourism.
* Ride/DisneyThemeParks: In 2004, Walt Disney World opened "Disney's Saratoga Springs", a resort inspired by another tourist hot spot, Saratoga Springs, NY (best known for mineral springs, horse racing, proximity to the Adirondack Mountains, and being the tourist destination for rich Victorians from New York City). The resemblance is...extremely superficial. To demonstrate, compare "High Rock Spring", [[http://www.ownerslocker.com/blog/2009/10/the_kiddie_pool_at_disneys_sar.html the Disney version]] (waterfalls and a pool)...and [[http://www.saratoga.com/business/high-rock-spring-10270/ the real one]] (a rock with a spigot covered by a building).[[note]]If they wanted an impressive water feature to emulate, they could have picked the Geyser Island spring in the park...[[/note]]
** Similar to the aforementioned Window of the World, there is Epcot's World Showcase, which features eleven pavilions, each representing the culture of one different country.
** And then there's Disney's California-themed park...in California. It was not well received.
* A ShapedLikeItself version: Ride/SixFlags St. Louis has an area called "1904 World's Fair" (the real thing ''was'' in St. Louis, after all), made up like an old-time carnival and no doubt lacking the safety or health issues that the original may have had.
* [[http://www.bobbejaanland.be/ Bobbejaanland]] is a Belgian theme park, founded by a Belgian country western singer, which proudly presents his idea of the [[TheWildWest American Wild West]] (with a few [[BigLippedAlligatorMoment Viking- and Aztec-themed rides]] thrown in). Visiting it as an actual American is a marvelously surreal experience.
** From the same country comes to you the thing known as [[http://www.minieurope.com/nl Mini Europa]]. Anything of it could easily be the image of the wiki.
* Several of Las Vegas' megaresort hotels offer theme park versions of other popular places and/or eras. [[CityOfEverywhere Where else can you visit New York City (New York-New York), Paris, ancient Egypt (Luxor), ancient Rome (Caesars Palace), Monte Carlo, and Venice (The Venetian) in walking distance of each other?]]
* Many large (and usually nerdy) fandoms can be reduced to this by people outside of them.
** Speaking of nerds, many of their favorite archetypes are exactly this. [[NinjaPirateZombieRobot Pirates were really armed thieves who boarded trade vessels to steal, kill and take slaves. Ninjas were poor farmers and peasants who revolted against nobility with weaponized farming implements, Zombies were supposedly drugged and brainwashed people used to do manual labor, and most real robots are just the sort of computerized machines that took grandpa's job at the auto plant]]. [[EverythingsBetterWithMonkeys Monkeys... well, at least they're pretty spot on about monkeys]].
*** Also, the vikings were extremely brutal and terrorist-like in RealLife, and would do vicious, horrific things to women and children with no remorse. There's a ''reason'' why everyone in Europe feared and hated them.
** SteamPunk (and, to a lesser, degree DieselPunk) fans tends to ignore the [[CrapsackWorld dirt, filth and brutality]] of Western cities in their favorite time period.
* Most Holidays become this.
** In an interesting inversion, the word "Xmas" for Christmas is often wrongfully accused of being this trope. The assumption is that the X is used to remove any implications of {{Jesus}} from the holiday. In fact, it comes from the fact that X is the first letter in Jesus' title (Χριστός or Christos) in Greek. (And, if you really want to be pedantic, Christmas originated as a pagan holiday that was HijackedByJesus because most of the non-Christian world had some sort of winter festival and the Christians figured they may as well join the party.)
** Take Valentine's Day. It went from being a tribute to a Christian martyr, to being an occasion for romantic lovers to profess themselves to each other, to being a kitschy affair in which schoolkids in completely platonic relationships give each other goofy cards with Superman or [=SpongeBob=] [=SquarePants=] on them.
** Or Saint Patrick's Day. Just about everyone's forgotten that it's a ''Catholic'' holiday, not just an Irish one.
** Same with Mardi Gras. Purely Catholic, but most of the people enthused with it nowadays are probably from other religions, if they even are religious at all. Some now refer to Mardi Gras as Fat Tuesday. (To be fair, that's just translating the French. Elsewhere, the holiday is very straightforwardly called "Carnival" -- or "farewell to meat," named because Lent was formerly required to be meatless.)
* Many large cities are frequently accused of attempting to become the theme park version of themselves for a wide variety of reasons. This is often associated with gentrification, which sociologists and historians lament often comes at the expense of more colourful and interesting communities. A good example is Paris since the 1960s, where French Presidents tried to install new buildings. The Centre Georges Pompidou, an art gallery, was built on top of the famous covered market of Les Halles, a historical working class district. The construction of the Olympics for London in 2012, led to the destruction of Hackney, another historical working class area.
* A particularly strong example: UsefulNotes/NewOrleans in the aftermath of Hurricane Katrina. The wealthier, touristy, photogenic parts of the city bounced back much faster than the poor parts of town. This effect was not totally intentional, but some accusations of sinister intent flew. The chief exhibit would be many people who openly pondered whether the storm wasn't a good excuse to tear down most (or all) public housing. The opposing argument being, of course, that these touristy, photogenic parts of the city were where a huge number of the people who lived in the city ''worked'', and the faster they got back on their feet, the sooner money could start coming into the city again.
* This requires fluency in Japanese to see for yourself, but the [[http://ja.wikipedia.org/wiki/Usa Japanese Wikipedia article for the USA]] is basically this trope. Bonus points for focusing on mainly the Reagan years and up. Actually, scratch the fluency part. Just look at the pictures: [[{{Eagleland}} stealth bombers, apple pie, football...]]
** But a bald eagle, aircraft carriers, the Statue of Liberty, the Hollywood sign, as well as the aforementioned apple pie, are featured on the English version of the article...
** [[FridgeLogic Now wait a second]]: if we look at the pictures without reading the text to understand the context, wouldn't that give us The Theme Park Version [[{{Irony}} of that very article]]?
** If you have access to Google Translator you can see they label the last part of their history section as weakening of unipolar domination. Our other wiki calls it contemporary era.
* Most of history, especially what you're taught in high school. It would take the whole school year to get a non-Theme Park version of one war, especially complex events such as the UsefulNotes/ThirtyYearsWar. Likewise, certain national histories are often taught in a closed-off hermetic fashion without reference to geopolitical tensions and other environmental and sociological changes, while also giving an impression of continuity between old regimes and modern times. This intersects with the tendency to present an [[PropagandaPiece official version]] of national history; for example, classes in US history can resemble advertisements for the US conservative movement.
* Either one of the World Wars could easily eat up all the time allotted to history secondary education. Likewise, American students as well as international students on account of EaglelandOsmosis and AmericaWinsTheWar, think that both these conflicts were singularly won by America to the detriment of the involvement of other, non-English speaking, nations.
** In the case of the Second World War, thanks to the UsefulNotes/ColdWar, this has led to the virtual removal from public consciousness of the contribution of the Soviet Union, when they mounted the largest offensive, fought harder, endured greater casualties and the worst war crimes, than the other sides combined. Likewise, it was only since the 80s and 90s, that UsefulNotes/TheHolocaust was mentioned or depicted widely. The depictions of the war are still largely shaped by the Western Front, with its images of the Americans and British liberating their future [=NATO=] allies to the detriment of the East and the Pacific. In the case of the Pacific, the experiences of the Chinese, the Burmese, the Indians during the War get little say compared to the naval war of the US on the Pacific.
** Allied propaganda from World War II on all three sides loved to demonize UsefulNotes/AdolfHitler and UsefulNotes/ImperialJapan. The former was made into LaughablyEvil while the latter were shown with crude racist stereotypes. Propaganda is ''never'' meant to educate, but to influence and to stir up emotions, still it has to be mentioned that the British were a colonial empire during the war, the French Resistance used ''their'' colonies as a base and, technically, no more than a liberal military junta rather than legitimate government (most of which had become LesCollaborateurs). American society and its armed forces were segregated, and as for the Soviets, well they were led by "Uncle Joe" Stalin (so-called during the war), who had a few years back conducted mass purges and incompetent collectivization schemes that led to the deaths of three million and who also invaded Poland and Finland alongside Hitler as part of that "Molotov-Ribbentrop Pact" that got swept under the rug. Still, Hitler was a great deal worse than all of them.
* Wars. All of them, especially the World Wars. Wars usually have very complex and multiple political, sociological, economical and historical causes, all the sides have their specific goals, intents, virtues and depravities. They are also fought and experienced by LoadsAndLoadsOfCharacters and feature many HeroOfAnotherStory. In movies, popular consciousness, and even in history classes, they usually devolve into a theme park version of a fight between the forces of [[IncorruptiblePurePureness Good]], with some individual, great leaders, generals and soldiers elevated into heroic roles out of proportion to the level of agency they actually possessed during the conflict.
* Some elementary and high school history classes focus on the Kennedy, Johnson, Nixon, Ford, Carter, and Reagan administrations. This might have something to do with the fact that most teachers came of age during one of these administrations. (Other teachers and curriculam somehow manage to never get past the Eisenhower administration, for similar reasons: there's too much risk of parents and school boards objecting to ''any'' possible discussion of the Vietnam War, Watergate, or the Iran hostage crisis.)
** President UsefulNotes/JohnFKennedy had an administration of three years before his ConspicuouslyPublicAssassination, but thanks to his charismatic personality and relative youth, he is elevated into a more influential figure than he really was. Historians note that it was his successor and Vice President, Lyndon B. Johnson who passed the crucial Civil Rights Bill, that President Nixon took America off the gold standard and built the [=EPA=] while the most important events in Kennedy's administration were policy disasters like the Bay of Pigs invasion, the Cuban Missile Crisis, the Cuban Embargo. Yet Kennedy has a bigger role in the public imagination than his record would otherwise suggest.
* Taking World History as a course has The Theme Park Version written all over it, no matter how high up the classes are. The information has to be reduced so much that it winds up being completely inaccurate. For example, "Japan closed off its borders" will probably be the only indication you get of a complex economic, political and cultural decision that can be traced back hundreds of years before the final event.
* In American film and literature, many Native Americans suffer from this trope. Pick any nation you like, and if you bother to do the research, you will find a complex society with all the trimmings: a working economy, clearly defined values and morals, a deep religion, a highly developed language, and a well-developed justice system. Yet some authors portray Native Americans as backward, childlike people who all talk like Tonto, and others portray them all as a nature-bonded MagicalNativeAmerican stereotype who are mercilessly slaughtered by the brutish white man. It's difficult at times to ascertain which is more offensive.
* Critics of [[http://en.wikipedia.org/wiki/Ecological_succession Ecological Succession]] (the idea that agricultural land abandoned, or a forest after a devastating fire, passes through a series of defined stages until it becomes a thick forest again) point out that it was originally formulated in Turn-of-the-Century Western Europe, a place where most native large mammals -- which would otherwise keep forests open and make fires less likely by "mowing the lawn" when eating -- had been long exterminated by humans. In other words, our idea of what a natural, unaltered landscape looks like is barely more natural or unaltered than a farm field. It might have more species diversity, but not as much as it originally had.
* The [[http://en.wikipedia.org/wiki/Paris_syndrome Paris syndrome]]. Kinda probably, Japanese tourists often go to Paris with an extreme theme park version of that city in their minds, only to discover to their dismay that [[RealityIsUnrealistic the place is much more complex than that]].
* Mexican History. You are taught some during primary school, only to have everything you believed be crushed once you enter middle school and ''especially'' on high school. Remember that incident about that boy who wrapped himself in the flag to stop the American invaders from taking over it? It never happened. Heck, high-school history teachers mostly compare the real facts with what the "official" history says.
* History, period. Most of it comes from a eurocentric background, so '''''any''''' highschool-back history book you read will passingly mention the Middle East, India, Africa, and Asia while focusing on Europe and its struggles. You don't read 1200–1800-era Chinese, Arabian, or African authors too often, nor do you discuss non-European empires from those eras. Also, North America didn't exist until 1492. Hence why it's the "New World", regardless of how old it actually is. Can you think of any major events in Native American history before Europeans came over that doesn't have to do with doomsday calendars? Or of major scientific inventions and philosophical innovations outside of Europe that don't have to do with algebra, limestone batteries, or gunpowder? Let's just say that if you respond "There are none," you've successfully proved this trope correct.
* Psychology. Just as much as biology and history, the version of psychology on shows like ''Series/CriminalMinds'', ''Series/{{Bones}}'' and other shows is extremely simplified, misapplied, out of date, or outright wrong. First year psychology classes is usually enough to dispel most of the myths you'd find on TV, but for anything more than a smattering of the various areas in psychology you'd need to take a higher-level course.
* Your standard wall calendar will do this to the months of the year, often taking a major holiday or something similar of each month and making a photo about it. Common examples in the US:
** January: A baby in a top hat blowing a horn (symbolizing the "New Year")
** February: Valentine's Day, red and pink and heart-shaped everything.
** March: Either people flying kites in the wind or a leprechaun with a pot o' gold (for Saint Patrick's Day).
** April: "April Showers," raincoats and boots and umbrellas.
** July: Independence Day, stars and stripes, Uncle Sam and Fireworks.
** September: Anything having to do with kids going back to school (pencils, apples, rulers, blackboards, etc.).
** October: Halloween, costumes (HotWitch is a favorite), jack-o-lanterns, and ghosts.
** November: Thanksgiving, turkeys, pilgrims and Indians.
** December: Christmas, trees, ornaments and Santa Claus.
* [[http://www.swedenhills.jp Sweden Hills]]
* The UsefulNotes/FirstAustralians (or Indigenous Australians) are not the same as UsefulNotes/AustralianAborigines. The indigenous population consists of two main groups. About 90% are Aborigines, which pretty much everyone knows about. The rest are UsefulNotes/TorresStraitIslanders, relatively unknown outside of Australia and often forgotten within the country. This division oversimplifies the diversity of languages (hundreds within the Aborigine population alone) and cultures in the indigenous community.
* The Mesozoic Era gets hit with this trope hard. Many forms of fictional DinosaurMedia will feature the standard [[PredatorsAreMean ugly, bloodthirsty carnivores]] (like ''TyrannosaurusRex'') and [[HerbivoresAreFriendly docile, good-natured herbivores]] (like ''Brontosaurus''), horrifying {{Sea Monster}}s that make the shark from ''Film/{{Jaws}}'' look like a guppy (marine reptiles like ''Plesiosaurus'') and [[PteroSoarer airborne terrors]] that [[DeathFromAbove descend upon helpless creatures on the ground]] (pterosaurs like ''Pteranodon''). The landscape will almost always be depicted as alien and unfamiliar, with even the flora being impossible to recognize, and the whole thing would be completely covered in volcanoes and molten lakes, with everyday life being a constant fight for survival. Of course, nearly all of these are exaggerated and some, like the volcanoes, are almost totally fabricated. The flora of the Mesozoic wasn't all that different from the flora we have now[[note]]and indeed, many of said fauna such as monkey-puzzle trees and ginkoes are still fairly common today[[/note]] and the animals were, for all intents and purposes, still normal animals. A living ''T. rex'' would be no more vicious or terrifying than a modern lion or grizzly bear ([[SarcasmMode aside from being 20-30 times more massive, three and a half times as tall, six times as long and capable of eating an average lion or grizzly in one bite]]), and on the flipside, a plant eating dinosaur would not necessarily be friendly (modern plant eaters [[BewareTheNiceOnes certainly aren't]]). The sea reptiles and pterosaurs would likely be the same way.
* In Flanders there is a teaching subject in primary school called World Orientation meant in theory to [[ExactlyWhatItSaysOnTheTin give a broader view of the world]]. In practice, it is this trope UpToEleven, as it it is a string of facts taken entirely out of context and often condensed into 2 pages of information that people are supposed learn by heart.