Meet the Universal Creative Team Members Bringing Epic Universe to Life

Epic Universe is the result of years of collaboration and innovation from Universal Destinations & Experiences. Universal Creative designers, engineers and producers tell us in their own words how Epic Universe became Universal's most ambitious project yet.

Meghan Hudak – Assistant Director, Projects; Resort Development

As a lifelong theme park guest, I always appreciated the majesty of theme parks but it wasn’t until my sophomore year of architecture school that it finally clicked with me: someone had to design and build this space to bring it to life. The following summer I interned with Universal Creative and started my career in themed entertainment. Over the last eleven years, I have opened eight hotels totaling 8,600 guestrooms, growing in my role from Associate Architectural Designer to Assistant Director. I started my career path on the design team where I was responsible for hiring and managing design firms, guiding them through drawing production to design projects that provided an amazing guest experience while also being efficient for our operating partners. In this role, I also provided design solutions to our general contractors during construction to ensure the final hotel matched our vision. Taking the learnings from managing design vendors, I switched to project management, leading our construction teams and general contractors through all phases of construction. My favorite parts of a project are when, as I say, it “starts to look like a hotel” and when the first guests finally walk through the doors.

While designing Universal Stella Nova Resort, Universal Terra Luna Resort, and Universal Helios Grand Hotel, a Loews Hotel, what inspired themes of exploring the unknown and pushing the limits of discovery?

With Helios Grand, we always knew it would be linked to the park in design given its placement as the backdrop to Epic Universe. We like to say it’s a different book in the same series; it will feel like the same world but you’ll see different elements, different characters. Universal Helios Grand Hotel is the palace of Helios, with motifs referencing Greek mythology and the transition from day to night just like Celestial Park. The guestroom design is a calming atmosphere, giving you a respite before another epic day in the park. For Stella Nova Resort and Terra Luna Resort, we got to extend the Universal Epic Universe theme a little further, leaving the constellations and mythology at Universal Helios Grand Hotel and focused on the cosmos and terrain.

What was your favorite part about building the architectural design for Epic Universe hotels?

For the three Epic Universe hotels, we pushed the boundaries of what we have done before in other Universal hotels. We incorporated new technologies with the projection mapping at Universal Helios Grand Hotel, a Loews Hotel and a floating planet Pepper’s Ghost illusion at Terra Luna Resort, adding show elements never done in our hotels before. We used materials in new and creative ways, like the stainless steel shingles on the exteriors of Stella Nova Resort and Terra Luna Resort used to create galaxy image facades. We designed in a lot of prefabricated elements which allowed things to be built off site, alleviating some of the labor force competition with other projects.

Scott Verble, Assistant Director, Executive Producer, The Wizarding World of Harry Potter™ - Ministry of Magic™

I started my career at Universal Orlando Resort in 2013 in Operations, where I held several different roles in Attractions and Safety. I joined Universal Creative in 2015 as a Show Coordinator for Universal Beijing Resort. As a Show Coordinator, I was able to work on the early Concept design and planning for multiple areas of the park. I was extremely fortunate to work with some truly exceptional leaders and mentors during my time on UBR and was able to learn from Team Members across all disciplines: Creative, Engineering and Safety, Facility Design, Masterplanning, and many others. After being a Show Coordinator and Associate Producer, I ultimately had the opportunity to take on the entire land as the Show Producer for the project’s final two years. Being a part of such a large project and living overseas for two years was career changing and I’m so grateful to have been a part of it. When I returned from China I was able to join the Epic Universe team as the Executive Producer for The Wizarding World of Harry Potter™ – Ministry of Magic™ where I’ve had the pleasure to work with another spectacular team over the last four years, bringing some of our greatest environments and attractions to life.

Since this is the third Harry Potter installment at Universal Orlando Resort, how does The Wizarding World of Harry Potter™– Ministry of Magic™ take us one step closer to experiencing the magic of the films firsthand?

Across the wizarding world books and films, there are so many incredible environments and locations that we’ve drawn from for the existing wizarding world experiences across our parks worldwide, but more than ever, we’re leaning into populating the environments with living magical creatures and characters. Place Cachée and the British Ministry of Magic are such wondrous environments to visit, but filling these environments with life takes the guest experience to a new level of immersion. From Aurors and international wizarding students to Mooncalves, Bowtruckles, and even a house-elf, the world is full and populated with witches, wizards, and magical creatures to directly interact with. Guests getting the opportunity to have individual interactions with magical creatures and characters that they know and love will bring them yet another step deeper into the wizarding world.

What is one thing you can’t wait for visitors to experience while walking through the streets of 1920s Paris?

I cannot wait for guests to discover the details of Place Cachée. The closer they look and the longer they meander through the streets, shops, and cafés, the more they’ll uncover. From carvings to painted details, hidden spells, references to historical wizarding figures, and so much more; we want guests to discover new secrets and details with every visit.

Adam Rivest, VP, Creative Management and Branding

I started my journey at Universal 25 years ago as a performer in entertainment. I kicked things off as a stilt walker in various parades and events before moving into management. As a stage manager, I oversaw different venues around the park and eventually became the production manager for Marquee Events. For 13 years, I produced seasonal marquee events like Mardi Gras, Holidays, Halloween Horror Nights (HHN), and Concerts. I also handled capital entertainment projects like The Wizarding World of Harry Potter™ Entertainment Program and the Superstar Parade. In 2013, I joined the Creative team as the associate producer on Skull Island: Reign of Kong. After Kong, I moved into the Creative Studio, supporting all content development. When we kicked off Epic Universe in the studio, I knew this was where I wanted to be. I worked on Epic from day one, supporting the entire blue-sky and concept process before taking on the executive producer role for Celestial Park. For the next eight years, I focused on bringing this beautiful world to life. Recently, I stepped back into our Creative Studio as VP of Creative Management and Branding for our global portfolio.

How do the Epic Universe portals help transport visitors into the different worlds of Epic Universe?

The portals stand as magnificent gateways, each one a marvel of technology and design. These portals, powered by the energy of Chronos, function like colossal antennas, finely tuned to the unique frequencies of the worlds they connect to. As you approach each portal, you can feel the energy of the destination world. The familiar surroundings of Celestial Park start to blur, and you can almost feel the essence of the new world spilling out, mingling with the atmosphere of the park. It's an invitation, a tantalizing preview of the adventure that awaits. Stepping into the portal, the sights and sounds of Celestial Park gradually fade away. You find yourself enveloped in a swirling nebula of cosmic energy, a breathtaking spectacle that marks the transition between worlds. The echoes of the new world begin to reach you, faint at first, but growing clearer with each step. The nebulas part, revealing glimpses of the new world, drawing you in with their promise of exploration and discovery. The transition is a seamless cross-fade that leaves you completely immersed in the new world. The portals of Epic Universe don't just transport you; they transform your journey into an experience, making the passage between worlds as enchanting as the destinations themselves.

As a former Universal Orlando Resort performer yourself, tell us more about what visitors can expect from a live show at Epic Universe?

Epic Universe bursts into life with a dazzling array of entertainment that captivates and enchants every visitor. From the mesmerizing live stage shows like Le Cirque Arcanus in The Wizarding World of Harry Potter™– Ministry of Magic™ and The Untrainable Dragon to the delightful character interactions you may stumble upon during your adventures, such as Mario, Luigi, Princess Peach and Donkey Kong in SUPER NINTENDO WORLD™ or even the Invisible Man in Dark Universe, every corner of Epic Universe is brimming with excitement. The worlds within Epic Universe are already breathtaking, but when they are inhabited by vibrant characters, they transform into immersive realms that tell their stories and forge deep emotional connections with our guests. Witnessing the iconic moment when a guest meets Toothless for the first time is truly heartwarming. It creates a lasting memory that touches their heart and delivers an experience that epitomizes Universal's mantra of igniting the thrill of feeling fully alive.

Frances Franceschi, Production Designer, Dark Universe

Growing up visiting theme parks, I knew early on I wanted a career designing them. After graduating from the University of Central Florida with a degree in architecture, I joined Universal Creative as an intern and never looked back. I started in the Core Design Studio as an associate show set designer, supporting architecture and master planning team through early design phases. Over time, I became a senior master planner focused on large-scale park-wide master planning efforts and smaller-scale site planning and attraction development for the UDX parks globally, working on projects such as SUPER NINTENDO WORLD™, Hagrid’s Magical Creatures Motorbike Adventure™, Minion Land, and Epic Universe. After Epic Universe’s early design phases wrapped, I knew I wasn’t ready to walk away from that project, especially with Dark Universe capturing my attention from day one. I jumped at the chance to join the project team as a senior show set designer, focusing on Monsters Unchained. Through years of detailed design, fabrication, and field execution, I grew into the role of Production Designer, leading the creative design and creative execution of the attraction’s ride floor. These last 10 years have been a wild, fulfilling ride, and working for Universal Creative has been a dream come true for the eight-year-old me who dreamed of designing and building these parks and attractions.

What past Universal films, characters, or set pieces most inspired you while developing Dark Universe?

One of the most exciting parts of developing Dark Universe was the amount of reference material from over a century of Monsters storytelling. A key design language we continually referred to was the lab equipment and set design from the early 1930s Frankenstein films. The designs served as the foundation for much of our set design across the land, but particularly within Monsters Unchained. We used this classic aesthetic as a starting point, then modernized the equipment to reflect the evolved experiments of Dr. Victoria Frankenstein. With my background in architecture, I also focused on ensuring that the built environments within the attraction felt grounded in reality. Even as we explored fictional catacombs beneath the Frankenstein Manor, we worked to ensure the rockwork, arches, and structures felt authentic and scale-appropriate—so the world we invented still felt real, tangible, and dense.

What are your favorite components of Monsters Unchained: The Frankenstein Experiment and Curse of the Werewolf? What are you excited for visitors to experience on these new, thrilling rides?

There are so many exciting and unique elements within Dark Universe that set this land apart, but what I’m most excited for guests to experience in Monsters Unchained: The Frankenstein Experiment are the Monsters themselves. They represent the culmination of over 100 years of storytelling and character evolution—and for the first time, guests will encounter these characters in a way they never have before. The proximity to the Monsters, their scale, their movement, and the way they impact the visceral guest experience is unlike anything we’ve ever created. It’s truly a new chapter in how these iconic characters come to life. While Dark Universe naturally carries an edge and maturity that leans toward a PG-13 audience, there are still plenty of experiences the whole family can enjoy together—and Curse of the Werewolf is one of them. This coaster is the perfect balance between thrill and family fun, making it an ideal first coaster for some younger guests while still delivering excitement for seasoned coaster enthusiasts. Its free-spin ride system ensures no two rides are ever alike, and as day turns into night, the experience transforms, with new sights and an entirely different energy to the attraction.

Throughout the production design process, how did you focus on harnessing the dark energy of Darkmoor, and how did you ultimately bring it to life?

As a designer, this work consumes every part of your mind. You’re constantly balancing the drive to push creative boundaries with the responsibility to stay true to the origins. Our design team had a common goal: to honor the legacy of the Universal Monsters while pushing their stories into new territory with a fully immersive, visceral guest experience. Developing an original character, Dr. Victoria Frankenstein, played a major role in shaping Dark Universe. Every set design decision for Monsters Unchained was made through her eyes—guided by her ego, her pride, and her ambition to evolve her great-great-grandfather’s life’s work. Thinking about the world through her perspective helped keep the entire show design deeply cohesive and emotionally connected. A funny side note about “harnessing the dark energy of Darkmoor”—if you look at the project team photos from 2021 to 2025, you’ll notice something strange. In 2021, everyone wore a mix of colors for their clothing choices; by 2025, nearly everyone was dressed in black. The darkness truly took over!

Nate Edwards, Assistant Director, Projects, Resorts Development

I joined Universal Creative as an Intern while in college and have been fortunate to grow within the organization ever since. Over the past decade, I’ve moved through various roles—Associate Engineer, Project Manager, and now Assistant Director—delivering major hotel developments including Sapphire Falls, Endless Summer, and most recently, Universal Helios Grand Hotel. My experience has allowed me to bridge the technical and creative sides of development, working closely with designers, contractors, and operating partners to bring these spaces to life.

How did collaboration play a role in the construction of the three new hotels?

Our internal team—across design, construction, and administration—played a central role in delivering all three hotels. With a small but mighty group, we shared resources, aligned priorities, and often wore multiple hats to keep each project moving forward. For Universal Helios Grand Hotel, collaboration reached a new level. It required a monumental effort to coordinate with various trade partners, consultants, and internal stakeholders. The integration with Epic Universe demanded constant communication and a unified approach to ensure the finished product came together seamlessly.

How was building Universal Stella Nova Resort, Universal Terra Luna Resort, and Universal Helios Grand Hotel different from constructing past hotels?

Universal Helios Grand Hotel represents one of our most integrated hotel-to-park experiences to date, with direct connectivity to Epic Universe. It’s not just a hotel next to a park—it’s part of a seamless storytelling journey. Architectural elements and finishes were thoughtfully designed to complement the Celestial Park environment, enhancing immersion while maintaining a distinct resort identity. Coordinating with the park team on shared infrastructure, guest flow, and creative alignment required extensive collaboration across disciplines. To address the complexity of the site, we also incorporated more prefabricated construction methods to improve efficiency and reduce onsite impact. Compared to past projects, Helios demanded broader coordination, creative precision, and operational alignment to bring the vision to life.

Justin Schwartz, Senior Director, Engineering and Safety

I joined Universal Creative over two decades ago as an Associate Engineer, driven by a passion for blending creativity and technical innovation. My career began with projects like Hollywood Rip Ride Rockit, quickly advancing into leadership roles overseeing engineering and safety for experiences such as Hogwarts Express and Universal Volcano Bay water theme park. I developed the original interactive wand technology, which helped set a new standard for guest interactivity in theme parks. Later, I founded Universal’s Advanced Technology Initiatives (ATI) team, which led to further innovations. As part of Epic Universe's founding team, I established and led the Ride and Show group, later shifting focus to Epic Universe’s ride systems, parkwide and network systems, and compliance.

After years of development and innovation, what do you hope families leave Epic Universe feeling?

I hope families leave Epic Universe feeling thrilled and emotionally connected. More than anything, I want them to walk away thinking, "I’ve never experienced anything like this before—how can anything else compare?" Over the years, I’ve met guests so moved by Universal Creative’s work that they pursued careers in our industry. Hearing my own kids express that same awe and excitement has brought it full circle. With Epic Universe, I hope we continue to spark that passion in future creators, engineers, and dreamers.

You’ve contributed to the development of many patents—how has working at Universal Creative supported your creative visions over the years? How have you found ways to continue to innovate?

Universal Creative actively supports bold ideas, providing a collaborative environment essential for innovation. My creativity thrives through exchanging ideas with our exceptional team. I personally hold over 36 patents, and the company’s portfolio extends even further with over 3,000 patents held by UDX globally, and 161 specific to Epic Universe—underscoring that innovation here isn’t just supported, it’s fundamental to who we are. In our industry, staying relevant means continuously evolving, pushing boundaries, and reimagining what’s possible. Patents reflect our commitment to that ongoing progress and to leading the future of themed entertainment.

What is one thing you’re most proud to have worked on at Epic Universe?

I’m incredibly proud of helping to build and lead the foundational team that brought Epic Universe to life. From early visioning through execution, our team has navigated complex challenges with precision, creativity, and relentless commitment. Watching their dedication transform ideas into some of the most advanced attractions ever created has been deeply rewarding. Equally, I’m proud of the standard we’ve set. Our attractions are not only immersive and technically ambitious, but they’re redefining what’s possible in the themed entertainment industry.

To learn more about the Universal Creative team, click here.
To learn more about Universal Epic Universe, click here.

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