Many planetariums face the same programming problem: the dome is busy with school groups and core public shows, but quieter hours remain underused. The challenge is how to expand planetarium programming, reach new audiences, and generate useful activity without blurring the venue’s purpose.
In this Fulldome Talks episode, Ryan Moore of Dome Fest West offers a practical framework for planetarium programmers, directors, and fulldome producers. His main point is simple: start with audience, time slot, and operating model, not with a show idea.
Start with the schedule, not the content
Ryan points to underused hours as the most realistic place to test new formats. In the conversation, he mentions Sunday mornings and other off-peak periods as examples where a different type of fulldome event may fit without disrupting school programming or core astronomy shows.
His examples include meditative content, calm immersive visuals, and music-led sessions. The broader lesson is more useful than any single format. Instead of asking what new show to buy or produce, ask who could realistically attend at that time, and what kind of dome experience makes sense for them.
For many venues, that could mean early-morning adult programming, parent-friendly daytime sessions, or events designed for older visitors. The goal is not to replace the planetarium’s core offer. It is to make better use of time that is otherwise idle.
Define the audience before you define the format
A recurring theme in Ryan’s comments is that both venues and creators often stay too general. A show is announced for “the public,” but nobody has clearly identified who it is actually for, how they hear about it, or why they would choose the dome over another night out.
For planetarium audience development, that usually leads to weak results.
A stronger approach is to define four things in advance:
- Who the event is for
- When that audience is likely to attend
- Why the dome is the right format
- Who will market and sell the event
Ryan argues that music-based events often work because the audience already understands the hook. The same logic can apply to adult evening events, branded experiences, or short-run partnerships with outside producers.
For programmers, the takeaway is practical: one recurring, clearly targeted slot is often more valuable than several vague special events.
Protect the mission with the right business model
Ryan is careful on one point: planetariums were primarily built for education, and that context matters. His suggestion is not to avoid experimentation, but to separate mission-driven programming from events that sit alongside it.
In practice, that can mean using rentals, outside ticketing, or producer-led promotion for adult entertainment formats, rather than forcing them through the institution’s usual public-programming pipeline. That boundary helps venues test new fulldome business models while keeping their educational identity clear.
This is also where many creators misread the market. Ryan’s advice is to arrive with a realistic use case, a likely audience, and a workable slot, not just a film.
Use your dome team early
Ryan also stresses early testing inside the actual dome. That applies to story structure, pacing, sound, pre-show flow, and audience response, not only visuals. For venues commissioning or co-developing new work, this is a reminder that in-house staff can prevent costly mistakes before they scale.
A usable framework for your next program
If you want to expand fulldome programming without confusing your audience, Ryan’s framework is clear:
- Identify an underused time slot
- Match it to a specific audience
- Decide whether it supports the mission or belongs in a separate event model
- Plan marketing and ticketing from the start
For planetarium operators, this is a more reliable starting point than copying formats from other venues.
