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A traveller discovered that paying a small fee to choose your specific room at Travelodge can get you a noticeably larger space in the same category – without upgrading

When booking a hotel, aside from selecting your room category, you’re often left in the dark about what room you’ll end up with. But I’ve stumbled upon a nifty trick that could land you a larger hotel room for just £3.50.

Securing a hotel for any occasion, be it a city break with mates or a romantic weekend getaway, can be a bit of a headache, given the vast array of options available. And even after you’ve picked your preferred hotel, you then have to decide on your room category, which is usually dictated by price (let’s face it, we’d all opt for the premium suites if our wallets allowed).

But what if I told you there’s a way to bag a bigger room when booking through Travelodge, without having to rely on the whims of the booking system? This little gem came to light during a trip to London with my pals earlier this year.

We were staying overnight after catching an evening show, so I booked us into a Travelodge on Central City Road in London. As there were three of us, I opted for a triple family room – the most budget-friendly choice for a Saturday night in the capital.

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A few days prior to our stay, I noticed an option in my booking that let me ‘choose my room’ before checking in. Initially, I was a tad sceptical, but I’m chuffed I decided to delve a bit deeper.

For a mere additional £3.50, I discovered that I could handpick the exact room my mates and I would bunk in during our getaway. In the spirit of investigation and intrigue, I coughed up the trifling £3.50 and was directed to a site map showcasing all the available rooms within my category, enabling me to select our quarters.

What took me aback was that, despite all the rooms displayed falling within the specific category I’d booked, a handful were markedly larger as per the floor plan. So naturally, I opted for the most spacious room on offer.

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Even at this juncture, I was sceptical about whether we’d actually be allocated this room upon check-in, given that I’d shelled out less than a fiver and it was significantly roomier than the rest. So you can imagine my delight when I checked in on Saturday afternoon and they handed over the keys to the exact room I’d chosen – it was absolutely worth the extra £3.50.

We found ourselves in a sprawling room equipped with a double bed and two single beds, despite never altering the room category. Plus, it afforded us crucial additional space for prepping for a night on the town without having to splurge on an expensive upgrade.

This nifty trick can be employed at over 575 Travelodge hotels, and it’s not just for securing extra room. You can opt to ‘choose your room’ to ensure you’re lodged near family or friends, secure a particular view, guarantee a top or ground floor room, or ensure you’re close to a lift.

Not only does this trick potentially offer the bonus of a larger room, as I discovered, but it also eliminates any check-in uncertainty. However, it’s crucial to bear in mind that this hack depends on the hotel’s availability and layout.

Some Travelodge hotels may not have a bigger room available in the category you’ve booked, but it’s definitely worth enquiring. Furthermore, the cost can fluctuate depending on the hotel, room type and duration of stay, but it’s applicable for a range of Travelodge room categories.

Got a travel story you want to share with us? Email us at webtravel@reachplc.com

Imax is having a moment. More than 50 years after debuting at the 1970 Osaka world’s fair with the 17-minute experimental film “Tiger Child,” the format has become the ascendant king of spectacle. Today, Imax counts 1,829 screens in 89 countries — just 1% of theaters — yet makes up an increasingly vital part of the theatrical box office, with 50% market share growth since 2018 and an estimated $1.2-billion take in 2025. And the company shows no signs of slowing down.

“As long as there are filmmakers who are fans as well as studios who are fans, we’re going to make a difference,” says Chief Executive Richard Gelfond, who acquired the company in 1994 with business partner Bradley Wechsler.

Breaking into mainstream Hollywood didn’t come easy. For decades Imax films were largely documentaries, often about space exploration, nature or discoveries, with systems installed in museums and science centers. The flash point came in 2008 with Christopher Nolan’s “The Dark Knight,” which featured 28 minutes filmed with Imax 70mm cameras. Film buff and industry content creator Lizzy Gonzalez vividly remembers when the Joker (Heath Ledger) unmasks himself during the chaotic bank heist. “It was my earliest Imax experience, and my jaw dropped in awe,” she says. Ever since, she’s been hooked, admitting the premium format is “the only legit movie experience that immerses you in the story.”

Directors are now leaning in, with the “Filmed for Imax” (FFI) lineup expanding to 14 titles in 2025 — doubling last year’s total. The program lets filmmakers shoot with Imax cameras or other approved cameras and provides additional production support, such as a longer window with the equipment and more publicity during release. “In previous years, Imax used to do about 10% of the box office in North America, but [with] FFI movies we’ve averaged about 15%. It means more dollars to whoever makes them and more profit to the studio,” says Gelfond.

Regina Hall in “One Battle After Another.”

(Warner Bros. Pictures)

Not all movies exhibited in Imax formats are shot under the FFI banner — indeed, from James Cameron’s original “Avatar” to Paul Thomas Anderson’s “One Battle After Another,” the majority of Imax releases are instead enhanced using digital media remastering. But movies that take advantage of FFI, including “Sinners,” “Superman” and “F1,” are seeing box-office benefits and a palpable moviegoing experience.

“Today’s audiences are searching for an emotional connection; they want to feel something, to step inside the filmmaker’s vision. That’s exactly what we wanted to give them by shooting in 65mm Imax,” says “Sinners” cinematographer Autumn Durald Arkapaw, who was the first woman to shoot in the format. “When you sit in a dark theater and take in a full 1.43:1, 15-perf Imax image, it fills your field of view, and you finally understand what cinema can be.”

Claudio Miranda, the cinematographer behind Joseph Kosinski’s “Top Gun: Maverick” and “F1,” agrees. “For me, Imax is all about immersion. It brings audiences more into the movie than any other format, surrounding them from the north, south, east and west with the film, which is needed for a story of the size and scope of ‘F1.’ Joe and I operate under the shared understanding that audiences react more viscerally to a film that’s been shot authentically, and they can feel it in their bones if it’s not. So we gravitate towards telling immersive, human stories.”

Imax is improving technical capabilities too, including a new Imax 70mm film camera system nicknamed “The Keighley” in honor of late Chief Quality Officer David Keighley, who oversaw hundreds of Imax projects. Its most significant improvement is reduced noise. The previous model was bulky, heavy and notoriously loud. Thanks to the quieter design, Nolan’s “The Odyssey” will become the first theatrical movie shot entirely on Imax film cameras, something he couldn’t achieve on “Oppenheimer” due to sound issues.

“Brad Pitt” in “F1.”

(Warner Bros. Pictures)

Nolan’s adaptation of Homer’s epic has already caused a stir, as most Imax tickets sold out a year before its release next July. Imax superfan Shane Short, who saw “Oppenheimer” 132 times and once sat next to Arkapaw during a screening of “Sinners,” says it’s a good thing. “What really pulls me into movies is the emotional aspect when connecting with something. For me, it’s hard to get that in a normal theater. Imax is truly the ultimate immersive experience that draws me in.”

Of course, Imax is not the only big-screen game in town. There’s AMC Prime, Cinemark XD, Regal RPX, Dolby Cinema, Real3D and 4DX, to name a few. All share one thing in common: an extra premium for a ticket. “The upcharges for a lot of people are worth it,” says Comscore senior media analyst Paul Dergarabedian. “When you go into Imax or other premium formats, it’s really about the sound and vision coming together. And for the right movie, the right screen, fans who don’t go to the movies every day are going to splurge.”

How much that will cost audiences going forward is left up to theaters. “By way of our agreement, it’s not our place to get involved,” says Gelfond about pricing. “We believe there could be more elasticity if it’s a big release, but again, it’s up to the exhibitor.” Any indication of a price squeeze on consumers will likely surface in the next two years with the forthcoming “Project Hail Mary,” “Supergirl,” “The Batman: Part Two” and “Dune: Part Three,” for which director Denis Villeneuve shot scenes using the new Imax 70mm cameras.

Our guess? Start saving now.

The answer was entirely predictable: “Good.”

The question that elicited the response above from Austin Reaves: How was he feeling physically?

Reaves doesn’t make excuses, and he wasn’t about to start now, not in the wake of a 132-119 defeat by the San Antonio Spurs at Crypto.com Arena on Wednesday night.

Except Reaves didn’t look “good” in the loss.

He finished with a modest 15 points, including only four in the first half.

The underwhelming performance followed an 11-point game against the Philadelphia 76ers three days earlier.

“Just didn’t get the ball to go in the basket,” Reaves said.

Or was it something more?

Was the offensive burden he shouldered up to this point starting to take a toll on him?

Had the former undrafted free agent really elevated his game to a new level or was he just on a six-week heater?

The answers will be revealed in the coming weeks.

The Lakers, however, already know they can’t win with Reaves playing the way he did against the Spurs, when he made only two of six shots in the opening half.

Reaves has to score for this version of the Lakers to beat a team like the Spurs. He has to score because they can’t stop anyone.

Their on-ball perimeter defense is atrocious.

Their three-point defense is dreadful.

Their transition defense is shocking.

“Very few teams don’t have something that you can expose and we consistently got exposed to the same things,” coach JJ Redick said.

Bill Parcells once said you are what your record says you are, but that might not be the case with the Lakers, who are 17-7.

In their last six games, Lakers opponents have shot 49%, including 45% on threes. Redick’s team has allowed an average of 122 points per game.

“The things that help you win on the margins, we’re just not very good at right now,” Redick said.

The defense against the Spurs was particularly awful, the visitors making 50% of their threes in the first two periods to take a 70-58 lead into halftime with their franchise player Victor Wembanyama sidelined with a calf injury.

The Spurs’ athleticism clearly troubled the Lakers, who lack footspeed on the perimeter.

“They were just going downhill, driving and [kicking],” Lakers guard Luka Doncic said. “They scored like 10 three-pointers in the first half. They got up real quickly.”

Spurs guard Stephon Castle finished the game with 30 points. He was one of seven players to score in double figures. The Lakers were behind by as many as 24 points.

“Obviously, it’s a unique team,” Lakers forward LeBron James said. “They got six or seven guys that can break you off the dribble. Super fast, super quick.”

Unlike the Lakers, who have slow-moving guards in Doncic and Reaves, a 40-year-old player in James and an inconsistent center in Deandre Ayton.

The Lakers were eliminated in the playoffs last season by a more physically gifted team in the Minnesota Timberwolves and they once again look incapable of overcoming such a disadvantage this time around.

Asked what they could do to remedy their defensive shortcomings, James replied: “I mean, obviously, you can’t do it individually by yourself. It has to be five guys on a string, communication always at an all-time high, letting you know what’s going on behind you and things of that nature.”

Redick shared a similar view, but made it sound as if the process could take time. In the meantime, he said he expected Reaves to recover from his two-game slump.

Even after the Spurs game, Reaves ranked ninth in the NBA in scoring at 27.8 points per game.

“Yeah, look, the reality is the guy carried us for six weeks and that takes a toll on you,” Redick said. “He kept fighting and I appreciate that. But he’s gonna have a lot more great nights than frustrating nights.”

He better. More frustrating nights for Reaves figure to result in more frustrating nights for the Lakers.