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Peabo Bryson, a Grammy-winning R&B singer known for his duets from Disney classics “Aladdin” and “Beauty and the Beast,” has died. He was 75.

His family confirmed to The Times that he died Tuesday in Marietta, Ga. The cause was complications from a stroke he suffered over the weekend.

“We are tremendously moved by the outpouring of love, prayers and support from fans, friends, and colleagues around the world,” the family shared. “While our hearts are broken, we find comfort in knowing how deeply Peabo was loved and how many lives were touched by his voice and his generous spirit. His legacy and music will live on for generations to come.”

Bryson was a fixture on the R&B scene for decades, scoring with such hits as “Tonight I Celebrate My Love” and “If Ever You’re in My Arms Again.”

Peabo Bryson, pictured performing in Washington, D.C., in 2016, won Grammy Awards in back-to-back years in 1993 and 1994.

(Teresa Kroeger / Getty Images)

In a career peak in 1992, the singer was featured on recordings that topped four separate charts: “A Whole New World,” a duet with Regina Belle from the Disney animated movie “Aladdin,” topped the Pop and Adult Contemporary charts; “The King and I” album, featuring Bryson, was No. 1 on the Classical Crossover charts, and Kenny G’s “Breathless” album, featuring Bryson on “By the Time the Night Is Over,” topped the Contemporary Jazz charts.

He nabbed two Grammy Awards back to back in 1993 and 1994 for his performance of “Beauty and the Beast” with Céline Dion, and his performance of “A Whole New World” with Regina Belle.

“I don’t think there’s anything I can’t do,” Bryson told The Times. “I see myself as a true Renaissance man. I don’t like one-dimensional concepts of myself.”

Robert Peapo Bryson was born on April 13, 1951, in Greenville, S.C. He grew up attending concerts his mother would bring the family to, and by the time he was in high school, he knew he wanted a career in music.

In 1978, he told David Nathan, an editor for Blues & Soul magazine, that his mother wasn’t thrilled about the prospect of him chasing his dreams in the rhythm-and-blues biz and worried he’d get into trouble.

“As far back as I can remember, I’ve always been into music,” Bryson said. “It’s all I ever wanted to really deal with. … I had to make that decision, when I was around 14, as to what I was going to get into, career-wise. Well, I’d thought about being a doctor or something like that, but I really felt that music was my thing.”

He cut his teeth as a backing vocalist in various groups, but none of his bandmates could properly pronounce “Peapo,” his French West Indian name, so he changed up the spelling to make it simpler. The stage name Peabo was born. In the late 1960s, he linked up with “My Elusive Dreams” hitmaker Moses Dillard. “I started out just singing, although I progressed into percussion, guitar and, much later, playing piano — that was basically when I started getting into songwriting,” he told Nathan.

In 1967, he signed his first record deal, with Bang Records, and in 1976, he made his solo debut with the single “Underground Music” and his eponymous album, “Peabo.” The next year, he hit it big time and signed with Capitol Records, where he put out back-to-back gold-selling albums: “Reaching for the Sky” in 1977 and “Crosswinds” in 1978.

Peabo Bryson performs at the Centennial Olympic Park’s Fourth of July Celebration in Atlanta.

(Robb D. Cohen / Invision / Associated Press)

By the ’90s, Bryson was at a career high, collected Grammy nominations and became the definitive voice of Disney duets. But the music scene was changing, and Bryson wasn’t keen on the new direction. He told The Times in 1994 that MTV had stopped considering talent as the criteria to be played on the music channel and that he thought mainstream music had taken a hostile and negative turn.

“I guess I [tick] people off because I don’t go away,” he said with a chuckle. “I’m like a tenacious forest fire — you snuff me out over here, and I’m still burning down the back 40 just when you think it’s over. I have a great faith in God, and because of my great faith in God, I have faith in the self.”

Fortunately for legions of fans of the soulful balladeer, Bryson was right and he wasn’t going anywhere for another couple of decades. The Grammy winner continued to grace stages with his flashy blazers and smooth baritone, and recently performed a concert with Jeffrey Osborne at Trilith Live in Fayetteville, Ga.

The event in early May was a standalone performance, apart from the crooner’s Golden Touch tour, which he announced last year, amid his celebration of 50 years in the music industry.

In recent years, Bryson said he had been hitting the gym and prioritizing his health after a scare seven years ago when the artist suffered a heart attack at his Georgia home. He told the Soul Train Cruise 2020 that he flat-lined for nearly 30 minutes, “long enough to make friends on the other side.”

“It turns out that dying is not that hard,” Bryson said. “Didn’t hurt that much. It’s the living afterwards that’s the really difficult part. I mean, why are you still here? You have to ask yourself those hard questions: Are you a good father? Are you a good husband? Are you a good friend? Are you a good brother? Are you a good human being?”

Bryson said he was able to answer yes.

“Then you have to ask yourself the question that makes the answer null and void — can you be better?”

Bryson is survived by his wife, Tanya Boniface Bryson; son Robert Bryson (who goes by Kit); daughter Linda Bryson; and three grandchildren.

Memorial arrangements will be announced at a later date.

Tiki, an offshoot of the Midcentury Modern movement, flourished in the ’40s, ’50s and ’60s, but began to experience a decline in the ’70s. Thus, by the ’90s, there were concerns at Disney that the Enchanted Tiki Room — the pivotal 1963 attraction that pioneered audio-animatronics — was no longer in vogue, its singing birds, totems and flowers a relic of another era.

The company explored some early concepts to remake the Enchanted Tiki Room. One idea was to transform it into an ecological, save-the-rainforest show. Another was to redesign it with a “Lion King” theme.

“Let me tell you, we hated it,” says artist and designer Kevin Kidney of the latter concept.

Kidney, who worked in Disneyland’s art department in the ’90s, says he and his longtime collaborator Jody Daily were “terrified” the Enchanted Tiki Room would disappear, so much so that they began making fliers to advertise the show and putting them up all over L.A., in restaurants, bars and museums. “We started an underground movement to save the Tiki Room even while we were working on these projects. We tried to frame it in a cool, hip way, like, ‘Everyone needs to go and re-experience this amazing show.’”

Trader Sam’s Enchanted Tiki Bar took its influence from Disneyland’s Adventureland attractions, namely the Enchanted Tiki Room and the Jungle Cruise.

(Todd Martens / Los Angeles Times)

Thankfully, cooler heads prevailed, and the Enchanted Tiki Room remains to this day a vital piece of Disneyland history. And now with the modern tiki revival, it’s no longer an archival curiosity. In fact, the connection between Disney and tiki may be as strong as it has ever been, as this spring the Disneyland Hotel’s Trader Sam’s Enchanted Tiki Bar turned 15. Trader Sam’s took its cues heavily from the Adventureland attraction, its bar flanked by tiki totems with slowly wandering eyes. And watching over guests and bartenders is a re-creation of one of the show’s tiki gods.

“The totem pole on the bar, and Koro up in the rafters above the bar, are all original designs and sculpts for the Tiki Room at Disneyland,” Kidney says. “They made new castings for the bar off of the elements from the attraction.”

Kidney and Daily collaborated with Walt Disney Imagineering, the arm of the company devoted to theme park experiences, on some of the early designs for Trader Sam’s. It’s their mug collection, for instance, that was seen in the bar on opening day. And the pair designed a magnificent glowing ship in a bottle, which thanks to a Pepper’s ghost illusion, occasionally looks as if it’s breaking apart and sinking.

Trader Sam’s, says author and historian Sven Kirsten, writer of “The Book of Tiki,” is one of the more influential bars on the modern tiki landscape. Though it didn’t kickstart today’s movement, says Kirsten, it often serves as “a gateway,” introducing Disney’s millions of guests to the scene.

Kirsten says Trader Sam’s has rightfully earned its place among SoCal’s most respected tiki bars. And most popular. An unofficial Instagram page devoted to the bar, keeping tabs on its mug releases and off-menu bartender creations, has more than 39,000 followers.

The erupting volcano “windows” of Trader Sam’s Enchanted Tiki Bar.

(Todd Martens / Los Angeles Times)

“In the early 2010s the craft cocktail revival brought forth these so-called tiki bars that thought if they had a tiki cocktail menu they were a tiki bar,” Kirsten says. “But it was basket lamps and palm leaf wallpaper and that was it. Places like Trader Sam’s and Strong Water and Royal Hawaiian are floor-to-ceiling fully decorated. They’re what a tiki bar should be.”

Before the Disneyland Hotel had Trader Sam’s, the space was home to Hook’s Pointe, which was lightly themed to “Peter Pan.” Yet about a decade after the Walt Disney Co. completed a purchase to assume control of the Disneyland Hotel, Hook’s Pointe was earmaked for renovation.

“We were designing a Caribbean-style bar where Trader Sam’s is now, and that was where I said, ‘Let’s rethink this,’” said Kyle Barnes, an Imagineer who was instrumental in the creation of Trader Sam’s. Barnes was speaking at a recent event hosted by Disney’s fan club D23 on the history of Adventureland and Trader Sam’s.

“I said, ‘That’s more East Coast. This is West Coast.’ Hawaii and Midcentury really fit together with the tiki theme,” Barnes said, noting that the park’s Enchanted Tiki Room was initially pitched as a restaurant and once sat next to the Tahitian Terrace, a Polynesian-themed restaurant complete with hula dancers.

Trader Sam’s is home to many show elements. In addition to the sinking ship, there are bar seats that will begin to drop the longer guests sit in them. Also, there are two theatrical windows looking out toward a volcano, which will erupt when guests order a specific drink. The ship in a bottle and dipping barstools, said Barnes, were inspired by the Adventurers Club at Florida’s Walt Disney World, while the volcano windows were influenced by Florida’s version of the Enchanted Tiki Room.

The Kungaloosh cocktail at Trader Sam’s Enchanted Tiki Bar.

(Todd Martens / Los Angeles Times)

The Adventurers Club closed in 2008, but I was fortunate enough to visit it as a child, and it was instrumental in my love of Disney, theater and, well, bars. Full of actors, puppets and walls filled with artifacts that seemed to spring to life, the Adventurers Club was a place of play, and I still remember as a kid being asked by one of the actors to join the imaginary guild. It was a glimpse into a grown-up world full of revelry, silliness and colorful cocktails.

Trader Sam’s fills a similar niche for me today, and as part of its 15th anniversary, it added the Adventurers Club signature drink, the sweetly tropical Kungaloosh, to its menu. As a kid, I longed to enter an adult world. As a grown-up, I love an adult world with a childlike playfulness.

Tiki bars aren’t perfect, and have occasionally come under criticism as escapist fantasy that appropriates Hawaiian or Polynesian iconography. As such, Trader Sam’s has changed over the years. Shrunken heads, for instance, that once hung from the walls, were years ago removed.

Progress, and part of Trader Sam’s enduring appeal. “The jokes that we accepted long ago, they were jokes for only a part of the population,” says Kidney.

And Trader Sam’s remains full of absurdities — spend some time just soaking up the puns and ephemera that dot the walls. Just be prepared to duck when you see the bartenders reach for a spray bottle.

So cheers to another 15 years, and I hope to see you at the bar.

This week in SoCal theme parks

Space Mountain at night.

(Paul Hiffmeyer / Disneyland Resort)

• A refreshed cartoon world. Magic Mountain will on Saturday unveil its new kid-targeted Looney Tunes Land, which is a makeover of its previous Bugs Bunny-focused area. Expect a brand new live show, and spaces designed to represent the personality of characters such as Bugs, Daffy Duck, the Tasmanian Devil, and Wile E. Coyote and Road Runner. Each of the attractions, such as calming train and balloon rides, has received a tune-up. I’ll take a closer look next week!
• ‘The Odyssey’ comes to Universal. While theme park fans await the opening date of Universal Studios Hollywood’s new “Fast & Furious” coaster, the park is zooming ahead with its Mega Movie Summer promotion. As part of the latter, a ship from Christopher Nolan’s “The Odyssey” will be added to the park’s tram tour. Elsewhere, Minions from “Minions & Monsters” will start meeting with guests, and various dining locations will receive light makeovers to represent films such as “Jaws” and the “Fast & Furious” franchise.
• Changes afoot at CityWalk. Universal’s CityWalk is in the midst of a multiyear transformation. New spaces, such as one from Malibu Brewing Co., are on the way, while some legacy retailers are unfortunately disappearing. The latest: Publisher Dark Horse Comics is closing its Things From Another World retail location. The pop-culture shop is slated to close in September. No word yet on what may move into the space.
• Space Mountain is back! After a brief overlay as the “Star Wars”-themed Hyperspace Mountain, Disneyland’s classic Space Mountain has returned just in time for the busy summer season. The coaster, which tops off at about 32 mph in near total darkness, should be back in all its vintage glory as of today.
• A renewal perk. The Disneyland Resort in a move to create more loyalty among its Magic Key passholders is offering a bonus for those who opt to stick around for another year. A dining promotion, in which annual passholders can receive a dining gift card for as much as $100 if they choose to re-up, is underway through May of next year.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

I’m curious if any longtime Disneyland fans have any memories of the Carousel of Progress. I’d love to hear them. The theater show, built around a rotating auditorium, debuted at the 1964 World’s Fair before making its way to Disneyland in 1967. It was moved to Florida’s Walt Disney World in 1975.

In case anyone missed it, the Walt Disney Co. announced last week that Carousel of Progress would be undergoing a top-to-bottom overhaul to update the show. No longer will it begin in the distant past, as the refreshed attraction will now start in the 1960s and take guests into the ’80s, the late ’90s and beyond. An ode to technological optimism, the original show was overseen by Walt Disney, but had undergone multiple changes throughout the decades, most notably in its final scene.

I’ll miss its glimpses of the 1920s and 1940s, but concede the attraction was notable today more for its Disney history than its cultural relevancy. Thus, I’m cautiously hopeful that this makeover can ensure the Carousel of Progress remains a Disney staple for decades to come.

At the AI on the Lot media conference last week in Culver City, speakers laid out a view of artificial intelligence that was very much complementary to human workers.

Artificial intelligence is a tool that must be wielded by humans, several said. The idea was to help skilled artists and production specialists do their jobs and experiment, others said.

Of course, to many in Hollywood, AI is not that simple.

Guardrails on its usage emerged as a central issue in the 2023 writers’ and actors’ strikes, and additional rules were added in the recent Screen Actors Guild-American Federation of Television and Radio Artists and Writers Guild of America contracts. There are still big questions about AI’s effect on jobs in the entertainment business, as well as copyright and ethical concerns.

Whether it’s good or bad or some combination of both, AI, in some form, is probably here to stay.

So, eight months ago Amazon MGM Studios opened an AI Studios division to start work on Project Nara, an AI production toolkit built on Amazon’s AWS cloud computing platform that could be used by teams of filmmakers. Project Nara is still in beta mode, and the company set up a GenAI Creators’ Fund to give filmmakers interested in using the toolkit financial support, while also giving the studio feedback.

The beta testers got eight weeks to produce an animated short and, out of those, the company greenlighted three animated series.

Shortly after the conference, filmmaker Jorge Gutierrez, whose stop-motion-style “Punky Duck” was chosen as one of the greenlighted series, pulled out after an online backlash over his use of AI.

“We respect Jorge’s decision, as well as his incredible talent, his voice and the world he created with ‘Punky Duck,’” an Amazon MGM Studios spokesperson said in a statement. “We continue to be excited about the innovative work moving forward at our studio and the GenAI Creators’ Fund.”

Before the flap over “Punky Duck,” I spoke with Albert Cheng, head of Amazon MGM Studios’ AI Studios, about the goal of the division, what’s next for AI and his belief that humans are at the center of creativity. The conversation has been edited for length and clarity.

Why was AI Studios formed?

AI Studios was started last fall because we wanted to learn how to leverage AI technology to build tools that would help enhance or redefine the workflows for film and TV production.

When you look at the horizon of what it takes to drive continued engagement of a global streaming service like Prime Video, we need more original programs. So if you can figure out how we take the same amount of money that we spend and be able to make more shows, that’s ultimately what we want, and we think AI is going to be a help to drive that.

With AI, now we’re looking at how does technology change the way we actually create our cinematic storytelling? It could mean that with AI, we will hear from a lot more voices. If we can actually get the biggest costs down, we will be able to have more voices, be able to take more risks and creative risks most of all.

There’s always concern about what does AI mean for jobs. We believe that it actually creates more jobs and different types of jobs. In fact, people with experience, plus the tools, become even more valuable in terms of their ability to produce excellent quality work. So it’s always about the human behind it.

You mentioned that some of these production crews had more than 100 people, but crews in the past would have been much larger. How do you respond to concerns about that?

You may have smaller crews, but we’ll do more of them [productions], and more in a short period of time. When you actually have smaller productions and you do more of them, you’re increasing your throughput. Your turnover rate of the available jobs is much faster, so your job totals are actually going to be bigger.

You spoke about the idea of AI filmmaking bringing jobs back to L.A. and expanding California’s production incentive eligibility to include AI-assisted filmmaking. Can you elaborate on that?

When you look at AI production, it can be done on a soundstage. We don’t need to go to London, we don’t need to go to other places.

We do have technology companies in California that are driving this, we have people here in the city that have experience, if given the AI tools, can produce great work. So, how can we not incentivize more companies to use our soundstages and finally make productions and make more of them?

Have you or anyone else at Amazon spoken with government officials about this idea of expanding the incentive criteria?

We’ve been talking to a number of bodies about whether it’s possible. The question is, who’s going to take the ball?

How much can you decrease a show’s production budget by using AI?

I think we can get a show to half the cost, [or] to almost a fifth of the cost.

What was the thinking behind the GenAI Creators’ Fund?

We wanted to provide a support and invest in creators who wanted to try it, and then also give us feedback.

We also wanted to show that storytelling is the thing that drives the content. It’s not the technology; the technology just enabled them to make it.

What is the biggest misconception of AI use in production?

There’s a narrative that AI can do so many things by itself, that you don’t need people. That’s absolutely not true. It’s just a technology, it can’t make decisions.

In order for something actually quality to be made, a person actually needs to be behind that, and that’s been proven over and over again. People are still responsible for the output.

Stuff We Wrote

Film shoots

Number of the week

Internet culture drove the box office over weekend, with A24’s “Backrooms” hauling in $81.4 million in the U.S. and Canada.

The $10-million horror flick, which stars Chiwetel Ejiofor as a furniture store owner who finds a mysterious portal in his basement, was directed by 20-year-old YouTuber Kane Parsons and is based on his online series of the same name. Worldwide, the film made nearly $118 million in its debut weekend.

Focus Features’ “Obsession” also had a big weekend with a 10% jump in domestic box-office revenue in its third outing. The horror movie, which had a production budget of less than $1 million, was directed by Curry Barker, who also built his reputation on YouTube.

Together, the two films highlight the growing power of YouTube — and online culture as a whole — on the big screen. They beat out franchise film “Star Wars: The Mandalorian and Grogu,” which dropped 69% from its debut last weekend to rank third at the box office.

What I’m watching

I’m just one episode away from finishing this season of “Bridgerton” on Netflix. While I liked that the show dived into the social class dynamics behind Benedict and Sophie’s romance, I have to say that I loved the secondary focus on Violet Bridgerton and Lord Anderson finding a second chance at love.

ACTRESS Mariah Ann Martin has been left devastated by discovering her husband has had an affair – resulting in a secret baby.

The Perception actress has claimed her ‘love of her life’ husband has fathered a child outside of their 13-year marriage – just months after welcoming their fourth child.

The Son of Phantom star took to social media to share her profound heartbreak – documenting her grief just an hour after the shock discovery.

According to the stunned 32-year-old, her husband Jon has recently welcomed a newborn with another woman.

The heart-breaking revelation marks a bitter conclusion for the couple who have been together over a decade.

She wrote alongside the emotive footage: “I’m usually insanely private… But I’m good at hiding my shame… my pain…

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“But I think it’s time I do something different.. I’m so embarrassed. I’m so heartbroken that I could crawl into a cave and decompose… but I won’t… I can’t…”

She added: “To my friends. Buy a plane ticket and come help me pack my house.”

A video on Instagram shows the earth-shattering aftermath as she found out about the deception.

She tearfully said: “It’s been an hour since I found out the love of my life, my college sweetheart, the father of my four children, my husband, has a baby that’s one week old. And I’m devastated.”

The star continued: “And I tend to keep these things to myself because of shame and embarrassment — but it really caught me off guard.

“And I’m so hurt. But, I’m okay. And, I’m wondering what God’s hand in this is. I’ve always believed it was something divine, but sometimes, maybe your grace runs out – for him.

“He’s never cheated on me before and when he does, he gets a baby out of it. And that’s just something I won’t be able to do…. I feel like this is a bottom I never deserved.”

Reams of followers rushed to her rescue and shared their sorrow for her.

Paloma Faith sympathised: “I feel sorry for your husband because he will probably realise too late that he squandered the greatest woman he ever or will ever meet and hopefully you will live a better life than ever before.”

Nadia Sawalha penned: “I can see you have a huge heart, a deep soul, an unshakeable moral code, the strength of a lioness, a strong faith, exquisite beauty and the ability to be vulnerable. A 360 degree woman for whom anything is possible.”

Former Towie star Georgia Kousoulou added: “Sending you so much love. Bigger things are coming for you.”

One iconic Disney movie now has its own official area at Disneyland Paris, and we got to enjoy the incredible opening ceremony as well as enjoying the brand new ride that Disney fans have been long anticipating

It’s difficult to believe that 13 years have passed since Frozen first graced our cinema screens. The adventures of Elsa and Anna soon became one of the most commercially successful animated pictures ever made, with its follow-up arriving in 2019. This means virtually every parent with primary school-aged children will, at some stage, find themselves able to reel off every word to Let It Go.

My seven year old daughter has kept the Frozen films on constant repeat on Disney+ for years. There’s something about the heartwarming stories of the two sisters that proves utterly captivating for her generation, even though she wasn’t born when the films originally came out. So when the opportunity arose to visit Disneyland Paris for the launch of Disney Adventure World featuring the World of Frozen – previously known as Walt Disney Studios Park – I responded with an enthusiastic yes.

The attraction forms part of ambitious expansion schemes for Disneyland Paris, and features stunning landscaped gardens surrounding a lake, brand-new dining venues and retail outlets, and arguably most importantly, the opportunity to enter Arendelle itself and become immersed in the magic. Not only was this my maiden voyage to Arendelle, it was also a first Disney adventure for both myself and my daughter, which made it all the more exciting.

Before the official opening back in March, we were treated to an exclusive preview, allowing us to explore the town at leisure, and it’s genuinely breathtaking. While Frozen is set in an imaginary kingdom, it draws heavily on Norwegian influences, and the park has recreated this flawlessly.

Against the striking backdrop of an enormous artificial North Mountain — where you can spot Elsa’s frozen palace shimmering in the distance — charming wooden structures are dotted throughout, packed with little nods to the film that will thrill Frozen fans.

Following a stroll around the lake soaking up the scenery, we kicked off our day with a visit to get my daughter’s hair styled. There’s a rustic wooden cabin beside the lake where children can select from an array of Scandinavian-inspired hairstyles including plaits and updos, finished with Frozen-themed hair embellishments. Face painting and flower crowns are also available for that authentic Arendelle style.

We also had a look inside the new Nordic Crowns Tavern, a welcoming spot at the heart of the park offering fast-service dining choices. The menu featured meatballs, fish, and other foods that complement the overall Scandinavian atmosphere of Arendelle.

But the star attraction is undoubtedly the World of Frozen ride, and so climbing aboard a boat, we set off into the unknown. The experience perfectly retells the story from the first film, guiding you through various scenes where you’ll spot familiar faces from the trolls, or love experts, to Sven, before going up a steep incline towards Elsa’s frozen fortress.

As the melody of Let It Go echoes around you, your boat suddenly hurtles backwards at pace, before you’re hurled from the North Mountain by the fearsome Marshmallow down a dramatic plunge. One tip for riders – don’t leave anything you don’t want soaked on the floor. I ended up having to use a hairdryer on my passport after my backpack got drenched through.

You then enjoy a firework display accompanied by delightful Frozen songs. My seven year old absolutely adored the experience, and it proved to be a trip highlight. And yes, we took a second spin — it would have been rude not to.

Time your arrival well and you can catch a Celebration in Arendelle, where beloved characters perform a spectacular show on boats across the water, and naturally, you can arrange a meet and greet with Anna and Elsa – although advance booking is required for this.

For those wanting to enjoy more Disney princess encounters without the lengthy waits, the new Regal View Restaurant is essential. I must confess, it feels somewhat strange stepping into an upscale restaurant after a morning spent at a theme park, and I felt rather underdressed compared to the elegant interior adorned with oil paintings and Disney-inspired ceramics.

That said, the staff were nothing short of delightful. As we settled in and enjoyed a three-course French meal, complete with charming nods to Disney princesses — from edible rose petals to dainty crowns — the princesses strolled between the tables to meet guests.

We were lucky enough to meet four princesses from the comfort of our seats, including Jasmine and Mulan, and each one was brilliantly professional and wonderfully engaging. My little one can be on the shy side when meeting characters, but they soon had her chatting away and practising princess twirls, and we had ample time to snap plenty of photos.

It’s certainly not a budget option, at €100 for adults and €50 for children for the set menu (roughly £86 and £43), but it made for a thoroughly relaxed and enjoyable experience — one that’s truly worth saving for a special occasion.

Amid all the buzz surrounding the World of Frozen, the brand-new Tangled ride was somewhat overlooked, though it’s an absolute gem for younger children. On Raiponce Tangled Spin, you gently drift around on spinning boats beneath a canopy of lanterns, making it the ideal attraction for little ones.

That evening, we made our way to the opening ceremony, where in a spectacular burst of glitter and confetti, the gates were flung wide open. Much like the iconic moment in the original film when the gates of Arendelle parted, there was an electric rush of excitement as we followed a brass band belting out beloved Frozen tunes.

French singer Santa took to the stage to perform Let It Go, amongst other songs, officially marking the park’s opening, with visitors making a beeline for the new ride and the chance to meet the princesses.

Rounding off the experience at the World of Frozen is a brand-new night-time spectacular, Disney Cascade of Lights, set on the lake. Combining drones, fireworks and pyrotechnics, it’s a breathtaking achievement and the ideal way to close the day for any Disney fan.

All in all, World of Frozen made for a magical experience and stands as one of the crown jewels of Disneyland Paris. As a first-time visitor to Disney, expectations were high, and the extraordinary attention to detail and outstanding entertainment on offer in Arendelle more than delivered. But above all else, watching my daughter wander around wide-eyed with wonder throughout the entire visit made every moment of the journey absolutely worthwhile.

Find out more on disneylandparis.com.

Have a story you want to share? Email us at webtravel@reachplc.com

A DISNEY legend has been rushed to hospital after suffering a stroke, leaving his nearest and dearest concerned.

The musician, known for films such as Aladdin and Beauty and The Beast, is currently under medical care following the scary incident.

Paebo Bryson is best known for songs such as Aladdin’s A Whole New World and the titular track for Beauty And The Beast, a duet with Celine Dion.

The family of Peabo, who is now 75, have shared that he suffered a stroke this week in a worrying ordeal.

In a statement shared with Variety, they said: “Two-time Grammy Award-winning singer, songwriter and balladeer, Peabo Bryson — the voice behind the Oscar-winning Disney songs ‘Beauty and the Beast’ and ‘A Whole New World’ — has suffered a stroke and is currently under medical care.

“At this time, the family requests privacy as they navigate this deeply personal moment together.

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“The thoughts, prayers and love of friends and fans are welcomed and deeply appreciated.”

Hailing from South Carolina, Peabo is married to singer Tanya Bryson (née Boniface) and a dad to eight-year-old son Kitt and older daughter Linda.

Peabo has had a lengthy music career with numerous accolades under his belt.

In 1992, his performance of Beauty and the Beast with Céline Dion won him a Grammy award in 1992.

A Whole New World, which he performed with Regina Belle, also bagged him the gong the following year.

Alongside his Disney hits, R&B star Peabo has a string of solo hits across the ’70s, ’80s and ’90s.

Songs If Ever You’re in My Arms Again, Can You Stop the Rain and Feel The Fire all hit the top end of the charts.

Back in 2019, he suffered a mild heart attack and was hospitalised.

At the time, his family assured doctors expecting Peabo to make a full recovery, with his health appearing in check up until this new scare.

Walt Disney Co.’s ABC has filed renewal applications with the Federal Communications Commission “under protest” after an order mandating a years-early review of the network’s eight television station licenses.

The criticism was part of the network’s applications for the FCC review, which were filed ahead of a deadline Thursday. In an objection to the early renewal, Disney’s New York station WABC called the FCC order “unlawful, arbitrary and unconstitutional” and said it was “legally indefensible.”

“The Commission had not demanded early renewal in over five decades,” the station wrote in its filing. “And it has never before demanded simultaneous license renewal applications from a group of stations commonly owned with a network as it has here. The order has no legitimate purpose.”

The licenses for the eight ABC-owned TV stations, including KABC in Los Angeles, were originally scheduled for renewal between 2028 and 2031.

The FCC order came shortly after ABC late-night host Jimmy Kimmel made a joke about First Lady Melania Trump looking like an “expectant widow” days before a gunman tried to breach the White House Correspondents’ Assn. gala last month that President Trump attended.

Trump has frequently threatened to have TV station licenses pulled when he is unhappy with their coverage, but the order is the first time the government has acted on his wishes, sparking anger from free speech advocates. The FCC has said the order is part of an investigation into whether Disney’s diversity and inclusion policies violate federal law and the agency’s rules against “unlawful discrimination.”

In its response, WABC said the “only plausible reason” to issue the order was to “punish the station for speech the government does not like.”

“The ultimate injury here is not to the station or its parent company. It is to the public,” WABC wrote. “When a broadcaster must weigh regulatory retaliation before making editorial decisions, the public loses access to journalism that is free from government influence.”

FCC Chairman Brendan Carr said in a statement Thursday that Disney filed its applications to renew its broadcast licenses only after the company was told its previous answers were “disingenuous, deficient and improper.”

“Contrary to Disney’s claim that the FCC called in their broadcast licenses for early renewal for no reason, the record shows something very different,” Carr said. “Broadcast licensees have a unique obligation to operate in the public interest. The FCC will follow the facts and law wherever they may lead.”

FCC Commissioner Anna M. Gomez, the panel’s only Democrat who has backed Disney in its fight, cheered the Burbank media and entertainment company’s filing, saying in a post on X that she was “glad to see them expose the FCC’s actions as nothing more than naked political retribution and an unlawful assault on free speech and a free press.”

Times staff writer Meg James contributed to this report.

It’s been a big year for Seth Rogen’s Point Grey Pictures.

The 15-year-old production company founded by Rogen, his childhood friend and longtime collaborator Evan Goldberg and producer James Weaver is coming off a huge awards season for its comedy, “The Studio.”

The Apple TV series, which simultaneously pokes fun at the institutions of Hollywood while also peeling back some of the industry’s mystery, is now the most-awarded new comedy in TV history.

“The Studio” has won 13 Emmys, a BAFTA TV award in the international category, two Golden Globes and three Critics Choice awards. It’s currently filming its second season, with most details still under wraps.

I spoke with Rogen, Goldberg and Weaver about the success of the show, which primarily films on the Warner Bros. lot, and what’s next for Point Grey.

On all those awards?

“We’ve never, literally, won any awards before this, so I by no means expected this,” Rogen said, with a chuckle. “I hoped people would creatively recognize that we were really swinging for the fences, but awards were not really something that I was thinking that much about.”

In the show, the Canadian actor and comedian plays beleaguered movie studio head Matt Remick, who must balance the art of filmmaking with the economics of the business. In a nod to Hollywood’s pull toward intellectual property, one storyline focuses on the studio embarking on a movie about the Kool-Aid Man, which Rogen’s character only reluctantly agrees to pursue.

It’s not all about the money

“To me, what is interesting, and what people don’t seem to think about Hollywood, is that the people involved in it actually care about movies, even the ones who make bad ones, even the ones who make choices that stop good ones from being made,” Rogen said. “If you really just wanted to make money, there are much easier ways to make money where you don’t have to deal with people like me.”

He also noted that there’s a role for movies such as the fictional Kool-Aid flick.

“You could argue it’s the Kool-Aids of the world that keep theaters open,” Rogen said. “It’s our fake Kool-Aid movie that allows smaller movies to exist and allows theaters to take risks on smaller movies.”

Remembering comedy

“The Studio” also stemmed from a desire to make a pure comedy, despite the tough time comedies have had recently in the marketplace.

“We just all agreed that we wanted to make something that was just funny,” Goldberg told me. “It just felt like the world stopped making those, and we just wanted to make something that when you tuned in, was just absolutely hilarious.”

A serious L.A. business

Los Angeles-based Point Grey, which has 15 employees, is named for the Canadian school where Rogen and Goldberg met (the first project they wrote together, which became 2007’s “Superbad,” was based on their experiences there). Despite their comedic reputations, the more serious-sounding company name was deliberate so it could be used with any kind of project.

In fact, the company got its start with the Joseph Gordon-Levitt-led dramedy “50/50” about a 20-something who learns he has cancer. Over the years, Point Grey’s projects have spanned genres, including supernatural series “Preacher,” 2016’s “Sausage Party,” the satirical superhero show “The Boys” and biographical mini-series “Pam and Tommy.”

A Point Grey project is “genuinely original” and “daring,” said Weaver, Rogen’s former assistant who now serves as president of the company, which has a first-look film deal with Universal Pictures and a first-look TV deal with Lionsgate. He declined to discuss financials but said the company is profitable.

“We’ve managed to be really productive in terms of the amount of things that we’ve made, and we try to be smart about how we run our financials,” Weaver said. “The company is doing quite well.”

Point Grey is in production on “Teenage Mutant Ninja Turtles: Mutant Mayhem”; just wrapped a romantic comedy for Amazon MGM Studios starring Cameron Diaz and Stephen Merchant; and recently screened an animated film at Cannes called “Tangles” that’s based on a graphic novel about Alzheimer’s.

The production company may eventually expand into video games (“We love video games,” Goldberg told me), and plan to continue to navigate the changes in Hollywood, which is reeling from a continued drought in local production that my colleague Stacy Perman and I wrote about recently.

“Personally, I feel like people are very fatalistic about the trajectory of the industry, but it’s not like the industry is going down, the industry is just changing,” Goldberg said. “We just are very flexible and embrace the change, and hopefully in doing so, we don’t get left behind.”

Stuff We Wrote

Number of the week

After 1,810 episodes as the host of “The Late Show,” Stephen Colbert signed off for the final time Thursday.

CBS has said it canceled Colbert because the show was losing $40 million a year as viewers have increasingly migrated away from late-night viewing in the streaming era.

But many in the TV business are skeptical of the claim and believe Skydance wanted to silence Colbert, a frequent Trump critic, to pave the way for its deal last year to acquire parent network Paramount. (The Federal Communications Commission’s approval of the transaction came days after the show’s cancellation was announced.)

My colleague, Stephen Battaglio, has written about what the future of late-night TV talk shows will now look like.

What I’m watching

I watched the “Survivor 50” finale Wednesday with some friends, despite only watching two episodes this season (or ever). It was fun seeing the drama unfold, though I was, like everyone else, shocked at that “last twist” of Jeff Probst accidentally spoiling who lost in the final fire-making challenge.

Disneyland is no stranger to patriotism. Reflecting America — both its positives and its “hard facts,” to quote park founder Walt Disney — was part of its mission statement.

Over the years, the Walt Disney Co. in its parks has become more focused on its IP — that is, its film and television properties — rather than looking beyond its gates. But remnants from Disneyland’s past remain. The park still hosts a daily flag retreat, a respectful, music-focused ceremony often with the Dapper Dans and the Disneyland Band to honor veterans. Then there’s the animatronic show “Great Moments With Mr. Lincoln,” which is an inspiring, vital work of theme park theater. Using snippets of Lincoln’s most timeless speeches, it illustrates how words can unite rather than divide us, a rarity in today’s partisan-heavy landscape.

I’ve never believed Disney should stay out of politics. I’d argue that’s impossible, anyway, as all art is political. What a company shows — or chooses to leave out of its content — is a reflection of its values.

This summer, Disneyland is leaning all the way into its patriotic tendencies. A Sam Eagle popcorn bucket, complete with a Fourth of July-style stars and stripes cap, is on the way. And the centerpiece of the festivities will arrive July 2, which is when the Disney California Adventure staple Soarin’ Over California transforms into Soarin’ Across America. Key locations on the hang gilder simulator will include Mount Rushmore National Monument, the Washington Monument, the Statue of Liberty and the Hollywood sign, among many a national park.

Soarin’ Across America shows aerial vistas across the United States, and it’s arriving at a divisive moment in our nation’s political history.

(Disney Parks)

Though designed to celebrate the 250th anniversary of our country’s founding, it’s impossible to ignore that it’s coming at a divisive time in the U.S. Soarin’ Across America’s poster art, as I noted last year when the new version of the attraction was announced, made me cringe, as it features a Statue of Liberty juxtaposed with the American flag and bald eagle — art that conveys a sense of nationalistic pride. In 2026, such emotions are complicated. Our country is disrupting the world, ICE raids have shattered our communities and just the other day, our president was effectively shielded from examination of his finances and legal conduct.

So please forgive me if I don’t exactly want to don the red, white and blue right now. Soarin’ Across America feels like the excited guest showing up to a wedding that’s only happening because the couple can’t get their deposit back.

While I do want to cheer its representation of our national parks — spaces that need all the positive publicity they can get right now, thanks to the administration’s budget cuts and layoffs — I wonder about the inclusion, of, say, Mount Rushmore, which has a long, controversial history, and has been a fascination of President Trump’s.

I’m skeptical, in short, as to how Soarin’ Across America will be read at this moment, a time when many are questioning the relevancy of patriotism and loyalty to a flag. So I was eager to discuss these thoughts with veteran Imagineer Tom Fitzgerald, an executive creative director who recently worked on Main Street, U.S.A.’s Walt Disney animatronic show, who met with me last week.

An attraction poster for Soarin’ Across America released via the Walt Disney Co.’s corporate media site.

(The Walt Disney Co. )

I asked him about potential discomfort around Soarin’ Across America’s patriotic displays. He lightly pushed back, arguing in essence that’s why the attraction is necessary.

“I think we were taking the opposite approach, the optimistic approach, which is what Disney is all about,” Fitzgerald says.

“How can we do something that will help us all celebrate?” he continues. “I know personally when I saw the Artemis II mission recently, I felt like we all came together and said what an astonishing achievement. We were all rooting, going up and coming down. I think that’s more what we wanted to do. Let’s just do a portrait of America, and let the guests go in and just enjoy it. … Let’s just let the audience come in without any preconceived notions and enjoy this four-and-a-half-minute journey.”

I did ask a follow-up, wanting to hear about the conversations that were had at Imagineering to ensure this ride wouldn’t be seen as political, even as it is showing locations such as Mount Rushmore, often a site of protests and criticism from Native Americans.

“I think for us, it’s like, go for the iconic place, and keep it all in the Soarin’ style, with the big music, hang gliding,” Fitzgerland says. “Just make it a journey that just flows from coast to coast.”

A coastal scene from Soarin’ Across America.

(Disney Parks)

Fitzgerald says the ride came together in exactly 12 months, making it a relatively fast, time-crunched project. Yet that also means Disney was aware of the heightened cultural environment it was entering.

The attraction is already open at Florida’s Walt Disney World but I don’t believe in reviewing rides via point-of-view videos, so I’m waiting until July 2 to experience it here. When it lands in Anaheim, I hope I find it an empowering, uplifting work. A number of its locations, including our own Griffith Park, or the Grand Canyon West, Denali National Park, a Maine lighthouse and more, are a reminder of our park wonders. It’s in these scenes that I believe Soarin’ Across American will thrive, and become that “portrait or tapestry of crossing America” that Fitzgerald describes.

Also important: The attraction is a reminder that a theme park such as Disney California Adventure is not so much an escape as an idealized reflection of what is happening beyond its borders. Theme park additions don’t happen in a vacuum, and I applaud its designers for continuing to take risks, especially when they don’t involve pop-culture IP (the IP being explored here is America).

And if Soarin’ Across America can inspire a few trips into our great outdoors, whether that’s an afternoon at the Griffith Observatory or that Grand Canyon trip you’ve been putting off, I’ll take that as a win. But it would have been fine with me if the red, white and blue fireworks had been left in the editing bay.

This week in SoCal theme parks

Halloween season is coming soon. Universal Studios Hollywood announced this week one of its first major haunted houses for 2026’s Halloween Horror Nights.

(Wally Skalij / Los Angeles Times)

• “Sinners” is coming to Halloween Horror Nights. Ryan Coogler’s sexy, scary, music-heavy and politically-infused vampire film “Sinners” is getting the Halloween Horror Nights treatment at Universal Studios Hollywood. The 2025 Warner Bros. Pictures flick is set in the 1930s, and its Horror Nights haunted house will take guests into the film’s bluesy Club Juke. The would-be-safe haven, however, becomes anything but. I’m excited, but I do hope Universal is able to touch on some of the topicality and cultural commentary of the film. Halloween Horror Nights is currently set to launch on Sept. 3.
• Become a Disneyland ‘park ranger.’ Theme parks are stages, and I love when designers create activities to inspire play or exploration. And Disneyland has done just that this summer with its “Mickey’s Park Rangers” activity book. The free, 33-page booklet, available from retail shops near Disneyland’s Rivers of America, is full of puzzles, factoids (I honestly didn’t know there were catfish in the park’s river) and some light scavenger-hunt-like quests. The last will take players through Pirate’s Lair on Tom Sawyer Island, the boats of Rivers of America and the Disneyland Railroad. All told, it’s an excellent way to slow down, play some games and rediscover historic aspects of Disneyland.
• Do puzzles, see some apes. The Los Angeles Zoo on Saturday is hosting a special, game-focused puzzle adventure focused on its ape exhibits. “Zoo Quest: Amazing Apes” is an after-hours event in which participants will work in teams to solve puzzles across the zoo grounds, in this case zeroing in on the park’s ape habitats. The tasks will gradually reveal various ape facts as well as tip guests to the zoo’s conservation efforts. Tickets are $35 for those 12 and older, and $30 for those ages 2-11.
• Park hop to your heart’s content. The Disneyland Resort revealed that on June 9 it is eliminating a rule that prevents park hopping between the Disneyland Park and Disney California Adventure before 11 a.m. Guests will still need to make a reservation at one of the Disney parks, but will be able to check in at either park, subject, of course, to availability. This is a positive development, essentially eliminating a pandemic-era rule and allowing guests who pay for the park hopper upgrade to freely move between locales.

The best thing I ate at the parks

A grilled cheese from the Grand Californian’s Hearthstone Lounge.

(Todd Martens / Los Angeles Times)

The signature restaurant at the Disneyland Resort is the Grand Californian’s Napa Rose. But don’t sleep on the hotel’s Hearthstone Lounge, which accepts walk-ups and reservations (bar seats can be hard to come by). Its relaxed casual atmosphere has made it one of my regular stops when at the park for a full day, and its menu ranges from the informal (sandwiches, pizza) to the more upscale (a $72 New York steak). I tend to lean to the former, and opted for the restaurant’s $21 grilled cheese sandwich on a recent visit. With Parmesan-crusted toast, it feels decadent but isn’t too filling, as bits of bacon, arugula and tomato balance out its mildly sweet and not-too-heavy Point Reyes Toma cheese filling.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

“Mouse P.I. for Hire” is a recent video game in a vintage, 1930s-inspired animation style.

(Fumi Games / PlaySide Studios)

One of my non-theme park passions is video games, and I think Disney fans who also enjoy interactive entertainment may want to give a recent release a close look. “Mouse: P.I. for Hire,” essentially available on all platforms, is a well done lighthearted first-person shooter with some stylistic thought behind it. It’s gorgeous, a black-and-white game in the 1930s cartoon feel, and it’s filled with many a sight gag that wouldn’t have been out of place in “Who Framed Roger Rabbit.”

Its tone is of a noir film, and begins with a missing persons mystery while gradually spinning out to reveal a world full of of fascist, evil mice. When it comes to gameplay, it’s a bit old-fashioned, focusing on the cartoonish aspects of video game shooting rather than anything realistic. It’s good fun and a bit silly, and I like to think of it as something that an alternate world Disney could have dreamed up.

May 22 (UPI) — The Federal Communications Commission on Friday opened public comment on a petition from the Disney-owned network ABC to declare its show The View as a “bona fide news interview program.”

Disney submitted the petition in early May on behalf of its television station KTRK-TV in Houston and its parent company ABC for the declaration in order to receive an exemption from laws requiring that non-news programming include equal time for representation of political candidates for office.

The equal time rule is part of the Communications Act of 1934, which created the FCC and regulations for the use of wire and radio, and later television, communications.

The rule is meant to ensure equal access to broadcast station facilities for all candidates for office — essentially, the same amount of air time — to prevent broadcasters from using the public airwaves to push one political candidate or party over another.

Disney and ABC’s request for an exemption to the rule, which are generally granted for news broadcasts, stems from years-long squabbling between President Donald Trump and various people who have hosted The View, which is a news and pop culture analysis program hosted by a panel of women.

“Is The View a ‘bona fide news interview program?” FCC Chairman Brendan Carr said in a post on X announcing the public comment period.

“Under FCC case law, tv shows do not qualify as ‘bona fide news’ if their decisions are based on partisan purposes, such as an intention to advance or harm an individual’s candidacy,” Carr said.

Disney compared the show to NBC’s Meet The Press and CBS’ Face The Nation, which feature interviews and roundtable analysis of political and news topics.

Carr, however, contends that The View does not meet the criteria of those shows as news programs, and so should be required to offer time to multiple candidates in a political race if they feature one of them.

In its May 7 petition to the FCC, Disney and ABC noted that the FCC’s actions could upend “settled law and practice,” as well as “chill critical protected speech both with respect to ‘The View’ and more broadly.”

The filing also notes that the show has “been broadcasting under a bona fide news exemption granted to it more than 20 years ago,” and that the exemption “remains valid.”

Eight years after going off the air, “Sofia the First” is getting another opportunity to find out what being royal is all about.

Disney’s first preschool princess returns for a new set of adventures in “Sofia the First: Royal Magic” premiering Monday on Disney Jr. The following day, eight episodes will stream on Disney+.

The sequel series finds Sofia — once again voiced by Ariel Winter — leaving home to attend the Charmswell School for Royal Magic. Rapunzel makes a guest appearance in the premiere episode and Moana, Jasmine, Cinderella, Aurora and Elena of Avalor will all stop by over the course of the first season.

According to Disney, “Sofia the First” still holds the record for the top three cable TV telecasts for girls ages 2 to 5 with more than 3 billion hours watched since the series premiered. The trailer for “Sofia the First: Royal Magic” was viewed 7.54 million times on social media in the first 24 hours after it was released. The show’s theme song, which has been updated for the new series, remains popular on TikTok among teens who first watched the show as preschoolers.

Series creator and executive producer Craig Gerber says the show’s tone is one of the reasons for its enduring popularity. “The charm, the humor and the storytelling was simple enough for [children] to understand, but sophisticated enough to stick with them as they were growing out of the key demographic,” he says. “They remember [the show] very fondly and it becomes a source of comfort for them.”

Rapunzel makes an appearance in the premiere episode of “Sofia the First: Royal Magic.”

(Disney)

Originally there were discussions to have a spin-off series with a whole new set of characters going to Royal Prep, the school Sofia graduated from in the first series. But soon Gerber realized that a sequel series was the way to go because of the love for the character. “It became clear that the real exciting part of coming back to this world would be to follow the further adventures of Sofia and bring her to a new audience,” he says.

Sending Sofia to a new school was the obvious choice. “We thought it would be very exciting and fresh for her to go to a school where she could focus on learning magic and mastering the powers inside her,” Gerber says. “In the first series, she learned what being royal is all about. In this series, she’s going to learn what being the most magical princess is all about.”

Winter was 12 years old when she auditioned for the role 15 years ago. At the time, she said Sofia’s voice was close to her own — what she thought she would sound like if she were a princess. But even all these years later, it was easy for her to find the voice again because she never really stopped doing it.

“If people told me that they had a child who loved Sofia, I would be like, ‘Oh, do you want me to make a voice recording for them?’ I’d make at least one of these a week, maybe more,” she says. “The show meant so much to me and I know it meant so much to so many people. To know that I am going to get to help influence another generation of kids in a positive way is just so exciting.”

In addition to Winter, all of the original cast is returning, including Sara Ramirez as Sofia’s mother Queen Miranda, Darcy Rose Byrnes as Sofia’s stepsister Amber, Wayne Brady as her beloved rabbit Clover, Eric Stonestreet as her flying horse Minimus and Tim Gunn as the castle steward Baileywick.

But a whole new series and location also means new characters. Here’s a look at three of the new characters who will be entering Sofia’s world.

Eden Espinosa as Zandrya

Eden Espinosa voices Zandrya, the new villain in “Royal Magic.”

(Disney)

Broadway star Eden Espinosa, perhaps best known for playing Elphaba in “Wicked,” will be voicing the new villain Zandrya. “She is loud, bratty, confident and powerful,” Espinosa says.

“We wanted Zandrya to have that entitled air,” Gerber says. “As if all of the magic should just be given to her and she shouldn’t even really have to work for it. She is a sorceress that is after magical items to give her more power. And because Sofia is becoming more and more confident in her magical abilities, Zandrya has a hard time getting what she wants.”

As master of disguise, Zandrya takes a different form each time she appears in an episode — the better to fool Sofia and get her hands on the magic amulet. That means Espinosa, who also voiced the Queen of Hearts in Disney’s “Alice in Wonderland Bakery” and Cassandra on “Tangled,” gets to take on a new voice with each new episode.

“She’s the most fun character to play,” she says. “Voiceover has always been a dream of mine ever since I saw ‘Little Mermaid’ when I was I think 10.”

Espinosa says Zandrya is “the most fun character to play.” The actor has to take on a new voice whenever her villain takes on a different form.

(Disney)

As in the original series, music will play a big part in “Sofia the First: Royal Magic.” In fact, there will be twice as many songs, with each 11-minute episode getting its own number. “What I love about the songs I’ve gotten the privilege to sing is that they feel current,” Espinosa says. “They feel like it’s on the pulse of what’s happening now. They are bops. The challenge is I have to sing the songs in the voice that I’m in for that episode.”

“We’re very lucky to work with folks like Eden, who can take any personality, any voice and still manage to hit all the notes and convey the acting and and really give a fun, rollicking performance,” Gerber says.

And, like Elphaba, Zandrya might be a little misunderstood. “I think as humans we have all sorts of things going on underneath the surface,” Espinosa says. “While she has a very clear mission and intention, I do know that she has moments in interacting with Sofia that she has reflections that make her think.”

Yvette Nicole Brown as Lady Saddlespur

Yvette Nicole Brown voices Lady Saddlespur, Sofia’s new teacher.

(Disney)

Yvette Nicole Brown is one of Gerber’s go-to performers. She’s been the voice of Chief Faye Fireson on “Firebuds” and Luna on “Elena of Avalor.” So it was an easy yes for Brown when Gerber asked her to be the voice of Sofia’s new magical creature teacher and flying derby coach Lady Saddlespur.

“If I’m doing a show, I’m gonna find room for her,” Gerber says of Brown. “Lady Saddlespur is a fun foil for the kids as she pushes them to be better students.”

“She is a Southern belle,” Brown says of her onscreen alter-ego.“She’s very proper. She believes that everything at Charmswell should be done just so.”

Brown says her favorite part of animation is that it encourages her to tap into her child-like side. “When we were kids, we lived in this place of wonder,” she says. “I remember the first shows I watched. I remember ‘Captain Kangaroo,’ ‘Mr. Rogers’ Neighborhood’ and ‘Sesame Street.’ Those performers have stayed with me my entire life. The honor of getting to be one of the first voices that these babies hear is everything.”

Brown is also delighted by the life lessons the show imparts. “Lessons about accountability, sharing, kindness, regulating your emotions and following directions. The importance of school and learning and being careful and gentle with animals and other people and their feelings. I think it’s a great stepping stone for the babies to learn how to be productive, caring members of society, which is what we’re all supposed to be trying to be.”

Nate Torrence as Pepper

Nate Torrence voices Pepper, Sofia’s puppy-unicorn.

(Disney)

Pepper is Sofia’s pet puppy-unicorn. Nate Torrence, who is also the voice of Clawhauser in the “Zootopia” movies, says nothing sounds more adorable than “the collab of a puppy and unicorn.”

Gerber has wanted to create such a character since the original series. “He’s there for comic relief to a large degree,” Gerber says. “And also to give us that little bit of daily magic because Sofia can talk to animals.”

“He’s a pretty lovable guy,” Torrence says. “Even though he plays a little air-headed, he actually is really witty. It’s that old-school Abbott and Costello kind of timing or Charlie Chaplin because there’s so much physical comedy going on with Pepper.”

Because he’s getting to voice a character for so many episodes, Torrence says he’s felt more growth with Pepper than many of the other characters he’s played. “I do think they’ve allowed my voice to be a new kind of voice in the world,” he says. “I get to have a bit more attitude and sass. To be a part of a franchise like this is a nice little dream come true for me.”

Disneyland’s Millennium Falcon: Smugglers Run has always been a fully realized “Star Wars” toy, an intimate, interactive attraction that focuses on arcade-style joy. A new upgrade opening Friday makes it decidedly slicker, giving the ride enhanced visuals, increased participatory actions and even an injection of cuteness.

Smugglers Run, which opened in 2019, puts six players in the cockpit of the Millennium Falcon, the ship made famous by Harrison Ford’s Han Solo in the original “Star Wars” trilogy. There’s still no Solo, but there is now Din Djarin, often referred to as simply the Mandalorian, and Grogu, the latter colloquially known as “Baby Yoda.” And although tied to the opening of the new film “The Mandalorian and Grogu,” Smugglers Run version 2.0 smooths out and improves upon many of the attraction’s quirks.

Blessedly, this is one marketing-driven decision that doesn’t feel like a gimmick, bringing unpredictability, humor and even more video game-like zaniness to the ride. Walt Disney Imagineering, the relatively secret division of the company focused on theme park attractions, has clearly listened to guest feedback and zeroed in on ways to not only improve the ride but also make it feel fresh, all while giving players more agency.

“This is an inherently collaborative adventure,” says Asa Kalama, a creative executive with Imagineering. On the ride, groups of six are teamed up to take on various tasks within the Falcon. Kalama says Imagineering was focused on how the various positions of pilot, gunner or engineer interact with one another.

“We took all of those learnings and applied them to enhancements for each and every one of those roles,” Kalama says.

I was a fan of the initial version of the attraction, writing when it opened that it was a heavily detailed blast, especially if one was seated in a pilot’s role (one guest controls the vertical motion of the ship while another focuses on the horizontal). But over time some of the less-than-endearing traits of Smugglers Run started to nag, namely that the two guests assigned to an engineering position had little to do and its storyline was essentially a glorified errand in which we retrieved goods for Hondo Ohnaka, a scoundrel-smuggler who sets the ride in motion.

Concept art of the sci-fi-like planet of Coruscant, a new location in Millennium Falcon: Smugglers Run.

(Disney Parks)

Smugglers Run has always been a technical marvel, but it was a feat of engineering rather than one that forged an emotional connection. The tweaks should fix much of what has long ailed it. Now, instead of a singular fixed mission, guests will have the ability to visit one of three “Star Wars” locations: a planet such as the urban Coruscant, the gas realm of Bespin or the wreckage of the second Death Star near Endor. This decision is made by one of the engineers and levels up the attraction’s ability to surprise.

Using the latest version of Epic’s Unreal Engine, each Smugglers Run locale is heavily detailed, putting us in more of a dogfight as the Mandalorian chases down pirates and ex-Imperial officers. No matter the route, it feels more active and lighthearted. Those who have ridden it before know Smugglers Run has always been responsive, perhaps too much so as inexperienced gamers could spend the entire attraction crashing the ship. Those flight controllers have been softened a bit, meaning guests will still steer but now do so with something of an invisible guided hand.

“We’ve tuned it in such a special way that no matter how skilled or unskilled you might be, you’re always guaranteed to have a flight that feels really cinematic,” says Kalama. In the past, particularly bad fliers could spend the entirety of the attraction being berated by the character of Ohnaka. That element has essentially been removed, with Kalama joking that guests shouldn’t feel as if they are being “chastised.”

Concept art of the Death Star wreckage above Endor, one of the new locales of Millennium Falcon: Smugglers Run.

(Disney Parks)

Narratively, after some quick training on the desert-like planet of Tatooine, we join the Mandalorian in an effort to break up a deal between the pirates and the ex-Imperial officers. That’s enough of a setup to inspire some space fights and chase scenes through fantastical locations.

I rode it three times to visit each vista once, and each has a different tone and look. The neon, sci-fi area of Coruscant, for instance, contrasts with the darkened, industrial Death Star wreckage. At various times, I watched the Mandalorian chase down his targets, get the Falcon caught in a tractor beam or careen through magnetic-like fences. Those seated in the gunner or engineer positions will also be treated to additional clips of Grogu via their adjacent flight panels, the young alien here portrayed as something of a playful pet of a child who is exaggeratedly chill during the commotion.

“I think what we were very deliberate about is that actually each of these different planetary locations that you go to has a different vibe,” Kalama says. “If you go to Endor, you’re in the derelict wreckage of the old Death Star 2. The feel of it is really spooky. It’s dark. It’s mysterious. It’s smokey. The music is almost ominous. In contrast to something like Coruscant, which feels very bustling, vibrant and colorful. The goal was not only are you going to a different location from a geographic perspective but to feel emotionally like you’re going on a different adventure.”

Concept art of Tatooine, where the new mission of Millennium Falcon: Smugglers Run begins.

(Disney Parks)

By emphasizing a chase being driven by the Mandalorian, the tone of the ride feels faster. While it’s the same length of around five minutes, rushing the Falcon through the reddish, fiery atmosphere of Bespin, for instance, where riders will encounter mountainous natural wonders and floating, bulbous structures, gives guests plenty to admire. Smugglers Run has always been full of distractions, as the screen — in front and somewhat above guests — pulls viewers away from the seat-adjacent wall controls. I minded less having my attention ping-ponged around the cockpit with the enhancements, as taking the Falcon into a brief battle creates a more pleasurably hectic tone.

Ultimately, with more choices to make, from which location to visit or whether to focus on Grogu’s antics or the action ahead, Smugglers Run feels more dynamic. “What’s even really kind of extra cool is that in addition to choosing the planets, there are different paths you can take within each location,” says Matt Martin, a senior creative executive with Lucasfilm. “You can choose to go left or choose to go right. And you’re going to see and experience different things.”

The tweaks to Smugglers Run follow big changes to Galaxy’s Edge, as Disney recently expanded the land’s timeline to feature classic, fan-favorite characters such as Darth Vader, Han, Luke and Leia. The character additions bring added life to the area but do take the land away from its original intent as a mythical world where actions unfolded in real time. The dream, however, of a fully interactive theme park experience lives on with Smugglers Run.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Mr. Todd’s Wild Ride comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.

A visitor has filed a $5-million lawsuit against Disneyland for allegedly failing to properly disclose the use of facial-recognition technology at park and collecting sensitive data on guests.

Summer Christine Duffield of Riverside County filed the lawsuit after a May 10 visit to Disneyland and sister park California Adventure, alleging that the resort violates privacy and consumer protection laws collecting biometric data of visitors, without adequate consent.

“Disney does not adequately disclose the use of their biometric collection, so consumers — which almost always include children — have no idea that Disney is collecting this highly sensitive data,” the plaintiff noted in the lawsuit. “Guests should be able to expressly opt in to this type of sensitive facial recognition technology with written consent — the onus of privacy rights should not be on the victim.”

The suit was filed on May 15 in U.S. District Court in New York. The lawsuit cites an article from The Times on consumer reaction to Disney’s use of facial recognition.

The Walt Disney Company didn’t respond to a request for comment.

“People are getting fed up with being force-fed new tech, new AI, new tracking tools,” said Ari Waldman, Professor of Law at the UC Irvine.

Walt Disney Co. rolled out its facial recognition technology in late April across Disneyland Resort to verify tickets. The way it works is guests’ faces are scanned, converted into a numerical identifier and matched with ticket data.

Disney’s privacy policy notes that the identifiers created for identification are deleted within 30 days unless they need to be kept for legal or fraud prevention purposes.

Guests who don’t want to use the technology can enter through a separate entrance marked with a silhouette of a head and shoulders with a slash through it. However, of the dozens of lines to enter Disneyland and California Adventure, there were only four that didn’t use facial recognition, during an April visit.

The sign saying “Use of this technology is optional,” adorn the security checkpoint entrances.

“This technology facilitates ease of reentry into our parks and helps prevent fraud,” the company noted in its website.

Use of facial recognition technology for crowd management and ticketing has become increasingly commonplace.

Dodger Stadium deploys facial recognition for guests using the “Go Ahead Entry” at certain gates without producing a physical or digital ticket to enter the stadium. At Intuit Dome in Inglewood, visitors can use “GameFaceID” to quickly move through a separate lane with their face as their ID.

The lawsuit comes at a time when there is increasing concern of surveillance in public places, and privacy advocates have rallied against the normalization of surveillance. More recently, concerns of the potentially abusive use of artificial intelligence by government to analyze large quantities of data — from texts to facial scans — to surveil U.S citizens resulted in a high-profile showdown between the Pentagon and Anthropic.

I always encourage people to slow down when they visit Disneyland, especially when taking their first few steps under the train tunnel onto Main Street, U.S.A. There’s too much you’ll miss if you’re racing from attraction to attraction. For to set foot in Disneyland is to be guided by many an invisible hand.

Winding, circular and branching paths not only direct guest flow, but create the tone for the experience. The sensation is meant to evoke one of lushness and grandeur, to envelope oneself in a garden as much as a land of play.

A principal in defining the feel of Disneyland — and an influence felt today in all meticulously designed theme parks — is master landscape artist Ruth Shellhorn. A South Pasadena native, her work for decades often went overlooked, spoken of in the shadows of brothers Jack and Bill Evans, horticultural experts who also played an instrumental role in the development of the modern theme park as homes to arboretum-worthy spaces.

It was Shellhorn, however, who used plants and trees to unify the park’s contrasting elements and to help direct guest flow. She even heightened the illusion of magnifying the splendor of Disneyland’s Sleeping Beauty Castle. Her work was an argument that a stroll through a theme park should evoke natural as much as man-made wonder, a journey into fantastical lawns and courtyards.

Shellhorn, who died in 2006, faced her share of discrimination for being one of the sole women in a Disneyland leadership role, says Cindy Mediavilla, a retired lecturer from UCLA’s department of information studies and co-author of the book “The Women Who Made Early Disneyland.”

“She was treated like chopped liver by the men,” says Mediavilla, “but she perseveres, and her work is still relevant to the park today.”

And it’s still being discovered. San Francisco’s Walt Disney Family Museum, home currently to an exhibit on Disneyland’s early days, will host a virtual chat June 17 on her work. Her contributions are also detailed in part in a relatively new behind-the-scenes tour at Disneyland, “Women Who Make the Magic.” The latter, a $110 add-on to a Disneyland day, is part of the park’s initiatives to appeal to those who want to dig deeper into Disneyland history, and also touches on the likes of Mary Blair, Kim Irvine, Martha Blanding and others.

Harper Goff, Bill Evans, Dick Irvine, Walt Disney, Ruth Shellhorn and Joe Fowler examine Disneyland plans in April 1955, just months before the park would open.

(Ruth Patricia Shellhorn Papers, UCLA Library Special Collections / Disney)

What might be most astonishing about the way Shellhorn transformed Disneyland is that she did it all in a matter of months. She was recommended to park founder Walt Disney by a friend and brought onto the Disneyland project about four months before its July 1955 opening.

“The Evans brothers are mostly focused on Adventureland, which is where they can put in all these fabulous plants that they’ve been collecting, but they aren’t as effective in figuring out how to design the other areas of the park,” says Todd James Pierce, a creative writing professor and Disney historian whose book “Three Years in Wonderland” documents early Disneyland.

“Landscape is going to be one of the last things that goes in, and so these problems don’t really present themselves as critical to Walt until the buildings start going up,” says Pierce.

While I went into the Disneyland walking tour familiar with Shellhorn’s work, the guided trek inspired me at last to dig more fully into her contributions. It was Shellhorn, for instance, who finished the floral portrait of Mickey Mouse at the entrance gates, choosing dwarf pink phlox for his tongue, according to Kelly Comras’ 2016 biography of the landscape architect.

Comras documents, too, how Shellhorn helped design Main Street entrance areas, namely the benches and green spaces that surround a flagpole. Shellhorn chose reddish concrete paving, white-flowering trees and perennials in shades of red, white and blue to “embellish Disney’s patriotic theme,” writes Comras.

Photo of blueprints for Disneyland’s tree planting design from a 2005 Times article on Ruth Shellhorn.

(Ken Hively / Los Angeles Times)

The author notes how weeks before opening, Disney replaced the flagpole with a bandstand. Shellhorn protested, arguing that it disrupted sightlines to the castle and overpowered the space. The landscape architect won.

“Ruth liked a lot of control,” says Pierce. “Walt would call her stubborn and I think that’s probably true.”

Shellhorn’s diaries are in UCLA’s Special Collections, where she privately expresses frustrations about Disneyland’s male-focused chain of command.

“She talks about how upset she gets with other art directors, in terms of them coming into her space,” Pierce says. “Some of that is gendered. It’s a group of men who are designing Disneyland, and here is this high-powered, very professional, extremely talented woman who is coming in to talk about how these men’s different areas are going to work together. There’s a hierarchy that’s a bit difficult.”

And yet Shellhorn successfully tied together multiple disparate spaces.

Disneyland’s centerpiece hub area, the entrance to its core themed lands and gateway to the castle, is, for example, a key area where Shellhorn played a major part. Shellhorn directed the grading of the bulldozers in constructing the moat around the fantasy palace, and also gave the entrance to each land a specific botanical personality — grasslike bamboo, for instance, near Adventureland, as well as jacarandas and senegal date palms to give it tropical bursts of color. Her compositions, writes Comras, “made the area flow together so seamlessly that visitors were unaware of her artistic intervention.”

Shellhorn, it should be noted, was extremely accomplished by the time she came to Disneyland, being named in 1955 a “woman of the year” by this newspaper. Her non-Disneyland work was pivotal in redefining commercial spaces throughout the Los Angeles region. She was perhaps best known for helping define the Southern California look of Midcentury Modern architecture for the now-defunct Bullock’s department store chain, which transformed the American shopping mall from an errand to a social outing.

But it’s her work at Disneyland that endures, and forever elevated the look, tone and feel of the American amusement park. So don’t just stop and smell the flowers next time you’re at Disneyland. Take a moment to remember the woman who initially had the vision for them.

The week in SoCal theme parks

Beginning May 22, new scenes inspired by the film “The Mandalorian and Grogu” will come to Millennium Falcon: Smugglers Run.

(Artist concept / Disneyland Resort)

• A new mission for Millennium Falcon: Smugglers Run. The big news in local theme parks this week is the transformation of the arcade-style Millennium Falcon flight simulator ride in Disneyland’s Star Wars: Galaxy’s Edge. The refreshed version of the attraction will open Friday with a new storyline and increased levels of interactivity inspired by the film “The Mandalorian and Grogu.” Guests will now have the option to vote upon which “Star Wars” locale to visit as they seek to help the bounty hunter and his little pal break up a deal between a gang of pirates and Imperial officers. I’ll be experiencing the ride this week, so stay tuned to Mr. Todd’s Wild Ride for first impressions.
• Get to know some sharks. San Diego’s Sea World will on Friday unveil a reimagined shark-focused exhibit. “Shark Encounter” still features the park’s signature moving tunnel as well as enhanced visuals to heighten its educational-focused objectives, including a multi-screen video installation to highlight shark diversity and dispel myths about the species. Eleven different varieties are highlighted in the park, including the endangered Australian leopard shark.
• Prepare for liftoff across America. Disney has revealed new details on Soarin’ Across America, which opens at Disney California Adventure on July 2. The reimagined attraction, designed to celebrate the 250th anniversary of the founding of America, will feature the Mount Rushmore National Memorial, Grand Canyon West, the New England coastline and more. The celebration of patriotism has already opened at Walt Disney World’s Epcot, meaning there’s plenty point-of-view ride videos circulating the web. I’ve opted not to watch them, wanting to go in fresh when it comes to Anaheim, and thus will save my thoughts until I can experience the attraction firsthand.
• It’s water park season! Confession: I have never been to a SoCal water park. Maybe this is the summer I change that? Knott’s Soak City Waterpark is now open in Buena Park, and Hurricane Harbor next door to Magic Mountain in Valencia will begin its summer season on Saturday.
• Give up the dream of a third Disneyland park (for now). Wish-focused articles inspired rumors that the Disneyland Resort was prepping for a third park in Anaheim after permits were filed for its Toy Story Parking lot, land that will no doubt be reimagined after the resort builds a new parking garage on its Eastern side. I hate to be the bearer of bad news, but don’t bet on a third park coming to Disneyland anytime soon. While the resort recently won approval on its Disneyland Forward project, which paves the way for new attractions, hotels and dining to land in Anaheim, nothing in those plans implies a third park. Instead, they point to expansions of the existing Disneyland Park and Disney California Adventure, while implying that the current Toy Story lot will be remade into a mixed-use shopping, dining and hotel area. To further dash anyone’s hopes, biz writer Samantha Masunaga has more.

The best thing I ate at the parks

A special Butterbeer cream puff is available until the end of the month at Universal Studios Hollywood.

(Todd Martens / Los Angeles Times)

It’s Butterbeer season at Universal Studios Hollywood, meaning the theme park is offering a few limited-time Butterbeer-flavored treats through May 31. Butterbeer in drink form isn’t, admittedly, my favorite, as the butterscotch is tempered with vanilla trappings that give it a cream soda-type feel. It’s an acquired taste. But when the park puts Butterbeer in dessert items, they tend to be pure butterscotch decadence. So it was with this rich but pleasing cream puff currently available at the Three Broomsticks in Wizarding World. The $7.99 delectable comes with a soft, doughy shortbread cookie topped with butterscotch-infused whip cream. The sauce — buttery and caramel at its most addictive — extends down into the fluffy cookie, creating a gooey, toffee-shortbread swirl after the first bite. For butterscotch fans, it’s a delight.

Ride report

Mr. Toad’s Wild Ride was, in 1955, a technological marvel.

(Todd Martens / Los Angeles Times)

I’ve been working my way through Roland Betancourt’s fascinating book, “Disneyland and the Rise of Automation,” which traces how the park’s early technological innovations would forever change entertainment and influence postwar America. Relatively early Betancourt talks about the importance of Mr. Toad’s Wild Ride, which inspired me to get back on the ride the other week. Namely, he argues, it elevated the theme park art form in making use of prior patents to create a fully automated, story-driven attraction. Where there had once been simple gags, now there was narrative — and in the case of Mr. Toad’s, a message about drunken, reckless driving. And its effects, while today may seem relatively rudimentary, still work, especially when the vehicle shakes to simulate the traversal of railroad tracks before a mirror effect has us barreling toward a collision with a locomotive.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

A stolen animatronic from Walt Disney World’s Wonders of Life pavilion at Epcot is a mystery at the heart of documentary “Stolen Kingdom.”

(Antenna Releasing)

Explore a darker side of Disney fandom via the documentary “Stolen Kingdom.” And by darker, I mean criminal. The film, from writer, director, producer Joshua Bailey, focuses on so-called “urban explorers” — folks who document deserted or abandoned buildings, hoping to give their audience a sort of backstage view of spaces that have been left behind.

Over the years at Walt Disney World, urban explorers have broken into abandoned water parks or areas once dedicated to animal preservation. The film builds to the tale of a stolen animatronic figure from the closed Wonders of Life pavilion at Epcot. Some of these items can end up on the increasingly lucrative Disney black market, where once stolen — or sometimes trashed collectibles — can fetch big money via auction. Depending on your point of view of these social media-driven attention seekers, “Stolen Kingdom” will fascinate or infuriate.

The film is screening Thursday at Laemmle North Hollywood and Friday at Brain Dead Studios. Head to the movie’s website to purchase tickets or find other SoCal showings.

Last week, news organizations and Disney bloggers learned that the Mouse House had filed building permits with the city of Anaheim related to a parking structure at Disneyland Resort.

That immediately sparked rumors about a third park — a long-held dream of Walt Disney Co. fans who want to see more rides, themed areas and Mickey-related shopping destinations.

But that will remain a dream — at least for the foreseeable future.

Anaheim city officials confirmed as much in an internal email about one of the news articles, noting to City Council members and the mayor that the permits were, in fact, for minor parking lot improvements within the existing Toy Story parking structure off Harbor Boulevard.

The email, which was reviewed by The Times, said the improvements were not related to an already-approved expansion of Disneyland Resort, or “what could ultimately be developed on the property in the future.”

A Disneyland spokesperson told me the permits are related to painting and striping at the Toy Story parking structure. So much for a third theme park.

It’s not the first time there’s been a hullabaloo about an additional park at Disneyland Resort.

In the early 1990s, there were serious talks about a Disneyland expansion called Westcot Center, a West Coast version of Walt Disney World’s Epcot in Florida. The plan at one point was to include three hotels, a public plaza and a number of retail, dining and entertainment options all around a central lake. At one point, both Anaheim and Long Beach were vying to be chosen as the site.

But that all collapsed in the mid-’90s amid financial concerns. Disney later built California Adventure, and briefly teased the idea of a third theme park complex with both a water park and amusement park that could complement the two-park resort. But that but never came to fruition.

The idea came up yet again about 10 years ago at an annual shareholders meeting in San Francisco, when former Chief Executive Bob Iger batted down speculation about a third park.

“We have plans at Disneyland for an expansion that we have not announced but those plans at the present do not include a third gate,” he said at the time.

More on that expansion later, but the truth is Disney simply doesn’t have enough land in Anaheim to build out a third theme park. I spoke with Len Testa, president of theme park travel site TouringPlans.com, who laid out the issues for me.

A third park would probably need a minimum of 80 to 120 acres of land to accommodate big new rides, as well as necessary behind-the-scenes facilities like employee break rooms and other back-of-the-house infrastructure.

“They’re landlocked,” he said. “And to acquire that land now in any way that would keep the campus centralized and avoid the logistics of a far-flung transportation network, that would be prohibitively expensive.”

That’s not to say that Disneyland Resort isn’t expanding on the land it does have.

Two years ago, Anaheim approved expansion plans for a project known as DisneylandForward, which will allow the company to build new attractions alongside shops, restaurants and hotels.

Development plans include a bigger Avengers campus with two new rides, as well as a “Coco” ride and “Avatar”-themed area in California Adventure, as well as a new parking structure.

Although it’s not a park, adding new lands and rides is “mission critical” for Disneyland Resort, Testa told me. After all, to drive attendance, you need to regularly open new attractions.

And these new rides can’t just be any old rides — they have to be “epic, mammoth blockbusters” that no one’s seen before, which takes time, space and money, he said.

Disneyland Paris is a good example. The European tourism resort saw a notable boost in attendance after it opened a World of “Frozen”-themed land in March.

“When you have that type of expansion and you can fill the park, you feel very, very good about that,” Disney Chief Financial Officer Hugh Johnston said last week at the MoffettNathanson media, internet and communications conference. “When we leverage our [intellectual property] and take that IP and build big new attractions, not little things … it’s these big new things that actually tend to just really bring in the consumers.”

That’s also key when you consider Disney’s growing competition from Universal Studios, which recently opened Epic Universe in Orlando and siphoned off some attendance from Walt Disney World.

And while the company’s TV and film business is vital, its theme parks still throw off most of the cash — new Disney CEO Josh D’Amaro recently called the parks the “physical centerpiece of the company.” And of course, they retain a deep link to Disney’s heritage.

As Walt himself noted, Disneyland is a “living” entity that would “never be finished.”

Stuff We Wrote

Film shoots

Number of the week

Lionsgate’s musical biopic “Michael” retook the top spot at the box office last weekend with a haul of $26.1 million in the U.S. and Canada.

The film, which chronicles the early career of singer Michael Jackson, has had remarkable staying power atop the charts since it debuted in late April. The film’s weekend revenue was down only 31% in North America compared with the previous weekend.

Overall, “Michael” has now made an estimated $703.9 million in worldwide box office revenue, with $421.1 million coming from international markets.

What I’m watching

Now that WNBA season is in full swing, I’ve been watching my L.A. Sparks and caught the game against the Toronto Tempo on Sunday. It was a rough game, but here’s hoping the Sparks can start turning things around, and quickly.

On the second weekend of May, Gustavo Dudamel gave the New York Philharmonic a salsa shock. He gleefully brought the startled players together with the Spanish Harlem Orchestra, an uptown salsa and jazz band, for concerts at Lincoln Center and Washington Heights. The city‘s classical music fans treated it as a cultural breakthrough; Dudamel is expected to transform the orchestra as a cultural institution when he returns in the fall as its music and artistic director.

A day later he was back in Los Angeles to begin rehearsals at a Walt Disney Concert Hall that had been fantastically transformed by Frank Gehry for the Los Angeles Philharmonic’s staging of “Die Walküre.” Transformation — be it cultural, orchestral, personal — has marked Dudamel’s 17 years as music (and more recently artistic) director of the L.A. Phil, which is now coming to an end with his three weeks of concerts in Disney to close the season June 7, followed by a celebratory weekend at the Hollywood Bowl in late August.

But meeting with Dudamel in his dressing room after a “Walküre” rehearsal (the opera begins Tuesday night at Disney and runs for six nights, an act a night, the full opera performed twice) , he says as he has said before, he does not think of this as a culmination, merely the beginning of a new adventure. He’s apartment shopping in New York. But he is keeping his house in Los Angeles.

He’s also departing with two very long new titles as “Die Walküre” premieres: the Diane and M. David Paul Artistic Cultural Laureate of the L.A. Phil and Jane and Michael Eisner Founding Director and Conductor Laureate of Youth Orchestra Los Angeles (YOLA).

Gustavo Dudamel conducts the Los Angeles Philharmonic in a performance of Beethoven’s Missa Solemnis at the Walt Disney Concert Hall on Feb. 22.

(David Butow / For The Times)

“We are talking about projects,” he says. “Look, I’m coming back for two weeks in December,” when he will lead Beethoven programs. He returns in the spring. The Bowl will always be a second home.

“I’m living here and I’m not living here,” he explains. “The connection will always be here.”

The energy in New York is, he continues, “super exciting.” And what excites him the most is how comfortable he feels with the very real differences between L.A. and New York.

“As a Latino from Venezuela,” he says, “I have an immediate connection with the New York that is home of salsa. When I was in the womb I was hearing salsa.” His father, Oscar Dudamel, is a trombonist and salsa musician.

But he adds that mariachi, ubiquitous in Mexico and L.A., is also an integral part of Venezuelan culture. “What I have to say is that I am blessed. I’m blessed that both cities are now part of my life.”

Bringing ‘crazy’ ideas to Los Angeles

L.A., of course, has been the major part of his adult life. At 24, an unknown, he made his dazzling U.S. debut in 2005 leading the L.A. Phil at the Hollywood Bowl. Four years later, he became the orchestra’s music director and caught the world’s attention.

There is no doubt that Dudamel’s extraordinary talents would have meant a major career wherever he landed. But, here, he inherited the world’s most culturally open major orchestra, where fresh thinking and new music thrive. Disney Hall allowed him the extraordinary freedom to dream. Being back at Disney, Dudamel admits, is very emotional, especially conducting “Walküre” with Gehry’s sets of billowy, sumptuous clouds and fanciful white papery horses.

“Frank is here with us,” Dudamel exclaims about the architect, who died in December and with whom he had become close. Conducting Wagner’s opera, in many ways, sums up Dudamel’s ambitions, the way he has connected with more sides of L.A.’s cultural landscape than possibly any other artist.

In L.A., Dudamel grew as an artist and a person, he says, through his relationship with an orchestra that is uniquely flexible and a welcoming community. This allowed Dudamel to be what he likes to call “crazy.”

“I remember the first time I came here. I didn’t have a chance to do or see anything,” he says of his Bowl debut. “So, I remember driving from the airport to Sunset Boulevard, where my hotel was, and I didn’t understand anything. But immediately it was the connection with the orchestra.”

Frank Gehry designed the sets for a Jan. 18, 2024, performance of Wagner’s opera, “Das Rheingold,” with Gustavo Dudamel leading the Los Angeles Philharmonic at Walt Disney Concert Hall.

(Allen J. Schaben / Los Angeles Times)

Flash forward 20 years from 2005 to 2025. In what seemed like a truly crazy idea, he brought the L.A. Phil to the Coachella Valley Music and Arts Festival, where he led a varied set of classical favorites and appearances with pop stars, for 150,000 people shouting “L.A. Phil! L.A Phil.” Among the highlights was “Ride of the Valkyries,” the English title of “Walküre.”

The symbolism of doing “Walküre” is, for Dudamel, unmistakable. Wagner’s four-part “Ring” cycle, of which “Die Walküre” is the second opera, strongly influenced the “Star Wars” films Dudamel grew up with. The saga’s composer John Williams is another L.A. legend who became for Dudamel like family. Williams has, in fact, written a fanfare, “Bravo Gustavo!” that Dudamel will premiere on June 4 in a concert in which he celebrates the musicians of the L.A. Phil.

The “Walküre” production, moreover, further expresses his desire to remain connected with L.A. When asked whether he still plans to complete the “Ring” cycle with the L.A. Phil, which he began two seasons ago with “Das Rheingold,” he says, “completely.”

It’s a radical notion, to say nothing of an extraordinarily expensive and time-consuming challenge for any orchestra given to a former music director, but Dudamel has never been one to take no for an answer. “At my last conversation with Frank,” he recalls, “I said I was coming to talk about ‘Siegfried’ [the next opera in the cycle], and he said, ‘You are crazy.’”

“That was Frank. He freaked out about the operas every time I talked to him about them. And then he came up with fabulous ideas.

“You know I never dreamed about coming to the L.A. Phil. I was happy in Venezuela and guest conducting elsewhere. But when I met Frank and John [Williams], I knew I had come to the right place.”

One reason Dudamel was happy in Venezuela was his position as music director of the Simón Bolívar Youth Orchestra, part of El Sistema, the country’s famed music education program. He brought a version of that to Los Angeles with YOLA, which offers free musical education to students. Bringing young people together to learn — and not just to play music but to listen to each other — has grown increasingly essential to him.

Gustavo Dudamel has fun with John Williams at the Hollywood Bowl as he conducts the L.A. Phil during “Maestro of the Movies: John Williams with the LA Phil” on July 9, 2023.

(Emil Ravelo / For The Times)

On Thursday evening, USC awarded Dudamel an honorary doctorate during its graduation ceremonies at the Coliseum, where Dudamel also gave the commencement speech.

“I will never tire of repeating this: music, art and beauty are universal rights,” he told the graduates, urging them to go out into the world listening to others, seeing others, paying attention to everything. These are the practices he has long championed as the essential need for youth orchestras.

This was, in fact, almost precisely what he said when he first arrived in L.A. “I was very young, but I grew up with these ideas,” he told me.

“You have to say to the students, ‘Stop! Let’s pause. Just listen.’”

“It’s a way to really connect with what surrounds you, but also connect with yourself. That’s the beauty of all the layers of listening we do as musicians. I now think that is our main tool. In the end it’s not listening only to sounds. It’s listening as connecting with others.”

Practicing what he preaches

As Dudamel plans for his next chapter, he indicates that the advice he gives students is what he is also saying to himself.

YOLA students perform on stage during a “Gracias Gustavo Community Block Party” at the Judith and Thomas L. Beckmen YOLA Center in Inglewood on Oct. 11, 2025.

(Etienne Laurent / For The Times)

What L.A. gave him, he concludes, is a greater depth of his own listening. There was the guidance of Deborah Borda, who, as the orchestra’s president and CEO, hired and mentored him. There were the opera productions with Peter Sellars, who made him look deeply inside himself. There were the communities to discover and with which to collaborate.

New York, he insists, will be a further continuation of this process. “There are a lot of things to do. As I did here, that will be not only conducting but spending a big amount of time doing other things. I will have to listen to the community. Every place is different.”

And every place needs to be, for Dudamel, connected. He began his last season in Disney in the fall with the world premiere of Ellen Reid’s “Earth Between Oceans,” a bicoastal co-commission between the L.A. Phil and the New York Philharmonic, sonically evoking the environmental difference between L.A. and New York. He recently repeated it with his new orchestra in David Geffen Hall in New York.

In L.A., Reid’s score felt like a vast, moving, spiritual soundscape of our fires’ fury as well as our coastal fancy. At Geffen, it became a gripping showpiece, like attempting to zoom in a Ferrari through Manhattan streets, were they ever empty — the thrill of taking it all in.

Dudamel says his favorite place in New York so far is the orchestra’s archives. Becoming absorbed in the history of America’s oldest orchestra gives him new ideas. He wants simultaneously the old, the new and the many.

He also insists on ever more connections. ”We are making, many, many projects together,” he says of the L.A. Phil and the New York Philharmonic. That includes bringing the two orchestras together in a further experiment in listening.

“That‘s very important to me, one of my dreams. And it’s not difficult,” he says. “We have plans and it’s beautiful. We have to do that.”

WE were tucking into mouth-watering Mickey waffles soaked in syrup when in popped the Mouse himself.

It was just after 8am and our amazing Walt Disney World adventure had kicked off with a bang — plus a load of bangers and bacon.

The delicious food at Tusker House restaurant in the Animal Kingdom was as plentiful as the special guests.

Goofy, Donald Duck and Daisy waltzed in, too, and there was just no containing the grandkids’ excitement.

Nine-year-old Albie’s impersonation of Mickey had the mouse in stitches and there were hugs from Mila, seven, and Lois, four.

The scrumptious character breakfast buffet isn’t cheap, at around £45 an adult and £25 a child.

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But, as in all the snack bars and restaurants in Orlando’s four Disney parks, the quality of food is excellent and there’s always plenty of it.

One way of saving cash is the Disney Dining Plan, just launched again for next year and even free on selected holidays.

Depending on the package, each day you get the choice of quick- service or table-service meals and snacks from 170 locations.

If staying at a Disney hotel for a week, the plan saves families hundreds of pounds.

A Disney experience is as much about the great food and drink options as it is the rides.

Themed restaurants are hugely popular, so we made bookings on the Disney app as soon as reservations opened — 60 days before arrival.

Our choices, with kids’ menus and main courses between £12 and £26, turned out winners.

Magic Kingdom’s Jungle Skipper Canteen, for a touch of African and Asian flavours, and The Plaza for club sandwiches and milkshakes.

At the Fifties-style Sci Fi Dine-In Theater, in Hollywood Studios, we sat in retro cars to eat burgers and fries while watching old movie clips.

And our favourite, at Epcot, was Teppan Edo, where the Japanese chefs juggle cooking utensils as they chop and stir-fry dishes at your table.

Our party of five adults and three kids also did a lot of snacking — extra-large iced doughnuts for less than a fiver, chocolate-chip cookies, Mickey’s ice-cream bars and multi-coloured iced drinks.

But, in our defence, we were often in the parks from dawn until dusk and even later when we saw spectacular night shows.

I reckon Fantasmic! at Hollywood Studios is one of the most thrilling ever.

Its half an hour of pure magic ­— lights dancing on the water, fireworks flying from Mickey’s hands, lasers and all your favourite characters setting sailing on boats around the lagoon.

Magic Kingdom’s parade and the Happily Ever After fireworks spectacular at Cinderella Castle are a must-see, but then every Disney show is a treat.

You name it, we saw it — including The Lion King, Beauty and the Beast, the hilarious ­Frozen Sing-Along Celebration, Finding Nemo and the new ­Villains: Unfairly Ever After.

Like we did, use them for a breather, and certainly after a meal, before going back to the thrills and spills of some of the best rides in Orlando.

We hurtled up and down on the Tower of Terror and sped around a track on the Seven Dwarfs Mine Train and Expedition ­Everest.

We spun 360 degrees, too, on Guardians of the Galaxy: Cosmic Rewind — the first ever reverse launch on a Disney coaster — and were whisked through the universe on Avatar Flight of ­Passage and Soarin’.

The imagination, hi-tech design and special effects are simply breath-taking.

“Wow!” is the only word when you come face to face with legions of stormtroopers in Star Wars: Rise of the Resistance — or witness the sheer genius of being shrunk down to the size of a rat on Remy’s Ratatouille Adventure.

We blasted our way around Buzz Lightyear’s Space Ranger Spin, just re-opened with new interactive targets, and got very wet on the Kali River Rapids.

Slow the pace by hopping on a Kilimanjaro Safari truck, to see 34 species of African wildlife in their natural habitat, and take a boat to Elsa’s ice palace in wonderful Frozen Ever After.

Disney has hotels with pools and entertainment to suit all budgets — and these include the fabulous Animal Kingdom Lodge, where animals roam free on the ­savannah.

Of course, we ate there — at The Mara where we had a grab-and-go breakfast before catching the free shuttle for early entry into the parks, and at Boma for a buffet dinner.

Oh, there was one more treat — Mickey biscuits filled with oozing, toasted marshmallows — around the firepit. Yum! It just had to be done.

The epic period war drama has enthralled critics and audiences world-over, earning glowing praise from all quarters, with viewers comparing it to the brilliance of Gladiator.

Fans of iconic filmmaker Ridley Scott and his cult classic Gladiator are in for a treat, because there’s another film by the director that viewers feel is giving his OG period war masterpiece a run for its money. With a screenplay penned by Ben Affleck, Matt Damon, and Nicole Holofcener, the 2021 epic historical war drama has enthralled critics and audiences world-over, earning glowing praise from all quarters — and it’s streaming on Disney+ and Amazon Prime Video.

Viewers can’t stop raving about Scott’s 2021 film, The Last Duel, which stars Jodie Comer ( Killing Eve ) in the titular role, alongside Adam Driver and Damon. Affleck also has a supporting role in the movie, and the stars are joined by Harriet Walter, Alex Lawther, and Serena Kennedy to round out a stellar supporting cast.

Filmed in France and Ireland, Scott’s epic period drama is one that most people haven’t heard of, owing to its release during the height of the COVID-19 pandemic in October 2021.

Based on true events, the film’s official plot summary states: “Jean de Carrouges is a respected knight known for his bravery and skill on the battlefield. Jacques Le Gris is a Norman squire whose intelligence and eloquence make him one of the most admired nobles in court. The two knights must fight to the death after Carrouges’s wife, Marguerite, accuses Le Gris of assault. The ensuing trial by combat, a gruelling duel to the death, places the fate of all three in God’s hands.”

Garnering largely positive reviews from both critics and audiences, The Last Duel has made its mark, especially when it comes to the period war drama genre.

One critic said of the film: “A brutal, harrowing, intriguing, stunningly well-made film that will linger in your thoughts for quite some time.”

While another reviewer lavished praise on the director: “Ridley Scott delivers one of his best works in years with this brutal, righteous, superbly acted historical drama.”

A third critic said of the historical epic: “With the stakes set so high, Scott rises to the challenge and delivers a brutal, visceral ‘last duel’ with complex narrative designs and a phenomenal carousel of performances.”

While one reviewer simply declared: “Trust us when we say this is a cinematic epic.”

Audience reviews follow in a similar vein, with one fan saying: “A classic Ridley Scott’s work. A masterpiece.”

While another viewer writes: “Brilliant historic epic, beautifully filmed and captivating characters. If you like historical dramas, this is a great film for you”

A glowing IMDB user review of The Last Duel states: “Ridley Scott is the Master of this Genre for a reason. Best director you can find for this kind of visual storytelling is Ridley Scott, and believe me, he’s still top of his game. To be honest, I don’t think that Gladiator was a best picture because of Ridley’s effort, I think it was Russel’s incredible performance. But this movie shines because of Ridley’s awesome visual style.”

While another impressed audience member commented: “[Ridley] Scott certainly gives us a big, bloody and savage movie. Indeed of all his films, this could be the one most likely to appeal to fans of ‘Gladiator’. It’s a fantastic-looking film. There is so much about ‘The Last Duel’ that is smart, funny and totally unexpected that it just might turn out to be the most unlikely multiplex movie of the year.”

Another IMDB review of the period drama (and Ridley Scott’s brilliance) states: “This is, I think it could be argued, in the absolute top tier of Ridley Scott’s filmmaking oeuvre. More than that — and this might be more controversial, but I stand by it — I think it’s his best film, and that it isn’t close.

“This is a Rashomon-style multiple-viewpoints epic with lavish production values, superb acting across the board from a powerhouse cast, and supremely subtle and skilful directing. It is thoughtful, impactful cinema that should be part of the conversation about the best outings in historical filmmaking.”

The Last Duel is available to stream on Disney+ and Amazon Prime Video.

RIVALS star Emily Atack has sent pulses racing at the sexy bonkbuster’s London world premiere as she donned an incredible plunging silver dress.

The blonde bombshell, who plays temptress Sarah Stratton on the Disney+ show, sizzled in the daring outfit as she was snapped alongside her co-stars.

Emily, 36, went all out for the premiere wearing a sculpted silver gown that hugged her sensational figure as it flared out at the bottom.

The dramatic dress was complete with a low-cut sweetheart neckline, a huge bow down the centre and a matching bag.

She had her blonde locks styled in loose waves and she finished the look with simple silver jewellery – small hoop earrings and a single diamond bracelet.

The actress wowed in a natural makeup as she was seen hugging her on-screen husband Rufus Jones – who plays Paul Stratton. 

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Glamourous Emily smiled and waved to fans as she walked the star-studded red carpet.

The premiere for Rivals series two, which lands on Disney+ this Friday, was held at the BFI IMAX South Bank in London.

All the leading castmembers were present on the carpet with Bella Maclean (Taggie) and Alex Hassel (Rupert) posing together before making there way inside.

Danny Dyer (Freddie Jones), 48, looked very dapper in a dark grey suit and turquoise shirt as he was pictured with Katherine Parkinson (Lizzie Veriker).

Elsewhere, David Tennant and Nafessa Williams – who play Lord Tony Baddingham and Cameron – looked sensational as they made their debut.

Stunning Nafessa, 36, put on a leggy display in a beautiful pink ensemble.

The top of her dress was a tightly-fitted corset and the skirt, embroidered with sparkles, knotted at the waist before flowing down.

David, 55, put a spin of the classic suit and opted to wear one of purple velvet.

Other stars Aiden Turner (Declan O’Hara), Victoria Smurfit (Maud O’Hara), Claire Rushbrook (Lady Baddingham), Lisa McGrills (Valerie Jones) and Catriona Chandler (Caitlin O’Hara) made an appearance ahead of the big launch.

Stanley Tucci, Fleur East, Lady Penny Lancaster, Felicity Blunt and Dee Koppang and were also spotted by fans on the carpet.

Rivals, based on Dame Jilly Cooper’s 1988 novels, became an instant hint after it debuted on Disney+ in October 2024.

The raunchy comedy-drama was of course renewed for a second season and fans cannot wait.

This series has 12 episodes – four more than the previous- and the first three will be released on Friday 15 May, three more the following week and then the rest will come at a later date.

The 69th Grammy Awards will take place Feb. 7 at Crypto.com Arena in downtown Los Angeles, organizers said Tuesday during Disney’s annual upfront presentation to advertisers. The show will be the first to air on Disney’s ABC network (and stream on its Hulu and Disney+ platforms) since the Recording Academy ended its half-century-long partnership with Paramount’s CBS.

Nominations for the 2027 ceremony — which will recognize recordings released between Aug. 31, 2025 and Aug. 28, 2026 — are set to be announced Nov. 16. Final Grammys voting will open Dec. 10 and close Jan. 7.

A host for the show hasn’t been announced. Trevor Noah, who began hosting the Grammys in 2021, said his gig at February’s 68th ceremony would be his last.

Big winners at the 2026 Grammys included Bad Bunny, whose “Debí Tirar Más Fotos” was named album of the year; Kendrick Lamar and SZA, who won record of the year with “Luther”; Billie Eilish and her brother, Finneas O’Connell, whose “Wildflower” took song of the year; and Olivia Dean, who was named best new artist.

Among the albums and songs already thought to be in contention for high-level nods next year are Taylor Swift’s “The Life of a Showgirl,” Noah Kahan’s “The Great Divide,” Bruno Mars’ “The Romantic,” Rosalía’s “Lux,” Ella Langley’s “Choosin’ Texas” and Sienna Spiro’s “Die on This Hill.”

Walt Disney Co. has picked up a vocal ally in its fight against the Federal Communications Commission: one of the panel’s three commissioners.

FCC Commissioner Anna Gomez — the panel’s lone Democrat — took a rare step of sending a letter to Disney Chief Executive Officer Josh D’Amaro Monday to describe what she sees as a pressure campaign to weaken not just Disney’s ABC network — but all media outlets that provide critical coverage of President Trump.

“What Disney and ABC are facing is not a series of coincidental regulatory actions but a sustained, coordinated campaign of censorship and control, carried out through the weaponization of the FCC’s authority as a federal regulator,” Gomez wrote.

The FCC’s efforts were all about “pressuring a free and independent press and all media into submission,” Gomez wrote in the four-page missive to D’Amaro — Disney’s recently installed chief executive.

Her outreach comes after the FCC, in a highly unusual move, initiated an early review of the broadcast licenses for ABC stations that Disney owns, including KABC-TV Channel 7 in Los Angeles. Disney owns eight stations and its licenses were not set to expire for another two to five years.

The FCC also demanded that Disney’s Houston television station explain why the ABC daytime show, “The View,” should be entitled to an exemption from providing equal time rules for politicians whose opponent appears on a program.

Disney has said “The View” was granted an exemption — which is widely used among news programs — in 2002. Last Thursday, Disney sent a blistering letter to the FCC, challenging its inquiry on “The View.”

Gomez has been outspoken about the tactics of her colleague — FCC Chairman Brendan Carr, a Trump appointee — and the dangers she said that certain FCC actions represent to 1st Amendment freedoms. Monday’s letter escalated her criticism and gives Disney potent ammunition to use in its legal battle against the FCC.

Disney and the FCC did not immediately comment.

Gomez, a telecommunications attorney, listed four key events, which began when Disney decided to settle a defamation lawsuit brought by Trump one month after he was reelected for a second-term. Some free speech experts felt Disney had a chance to win that case, based on erroneous statements made by ABC News anchor George Stephanopoulos.

However, Disney agreed to pay $15 million in late 2024 to make the case go away.

“Whatever the legal calculations behind that decision, its effect was immediate and unmistakable,” Gomez wrote. “It told this administration that pressure works. It told every other company watching that capitulation was an option. And it opened the door to every action that has followed.”

Gomez said the administration’s goal has not been to bring challenges that the FCC would have to defend in court, but rather, to prompt TV networks to self-censor and tone down their news coverage as a way to avoid getting pulled into fights with the president and Carr.

“Most [FCC investigations] are destined never to be brought to any enforcement conclusion that could face judicial review,” Gomez wrote. “That is because the threat is the point.”