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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.”

Walt Disney Co.’s ABC is forcefully resisting Federal Communications Commission efforts to soften the network’s programming, accusing the federal agency of an overreach that violates 1st Amendment freedoms.

Last week, the FCC took the unusual step of calling in the licenses of eight Disney-owned television stations for early review. The move — widely interpreted as an effort to chill the network’s speech — came a day after President Trump demanded that ABC fire late-night talk show host Jimmy Kimmel over a joke about First Lady Melania Trump.

The FCC separately has taken aim at ABC’s daytime discussion show, “The View,” which delves deeply into politics.

The FCC has questioned whether the show, which prominently features Trump critics Whoopi Goldberg and Joy Behar, could continue toclaim an exemption to rules that require broadcasters to provide equal time for opponents of political candidates.

In its filing this week with the FCC, Disney’s Houston television station raised the stakes in the dispute over “The View,” calling the commission’s actions “unprecedented” and “beyond the Commission’s authority.” The ABC station’s petition for a declaratory ruling said “The View,” has long qualified as a “bona fide” news interview program with freedom to conduct interviews of legally qualified political candidates.

“The Commission’s actions threaten to upend decades of settled law and practice and chill critical protected speech, both with respect to The View and more broadly,” the Houston station KTRK-TV said in the filing.

The network’s firm stance sets up a clash with the Trump administration, including the president’s hand-picked FCC Chairman Brendan Carr, who has made no secret of his disdain for Kimmel and other ABC programming. Earlier this year, Carr announced that decades-old exemptions from the so-called “equal time rule” for news programs, including “The View,” were no longer valid.

ABC’s strenuous arguments mark a departure for the Disney-owned outlet.

In December 2024, a month after Trump was elected to a second term, the network quickly settled a lawsuit over statements made by news anchor George Stephanopoulos that Trump found offensive. ABC agreed to pay Trump $15 million to end his legal fight — sparking an outcry among free speech advocates, who accused the network of caving on a case it could have won.

“Some may dislike certain—or even most—of the viewpoints expressed on The View or similar shows,” the station said in its filing. “Such dislike, however, cannot justify using regulatory processes to restrict those views. The government does not get to decide ‘what shall be orthodox in politics, nationalism, religion, or other matters of opinion.’”

The station noted that, while the FCC has questioned the exemption for “The View,” which dates back to 2002, the FCC hasn’t showed interest in regulating programs on other networks, “including the many voices — conservative and liberal — on broadcast radio.”

“The danger is that the government will simply decide which perspectives to regulate and which to leave undisturbed,” ABC said.

On April 28, Carr called for a review of Disney’s broadcast licenses two years before any of them were set to expire, citing the agency’s year-old inquiry into Disney’s diversity, equity and inclusion policies and whether they violated federal anti-discrimination rules.

Walt Disney Co.’s theme parks and cruise line business is holding steady despite national concerns about discretionary consumer spending and higher gas prices.

The Burbank media and entertainment giant’s experiences division reported $9.5 billion in revenue in its fiscal second quarter, up 7% compared with the same period a year ago.

The increase was due to higher guest spending at Disney’s domestic parks and experiences, which reported a 6% bump in revenue to $6.9 billion, and more capacity on the company’s cruise line with the introduction of two new ships. The segment saw a 5% increase in operating income to $2.6 billion for the three-month period that ended March 28.

Disney’s theme parks segment was under close scrutiny given the national conversation about rising consumer costs and gas prices due to the U.S.-Iran war. Analysts had wondered whether consumers would tighten their belts and forgo vacations given the higher travel costs.

Disney did see a 1% decline in attendance at its U.S.-based parks compared with the prior year, which the company attributed to “continued softness” in international visitors, but said it was starting to move past those issues. Company executives have previously said Disney pivoted marketing and promotional efforts to attract local visitors.

Last quarter, executives indicated that results in the company’s second fiscal quarter could be affected, in part, by “international visitation headwinds,” a nod to the lower number of foreign visitors now traveling to the U.S.

Though the heightened economic uncertainty around the world could have a “potential impact” on the business, Disney Chief Executive Josh D’Amaro and Chief Financial Officer Hugh Johnston said in a shareholder letter Wednesday that the company was “encouraged by current demand.” The company expected that fiscal third-quarter domestic attendance numbers would improve, they wrote.

The company’s overall earnings were powered by its entertainment business, which posted revenue of $11.7 billion, up 10% compared with the prior year’s quarter.

That growth was driven by big gains for Disney’s streaming services — Disney+ and Hulu — which raked in nearly $5.5 billion in revenue, an increase of 13% compared with 2025, thanks to higher subscription fees from user growth and more advertising revenue. Operating income for the streaming business jumped 88% to $582 million.

Disney’s entertainment segment also had a stronger quarter at the theatrical box office, with standout performances from 20th Century Studios’ “Avatar: Fire and Ash,” the animated sequel “Zootopia 2” and Pixar’s “Hoppers.”

Overall, the company reported $25.2 billion in revenue, a 7% bump from the prior year. Income before income taxes totaled $3.4 billion, an increase of 9% compared with the same period in 2025, while operating income rose 4% to $4.6 billion. Earnings per share, excluding certain items, was $1.57, compared with $1.45 a year earlier.

Disney’s sports segment, which includes ESPN, reported revenue of $4.6 billion, a 2% increase from the same period in 2025. It brought in operating income of $652 million, a 5% slide that the company attributed to higher sports rights costs and the absence of UFC pay-per-view revenue compared with last year.

Disney also alluded to the company’s view of artificial intelligence as a “meaningful long-term opportunity,” saying it could play a role in content creation and production, monetization, workforce productivity, consumer and guest experiences and enterprise operations.

“At the same time, we are committed to implementing AI in a way that keeps human creativity at the center of everything we do and respects creators and the value of our intellectual property,” D’Amaro and Johnston said in the shareholder letter.

After noting OpenAI’s closure of the text-to-video AI tool Sora, which Disney had planned to invest in, D’Amaro and Johnston said the company will “continue to explore” commercial opportunities with OpenAI and other companies.

“Tracker,” one of TV’s most-watched shows, is uprooting its Canadian production and moving to Los Angeles.

The action drama, produced by Disney’s 20th Television, is among a slate of new and recurring series benefiting from California’s improved $750 million tax incentive program. The show’s fourth season, set to begin shooting this summer, will receive the state’s largest tax credit , at $48 million, according to the California Film Commission.

The production will film for 176 days in California, with 250 crew members and 275 actors on board. The tax credit is based on the show’s projected spending of over $129 million. Deadline first reported the news of the show’s relocation.

The show stars actor Justin Hartley and follows his character as he tracks down people for reward money. Ever since its 2024 premiere, the show has resonated with audiences. Its third season is currently airing and was the fourth most-watched program on linear TV as of late April, according to Nielsen.

“Tracker” is primarily set in the wilderness, making the move to California a fresh opportunity for the production to explore diverse landscapes as its backdrop. Due to the rural setting, the show is also eligible to earn an extra 5% tax credit bonus, in addition to the 35% base credit, on qualified expenditures incurred outside the designated 30-mile zone of the Greater Los Angeles area.

Before “Tracker” secured the highest TV show tax credit, season 3 of Amazon’s “Fallout,” which relocated from New York to Los Angeles, received a $42M incentive. Dan Fogelman’s new NFL drama “The Land” received $42.8M. Other productions that have benefited from the tax program include medical drama “The Pitt,” Disney’s new animated movie “Phineas and Ferb” and Netflix’s upcoming reboot of “13 Going on 30.”

More than 100 productions have received tax credits since the program was expanded last year in response to the continued migration of productions to other countries like Ireland, U.K. and Canada.

But film industry advocates say these efforts aren’t enough to fully revitalize U.S.-based productions and local film economies.

To that end, , U.S. Sen. Adam Schiff (D-Calif.) announced in March he is working on a bipartisan federal film incentive proposal that would be globally competitive.

“State programs cannot simply substitute for the kind of global, federal and competitive tax incentives that are needed to bring production back to American soil and stop its offshoring,” Schiff said.

Not too long after Star Wars: Galaxy’s Edge opened at Disneyland in 2019, the land brought me to tears.

It was a summer weekend evening, and I was strolling the 14-acre area, mainly to people watch. I caught a commotion in the crowd out of the corner of my eye, and decided to follow the activity.

There, crouched along one of the walls of the fictional town of Black Spire Outpost, was an actor playing the role of Rey, the hero of the most recent trilogy of “Star Wars” films. Behind her was a crowd of more than a dozen, many of them young children. Rey turned to tell them to be quiet. They followed her as she shuffled along the walls, decoratively designed to look decades old and scarred with blaster fire and cracks.

They turned a bend and came upon two Stormtroopers, who jumped in surprise, and signaled that Rey was the person they were after. That’s when Rey held out her hand, palm up, to the troopers. She instructed those with her to do the same and to repeat after her. She and the crowd, now quickly growing, were collectively using the Force.

The “Star Wars” character of Rey leads guests in using the Force at Disneyland in the summer of 2019.

(Todd Martens / Los Angeles Times)

The Stromtroopers turned, muttered that there was nothing to see here, and walked away. Rey faced her audience and begin hugging and shaking hands with those closest to her. This is when I welled up.

The promise of Galaxy’s Edge was tremendous. Audiences were invited to pretend, to become a hero or perhaps a rogue in a land designed to facilitate interactivity, and most importantly play. That a crowd was able to become a little silly, be a bit vulnerable and share a collective moment with a gaggle of strangers reinforced to me the importance of theme parks as communal spaces, ones that can get us out of our head, our struggles and our stressors.

As of last week, Galaxy’s Edge forever changed. I still love the land, and believe it one of the triumphs of Walt Disney Imagineering. But I mourn what it once was and never came to be.

A change in the Force

Leia and Han are now meeting with guests at Disneyland’s Star Wars: Galaxy’s Edge in an effort to infuse more classic characters into the land.

(Christian Thompson / Disneyland Resort)

Galaxy’s Edge has shifted its timeline. Out is Kylo Ren, and in is Darth Vader. Also new to Galaxy’s Edge are Han and Leia. Luke is there, too, returning after a limited run last year. The arrival of the so-called “classic” “Star Wars” characters will in fact breathe new life into Galaxy’s Edge. Already, they are pleasing crowds, as the Disneyland faithful last week cheered Vader’s entrance, heard now to a score of John Williams’ ominous “Imperial March.”

Rey still makes appearances, but when she does she is stationed near showcase attraction Star Wars: Rise of the Resistance. Ahsoka Tano, as well as the Mandalorian and Grogu, are among the other characters who will meet with guests in various spots throughout the area.

Galaxy’s Edge will now become what it was never built to be: a hodgepodge of “Star Wars” characters and nods to past works rather than undiscovered tales. While many saw the absence of the most recognizable “Star Wars” figures as a flaw, it was part of its intended design. For the land’s creators, it was a tradeoff they were willing to make, a bet guests would be active archetypal “Star Wars” tourists rather than spectative consumers. It was a grand theme park experiment.

“It was not an immediately intuitive decision,” Scott Trowbridge, the key Imagineer behind the land’s ideals, told me in 2022 when asked about the choice to set the land in the timeline of the most recent “Star Wars” films.

Said Trowbridge: “Luke’s story, or Leia’s story, that we saw 10, 20, 40 years ago, we know those stories. We love those stories. But there’s not room for us in that world. We wanted to make sure we were leaving room for you and your friends.”

When Galaxy’s Edge opened, we heard the roar of spaceships and musings of war. Traditional theme park trappings — character meet-and-greets, passive rides and musical scores — weren’t found. It was instead designed as an invitation, a new, unknown location filled with lesser-known characters like rebel spy Vi Moradi, meant to serve as a living playset for guests to create their own tales. I saw this happen, too. Once, when strolling the land with my former partner, she turned to me and lightly punched me in the arm, saying, “What’s a respectable guy like you doing with a scoundrel like me?” That was the moment I knew I would fall in love with her, and it was facilitated by Galaxy’s Edge.

A failed dream

The centerpiece of Star Wars: Galaxy’s Edge is the Millennium Falcon.

(Allen J. Schaben / Los Angeles Times)

If I’m being honest, I am aware that Galaxy’s Edge seldom lived up to this promise. Imagineers teased many characters — a bounty hunter, for instance, who would hang in the cantina — who never appeared. In order to play, we need people to play with, and this playland often felt empty. Droids, for instance, would show up, but often only for a limited time. Teased features, such as Bluetooth technology that would allow the land to track a guest’s reputation, courtesy of missions they completed in the Play Disney Parks mobile app, never reached their fruition. That game itself, which is still available, thus lacks any meaningful payoff.

Galaxy’s Edge was a theme park risk, asking how deeply guests would want to engage in physical spaces. But it came with challenges, namely that as these lands grow, the level of activity needed to maintain the illusion increases. A promised dinner theater was never built, and a stage for a special effects-laden stunt show has largely sat barren. Disney also relied not on actors but its retail staff — cast members, in park parlance — to do the heavy lifting when it came to performing.

I wrote in 2019 that Galaxy’s Edge may, in fact, be too ambitious for the Walt Disney Co. I’m bummed that I was right.

Many on social media are musing that Disney is now fixing Galaxy’s Edge. Let’s be clear, Galaxy’s Edge was never broken. It just needed Disney to be a better steward and to fully support the ambitions of its Imagineers.

Last week at Disneyland, when Darth Vader walked on a Galaxy’s Edge stage through a smattering of smoke, the crowd erupted as if at a sporting event. It was fun, and clearly something some fans had been craving.

So bring on Darth Vader and the rousing music of Williams, I reluctantly say. Disney should do what it does well, and that is to create memorable character experiences. Operationally, the park had abandoned the initial goals of Galaxy’s Edge long ago, and the presence of Han, Luke and Leia will excite guests and at last give attendees more characters to interact with. It will be a busy, bustling place, and that I do applaud.

The week in SoCal theme parks

Changes have been reported at Roger Rabbit’s Car Toon Spin.

(Christian Thompson / Disneyland Resort)

• You can now get a “Star Wars” ID card in Downtown Disney. Located inside the Star Wars Trading Post shop is a plastic ID-making machine (similar to the fake driver’s license one can get in the queue for Autopia) that will take your photo and allow you to pick a role in the “Star Wars” universe (bounty hunter, fighter pilot, etc.). It looks neat. I want one, even though I don’t know what I would do with it, but so far, lines have averaged 90 minutes to two hours or more.
• Roger Rabbit’s Car Toon Spin has lost its spin. Disneyland removed the ability for guests to twist and turn their cars, an operational-driven-tweak, as the ride now allows for lap seating for younger guests and will allow for more to experience the attraction. While I can see how some may miss the spinning feature, I often tried to keep the car steady to soak up the environment, so my initial reaction leans positive, especially if it improves a family’s Disneyland day.
• Celebrate the 25th anniversary of the first “Harry Potter” film in an all-encompassing environment. Inglewood’s Cosm isn’t a theme park, but its dome-like screen offers a theme park-like experience (think the golden days of Circle-Vision). Opening Thursday is a re-imagined “Harry Potter and the Sorcerer’s Stone” with newly added environmental effects. The core film remains untouched, but the screen surrounding you aims to come alive with enchanting movement.
• Magic Bands will soon disappear from Disneyland shelves. Disney reporter Scott Gustin, a friend of Mr. Todd’s Wild Ride, recently noted that Disneyland will not be replenishing its stock of the Magic Band+ once it sells through the remaining inventory. Those who have them (hand raised) needn’t worry, according to Disneyland officials, as Magic Band+ functionality, including the game Batuu Bounty Hunters in Galaxy’s Edge, won’t cease. But Magic Band+ has limited use cases at Disneyland, and never quite caught on here in the same way the wristbands have at Walt Disney World.
• Happy birthday to the Great American Revolution. Magic Mountain’s classic coaster turns 50 this week, having opened on May 8, 1976. As part of the anniversary festivities, the park has restored its original name of the Great American Revolution (it was recently operating as the New Revolution). The ride is known for being the first modern looping coaster with a tubular steel track, earning it landmark status from American Coaster Enthusiasts.

The best thing I ate at the parks

A scallop appetizer at Carthay Circle. Go easy on me, I’m not a food photographer.

(Todd Martens / Los Angeles Times)

No churros or treats for me this week. I hadn’t had a chance yet to check out the spring menu at the lounge at Carthay Circle, Disney California Adventure’s fine dining restaurant, so I made my way there Friday afternoon. Carthay Circle is always a welcome respite, a calming, relaxing environment where the theme park day tends to slow down.

I was after the scallops appetizer. Now, priced at $16, I knew this wouldn’t be a large portion, but I was longing for something light and breezy and this plate of six small scallops in a sea shell delivered. Drizzled with macadamia nuts, the citrus-forward dish is designed to bring out contrasts in texture. Overall, it’s a little zesty, a little nutty, and as a seafood person I’m happy an affordable, delicate dish exists at the resort. If you’re really hungry, though, you’ll need a second item.

Ride report

Space Mountain has begun its yearly, temporary overlay as Hyperspace Mountain.

(Todd Martens / Los Angeles Times)

It’s “Star Wars” season at the Disneyland Resort, which means Space Mountain has been remade into Hyperspace Mountain. Now, generally speaking, this is my rule when it comes to ride overlays: The original is almost always better. That’s the case for Space Mountain as well, as the 1977 classic still thrills, its near pitch-blackness keeping you guessing while its uplifting score seems to capture the exhilaration and optimism of space flight.

But Hyperspace Mountain has its charms. The projections of lasers and X-wings look great in the darkness, and the sudden dips and turns work well for the dogfight atmosphere. The John Williams score brings the energy, and there’s the right amount of chaos and shifts in direction to make us feel as if we’re in a “Star Wars” battle. I’m just relieved, however, it doesn’t stick around too long, as the original is such a magnificent coaster.

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.

Love Soarin’ Over California? Then I point you to this piece from former Times staffer Sammy Roth, an environmental reporter who also appreciates Disney theme parks. Here, Roth goes scene-by-scene, looking at how Soarin’ represents a snapshot in time and analyzing how its locations have been touched by climate change.

Federal Communications Commission Chairman Brendan Carr has shown an ability to make a lot of noise at the government agency known in recent years to be a little sleepy.

But his April 28 announcement that the Walt Disney Co.’s eight ABC TV stations will undergo an early review of their broadcast licenses is his loudest action yet taken on behalf of President Trump, who repeatedly threatened media outlets that he believes are critical of him.

Carr is calling for the review two years before any of the station licenses are up, citing the agency’s inquiry into Disney’s diversity, equity and inclusion policies and whether they violated federal anti-discrimination rules.

The timing of Carr’s move is raising eyebrows as it comes after First Lady Melania Trump’s call for the firing of ABC late-night host Jimmy Kimmel over his April 23 comedy bit on the White House correspondents’ dinner. A tuxedo-clad Kimmel called Melania Trump “beautiful,” saying she had “the glow of an expectant widow.”

The first lady’s remarks came after a man armed with a shotgun, handgun and several knives breached security at the Washington black-tie event on April 25. The suspect, Cole Tomas Allen of Torrance, was arrested and faces three criminal charges, including attempting to assassinate the president.

Kimmel’s gag became ammunition for right-wing commentators, who claim the left is stoking political violence.

The host said the joke was about the age difference between the 79-year-old president and his wife. Kimmel denied it was a call for violence and has continued to mock the president on his show.

Carr insisted at a Washington news conference last week that his demand for a review is not related to Kimmel’s remarks.

Although many are skeptical, Carr, who was at the April 25 dinner, told The Times there would be an action related to ABC coming soon. The conversation occurred hours before the shots were fired.

The investigation into Disney’s practices began in March 2025, part of a broader effort by the Trump administration to reverse DEI initiatives across private companies, federal agencies, universities and other organizations.

After the 2020 police killing of George Floyd in Minneapolis, which spurred the Black Lives Matter movement, companies such as Disney and NBC-owned Comcast aggressively promoted their diversity efforts.

But experts believe Carr is acting on ABC at the behest of Trump, as the chairman has often expressed support on social media whenever the president criticizes one of the broadcast TV news outlets.

“It might be the case that Disney can get some early relief by saying this should be dismissed because this is really a 1st Amendment issue,” said James Speta, a professor at the Northwestern University School of Law. “We all know what’s going on here — the administration doesn’t like the speech that’s coming out of the talent on the broadcasting airwaves.”

Disney is not commenting on Carr’s DEI investigation, but it earlier defended the record of its TV stations, which are ratings leaders in most markets. “We are confident that record demonstrates our continued qualifications as licensees under the Communications Act and the First Amendment and are prepared to show that through the appropriate legal channels,” the company said.

Here’s a primer on what to know and the challenges Disney may face.

Why are TV stations licensed by the government?

Government licensing regulates the spectrum allocated to broadcast channels, largely to prevent interference between TV signals. When renewals come up, the license holder must demonstrate that the station is serving the public interest by providing local news, program diversity and educational and informational shows for children. The procedure once occurred every three years, but deregulation efforts have extended that period to the current span of eight years.

When was the last time a TV station faced a significant license renewal challenge?

The most notable recent example was Fox Corp.’s Philadelphia station WTXF, which was up for a license renewal in October 2023. Activist groups filing the challenge said Fox was unfit to own the outlet after a judge ruled earlier that year that the company’s Fox News Channel had spread falsehoods about voter fraud in the 2020 election.

Fox paid $787 million to settle a defamation lawsuit filed by Dominion Voting Systems that alleged the cable news channel damaged the company’s reputation.

Fox News, which operates on cable and satellite and is therefore not subject to FCC control, has a different management team than the parent company’s local TV stations, which mostly cover their communities and do not typically present political commentary. The FCC rejected the renewal challenge in January 2025, noting that none of the false information on Fox News was heard on the Philadelphia station. WTXF was not cited in Dominion’s lawsuit.

Are there any other examples?

Yes. Other White House administrations have threatened to pull TV station licenses in response to negative news coverage. At the height of the Watergate scandal in the 1970s, Richard Nixon’s allies unsuccessfully attempted to challenge the TV licenses of three stations then owned by the Washington Post.

Has a company ever lost its broadcast license?

RKO General, a unit of the General Tire and Rubber Co., was the last company to lose broadcast TV station licenses in 1987, including Los Angeles outlet KHJ. The case was related to corporate malfeasance and not broadcast content on the stations.

The process to revoke the RKO licenses took seven years from the moment the FCC voted in favor of the move.

But isn’t this case different?

Yes. Although the rule Carr mentioned is legitimate, the FCC has rarely if ever acted on it, according to one veteran TV executive who was not authorized to speak publicly on the matter. If Disney or any other company was found to violate the nondiscrimination rule, they would in previous eras probably be subjected to a just a fine, not the denial of a license, which would be viewed by many as government censorship.

What happens in the event that ABC licenses are not renewed?

Nothing immediately, as the licenses are in effect through 2028 to 2032, depending on the outlet. If Disney had to sell the stations, the price would probably be depressed due to pressure to unload the properties.

But public communications attorney Andrew Jay Schwartzman told The Times last month that the bar for denying a renewal is high and any effort would be tied up in court on constitutional grounds.

“The law intentionally sets out a very steep burden for the FCC to deny a license renewal; the process takes many years, during which time the licensee continues to operate normally under ‘continuing operating authority,’” Schwartzman said.

THE sun tickles my face as I gaze across the North Sea on a bright April day. 

And I can safely say that this amazing spot on Sweden’s west coast radiates a stillness that could relax even the busiest soul. 

Varberg, a 40-minute train ride from Gothenburg, is emerging as a proper wellness spot. 

One where holidaymakers come to escape life’s rigours and experience authentic Sweden, without the modern-day malls and restaurant chains that have taken over many major cities across Europe. 

Here, old-fashioned practices and a fuss-free way of life are still very much the norm — and I couldn’t wait to try them out. 

Throwing myself straight into the action, I head to the town’s Kallbadhuset — which translates as “cold bathhouse” — perched on the sea and reminiscent of a Disney castle.  

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Plunging into the water, I brace myself for the rush of cold — and the brief dip certainly wakes me up.  

Luckily, I can follow it up with a visit to the spectacular sauna, warming my limbs while I soak up the stunning view of the town’s pier. 

Of course, cold plunges are not the only perk of being by the sea.  

Varberg and its surrounding towns in Halland County are a haven for seafood lovers. One of the best places to sample it is Spiseriet.

Translated, it means “the place to eat” — and it certainly does its name justice.

Having worked at a string of Michelin-star restaurants throughout Gothenburg, charismatic host Peter Hallden and chef Martin Anneflod decided to open their own place in the picturesque Johnssons Gard. 

Diners sit in a renovated former stable and choose from a ridiculously fresh menu of classic Swedish grub.  

My Norwegian langoustines, Peter informs me, were in the sea four hours earlier, having been collected from nearby fishing village Traslovslage.

Make sure to try the falafel, too, made from local fava beans and pesto rustled up from local nettles. It is Michelin-star quality, but with a home-cooking feel to it and without the extortionate price tag. 

If you do want to push the boat out, however, then Restaurant Ang by the Astad Vineyard is a great spot to sample Michelin-star dining.  

At just over £100pp, its eight-course tasting breakfast is less eye-watering in price than its dinner and will keep you full for hours.  

Star dishes include waffle with a side of caviar, thick hash brown with fava beans and a breakfast cheesecake. 

Attention to detail is the name of the game here and doses of morning caffeine are served with a difference. Kenyan coffee beans are soaked in local lingonberries for 18 hours before being served as what looks like juice, but tastes like a refreshingly fruity iced coffee. 

After gorging on several hearty courses, I’m properly fuelled for my hiking trip in Steninge, 45 minutes south of Varberg. This area is filled with glorious trails, although Steninge, home to the Steningedalens nature reserve, has some of the best. 

An excellent path winds along the Hallandsleden coast, enabling ramblers to take in sensational views of the sea. Or if you prefer to cycle, stretching parallel to the coastal path is bike trail Kattegattleden.  

The 240-mile route begins in Helsingborg and weaves past idyllic farm shops, guesthouses and fishing villages as well as sandy beaches. 

Along the way is Steninge Kuststation, where I stop for vegetarian Swedish meatballs, mash and local lingonberries. If you think Ikea’s meatballs are good then these will knock your socks off. 

Co-owned by Frida Fernbrant and Martina Gustafsson, the guesthouse is a perfect overnight stop for cyclists — with tastefully decorated old-fashioned rooms, sea views, homely food and an outdoor stage for live music. 

Back at my base, the Varbergs Kusthotell resort helps me properly unwind and rest my weary legs.  

The modern facility sits just 52 steps from the sea, with spa facilities open late so that guests can enjoy an after-dinner swim. 

Three outdoor pools arc around the main spa building, which houses an indoor swimming facility in addition to two luxurious hot tubs. 

As I watch steam from the heated pool rise into the still night air, I can’t help but feel totally at ease. 

Wellness breaks don’t get much better than this.

Welcome to the first edition of Mr. Todd’s Wild Ride, a weekly newsletter all about theme parks.

Theme parks, I’ve long believed, are art. Here in Southern California, they are institutions.

And here at The Times, I have been writing about theme parks for more than a decade. As a journalist but also as a fan, even attempting to analyze my own love for these spaces and why I keep going back.

My entry to theme parks were trips to Florida’s Walt Disney World. These vacations were the highlight of my youth, helping a shy, awkward kid get out of his shell and discover a safe world of play. As I’ve gotten older, I’ve come to see parks as places that reflect our popular myths back to us, allowing us to live inside them and define a role for ourselves. I still insist on riding Pirates of the Caribbean each Disneyland visit, just as my father used to. It’s the second-greatest ride at the park, after all.

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That’s not to say theme parks are perfect. They are crowded, they are expensive and increasingly they separate the haves and the have-nots. We’ll talk about some of that here, too, in addition to theme park history, theme park artistry, SoCal theme park news and how to maximize your day. Thank you for reading, and I hope you enjoy the ride.

Take on a character and quest at Universal Studios

I am standing in front of a makeshift cemetery. On the paths between gravestones are colored footprints, as if left by cartoon characters. These are the trails of a suspect. Purple imprints are what I’m seeking.

I am on the case, and the Scooby-Doo gang is here to help: Velma, Daphne, Fred, Shaggy and, of course, Scooby-Doo himself. Left in the thorny bushes of the graveyard is a clue. Once the latter is discovered, I am one step closer to solving the mystery, one that has unleashed a host of Universal’s classic movie monsters on the ol’ Europe section of the studio’s backlot.

A mash-up of Universal’s classic monsters and “Scooby-Doo!” characters is featured in a game-like experience at Fan Fest Nights.

(Christina House / Los Angeles Times)

Can I and a few hundred strangers restore order and save the day?

Universal’s Fan Fest Nights is in its second year, and after a mixed debut last spring, the after-hours, specially-ticketed event has hit its stride. The centerpiece of the fest, which runs on select nights through May 16 with tickets starting at $74, is a mash-up of “Scooby-Doo!” and Universal’s Monsters, a lengthy game-focused quest with escape room-worthy puzzles.

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The experience, as well as those focused on the worlds of “Harry Potter,” “Dungeons & Dragons” and anime sensation “One Piece,” are hefty, limited-time installations that would be worthy of including in a theme park’s daily operations, as the best of them experiment with character interactions and role play.

While exploring these pop-up worlds, I couldn’t help but think about how stagnant Disney’s own specially-ticketed events have become. Fan Fest and Universal’s Halloween Horror Nights change yearly, yet Disneyland’s popular Oogie Boogie Bash has become repetitive and its other themed nights are too reliant on photo ops and traditional character meet-and-greets.

Taken as a whole, Fan Fest resets expectations for what an after-hours, theme park event should be.

Here there are photo ops and limited-run food, sure (and I highly recommend the graham cracker-like Scooby Snack cookies), but Universal’s live theatrical team has placed the emphasis on exploratory attractions. Actors abound, allowing guests to lean in and take on an active role.

A “Harry Potter” experience at Fan Fest Nights is a walk through a fantastical forest looking for a magical creature.

(Christina House / Los Angeles Times)

In the Potter-focused “Forbidden Forest: Search for the Hippogriff,” we are amateur wizards on the prowl for a magical creature, in this case a majestic, oversized puppet. It reminded me of being a young Boy Scout and going on evening hikes into the woods with a guide regaling us with mysterious tales. In “Dungeons & Dragons: Secrets of Waterdeep,” a returning experience from last season, we are alternately adventurers and thieves.

And in the Scooby gang’s “The Case of the Phantom Director,” we are cast as extras in a film production. The Scooby Doo quest, the heart of the night, comes complete with a 14-page manual full of character bios, clues and missions. You’ll have to read, but it’s a bet that today’s guests are craving personal and interactive attractions that pull as much from immersive theater as they do classic theme parks. I applaud this sort of tinkering with the formula, even as I wonder how attendees will take to having to complete actual brain-teasers in a theme park. At least there is a payoff with a mini show (you do not need to complete the challenges to see the finale).

It took my friend and me more than an hour to solve the Scooby game, and, I confess, we didn’t complete one of the four mini-puzzles. While none of the head-scratchers individually are all that stressful, they are more complex than typical theme park fare and require guests to get out of a mindset of rushing from event to event. (Another friend of mine declared herself too “stupid” to complete the missions, but Scooby fans may simply enjoy living in the make-believe world and playing with the actors).

More of this kind of playful inventiveness, please. Magic isn’t always a fancy animatronic. Sometimes it’s just personalization.

A “One Piece”-inspired stunt show is a popular offering at Universal’s Fan Fest Nights.

(Christina House / Los Angeles Times)

The week in SoCal theme parks

• Star Wars: Galaxy’s Edge will roll out some major changes on Wednesday. Out with Kylo Ren and in with Darth Vader (and Luke, Han and Leia). I’ll have more on this next week.
• It’s your last chance to meet a Wall-E and Eve robotic figure at the Pixar Place Hotel. Wednesday is the final day currently on the schedule. This has been a popular meet and greet at the Disneyland Resort, so give yourself at least an hour, maybe more, to stand in line if it’s a priority for you.
• Looking for a Disneyland deal? If you can get there midweek, single-day, single-park tickets can be had for $104 on Wednesday and Thursday. The friendlier price is also available next week, on May 5-6.
• Universal Fan Fest Nights returns Friday through Sunday and while I clearly had a positive experience, if you’re considering going, be prepared for lines. The “Harry Potter” walk-through was a two-hour wait most of the evening. Queue up early, too, for the crowd-pleasing “One Piece” stunt show, as there were only three performances on opening night.
• Disneyland has announced a host of new food options coming to the park this week, including blueberry cobbler doughnuts at Lamplight Lounge and a Philly cheesesteak at Pym Test Kitchen.
• Facial recognition is now being used widely at Disneyland entrance gates. Disney isn’t the first theme park or major SoCal venue to utilize such technology, but Times news writer Hannah Fry spoke to guests about its implementation and delved into the ethical concerns surrounding it.

The best thing I ate at the parks

Universal Studios’ Scooby Snacks cookies are a delightful treat.

(Todd Martens / Los Angeles Times)

I mention this above, but as part of Fan Fest, Universal Studios has released a box of “Scooby Snacks.” They come in bundles of four, packaged in cute purple and green Girl Scout-inspired boxes. They are a delight, and only about $10. The honey & cinnamon dog tags also make a fine coffee accompaniment with breakfast as these are slightly oversize, graham cracker-style cookies. The only negative is you’ll need a Fan Fest ticket to snare them.

Ride report

There was recently a tweak to Universal Studios’ tram tour.

(Genaro Molina / Los Angeles Times)

The past couple weeks I’ve spent a significant amount of time at Universal Studios, partly in prep for Fan Fest and the arrival of the Fast & Furious coaster this summer, but I also wanted to take in its studio tram tour (officially designed as the World Famous Studio Tour). Aside from being a historic attraction, there was recently a change to its “King Kong” section. Namely, 3-D glasses are no longer required. As someone prone to motion sickness, this is a welcome change and I’m pleased to report it looks spiffy. Now if we could just do something about that stomach-churning “The Simpsons” ride.

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 often work remotely from theme parks — find me on my laptop at Flo’s V8 Cafe at Disney California Adventure, near the Calico Saloon at Knott’s or out in back of the Three Broomsticks at Universal Studios. But even when I’m in a normal office, I still like to write with a bit of theme park optimism. So I turn to music.

My favorite bands (Wilco, the Clash, Sleater-Kinney) will distract, so lately I’ve been seeking instrumental fare. And Disneyland Paris has just released a gem of a work soundtrack. It re-imagined its second park as Disney Adventure World, and while I’m confused as to why my editor didn’t send me to Paris to review it (nudge, nudge), I’ve been consoling myself with the “Adventure Way Symphonic Suite” from the London Symphony Orchestra and French composer Philippe Rombi. It’s calming, a bit majestic, and reminds me of early days music at Florida’s Epcot. That is, it’s music that aims to conjure wonder.

Last year, studios and Hollywood labor unions lobbied hard to ensure animated movies and shows could compete for California’s expanded film and television tax credit program.

The payoff came last week, when three animated movies were among the nearly 40 film projects that received a production incentive in the latest round of awards, the California Film Commission announced Thursday.

Walt Disney Co.-owned 20th Century Studios received $21.9 million for “The Simpsons Movie 2,” Disney Entertainment Television got $3.5 million for “Phineas and Ferb” and DreamWorks Animation was awarded $24.7 million in credit allocation for a yet-untitled animated film.

The three are the first animated feature films to receive tax credits from the state of California. (Last month, two animated shows — a spin-off of “Rick and Morty” and “Stewie,” which branches off from the “Family Guy” cartoon — also received tax credits.)

I spoke with DreamWorks Animation Chief Operating Officer Randy Lake about the award, which he called a “potential game changer” for the Glendale-based studio known for the “Shrek” and “Kung Fu Panda” franchises.

“Unlike live-action, our projects are years long,” he said. “You’re talking about not just a job for six or nine months on set. It’s literally three or four years that these projects can take. It’s long-term employment.”

Like most of Hollywood, the animation industry has suffered from the effects of the 2023 dual writers’ and actors’ strikes, as well as the retrenchment in studio spending after the initial rush to invest in content for streaming services.

And like much of U.S. film and TV work — particularly in California — the animation business has been deeply affected by the increasingly rich tax credits offered by other countries.

Over the last 15 years, countries including Canada and Ireland have slowly built up animation hubs, aided by their local talent and lucrative production incentives specific to animation and visual effects.

For instance, visual effects and computer animation unit Sony Pictures Imageworks, which Lake ran for years, relocated its Culver City headquarters to Vancouver more than a decade ago.

DreamWorks, too, has outsourced work to partner studios, particularly in Vancouver and Montreal, as costs in the U.S. have increased and studios face pressure to rein in their production expenses while theatrical box-office revenue has become less reliable.

Just three years ago, DreamWorks cut about 70 jobs across its corporate functions, feature films, TV and technology departments. In 2024, Disney-owned computer animation studio Pixar laid off about 175 employees as it pulled back on its production of streaming series.

But with the recent tax credit allocation, DreamWorks will hire about 100 people in California for its upcoming untitled film. Those jobs would probably would have been outsourced to a third-party studio, Lake said. Keeping all of the jobs on that film in California helps improve collaboration among the teams and foster more creativity, he said. Today, DreamWorks has about 1,000 employees.

To understand why the new incentives are meaningful, consider that a DreamWorks Animation movie similar to the one that received the credit will typically have a crew of about 400 to 500 people.

That film is a big feature, though Lake declined to share details since the project hasn’t been announced.

Both the Animation Guild and studios have pointed to the incentive as a way to bring back animation jobs to the Golden State.

“Studios have been chasing animation tax credits in other states and countries for years, so it’s incredibly rewarding to see them use California’s for the very first time,” Marissa Bernstel, a trustee on the union’s executive board and member of the task force that helped lobby for the expanded production incentives, said in a statement last week. “The results feel very real, and I’m excited to see what future employment opportunities the incentive inspires.”

Lake said DreamWorks hopes to take advantage of the state incentives for all of its full-budget films.

“We’ll be applying for the next window,” he said, adding that he hoped they will be successful so “we’ll be able to have more and more of our films be fully produced in state. That’s the goal.”

Stuff We Wrote

Film shoots

Number of the week

Lionsgate’s “Michael” had a massive opening weekend with just over $217 million in global box-office revenue. In the U.S. and Canada, the Michael Jackson biopic hauled in about $97 million, far surpassing studio expectations.

The film, which stars Jackson’s nephew, Jaafar Jackson, as the late singer, chronicles the pop star’s rise from his early days in the Jackson 5 through the growth of his solo career. The movie ends in 1988 while Jackson is on tour for his hit album “Bad.”

The premiere for “Michael” marks the biggest domestic opening for any biopic, musical or otherwise. The 2015 movie “Straight Outta Compton” previously held the record for highest opening weekend total for a musical biopic, with $60 million in the U.S. and Canada, followed by the Queen biopic “Bohemian Rhapsody” in 2018, which had a $51.1-million domestic opening.

Critics’ reviews of “Michael,” however, were largely negative. Many noted the plot sidesteps the child sexual abuse allegations against Jackson and said the film presents a more one-dimensional view of the singer.

An earlier cut of the film did end in 1993 and addressed the allegations, but that ending had to be scrapped due to a clause in a legal settlement with an accuser that stipulated he could never be pictured or mentioned in a dramatization of Jackson’s life. Jackson and his estate have denied that the pop star abused children.

What I’m watching

I finally finished the Hulu series “Paradise” this last week, which kept me guessing about literally everything all the way until the end. I’m interested in seeing where this genre-morphing show goes next season.

Ciara Miller and Maura Higgins will be among the stars competing for the Mirrorball Trophy.

“Summer House’s” Miller and “The Traitors” contestant Higgins — both publicly betrayed by men they trusted on their shows — are the first celebrities joining Season 35 of “Dancing With the Stars.” Disney announced the new season Wednesday during Hulu’s Get Real House event in Los Angeles.

Miller joins the cast less than a month after it was revealed that her “Summer House” castmate and ex-boyfriend, West Wilson, was dating her friend on the show, Amanda Batula. She teased her “DWTS” news with an Instagram video in which she wrote out her “Next Chapter 2026” to-do list, which included “prioritizing” herself, “taking risks” and “Dancing With the Stars.”

Higgins, who lost Season 4 of “The Traitors” in the finale after being blindsided by her friend and co-star Rob Rausch, rose to prominence on “Love Island” in 2019. Higgins shared her excitement in a video on Instagram, saying, “Please pray for me.”

“Get me on that dance floor. I want to win the trophy,” Higgins said. “I’ve manifested this.”

Higgins told reporters at the Get Real House event that Mark Ballas is her dream partner.

The announcement comes after a landmark season of “DWTS,” which saw a record-breaking number of fan votes. In November, The Times spoke with “DWTS” showrunner Conrad Green, who attributed the ratings spike to reviving “communal viewing experiences.”

“It’s been largely a question of keeping our existing audience and then finding a new audience of 18- to 30-year-olds. That’s partly fed by social media. It’s partly fed by a desire to have communal TV viewing experiences,” Green said. “That was something everyone had with ‘American Idol’ and ‘Dancing With the Stars’ 20 years ago, but TV doesn’t lend itself to that so much anymore.”

During the event, Disney also announced a new spinoff series, “Dancing With the Stars: The Next Pro.” “DWTS” Season 34 winner Robert Irwin will host the show. According to the synopsis, it “features 12 exceptional up-and-coming dancers who move into one house and compete in a grueling audition process, all vying for a coveted spot as a pro dancer on Season 35 of ‘Dancing with the Stars.’”

“DWTS” pro and three-time Mirrorball champion Ballas will host the show alongside his mother, former ballroom dancer Shirley Ballas. The series will premiere July 13 on ABC.

The Handmaid’s Tale sequel has more layers than Disney Plus viewers might expect.

The Testaments fans have probably missed the sinister meaning behind the Aunts’ names.

Disney Plus is finally streaming The Handmaid’s Tale sequel, with five episodes already available to binge watch. It follows a fresh generation of women living under the oppressive rule of Gilead.

We focus on the story of Agnes (played by Chase Infiniti), the biological daughter of Handmaid’s Tale main character June Osborne (Elisabeth Moss). She grows up in Gilead completely content with the brutal system, but her life is turned upside down when new resident Daisy (Lucy Halliday) joins Aunt Lydia’s (Ann Dowd) school for wives.

Although she seems like just another student, Daisy is secretly a spy working with June and Mayday agents to overthrow Gilead.

Viewers have also been introduced to the Aunts responsible for educating the young women. But what’s the story behind their unusual names?

How do Aunts in The Testaments get their names?

The Aunts in The Testaments are named after commercial products that were popular among women in the pre-Gilead era.

It’s revealed in Margaret Atwood’s novels that the founding commanders introduced this tradition in an attempt to ease the transition into Gilead.

Each Aunt picks their name from a list of product names that are “familiar and reassuring” to them. These include the “names of cosmetic lines, cake mixes, frozen desserts, and even medicinal remedies”.

This is why the Aunts have unique names such as Aunt Estee (Eva Foote), seemingly named after Estee Lauder, or Aunt Gabbana (Zarrin Darnell-Martin), derived from Dolce and Gabbana.

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*Warning: Mild spoilers for The Testaments novel.*

But these brand names only hold meaning to the older generations living in Gilead. In The Testaments novel, main character Becka (Mattea Conforti) becomes an Aunt. She later learns about the “approved list” of names she can choose from for her new role.

Atwood writes: “Becka said the names were made from the names of products women had liked once and would be reassured by, but she herself did not know what those products were. Nobody our age knew, she said.”

Since Becka and Agnes have been raised in Gilead, they don’t have the same connection to the gender-specific brand names.

The Testaments is streaming now on Disney+

Walt Disney World has just launched two offers that could help families save money on a dream holiday to the Florida theme parks – and it’s valid for school holidays too

Walt Disney World is a bucket list destination for most families, but visiting the Florida theme parks isn’t necessarily easy to do on a budget.

However, Mickey Mouse’s US home has just launched a deal that could help families save money on their meals – and you could currently save up to £400 off a booking too.

That’s because the resort’s Free Disney Dining and Drinks deal is back for holidays in 2027 – including some school holiday dates – with plans that include free table service dining plans or quick service plans, and one drink per meal (alcoholic or non-alcoholic, depending on the plan you go for). The offer is valid for a minimum of five nights’ consecutive stays if you’re booking a Walt Disney World hotel along with a park ticket package.

You can already book on disneypackages.co.uk, with the deal running until November 4, 2026. However, if you book by July 2, 2026, then you could also bag a discount of up to £400 per booking.

OPINION

Don’t be disheartened if it’s not quite the right deal for you, or you can’t commit before July 2. For a start, if you book after July 2, you’ll still be able to save up to £200 per booking. Meanwhile, there are plenty of tempting deals and offers throughout the year with the Walt Disney Travel Company, including the Free Dining and Drinks offers. If you’re after ticket offers, the likes of Floridatix and AttractionTix can also be good sources, especially if you’re thinking of combining your Disney trip with other Orlando attractions, or even some of the Universal theme parks.

If Florida still feels a little too far to travel just yet and you want some of that Disney magic just a little closer to home, then you may want to consider a cruise, as the Disney Wish cruise ship will be sailing from the UK next summer (we got a sneak peek at what you can expect onboard earlier this year).

Meanwhile, there’s a brand new World of Frozen that’s opened at Disneyland Paris complete with a new Frozen Ever After attraction that’s nearly identical to one in Walt Disney World’s Epcot theme park.

What’s new at Walt Disney World for 2026?

• Animal Kingdom theme park: Bluey and Bingo will be at the Conservation Station from May 26, with photo opps and games.
• Magic Kingdom: Buzz Lightyear’s Space Ranger Spin is back after refurbishment, with new interactive targets, lights and sound effects. Meanwhile, Big Thunder Mountain Railroad will reopen on May 3.
• Disney’s Hollywood Studios: From May 22, Star Wars fans can join The Mandalorian and Grogu on a new Millenium Falcon: Smugglers Run mission. From May 26, the former Rock ‘n’ Roller Coaster will open with its new Muppets theme.

Have you got a holiday question you want answering? Email us at webtravel@reachplc.com

Amid the bustle and glitz of last week’s CinemaCon in Las Vegas, one question loomed over the annual trade convention — how will the proposed Paramount Skydance-Warner Bros. Discovery deal affect the movie theater business?

That anxiety showed up in a state of the industry speech from Cinema United trade group President Michael O’Leary, who reiterated his organization’s opposition to further industry consolidation.

It showed up in a trailer for Amazon MGM Studios’ upcoming film “Spaceballs: The New One,” when a voiceover poked fun at Hollywood studios “merging willy-nilly” as images of the Paramount sign and Warner Bros. water tower flashed across the screen.

And the subject again took center stage — literally — when Paramount Chief Executive David Ellison himself gave a speech during his studio’s presentation at Caesars Palace. He sought to reassure the assembled movie theater operators and exhibition executives that the combined company would indeed release a minimum of 30 films a year.

“I wanted to look every single one of you in the eye and give you my word,” he said during an onstage speech, in which he also committed to a 45-day theatrical window and 90-day period before films go to streaming services. “People can speculate all they want, but I am standing here today telling you personally that you can count on our complete commitment. And we’ll show you we mean it.”

It’s true that Paramount has nearly doubled its theatrical releases since Ellison took over. As he noted in his speech, the storied studio is now planning 15 films this year, up from eight in 2025.

But as I’ve written previously, theater owners and other studio executives question how releasing 30 movies a year across the combined Paramount-Warner Bros. would work — not only in terms of giving each film the proper marketing campaign to succeed in theaters but also because of the massive cost cuts that will inevitably occur once the merger is final.

Still, Ellison’s commitment to 30 films a year got a round of enthusiastic applause — and at least one high-profile boost.

A day earlier, AMC Entertainment Holdings Inc. Chief Executive Adam Aron told me in an interview that he backed Ellison’s takeover of Warner, saying he and AMC believed in the tech scion’s talent as a filmmaker and a movie executive, as well as his pledge to release those 30 films a year.

“We’re enthusiastic that David will fulfill his promises,” Aron said. “And that in the end, this will prove to be a good thing for our company and our industry.”

Not everyone shares that enthusiasm.

More than 4,000 people have now signed an open letter opposing the Paramount-Warner deal, arguing that consolidating two studios will lessen consumer choice and job opportunities for creatives, particularly at a time when Hollywood is already struggling. (Notable signatories include “Dune” director Denis Villeneuve, actors Glenn Close and Emma Thompson, as well as director and producer JJ Abrams.)

O’Leary of Cinema United similarly wasn’t convinced.

“While recent pledges attempt to address the threats of consolidation to our industry, they are not yet sufficient in addressing our concerns,” he said in a statement released hours after Ellison’s speech. “We remain open to tangible commitments that will ensure a vibrant global theatrical exhibition industry for years to come.”

Elsewhere at CinemaCon, the mood was upbeat.

Warner Bros. film chiefs Mike De Luca and Pam Abdy struck a triumphant tone after an award-winning year for the studio, capped off by the best picture win for “One Battle After Another.”

They unveiled footage from new films like the upcoming “Digger” from director Alejandro G. Iñárritu and brought out lead actor Tom Cruise to a sustained standing ovation from the audience. And both De Luca and Abdy espoused optimism for the future of the theatrical business. The studio plans to release 14 films this year and as many as 18 for 2027.

“The film business has always required smart betting, and we have 4 billion reasons from last year to think we’re holding the right cards,” De Luca said during the presentation, referring to the studio’s worldwide box office revenue last year.

“We all know they’re not all going to work. That comes with taking swings,” Abdy said of the studios’ films. “There’s no version of this business that’s risk-free. But our job is to step up, make our bets and own it when it doesn’t work.”

But the end of the presentation felt more somber, with the executives asking the heads of Warner Bros.’ labels to come to the stage and be recognized. Shortly after, they asked Warner Bros. employees in the audience to stand for applause. It was hard to escape the feeling that this may be the end of an era.

Stuff We Wrote

Film shoots

Number of the week

1,000

Last week, Walt Disney Co. began a sweeping round of layoffs that’s expected to cull 1,000 jobs across multiple divisions.

As my colleague Meg James reported, the cuts hit Disney’s television and movie studios, sports giant ESPN, its product and technology unit, corporate functions and marketing. Even Marvel Studios’ visual development team was affected.

The layoffs are one of the first major moves under new Disney Chief Executive Josh D’Amaro, who took the reins of the company last month. In a message to employees, he said the company needed to “constantly assess how to foster a more agile and technologically-enabled workforce to meet tomorrow’s needs.”

What I’m watching

Some friends and I watched “Fukushima: A Nuclear Nightmare” this past weekend, a truly eye-opening documentary that explains what happened during the March 11, 2011, nuclear accident and whether the world has learned anything from it.