disney

AS A kid, we all dream of going to Disney World, but what if I told you, you could actually live there?

Well, you can in Disney-themed houses littered with subtle details from hidden Mickeys to Beauty and the Beast character door knobs.

Mum and content creator, Cristie Anne, and her family bought a house in Golden Oak at Disney World Florida back in 2020 – the exclusive community that is directly on Disney property.

In fact, it is so exclusive that only residents are allowed into the community where there are 300 homes, as well as a clubhouse, a pool, a coffee bar and a fitness suite.

Cristie Anne of The Traveling Red, said: “Living at Disney World is a little surreal, even after all these years.

“[We’re] surrounded by Disney magic, yet it’s super quiet and peaceful. The homes are beautiful and there’s a great sense of community.

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“We always have neighbourhood events and we have met some of the nicest people there.”

Cristie Anne added: “At the time, Charlie [her daughter] was just two-years-old, so the idea of having a place where our family could spend time together while being so close to Disney felt absolutely perfect.”

And with Mickey Mouse himself as your neighbour, there are obviously some big perks including being just minutes away from both the Epcot and Magic Kingdom parks.

Instead of battling for a car parking space, residents simply make a call to be picked up and then they’ll be dropped directly at the park.

Cristie Anne said: “A Golden Oak van will take us directly to the parks and drop us right at the front entrance. They’ll actually take us anywhere on Disney property.

“Being able to decide at breakfast that you want to spend the afternoon in a Disney park and be there just minutes later is something I never take for granted.”

In addition to a concierge team and a full calendar of events, the community also gets front row seats to the theme park’s daily fireworks, without even leaving their homes.

“Our third-floor reading room has the most perfect view of the Magic Kingdom fireworks.

“We can hear them a little from inside, but from up there the view is incredible,” she said.

Every house in the community is unique, with Cristie Anne’s home being inspired by Belle’s cottage from Beauty and the Beast on the outside.

On the inside, you can expect a Winnie the Pooh room as well as a bedroom with Bambi-inspired bunk beds, complete with a Mickey seared into the wood.

There’s even a ‘Haunted Mansion’ in one of their walk-in cupboards.

She added: “Some of the themed rooms inside our neighbours’ homes are absolutely incredible and would completely blow you away.”

When asked about the mistakes tourists make when visiting Disney World, Cristie Anne simply replied: “Trying to do too much.”

She added: “People spend months planning and then arrive with a schedule so packed that they’re stressed before they even walk through the gates.”

Instead of checking rides off a list, Cristie Anne recommends slowing down, watching the parade, exploring a resort and hunting for a great meal.

Or she simply lets her daughter lead the day, instead.

“You’ll enjoy Disney much more if you leave room for spontaneity, and if you’re well rested,” she added.

And of all the spots to enjoy, Cristie Anne of course has some hidden gems up her sleeve, confessing that many people don’t leave the parks but should.

She revealed: “Disney’s resorts are attractions in their own right. The lobbies, restaurants, seasonal decorations, and activities create an entirely different side of Disney that most tourists never experience.

“If I had to pick one specific experience, I’d recommend visiting Animal Kingdom in the evening.

“Many guests leave early, but Pandora at night is one of the most beautiful places anywhere on Disney property and feels completely different after dark.

“It’s more romantic and there’s great restaurants. If we just want something quick and simple, we love Nomad Lounge. If we want a full meal, Tiffin’s is fantastic. Animal Kingdom in the evening could be a great date night without all the chaos.”

By the end of this summer, Charlie will have visited 21 countries (a number Cristie Anne admits would be even higher if it wasn’t for the Covid-19 pandemic).

And for those wanting to travel with their kids more, the mum recommends “just doing it”.

She said: “The first few trips may feel overwhelming, but every trip gets easier.

“At nine-years-old, Charlie’s incredibly comfortable navigating airports, long flights, different cultures, and unfamiliar places. She gets excited about trying new foods, meeting new people, and exploring new destinations.

“I truly believe that’s because she grew up doing it. Travel isn’t something intimidating or stressful to her… It’s something she loves.”

She added that travelling with a child allows you to slow down, stay in a place for longer and really experience it – rather than parenthood stopping you from travelling, it just changes the way you travel.

Cristie Anne revealed: “We leave room for pool days, playground stops, long dinners, and spontaneous adventures. Ironically, slowing down has allowed us to enjoy our travels so much more.

“The temporary challenges of traveling with a toddler are far outweighed by the memories you create and the confidence, adaptability, and curiosity that travel helps build in them.”

TV station ownership groups may finally get their wish to own more outlets.

Federal Communications Commission Chairman Brendan Carr announced Wednesday that the agency will vote next month to end the rule that allows companies to own no more than two TV stations in a single market. The cap also limits the national coverage of any station owner to 39% limit of the U.S.

Carr said the agency will consider a “case by case” review on station merger and acquisition deals that would result in exceeding the current limits. The commission, which has two Republicans and one Democrat, will vote on Aug. 6.

“Previously, the cap operated as a blanket prohibition on any and all deals that would combine stations in [excess] of the 39% limit — regardless of whether it was a good deal or bad deal for the country,” Carr wrote on the right-wing website Breitbart. “Our new proposal would allow the FCC to approve deals that exceed the 39% cap, but only if doing so would promote the public interest.”

TV station owners and its lobbying group the National Assn. of Broadcasters have been clamoring for a change in the rule, citing the changes in technology that have occurred since the ownership limit. The 39% threshold was set in 2004 when streaming video was still a nascent business.

The station groups say the ability of tech companies such as Google and Netflix to reach every consumer in the U.S. puts them at a disadvantage. At the same time, streaming now accounts for more than 40% of all viewing, according to Nielsen, pulling consumers away from traditional TV. TV stations are also seeing their share of carriage fees from cable and satellite companies shrink due to cord-cutting.

The station groups also argue that declining viewership and revenue make it more challenging to support multiple local TV.news operations in a single market.

But proposed changes to the cap limits have been met with push back from consumer groups and state government officials. They have said station consolidation will result in journalist layoffs and fewer voices for the communities they serve.

Earlier this year, a group of attorneys general filed suit to block Nexstar Media Group’s proposed $6.2-billion acquisition of Tegna, arguing it violates a 112-year-old U.S. antitrust law by knocking out a major competitor. The deal would give Irving, Texas-based Nexstar control of 265 television stations across the country, up from 164. And, in dozens of markets, including San Diego and Sacramento, Nexstar would own multiple TV network affiliates.

U.S. District Court Chief Judge Troy L. Nunley issued a preliminary injunction in April that forbids Nexstar — which owns KTLA-TV Channel 5 in Los Angeles — and Tegna, from combining operations. Nexstar is appealing.

Carr’s proposal would largely put the FCC in charge of picking winners and losers on a case-by-case basis.

When faced with a merger proposal, Carr said the commission would consider such issues as commitment to local journalism and “viewpoint diversity.”

Carr has made his name by threatening to pull the over-the-air broadcast licenses of TV stations that irritate President Trump with their coverage and commentary.

In April, the FCC called for an early review of the licenses for Disney’s eight broadcast TV stations, a day after Trump demanded that ABC fire late-night host Jimmy Kimmel over a joke about First Lady Melania Trump.

Carr also questioned whether ABC’s daytime show “The View,” where negative Trump commentary is rampant, should qualify as a bona fide news program that is exempt from giving equal time to qualified candidates.

Carr’s Breitbart column also reiterated his view that large media companies such as Disney and NBCUniversal parent Comcast hold too much sway over their affiliates.

“New York and Hollywood interests have steamrolled those local TV stations and the broader media market in recent years in ways that run directly counter to the regulatory framework that Congress and the FCC put in place,” he wrote. “Their national programs naturally reflect the values of the New York and Hollywood executives that produce them. This power imbalance has contributed to a steady decline in locally produced news — and with it, a weakening of the public’s trust in the media.”

How owning more stations would give groups leverage in their dealings with networks is unclear. The networks control the rights to the NFL — the No. 1 TV ratings attraction for broadcast television by a mile. Stations pay the networks compensation for those games, which they use when negotiating the carriage fees they receive from cable and satellite companies.

Times staff writer Meg James contributed to this report.

Arrive early — or stay late — for low wait times.

Be wary of rushing straight to the most popular attractions at the park, as many others will have that identical strategy.

If you don’t mind being split up, take advantage of the single rider line, especially on a showcase attraction such as Radiator Springs Racers.

Every Disneyland regular has tips, time-saving, stress-reducing ideas to enhance your day at the park.

So when I had the opportunity to talk to Chris Mortensen, one of the Disneyland Resort’s longest-tenured vacation planners, I wanted to know his.

Mortensen recently celebrated his 40th year with the company, and has spent more than 20 of them in his current role as director of West Coast Travel Operations. That means a significant part of his job is talking on the phone with those who want advice on how to plan their Disneyland days.

He comes from a Disney family. His wife has spent about 30 years with the resort, and one of their children is also a cast member. If anyone should know how to plan a special day at Disneyland, it’s Mortensen.

One of his key pieces of advice: Decide what’s most important to you as a guest. “Is it a thrill ride? Is it entertainment? Is it food?” Mortensen asks. “One of the things that I like to tell people is that you’re going to have a really busy day, but take time for yourself.”

Here are some of Mortensen’s other favorite park tips. We steered the conversation to Southern California locals, and those who may want a little glimpse of what makes Disneyland so special.

Get around the park by train

Here’s one hint, off the bat, that Mortensen says he gives most everyone: “Use the Disneyland Railroad as a form of transportation. Yes, it’s a great little attraction. Seeing the dinosaurs is one of my favorites. But it’s also a great way to get from one place to another. If you’re on Main Street and don’t want to walk all the way back to see ‘Bluey,’ jump on the railway. It’s a great way to get a little rest, and experience the park.”

Decompress at Disneyland’s most tranquil spot

Disneyland’s Snow White Grotto is a tranquil spot overlooked by many guests.

(Todd Martens / Los Angeles Times)

Mortensen notes that it’s impossible to see all Disneyland has to offer in a single day, but rather than stressing about rushing from attraction to attraction, prioritize those that are important to you, and then take a breather at some overlooked park elements, especially those that add to its beauty and tranquility. I couldn’t agree more, and was pleased when Mortensen singled out one of my favorite places in the park: the Snow White Grotto, which is on a path on the eastern side of Sleeping Beauty Castle.

Sculpted by Leonida Parma from Carrara marble, the initial figures have, according to Disney’s fan club D23, been since replaced by fiberglass ones built from the original molds. The eight figures are still a sight, and Disney legendary designer John Hench constructed the fountain that holds them in 1960. The character figures, in the midst of a collection of jutting rocks and log bridges surrounding a peaceful waterfall, are all the same height, so Hench used forced perspective illusions to make it seem like Snow White was towering over the dwarf sculpts.

“The Snow White wishing well — you won’t find that anywhere [else],” Mortensen says. “Bring a quarter and toss it in, experience that.”

Take time for the Sleeping Beauty Castle Walkthrough, a lesser-known attraction

Don’t sleep on the Sleeping Beauty Castle Walkthrough at Disneyland.

(Todd Martens / Los Angeles Times)

“People don’t know about it,” Mortensen says of the self-guided mini-tour that tells the tale of Princess Aurora.

Indeed, I had the Sleeping Beauty Castle Walkthrough to myself one late Sunday morning. The attraction, best experienced with patience in mind, is largely inspired by the artwork of Eyvind Earle. Earle’s approach, after all, is designed to transport us, to place us in lush, fairy-tale-like environments that contain an ever-so-slightly foreboding atmosphere.

Think of this as a mini-art gallery where illuminated dioramas spring to life and transform before us. The walk-through was updated with new effects and artwork in 2008 but dates to 1957.

It’s Disneyland. Order the iconic turkey leg.

Mortensen and I clearly have different palates. If I’m recommending a must-try Disney snack, it’s not the churro. It’s the corn dog. Mortensen, however, is voting for the turkey leg. A brave choice, I believe, as it’s a hefty item and, well, a lot of tough meat. Mortensen, however, made his case.

“It’s unique,” he says. “Yes, you can get a churro, but where else can you walk around and just literally bite out of a turkey leg? It’s about trying to create memories. Every time we have conversations with someone, it’s about, ‘What’s going to make a memory for you?’ You’re always going to remember walking around Disneyland as a 5- or 6-year-old little boy or girl with a turkey leg.”

Turn It’s a Small World into a scavenger hunt

Cinderella is one of the many Disney characters that was added to It’s a Small World in the late 2000s.

(Todd Martens / Los Angeles Times)

Mortensen had my attention when he declared It’s a Small World a must-do attraction at the park. After all, the Mary Blair-styled boat excursion is my favorite Disneyland ride.

Mortensen highlights a once controversial but now beloved late 2000s renovation that added more than two dozen Disney and Pixar characters to the attraction. When riding It’s a Small World, he says, try to spot as many as possible. Disneyland even recently placed Miguel from “Coco” in the ride. Focusing on the scavenger hunt, says Mortensen, helps turn a familiar attraction into one that feels fresh.

“There’s more to it than just riding the attraction,” he says.

Spot details in the windows of Main Street

Enjoying a horse-drawn trip around Main Street, U.S.A., is a relaxing start to a Disneyland day.

(Todd Martens / Los Angeles Times)

Disneyland’s introductory land is a joy. Often, I start my day with a ride on one of Disneyland’s horse-drawn carriages, which venture from the foot of Main Street, U.S.A., to the Sleeping Beauty Castle and back. It’s a relaxing way to settle into the theme park and take a look at the exquisite designs of the Main Street buildings, which many guests rush past on their way to one of the park’s many rides.

Mortensen wanted to call specific attention to Main Street’s windows, which celebrate those who were integral to the development of the park. Many are nods to famed Disneyland designers. Most recently, the park awarded a window to the just-retired Kim Irvine and her mother, Leota Toombs. Irvine and Toombs were longtime creatives with Walt Disney Imagineering vital to the development of the park.

“I love to point out the windows on Main Street,” Mortensen says. “If you and I were walking in, that’s what I would do. I’d grab a box of popcorn, and just point out two or three of the names. Some people you may recognize. Some people you may not.”

And I certainly won’t argue with popcorn for breakfast.

This week in SoCal theme parks

Disney legend Don Iwerks died last week at 96.

(Lori Shepler / Los Angeles Times)

• A legend was lost. Don Iwerks, whose inventiveness helped transform Disney’s theme parks, died July 9 at the age of 96, reported the Walt Disney Co. For Disney and his own studio, Iwerks Entertainment, Iwerks helped develop technologies and techniques like Circle-Vision, the 360-degree camera behind “America the Beautiful” and other early Disney attractions, and the 3D effects used in attractions like Captain EO and Star Tours. He also had major contributions to the world of cinema, instrumental, particularly, in the effects sequences of “Mary Poppins.” Read more about Iwerks in The Times’ obituary by Corinne Purtill.
• Fiesta Village is no more. The Inland Empire amusement park, which stood for more than 50 years, closed for good last weekend. A center for mini golf, roller skating and go-karting, Fiesta Village announced the closure last week, citing rising operation costs and declining attendance.
• Montezooma’s Revenge is back. The reimagined coaster, now known as Montezooma: The Forbidden Fortress, is set to return to Knott’s Berry Farm on Monday. Shuttered for the last four years, the ride has essentially been rebuilt, now featuring enhanced Aztec theming, new trains and a modern launch system. Look for a report on the remade coaster next week.
• It’s almost Halloween season. Disneyland in mid-August will launch its Oogie Boogie Bash, Universal will follow in early September with Halloween Horror Nights and Knott’s Berry Farm isn’t far behind with its Knott’s Scary Farm. The latter is the longest-running Halloween event in the Southland, and defined the maze-focused haunt formula. Tickets are now on sale for all three happenings.
• Happy 71st anniversary, Disneyland! On Friday, Disneyland will turn 71. While the occasion won’t be as grand as the 70th anniversary, which has been celebrated for the past year and will essentially continue up until the start of the park’s Halloween activities, the Anaheim theme park typically recognizes the birthday with some light festivities for guests. Think, perhaps, a character cavalcade or some specialty treats.

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.

The initial news for those who purchased Disneyland’s specially priced $59 nighttime ticket is good. While now sold-out, Disneyland launched the promotional evenings this past Sunday, and the park didn’t appear flooded with twilight guests. Attendance was continuing a summer trend of being relatively light, and though wait times increased in the evening, nothing was headache-inducing.

At times, even showcase attraction Star Wars: Rise of the Resistance stood at about 40 minutes, with Space Mountain often showing a similar wait time. Most rides, however, were even more approachable, topping off at around 25 minutes throughout the night. Since the evening ticket only gives guests a taste of Disneyland — five hours worth — it’s a positive sign that the event’s opening night kept things manageable, providing those who bought in at a budget price a prime experience.

Don Iwerks, an Academy Award-winning special effects pioneer whose innovations transformed film and Disney theme parks, died peacefully Thursday at the age of 96, the Walt Disney Co. announced.

For Disney and his own studio, Iwerks Entertainment, Iwerks helped develop technologies and techniques like Circle-Vision, the 360-degree camera behind “America the Beautiful” and other early Disney attractions, and the 3-D effects used in attractions like Captain EO and the Star Tours ride.

“There was a ‘can-do’ attitude I learned from Walt and my father,” Iwerks said, according to a statement shared by the Disney Co. “Walt gave everyone a feeling that they were creating things that others had never thought of before, of being a part of history.”

Born July 24, 1929, Iwerks received his first camera at age 14 as a gift from his father, animator Ub Iwerks.

The elder Iwerks met fellow artist Walt Disney when both men were teenagers working at a Kansas City, Mo., art studio. They would go on to work together at the Disney Brothers Cartoon Studio, where Iwerks designed and animated “Plane Crazy,” the first Mickey Mouse cartoon.

After a stint at his own animation studio, Ub returned to Disney as a special effects engineer, pioneering techniques like the 360-degree motion-picture camera.

“He was absolutely my inspiration because he was technically minded. He made my childhood and formative years one of the greatest times of my life,” Don Iwerks told The Times in 1998.

The Iwerks family moved to the San Fernando Valley in 1936, where Don graduated from Van Nuys High School in 1947.

He served as a photographer in Germany during the Korean War and joined his father at Disney following his 1952 discharge from the U.S. Army. An allergic reaction to chemicals used to develop film led to his transfer to the company’s Studio Machine Shop, where he spent the next 34 years.

Don spent three months in the Bahamas manning underwater cameras for the 1954 Disney film “20,000 Leagues Under the Sea.” He then worked as the camera technician on “A Tour of the West,” an original Tomorrowland attraction at the soon-to-be opened Disneyland. The immersive 360-degree film was shot on the Circarama camera system his father invented.

Together, Don and Ub developed technologies like the “endless loop” system that enabled a single film print to run for up to 10,000 performances with minimal intervention and refinements to the photography processes used in “Mary Poppins” (his favorite of the Disney films) and other movies.

His own hands were used as the model for those of the Abraham Lincoln Audio-Animatronics figure in “Great Moments with Mr. Lincoln,” which opened at Disneyland in 1965. The “Iwerks Hands” now appear on similar figures at Disney parks around the world, according to his family.

In 1986, he co-founded Iwerks Entertainment, which soon became a major player in the film and theme park industries. The company specialized in large-format films and created the 3-D projection system used in the Terminator rides at Universal Studios parks in Hollywood and Florida.

His innovations were honored with the Academy of Motion Picture Arts and Sciences’ honorary Gordon E. Sawyer Award and an Academy Scientific and Technical Award, among other prizes.

“It’s very obvious that computers are playing a big role in motion pictures today. The digital technology in film is able to put elements of scenes together on a film and have them look lifelike. It’s hard to know where that will go,” Iwerks said in a 1998 interview.

“My view is that technology should support a good story and add to it. Technology for technology’s sake?” he said with a shrug. “You still need good films.”

Iwerks is survived by his wife of 54 years, Betty; his sons, Larry and John; John’s wife, Chris; his daughter Leslie, and great-nephew,Mike, both of whom have also worked for Disney, according to an obituary shared by his family. His daughter Tamara preceded him in death.

“Like his father, he was a humble genius, a consummate problem solver, and delighted in sharing knowledge, encouraging others, and approaching every challenge with confidence and grace,” his family said in the statement from Conejo Mountain Funeral Home in Ventura.

Both Don and Ub Iwerks are commemorated in a storefront window on Main Street U.S.A. in Disney World’s Magic Kingdom. Located above the Main Street Bakery, the window is a lasting tribute to a family who made some of the park’s magic possible.

“Iwerks-Iwerks Stereoscopic Cameras,” the lettering reads. “No Two Exactly Alike.”

Walt Disney Co.’s “Moana” lost its way at the box office this weekend as the company’s latest live-action remake opened to a sluggish $43 million in the U.S. and Canada.

The domestic haul for “Moana” underperformed studio expectations, which ranged from $60 million to $65 million. Globally, the film brought in a total of $95 million on a production budget of about $250 million.

Despite its lackluster debut, the film still came in first at the box office during a weekend where it had few new competitors in the family film space.

The “Moana” franchise has been a box-office and streaming juggernaut. The original 2016 animated movie brought in more than $643 million worldwide and is the most-watched movie on Disney+, while a 2024 sequel grossed more than $1 billion at the global box office. On the merchandise side, more than 22 million “Moana”-themed toys have been sold. “Moana” also appears in the Disney theme parks.

But the theatrical reception for the live-action film may signal that audiences think there’s been too much “Moana” in just 10 years. (The 2024 film sequel was originally set to be a streaming series before it was moved to Disney’s theatrical calendar.)

Most of Disney’s previous live-action remakes have come decades after the original animated movie, such as 2025’s “Lilo & Stitch,” which arrived 23 years after its animated predecessor and grossed more than $1 billion in worldwide box office receipts.

The theatrical haul for the latest “Moana” may also have suffered from poor reviews — the film got a 34% on aggregator Rotten Tomatoes, with several critics highlighting its nearly frame-by-frame similarity to the original film. The audience score on Rotten Tomatoes, however, was 90%.

Still, as the last of this summer’s major animated films, “Moana” could see a longer tail in theaters, particularly with many children still on break from school. Disney’s live-action “Mufasa: The Lion King” opened in 2024 to a middling $35 million, but ended up grossing more than $722 million globally through the holiday season.

Universal Pictures and Illumination’s “Minions & Monsters” came in second at the domestic box office this weekend with $20.5 million. Disney and Pixar’s “Toy Story 5” continued its strong run with an $18.5-million haul, enough for third place and contributing to a total global gross of $879.1 million.

Warner Bros.’ “Evil Dead Burn” ($13.7 million) and Angel Studios’ “Young Washington” ($6.4 million) rounded out the top five.

Also notable this weekend: Lionsgate’s musical biopic “Michael” crossed $1 billion in worldwide box office revenue, the first time that the studio has reached that milestone and the second film this year after “The Super Mario Galaxy Movie” to hit that mark.

Walt Disney Co.’s ABC network has stepped up its defense of “The View” amid its battle with Federal Communications Commission Chairman Brendan Carr, who has targeted the network’s programming and its hiring policies.

At issue is whether “The View” still qualifies for an exception to FCC rules that require broadcasters to provide equal air time for opponents of various political candidates.

Carr has called the daytime talk show “overtly political.”

Late Monday, ABC filed documents with the FCC to support its request for a declaratory ruling that “The View” is indeed a bona fide news interview program entitled to the equal-time rule exemption that covers newscasts, political debates and documentaries.

The show was granted the exception in 2002.

“Today, the program in the Commission’s sights is The View,” ABC said in this week’s filing. “The principle in the balance is far larger: whether a federal regulator may override a broadcaster’s editorial judgment about whom to interview — a judgment the Constitution commits to broadcasters and their audiences, not to the state.”

Since the FCC opened its inquiry in late May, the agency has received more than 77,000 public comments — most in support of the long-running daytime talk show.

“While ABC insists that ‘The View’ is a ‘bona fide news program’ under the law, ABC should focus on complying with its public interest obligations, rather than misleading the public about them,” an FCC spokesperson said in a statement sent to The Times.

Separately, the FCC also 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 Disney network’s speech — came a day after President Trump demanded that ABC fire its late-night host Jimmy Kimmel over a joke about First Lady Melania Trump.

Losing the licenses for its stations, including KABC-TV Channel 7 in Los Angeles, would be a significant blow to the Disney-owned network.

Some conservatives, including Sen. Ted Cruz (R-Texas) have suggested the FCC actions are an overreach while others have encouraged the agency to come down hard on Disney.

“The Commission can take this opportunity to address multiple pending complaints against ABC related to its programming,” conservative lawyer Daniel Suhr, head of the Center for American Rights, wrote in his 65-page petition in support of revoking Disney’s licenses.

“The View,” which features Trump critics Whoopi Goldberg, Sunny Hostin, Joy Behar and Ana Navarro, helps make a case that Disney is running a partisan network, Suhr alleged in his documents.

“Democrats are featured on The View at an insanely high ratio compared to Republicans,” Suhr wrote, noting that at least a third of the show’s 348 guests in 2025 were liberals — including Sens. Bernie Sanders (I-Vt), Elizabeth Warren (D-Mass) and Cory Booker (D-N.J.). Meanwhile, two prominent conservatives, former Georgia Republican Rep. Marjorie Taylor Greene and actor Cheryl Hines, the wife of Health and Human Services Secretary Robert F. Kennedy, Jr., were featured last year.

Since Carr opened the review, the ABC show has avoided conversations with political candidates in competitive races leading up to this year’s pivotal midterm elections.

The show has continued its tradition of hosting politicians, though, including a highly rated interview last month with a Carr ally — Vice President JD Vance.

ABC has asked the FCC for a declaratory ruling on the status of “The View.” The network maintains that “The View” books politicians based on newsworthiness and not partisanship.

The network has run on-air spots urging its viewers to support the program by filing comments with the FCC.

“Big fan of the show. Hope my vote counts,” wrote one viewer, Wilson Vélez, in a comment filed with the FCC on Monday.

Another viewer, Patricia Pomeroy, wrote: “Freedom of speech, Freedom of speech, Freedom of speech.”

ABC’s filing noted that the program has kept the same format and focus on topical news events since its inception.

“What has changed is not the program but the political climate around it,” ABC said in the petition.

Disney’s filing, signed by attorney Paul Clement, commended the “robust response” from the public, saying the outpouring “represents laudable civic engagement of the kind the Commission should welcome given its statutory obligation to make decisions based on the public interest.”

Made In Chelsea royalty Jamie Laing and his wife Sophie Habboo have reportedly landed a second series of their Disney+ show Raising Chelsea, in a deal said to be worth £500,000

Jamie Laing and Sophie Habboo are reportedly adding a second Disney+ series to their TV empire. The former Made In Chelsea star and his wife are said to have landed a second series of their show Raising Chelsea.

Jamie, 37, and Sophie, 31, allowed cameras to follow their lives as they prepared for the birth of their son Ziggy during the first three-part series of the show.

The second series would focus on their lives now that Ziggy, who is seven months old, is here. Producers are said to be hoping to film enough content to make the next edition span more than three episodes.

A source told The Sun that Disney bosses were “delighted” with how audiences responded to Raising Chelsea, adding that Jamie and Sophie “secured the hearts of Disney subscribers” with how “authentic and vulnerable” they were. “The deal’s done,” the source continued. “And filming is set to start soon.”

According to the insider, the couple have been offered £500,000 to continue sharing their lives with the public. Jamie and Sophie were previously on Made In Chelsea. He spoke to the BBC about how he wanted their return to screens as a couple in Raising Chelsea to feel “real”.

He said: “If there are three cameras and a set-up, it feels forced. We wanted to capture everything and I wanted to make sure it was really real so you see everything. Even when things happened that were intense we kept it in because we made a deal. There is nothing off limits – I don’t like the idea of a filtered version of ourselves, it’s not true, authentic or real.”

Sophie also told the publication that doing the show felt “natural” as they’d already been on reality TV. But, she continued, there were moments when she forgot they were filming as just one camera was involved in capturing content.

During the show, a camera was even permitted into the delivery room as Sophie gave birth to Ziggy, who was born in December 2025. The anaesthesiologist filmed it on Sophie’s phone. She shared that she didn’t initially want that recorded, but ultimately decided that it was part of the story and should be included.

Jamie has also landed another TV role. According to reports, the newly married father of one, has now landed a role as a guest investor on BBC’s Dragon’s Den alongside veteran business entrepreneurs including Deborah Meaden and Peter Jones.

He is reported to be joining the judging panel for the 23rd series, following in the footsteps of other celebrities who have guest judged, including Joe Wicks and Gary Neville.

Away from the telly, Jamie is quite the businessman. He co-founded a successful vegan confectionary business, Candy Kittens in 2012, which sells sweets in flavours including Eton Mess and Sour Watermelon. Back in 2024, his company had a £15million turnover and this was later followed up by the £36million acquisition of healthy snack bar Graze.

The Mirror contacted Jamie and Sophie’s reps for comment.

Like this story? For more of the latest showbiz news and gossip, follow Mirror Celebs on TikTok, Snapchat, Instagram, Twitter, Facebook, YouTube and Threads.

America’s semiquincentennial came and went, and the Disneyland Resort marked the occasion with a transformation of its now-classic Soarin’ ride. Gone, for now, is Soarin’ Over California and Soarin’ Around the World. In their place is Soarin’ Across America, a lightly patriotic-themed journey from coast to coast.

There are flyovers of nationalistic symbols such as the Statue of Liberty, Mount Rushmore National Monument and the Washington Monument, but the majority of its dozen locations are national parks, making Soarin’ Across America a love letter to America’s natural and diverse beauty. And it felt like a four-and-a-half-minute celebration.

Soarin’ Across America has the strongest scene of any of the three attraction films, which envelop riders as they ascend in the sky on a hang glider simulator. That’s its opening, a shot of a rocket launch at Florida’s Kennedy Space Center. We start level with the spacecraft, and then follow its journey into the clouds. Being this close to a liftoff, and feeling the sensation of rising with it, creates an inspiring, rousing moment. As in any Soarin’ film, we are promised the great outdoors, but here we get magnificent ingenuity.

Is it the best Soarin’? I’d still rank Soarin’ Over California as No. 1, as it has a sort of goofball charm, such as tumbling skiers or a golf ball flying toward the audience. But Soarin’ Across America is a worthy successor. It takes a more patient approach, as the ride now seems to linger longer over certain locales, allowing us to take in the majesty of the Grand Canyon West or vibrancy of the Louisiana bayou without distraction. I appreciated the tonal shift, which makes it stand on its own and doesn’t try to force itself to capture the original’s whimsy.

A coastal scene from Soarin’ Across America.

(Disney Parks)

I also enjoyed the new smells. When hovering near the Hawaii coast, for instance, the tropical fragrances that wafted over guests seemed to reflect the gummy fruitiness of a mai tai. (No, that wasn’t just me longing for an afternoon break at Trader Sam’s.)

I went in with a bit of skepticism, and I’m relieved to say my fears weren’t realized. Well, fully realized. This is a divisive time in American history, and cultural works are increasingly viewed through a political lens. When announcing the attraction, Disney did so with symbolism of the American flag, a bald eagle and the Statue of Liberty, art that was admittedly bright and welcoming, but also could be read as giving it an uncomfortable, chauvinistic sheen.

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Not everyone in 2026 may be excited with a flight simulator that serves as a cheerleader for America. And I still question the inclusion of Mount Rushmore, which has a long, controversial history, and has been a fascination of President Trump’s. But aside from that scene, and some odd red, white and blue sparkler-like fireworks visible in the New York Harbor, which curiously distract from a view of the Statue of Liberty, Soarin’ Across America doesn’t lay on the jingoism. At least until the final moments, when we see an American flag in the sky above Disneyland’s Sleeping Beauty Castle.

I’ll take it. The vibe throughout is one of restraint. When we glide near a Maine lighthouse, the film seems to pause, allowing the rocky coast and long-standing structure to be the stars. A dip across the American plains takes us above a herd of bison, but by and large movement is kept to a minimum (here the scent is of grassy freshness, which I’m betting is not what a bison smells like). A train in the Ozarks, for instance, comes to us rather than the film rushing to trace its path.

Filmed primarily with helicopters and drone shots, Soarin’ Across America utilizes CGI, courtesy of Industrial Light & Magic, less than Soarin’ Around the World, and primarily on scene transitions when we appear to fly next to a bird. This is an attraction that leans more National Geographic, that is it is unobtrusive and unstaged, than past iterations of Soarin’. While some may miss more active visuals, I appreciate that each Soarin’ film takes a different approach. Long term, it will allow Soarin’ Across America to serve as a snapshot in time, of an America at a certain point in history.

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)

And that’s already true. For when the film takes us down in front of the Washington Monument, we can off in the distance ever-so-slightly glance at the Lincoln Memorial Reflecting Pool, caught before its current Trump adminstration remodeling. Depending on your point of view, it can be unintentionally uncomfortable or amusing to see a locale before it became a political lightning rod. But that’s sort of the appeal of the Soarin’ films. They’re glimpses of not just a moment in time, but of a constantly changing world.

In that sense, there’s something relatively quaint about Soarin’, especially for our fast-paced, thrill-focused world. Soarin’ was groundbreaking when it debuted in 2001, but today we have venues like Las Vegas’ Sphere and Inglewood’s Cosm, whose spherical screens are higher definition and can even create the illusion of movement. Soarin’ Across America charms — all four of my rides last week ended in audience applause — by simply being a calming, relaxed journey that stokes our sense of adventure.

This week in SoCal theme parks

Disneyland Park has now welcomed more than 1 billion guests.

(Christian Thompson / Disneyland Resort)

• Disneyland: More than 1 billion served. The Disneyland Resort over the weekend welcomed its 1 billionth guest. The distinction went to 8-year-old Andres Robles, who with his family was treated to a VIP tour of the park. Disneyland has updated its population sign atop the Disneyland Railroad’s Main Street Station. To help put into context how unfathomably large 1 billion is, it’s worth noting that it took Disneyland, which in recent years has been drawing around 17 million attendees, nearly 71 years to reach that number.
• The Cenobites are coming to Universal Studios Hollywood. The latest addition to this year’s Halloween Horror Nights has been revealed, and it’s a haunted house based on the “Hellraiser” franchise. Pinhead actor Doug Bradley will reprise his role for the walkthrough attraction by voicing the character’s representation in the house. Halloween Horror Nights is set to launch Sept. 3.
• Don’t miss this look into Disney history. PBS SoCal will on Friday, July 17, show the documentary, “Bob Gurr: Living by Design.” It’s a revealing look into the life of a key early Disneyland designer, as Gurr created the look and feel of the Haunted Mansion “Doombuggies,” the original Autopia cars, the bobsleds of the Matterhorn and, of course, the first Disneyland Monorail. Before you watch, get to know the colorful, outspoken Disney legend.
• A Disneyland deal for Anaheim residents. Good news for those who live near the Disneyland Resort. For a limited time from July 20 through Aug. 8, Anaheim residents will have access to a locals-only deal. Adult one-day tickets will start at $71, while child tickets will be $50. Park-hoppers for adults will sell for $104 while child tickets will remain $50. It’s a significant savings and a great way to see the start of the park’s Halloween season. The tickets go on sale July 16.

The best thing I ate at the parks

The al pastor pork chop at Lamplight Lounge.

(Todd Martens / Los Angeles Times)

One of Disneyland’s best dishes is currently available at Disney California Adventure’s Lamplight Lounge, its Pixar-decorated pub-like outpost. It’s a sliced al pastor pork chop served with cheese polenta, pineapple relish and a spicy red chili butter sauce ($32). The pork is soft, the polenta creamy and it carries just enough heat to give it a bit of an edge. While filling, it’s surprisingly not too heavy, and Lamplight is always a lively spot to take a break from the parks. I only wish the place had a non-hazy IPA.

Your questions answered

Disneyland’s Sleeping Beauty Castle on a crowded 2019 day.

(Jay L. Clendenin / Los Angeles Times)

Hi Todd, we went to the park [Sunday] and it was empty: walk on to Cars, walk on to Indy. Thirty minutes for Guardians. Everything else was down to about 5 [minutes] besides Tiki Room because it’s a 15 min show. Are they struggling this summer? I haven’t seen a day like that at Disney since I was a kid.
— Jake from Riverside

Disneyland has been unseasonably comfortable this summer (read: less people). And the Fourth of July holiday week was kind of a breeze, with low wait times at most attractions at both parks.

But I wouldn’t says struggling, as I have seen busy days in recent weeks and Sunday was particularly unique. Mexico and England were playing a much-buzzed-about World Cup match, which no doubt kept crowds at bay. But it’s true that Disneyland this summer has, on a whole, been more pleasant, crowd-wise, than in year’s past.

Ultimately, I attribute the potentially lighter attendance to a combination of factors. One, the park has likely hit the peak price it can currently offer guests (fingers crossed this is true, as I don’t think most Disneyland fans can absorb another yearly price hike right now). Two, the aforementioned World Cup is drawing away potential attendees. And three, everything is more expensive today, forcing families to choose between, say, an afternoon at Dodger Stadium or a day at Disneyland. It’s increasingly untenable to do both.

And people are hungry for different, approachable ticket options. Last week, for instance, Disneyland unveiled a new evening ticket deal for all guests. The $59 offer allows attendees to enter either Disney California Adventure at 5 p.m. or Disneyland at 7 p.m. Available Sundays to Wednesdays through Aug. 5, all dates sold out in six days, unless Disneyland allots more tickets for the deal.

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.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

Universal Studios Hollywood’s new Fast & Furious: Hollywood Drift is set to open soon, and while many are excited, I’m curious to hear from those who live near the theme park. Universal has emphasized how it has instituted a number of noise-mitigating factors, from placing pea gravel in the tracks to building sound walls and creating shields designed to capture rider screams.

Theme park rides, however, can still be loud. If you’re in one of the neighborhoods surrounding the park, drop a line at todd.martens@latimes.com and let me know if Universal’s efforts have been enough, or if the coaster is a disruptive presence.

AS a family, we absolutely love a theme park holiday – it’s a chance to escape everyday life – and, if we’re honest, the adults probably need that just as much as the kids do.

Whether it’s white-knuckle rollercoasters, splash zones, storybook castles, safari adventures or pint-sized rides for mini adrenaline junkies; Europe has a theme park for it all.

But when you consider ticket prices, crowds, endless queues and the familiar challenge of keeping every age group entertained, choosing the
right destination can feel less like a holiday and more like a logistical marathon.

I’m a travel expert and mum-of-two and I love sharing tips on my page Instagram @thetravelmum on how to travel the world without spending a fortune.

Here are my pick of Europe’s best family theme parks that strike a balance between adventure and convenience, and how to enjoy them without the stress.

Plus, the best cheap accommodation to stay in while you’re there.

Europa Park, Germany

At Germany’s largest theme park, and Europe’s second largest (behind Disneyland Paris) – you’re absolutely spoilt for choice.

There’s 21 lands all themed on a different country, with world-class rollercoasters, over 100 attractions and 20 different shows.

It’s also home to waterpark, Rulantica, where you could easily spend a day in itself. Here there’s more rides and slides, as well as a toddler splash pool and a spa area for those over twelve years old.

The scale of this park, which costs Adults (12+) €67.00 (£57) – €76.00 (£65) and Child/Senior: €56.50 (£47) – €65.00 (£55) for a one-day ticket, means you’re best to explore it over a few days – stay at one of the park’s six hotels – and it’s better suited to families with older children and teens.

Getting there: 6.5 hour drive from Calais.

The nearest airports are Strasbourg, Baden Baden and Basel.

Flights: Ryanair: London Stansted to Baden Baden – return flights August 6 to August 8 August 2026 (summer holidays) from £107 per person.

Easyjet: London Gatwick to Basel – is another route often offering cheap fares.

Accommodation: Stay on-site at the new Riverside Western Lodge – a comfort plus room coming in at £1,035.50 for a family of four, on a bed and breakfast basis for three nights in October half term (October 26-29).

Kids will love the Wild West themed rooms, the free shuttle ‘Rust’ bus makes getting around easy and, as a hotel guest, you get VIP early access to the waterpark – Rulantica. 

On a budget? The on-site ‘Tipi Town’ offers a variety of glamping and lodge options – some are shared ‘dorm’ style, and some are private, but with shared bathroom facilities. From €172 (£147) for a 4-bed tipi this August, or alternatively, bring your own tent and pitch up in the Europa park campsite from €59 (£50) a night.

The savings can be substantial compared to the on-site hotels, but it’s worth noting that some options require you to bring your own bedding.

Staying on-site guarantees you access to best price park tickets, and free parking across all the accommodation types.

Our top tips:

• Book accommodation early
• Utilise budget airlines and for best prices be flexible on which airport you fly into as they’re all an easy 1-1.5 hr drive from Europa Park
• Buy tickets in advance online to save money
• Use the park app to plan your day 
• Take advantage of the excellent baby facilities onsite 
• Bring refillable water bottles 
• Plan for two full days in the park (three if doing Rulantica).

Efteling, Netherlands

One of our personal favourites to visit with our two young children, this fairy-tale inspired park with tickets ranging from €40-€56 (£34-£48), does a great job of catering to a wide range of people.

It blends rides, gentle attractions and some great rollercoasters, with beautifully detailed storytelling.

Families love the enchanting Fairytale Forest, while older children will enjoy thrill rides like Baron 1898 and Python.

The on-site accommodation is fab and, if you do want to spend more than one day in the park, it’s worth pricing up an overnight stay as it can work
out better value as you typically get park tickets for both your arrival and departure days included.

Getting there: Three-hour drive from Calais.

The nearest airports are Eindhoven and Amsterdam Schiphol, with fights from £27 return.

Getting to the Netherlands from the UK is easy – whether you prefer to drive, fly or take a ferry – you’ve got plenty of options.

Accommodation: Staying off site – we love Guesthouse Hotel Kaatshuevel – it’s not onsite but it’s within walking distance to Efteling and is perfectly designed for families.

Think spacious rooms with bunk beds for the kids, pancakes for breakfast and a rooftop garden terrace with mini golf and games.

It’s affordable too – in October half term you can get rooms from £135 per night.

In the summer, I’d recommend Bosrijk Village, woodland cottages dotted around in a pretty forest setting – with playgrounds and little streams, perfect for cooling off.

There’s an indoor pool complex too. I also loved the Efteling Grand Hotel which opened in August 2025 and has a cosy fairytale vibe – which really adds to the magic when visiting Efteling in the colder months. 

Our top tips:

• You’ll want at least two full days in the park – three would be ideal
• If staying onsite – use your early entry to do the big attractions before the queues build
• Download the app for site map, queue times and route planning
• Pack for all weathers – the Netherlands (just like the UK!) can be unpredictable
• Plan your lunchtime to avoid busy times – eat at 11.30am or 14.00pm – the popular restaurants get busy
• Don’t skip the shows – great for giving little legs a break.

PortAventura World, Spain

Located on Spain’s Costa Dorada, PortAventura World combines a major theme park, waterpark and Ferrari Land resort in one destination, along with six on-site hotels.

The theme park area is divided into six lands, each with its own atmosphere and character.

One thing we did notice is that the height requirements were higher than we have seen anywhere else, so make sure you take this into account.

There is still plenty to do for younger visitors, including the Sesame Street themed land.

We stayed in the Wild West themed Colorado Creek hotel when we visited, having booked our stay as a package from the UK – with flights, transfers, accommodation and park tickets included, it felt so easy.

On The Beach currently has a package holiday including flights, hotel and park tickets for four nights from £303pp for a family of four in August.

If you’re able to travel off-peak, it was noticeably quieter on weekdays than weekends, and another tip we learnt was that, as far as theme park fast passes go, they were relatively good value here.

For instance, On the Beach has the same 4-night offer in early September from £218pp, for a family of four.

Tickets to just the park cost £45 euros per adult and £36 for kids for two days, and also allow access to Ferrari Land.

Getting there: The nearest airport is Reus, followed by Barcelona El Prat.

Flights: Ryanair, EasyJet and Jet2 both fly from London Stansted or Manchester to Reus. 

For example, you can fly with Ryanair from Manchester to Reus from 27th July to 30th July for just £65.98 return, excluding luggage. 

Accommodation: The onsite hotels start from €130 (£112) per night, and come with their own swimming pools and park tickets included. 

They can also be booked as a package with Jet2Holidays too.

For example, a family of four can stay onsite at the 4* Hotel Gold River in October half term on a half board basis for £3,411 – which is a great price considering it includes your flights, transfers and theme park tickets for everyday you’re there. 

Our top tips:

• Travel off-peak – it was noticeably quieter on weekdays compared to weekends
• Avoid July / August (if you can) – it’s busy and it gets hot! 
• Express passes offer good value here, compared to other theme parks
• If staying onsite – retreat back to your hotel and make the most of the pools or air con during the hottest part of the day. 

Puy Du Fou, France

Puy du Fou is different from the other theme parks on our list, as there’s no rides.

Instead, all the action centres around 20 spectacular historical shows, featuring Viking battles, Roman gladiators, birds of prey, sword fights, thundering horses, fire and unbelievable stunts.

While the shows are all spoken in French, most people say it doesn’t matter as they’re so visual, but you can listen to a translation via a headset.

If you’re thinking this doesn’t sound like your thing, Puy du Fou (tickets from £38.25 (€46) for adults and kids ages 3–11 from £27.67 (€33)) was voted best theme park in the world twice.

It’s best suited to families with children aged six and over.

There’s a range of themed accommodation on site, or plenty of places to stay nearby, as you need at least two full days there to ensure you can see everything, especially as some of the shows happen after dark.

The park is huge, so prepare for long days and a lot of walking.

Use the app to map out your day in advance as you want to arrive at the shows around 30 minutes before they start to ensure entry.

It might not be your traditional theme park, but if you enjoy theatre, history and live action, immersive experiences – it’s definitely one for the list.

Getting there: It’s a six hour drive from Calais. Or the nearest airport is Nantes.

Ryanair and easyJet both serve Nantes airport from London airports, with flight prices as low as £37 return in October.

Unless you only plan on visiting Puy du Fou, you’d be best hiring a car if travelling to France by plane.

Accommodation: If you’d like to stay onsite then I strongly advise you book accommodation as far in advance – especially during the summer holidays – with prices starting at around €60 (£51.62) per person per night.

Nearby towns like Les Epesses and Les Herbiers have plenty of accommodation available on booking sites and are just a few kilometres away from Puy du Fou. 

Eurocamp has two sites within an hour’s drive of Puy de Fou Castel Camping La Garangeoire or Château La Forêt, which would make for an easy way to combine a visit here with a longer family break in the area.

You can stay for a week at the latter for a family of four in the summer holidays for just under £600. 

Our top tips:

• Download the official app and map out your day in advance – the site is huge
• Comfortable shoes are a must
• Arrive at shows 30 minutes before the start time to secure your space
• Allow for two full days in the park 
• Book restaurants in advance – they get busy

LEGOLAND Billund, Denmark

Built beside the original LEGO factory in Denmark, Legoland Billund is widely considered one of the best LEGOLAND parks in the world.

We actually prefer the park in Billund to the one in the UK.

Packed with interactive attractions, mini cities and creative play zones, it perfectly suits younger families and tickets cost from 349 DKK (£40).

The atmosphere is relaxed, clean and easy to navigate, with plenty of rides children can enjoy together with parents.

Staying in one of the themed hotels adds extra magic for younger children.

Ideal for ages two to 12, particularly primary school-aged LEGO fans.

Whilst Billund is a fairly small place, you can also tie in a trip to Lalandia Waterpark, Lego House and Wow Park.

Getting there: The nearest airport is Billund.

Billund Airport couldn’t be any closer to Legoland – it’s just a five minute drive or bus away.

However, since Ryanair stopped flying there, flight options are more limited – you can fly directly with British Airways or Norwegian from Heathrow, Gatwick and Edinburgh.

We found return flights with British Airways from Heathrow to Billund 2nd to September 7 for less than £104 return. 

The next best option is to fly to Copenhagen and take a three-hour drive or train from there.

This could be a great excuse to explore Copenhagen too, we think it’s one of the best city breaks you can do with kids. 

Accommodation: For the full Lego experience, you need to go all in and stay onsite at Legoland.

There’s a choice of accommodation, similar to the Windsor park – Legoland Hotel, Castle Hotel plus cabins and glamping barrels.

A night in September including park tickets at the Legoland hotel for a family of four is around £415 in total. 

We’d recommend using the Legoland short breaks website – as it brings up the availability and prices of not only all of the onsite accommodation but also off site options too – some of which can include your park tickets.

Just remember to consider how far away you want to be from the park – and factor in the cost of car hire or public transport. 

Our top tips:

• Don’t just focus on the rides, there’s so much more to do here – two full days would be ideal
• Packed lunches are allowed to be brought into the park and a great way to save money
• Denmark’s weather can be unpredictable – you’ll want to pack layers, waterproofs and suncream at most times of the year
• Always book your tickets in advance – it’s never the best price at the gate on the day

Energylandia, Poland

Poland’s largest theme park has fast secured a spot as one of Europe’s biggest thrill-ride destinations, known for rides like Hyperion – one of Europe’s tallest, and Zadra with its huge vertical drop.

It boasts the joint largest number of roller coasters (20) at any theme park around the world.

However, there’s still plenty to do for those looking for a more gentle experience, with dedicated areas for younger children, as well as an open-air water park included within the entry price 169PLN (£34) for kids up to 140cm and from 209PLN (£46) for anyone over 140cm.

Compared with other parks, Energylandia often comes up as one of the more budget-friendly options.

The park is do-able in a day, especially if you’re able to visit off-peak, but
two days would give you a more relaxed experience – especially if you’re catering to multiple ages.

Getting there: The nearest airport is Krakow.

With many regional airports flying to Krakow, you can really shop around for a great deal on flights – great if you’re keen to keep costs down.

For example, we found Wizz Air flights from Gatwick to Krakow from September 8-11 for under £80 return. 

Accommodation: Stay at Western Camp, just 1km away from the park – about as close as you could get. You can walk in less than 20 minutes or there’s a free shuttle.

There are often offers when booking accommodation here which include entry tickets and even a fast pass.

From Wild West themed wagons, log cabins – perfect for larger families, to tipis and even house boats – wooden lodges on stilts over the lake, it’s the perfect place for a unique and memorable family stay.

Prices start from £60 per night, and include a buffet breakfast. 

Our top tips:

• The waterpark is included in the theme park entry fee – so remember to pack swimwear
• The food onsite here is very reasonably priced – but queues for food can be long at peak times, so plan for an earlier or later lunch 
• It’s a huge site with lots of walking between areas, so wear comfy shoes!
• Download the app to see live queue times
• Buy your tickets online – not only is it cheaper, but you’ll get in quicker too

Tivoli Gardens, Denmark

One of the world’s oldest amusement parks, Tivoli Gardens combines vintage charm with modern attractions right in the heart of Copenhagen, and is said to have provided Walt Disney with some of his inspiration for Disneyland.

Unlike some of the other theme parks included in this guide, UK visitors tend to include Tivoli Gardens as part of a city break rather than as a dedicated theme park holiday.

It’s a unique place to visit, with shows, classic rides, and a few larger coasters all within beautifully landscaped gardens.

It’s not on the same overwhelming scale as some of the parks, and its range of attractions within a relatively compact area makes it a great option for all ages.

Entry tickets to the park and rides cost tickets cost 249DKK (£28) for kids aged 1-7 years and 499DKK (£57) for anyone 8 and upwards.

But you can also buy park access tickets for to 190DKK – 95DKK (£21 – £10) (but kids under three go free and children aged 3-7 are half price).

But that only gets you access to the gardens, events and concerts – you also need to pay for a ride pass 349 DKK (approx. £39) for visitors 8 and older, and 174 DKK (approx. £19) for children aged 1–7.

separately – which is great if not all of your family want to go on the rides.

Tivoli Gardens really comes to life after dark, the twinkling lights
adding to the cosy, magical vibes – for extra atmosphere, we’d recommend visiting during their popular Halloween and Christmas event weeks too.

Getting there: The nearest airport is Copenhagen.

Just a short 1.5 hour flight will land you in Copenhagen, we found bargain £55 return flights from Manchester with Ryanair from November 17-20 – which would make for a great trip to kick off the festive season. 

Accommodation: A great family-friendly hotel just 10 minutes out of the city by bus, or an easy 20- minute walk is Tivoli Hot. This place has a huge indoor play area – complete with bouncy castle and games room for older childr -n, along with a swimming pool. 

Based on a family of three sharing a room, a three-night stay between November 17-20 would be around £660 in total – which includes a fab buffet breakfast.

Our top tips:

• Combine Tivoli Gardens with a city break to Copenhagen – but remember it isn’t open all year round
• Visit at night for extra magic – although expect it to be busier!
• You can leave and re-enter the park during the day (handy if you want to hunt out cheaper food options)
• Bring refillable water bottles – tap water is free and safe 

Parque Warner Madrid, Spain

The perfect destination for superhero fans, Parque Warner Madrid is themed around DC Comics and Warner Bros across its five areas.

With six rollercoasters, Looney Tunes attractions for younger visitors, and live stunt shows, there’s plenty to do for all ages.

Being a slightly under the radar option, you can find lower queue times than at some of the larger European parks we’ve featured, particularly if you’re visiting midweek and outside of Spanish holiday periods.

It’s worth noting though that the park, with tickets costing from €32.90 (£28) doesn’t open until midday – but stays open late.

With Madrid temperatures soaring over the summer, you might want to factor in some time out of the heat.

If you fancied more than a day trip here, there’s a separate waterpark attraction that’s open over the peak summer months.

Whilst there’s no hotels on site, there’s a range of accommodation
nearby, from apartment rentals to hotels.

Getting there: The nearest airport is Madrid.

As you’d expect, reaching the capital of Spain is straightforward from the UK, with flights from most major cities.

We found return flights with Ryanair from Birmingham for just £72.98 in October half term – leaving on October 24 and returning on October 29.

Accommodation: Whilst there’s no hotels on site, there’s a range of accommodation nearby, from apartment rentals to hotels.

The best location will depend on whether you are intending to combine the park with other activities in the local area.

I’d recommend either staying centrally to Madrid and using the official shuttle bus (easier than public transport which requires a train and a bus), or in Pinto – the closest town to the park.

In Pinto, the 4* Princesa de Eboli has family rooms for around £150 per night, and is 13kms away from Parque Warner. 

Our top tips:

• Plan your route to the park in advance – especially if relying on public transport
• Arrive at opening time when it’s quieter, and head for the big attractions first 
• Don’t skip the shows, note down the timings and plan your day accordingly
• The water park is seasonal and separate to the park – it does sell out on hot days – make sure to buy tickets in advance
• The shops stay open after the rides close – so save souvenir shopping to the end of the day to maximise ride time

Gardaland, Italy

Set beside Italy’s Lake Garda, Gardaland combines family rides, themed areas and impressive scenery in one of Europe’s most picturesque locations, with tickets costing from €44 (£37).

The park caters well to younger children, but also offers major attractions including Oblivion and Blue Tornado for thrill-seekers.

Many UK families combine a visit with a relaxing Italian lakes holiday, making it ideal for mixed itineraries.

Nearby hotels and campsites provide plenty of family accommodation options. Best suited to children aged four to 15.

Getting there: The nearest airport is Verona, with flights from low-cost airlines like Ryanair, EasyJet and Jet2.

Milan Bergamo and Venice airports are also within travelling distance, so you can definitely shop around for the best flight times and prices.

You can fly from London Stansted to Verona with Ryanair on October 1-6 for just under £83 return. 

Accommodation: The original Gardaland resort, Gardaland Adventure and Gardaland Magic all have access to an outdoor swimming area.

Two nights in a Princess themed room within the Gardaland resort at the end of August is around £800 for a family of four, but does include two days entry to Gardaland, plus entry to the Legoland Water Park and to the Sealife Centre. 

The highly rated Bella Italia Eurocamp is just a 10-minute drive away – where a week’s stay in a safari lodge tent would cost £1326 for a family of four, arriving on August 24.

Our top tips:

• Arrive early to make the most of the quietest (and coolest) part of the day
• Visit midweek and avoid Italian public holidays for fewer crowds and shorter queues
• Ditch the flip flops – many rides require closed footwear! 
• You will get wet on the water rides – bring a spare change of clothes and a towel! 
• If you’re arriving by public transport, the nearest train station is Peschiera del Garda – there’s a free shuttle service to the park from there

Ultimately, there’s no single “best” theme park in Europe for families – it all comes down to what kind of trip you’re looking for.

Whether you want all-out thrills, immersive storytelling, toddler-friendly rides, spectacular live shows or a more relaxed atmosphere, there’s a park to suit every style of family holiday.

Above all, remember that the moments your children will remember most probably won’t be the perfectly planned itinerary – but the excitement of choosing the next ride together, the shared laughs, and the feeling of escaping normal life.

That’s the real magic of a theme park holiday.

Decades of Hollywood empire-building ended with a quake in 2017 when Australian media mogul Rupert Murdoch decided to sell much of his Fox entertainment holdings amid the rise of Netflix and other tech giants.

This week, another titan who has been instrumental in shaping American media and telecommunications began to unwind his Hollywood holdings.

Brian L. Roberts — who with his father built Comcast into a cable TV and internet colossus — announced his company would spin off its prestigious NBCUniversal unit into a separate publicly traded company sometime next year.

The move reverses Roberts’ purchase of NBCUniversal in 2011 — a bold bet that created a behemoth with popular programming and cable pipes to pump that content into consumer homes.

Comcast’s breakup marks the close of a Hollywood era, one dominated for 40 years by a class of maverick moguls: Murdoch, CNN founder Ted Turner, Viacom’s Sumner Redstone, cable titan John Malone and the Philadelphia-based Roberts family.

Now, a new crop of leaders has emerged, reflecting Silicon Valley’s vast influence over the film and and TV business, which has been upended by streaming and, now, artificial intelligence.

“There was a time that Murdoch, Malone and Brian were really industry leaders who could affect change,” said Bank of America managing director Jessica Reif Ehrlich in an interview. “That’s not true any longer.”

Analysts widely believe Monday’s announcement is a prelude to eventual sales of both Comcast and NBCUniversal, a theory that Comcast rejects.

Roberts, 67, told analysts he will remain involved in both NBCUniversal and Comcast after the separation. Still, he plans to relinquish his chief executive role after 25 years and a half century at Comcast. Roberts has picked trusted associates to run each firm, and his family will continue to hold controlling shares of both companies.

But the shift underscores a dramatic loss of clout by Comcast and other traditional media enterprises. Netflix, Apple, Amazon and Google’s YouTube have diminished the industry’s financial pillars — box office receipts and cable programming fees — and given consumers control over when and how they watch programming.

Murdoch was the first to flee. In 2014, he was rebuffed in his $80-billion bid to beef up his 21st Century Fox by buying HBO, CNN and other Time Warner assets. Murdoch’s defeat led to the Fox asset sale to Walt Disney Co.

Last fall, Comcast made a run for the same properties with a plan to unite NBCUniversal with Warner Bros.

Instead, 43-year-old tech scion David Ellison — with help from his billionaire father, Oracle software co-founder Larry Ellison — scooped up the prize for a staggering $111 billion.

The pending blockbuster merger of Ellison’s Paramount Skydance and Warner Bros. Discovery is expected to reshape the industry and leave NBCUniversal increasingly vulnerable to a takeover.

“It looks like Comcast’s NBCUniversal was left standing on the dance floor without a partner,” MoffettNathanson media analyst Robert Fishman wrote in a Tuesday note to investors.

Paramount’s play for Warner Bros. came a month after Ellison finalized his family’s purchase of cash-strapped Paramount from Shari Redstone. The one-two acquisition punch would propel the Ellison family to top-tier moguls with influence over CNN, CBS News, HBO, Turner Classic Movies and two historic Hollywood studios.

“It’s a flagging industry. … The industry will have to consolidate to survive,” said C. Kerry Fields, a USC Marshall School of Business economics professor. “Those who have content plus [streaming] distribution are going to be the winners.”

Roberts knows distribution. His father in 1963 bought his first cable TV system in Tupelo, Miss. It was a quirky bet for Ralph Roberts, who figured his belts and suspenders business would soon be toast as beltless polyester pants became the rage.

Brian Roberts joined Comcast as a high school intern, setting up supermarket promotions. In 1975, he became a trainee cable installer, climbing poles and stringing cables. He joined Comcast full time in 1981 after graduating the Wharton School at the University of Pennsylvania.

For more than 30 years, he worked in tandem with his dad. With key associates, they built the nation’s foremost cable TV service — then the entertainment gateway — and grew stronger by offering internet, phone and then wireless service.

Analysts credit the 2011 purchase of NBCUniversal as a huge success; Comcast rescued a company that was on the ropes due to General Electric’s under-investment.

Over the years, Comcast rebuilt NBC and Spanish-language Telemundo, writing big checks for the best sports rights, including the FIFA World Cup, NFL, NBA and Major League Baseball.

Comcast also recognized value in theme parks and invested heavily, building Universal Studios as a formidable rival to Disney. NBC finished the season in first-place among traditional TV broadcasters and its L.A. film studio is an industry leader.

But the world has changed.

“One of the defining characteristics of this company has always been our willingness to look ahead, embrace change, and position ourselves for the future,” Roberts told analysts during a Monday call.

Reif Ehrlich, the Bank of America analyst, said Comcast needed to do something — or watch its stagnant stock sink farther.

Wall Street has punished the company amid steep losses in its cable TV and broadband internet units, and because NBCUniversal has historically generated its biggest profits from its cable channels.

In January, Comcast spun off those networks, including CNBC, MS NOW, USA Network and Golf Channel, to create a new entity called Versant.

But the move failed to boost Comcast’s battered stock, which dropped 3.3% on Wednesday to $23.73.

Five years ago, Comcast stock topped $50 a share.

“It was just a very challenged market on both sides, and it’s getting worse, not better,” Reif Ehrlich said.

Comcast faces competitors beyond traditional telecommunications firms, including AT&T and T-Mobile. SpaceX’s Starlink provides satellite internet service.

NBCUniversal must jockey alongside other well-capitalized players, including Amazon, Netflix and Disney. NBC’s streaming service, Peacock, has struggled to get traction. It counted 46 million paying subscribers as of the first quarter, a fraction of Netflix’s 325 million and the nearly 132 million subscribers of Disney+.

“It’s kind of a subscale player,” Reif Ehrlich said. “It’s just a real battle, and NBC has expensive sports rights.”

Roberts conceded the difficult landscape on the analyst call.

“The world is changing faster than ever,” Roberts said. “Technology, consumer behavior, competition, capital requirements are all evolving at an unprecedented pace … When we acquired NBCUniversal, more than 15 years ago, the industry looked very different.”

He will retain control for at least three years. The NBCUniversal spin-off is envisioned as a tax-free transaction for shareholders, providing a short-term buffer from deal-making to preserve that structure.

NBCUniversal could be up for grabs by 2029 — a pivotal year when the NFL is expected to open negotiations for a new round of broadcast rights. That auction is expected to draw heavy interest from Amazon and other streamers — not just veterans Fox, NBC, Disney’s ESPN and Paramount’s CBS.

“Brian Roberts has already proven his willingness to play the long game and with continued control should be the end decision maker,” Fishman said.

Much like Murdoch, who is now 95 and partially retired.

“Rupert was the smartest guy in Hollywood — he got out at the top,” Reif Ehrlich said.

He entrusted power to his 54-year-old son, Lachlan, who has been busy remaking Fox after the 2019 sale to Disney, which included Fox’s film and TV studios, streaming service Hulu and the FX and National Geographic channels. Fox also unloaded its regional cable sports networks — a savvy move before that business cratered.

The Murdochs kept Fox Sports, the Fox broadcast network, TV stations, Fox News Channel and the studio lot.

The company has been expanding. Lachlan Murdoch led Fox’s purchase of Tubi, which provides free TV channels and movies for smart televisions, keeping Fox in the streaming game. The company launched Fox News and weather products, and subscription service Fox One, which streams the company’s sports and news.

Earlier this month, Lachlan Murdoch stunned the industry by agreeing to pay $22 billion for Roku, a leading streaming platform that reaches 100 million viewers worldwide. Murdoch called the proposed purchase “a defining moment for Fox.”

Since its opening in 1967, Pirates of the Caribbean has stood as an anchor at Disneyland, a statement piece that has defined the direction of the park.

And that remained true last week when Walt Disney Imagineering unveiled a new audio-animatronic pirate. It’s wow-inducing. It’s also narrative-wrecking. And it fundamentally shifts the vibe of the attraction’s early scenes.

The high-tech pirate, we can bet, is just a small preview of the park’s next-gen toys. Because when changes come to Disneyland, they often hit Pirates of the Caribbean first. Over a half-century ago, the robotic figures of Pirates were a symbol of Disneyland’s technological ambitions, dazzling audiences with characterized but lifelike movements. With the ride, Disneyland made it clear that as the world advances, so, too, would the park.

As culture shifted and the lecherous buccaneers of the ride began to look more like symbols of sexual harassment, they would be forced to undergo some welcome personality adjustments. A redheaded victim of sex trafficking would transform into one of the ride’s most striking characters, and a number of rides from the Jungle Cruise to Splash Mountain would eventually undergo similar reassessment.

For Pirates of the Caribbean, after all, is the attraction that defined the Disneyland template. Its mastery is that it is a series of larger-than-life dioramas constructed around an abstracted narrative where themes of greed, lust and intemperance take precedence over a plot with a firm beginning, middle and end. And thus it made sense for Imagineering, the outfit of the company responsible for theme park experiences, to unveil its latest tech-driven master work on the ride.

A new animated pirate on Disneyland’s Pirates of the Caribbean shifts from living to dead using projection technology.

(Todd Martens / Los Angeles Times)

Reaction, however, has been less than enthused. Disneyland’s own social media accounts are flooded with pointed critiques, but even if we consider that social media tends to lead with gripes, some of the park’s most ardent fan sites have referred to the reimagined scene as a gutting. Why so much hullabaloo over a single robot? If we allow that Disneyland is a place that generations make pilgrimages to, then Pirates of the Caribbean is its most sacred temple. Handle with care.

There is, of course, a series of stages most Disneyland fans go through with any major changes, and it’s usually one of shock or confusion followed by acceptance and eventually new nostalgia. And Disneyland’s recent attraction updates have by and large been winners, as evidenced by the lovely Tiana’s Bayou Adventure, the exploratory Adventureland Treehouse and the bewitching Snow White’s Enchanted Wish.

This one, however, is more complicated.

Where once was a foreboding skeleton frozen in time atop a treasure and swords, there is now an animated figurine built with the latest in projection technology. The latter transitions from living to dead, caught in a perpetual loop with each glimpse of the cavern’s “cursed treasure,” which it continually lifts and drops. The pirate is placed after the ride’s two dips in a gold-filled room among the winding, mysterious underground chambers that help set its tone.

Dead pirates fill the caverns of Disneyland’s Pirates of the Caribbean.

(Todd Martens / Los Angeles Times)

Since the attraction’s opening, the only living beings in this portion were a lone seagull and maybe a stray sea critter or two. It is here where the mystique of Pirates of the Caribbean is set, and guests are placed in the active role of piecing together the time-shifting narrative. Story is hinted at rather than fed to us. We hear tales of the hexed fortunes found in the caves via ghostly narration, but see only its after-effects — skeletons locked in a chess battle or standing behind the wheel of a crumbling ship.

The centerpiece treasure room, where our new pirate is found, has long been a breathtaking scene. Previously, a now decayed body sat atop a mountain of wealth, an empty, soulless figure done in by selfish pride. It was disquieting, and a bit ghoulish. Stray, soft musical notes underscored the tragedy. Further on, a trapped pirate quietly transitions from living to dead via an old theatrical mirror illusion, and the boats float into a city filled with battles and buffoonery.

Gone is the subtlety. A somber tableau is now relatively loud, as our eyes no longer take in the full set but zero in on a bright and at times lively figurine. I cannot deny that it is an impressive piece of technology. On the multiple rides that I took Monday morning, I overheard two teens describe it as “pretty cool” and watched as a young child excitedly shouted to his mom and dad that the figure’s face was changing.

The caverns of Pirates of the Caribbean set a foreboding tone.

(Todd Martens / Los Angeles Times)

Such reactions are no doubt what Imagineering is hoping for. Part of the job of stewarding a classic attraction, after all, is ensuring it maintains an appeal to future generations. But I believe two things can be true. The new pirate may captivate some audiences and it can also stylistically and tonally clash with the attraction. This is the right tech, perhaps, for a more animated experience, one such as the in-development “Coco” ride coming to Disney California Adventure. Unfortunately, in Pirates it’s misplaced. Worse, it’s distracting, as we’re immediately drawn to its movement, grunts and quick-transitioning face.

I lament losing what was there. Projected figures, even the best of them, such as this one, are still media and can still gleam with light. And while the original Pirates of the Caribbean designs by Marc Davis were exaggerated, they were brought back to reality by Blaine Gibson, who sculpted them with bold, hardened features that made them at once heightened but believable. They may have been cartoonish, but they weren’t actual cartoons, and this figure is too much of a contrast, its comic-like excess feeling less relatable, less human. And that says nothing of its snort-like laughs, which reminded me too much of the huffs and puffs of the ride’s donkeys.

It also raises more story questions than it answers. Why, for instance, aren’t the other skeletons caught in a loop? Sometimes more is said by saying less, and this feller leans silly in a portion of the ride that calls for spooky. Ultimately, it just feels unnecessary, a symptom of our often exhausting, tech-obsessed, digital-drenched age where new, needless tools are shoved in our faces daily.

Thankfully, the rest of the attraction serves as a reminder that no computer wizardry can out-class old-school theater. Theme parks should evolve with the times, but sometimes it takes artful restraint to not mess with what’s already timeless.

This week in SoCal theme parks

• Disney California Adventure turns Soarin’ Over California into Soarin’ Across America. The makeover will be unveiled July 2, just in time for the Fourth of July holiday and the celebration of America’s semiquincentennial. While Soarin’ Across America is already open at Florida’s Walt Disney World and I’ve written about the patriotic re-imagining, I’ve waited to see it in the flesh and will have impressions next week.
• Fireworks! If you’re looking for them this weekend, our theme parks have got you covered. Disneyland, of course, has an annual Fourth of July show with patriotic music, and the park will be running “Disney’s Celebrate America! — A Fourth of July Concert in the Sky” Friday through Sunday. If you’re heading to Knott’s, be sure to check out the park’s free-to-visit Independence Hall, a replica of the Philadelphia landmark that will be offering guided tours Friday and Saturday, while Six Flags will feature fireworks Friday through Sunday. Universal Studios Hollywood will on Friday and Saturday debut a new Fourth of July-themed fireworks show.
• Shattered glass on Fast & Furious: Hollywood Drift. Fans are eagerly awaiting the opening of Universal Studios Hollywood’s new “Fast & Furious”-inspired coaster, and word spread via social media recently that a panel of glass on one of the ride’s sound barriers had shattered. Universal declined to comment, but sources familiar with the ride characterized it as an “installation error” that shouldn’t delay the public launch of the ride, which is expected by mid-summer. I reached out to California’s Division of Occupational Safety and Health’s Amusement Ride & Tramway Unit (Cal/OSHA), which monitors the state’s theme park attractions. A spokesperson said the situation was looked into but did not warrant further evaluation.
• Plan your perfect theme park day. The L.A. Times has unveiled a new feature. Now you can save must-try spots from our local guides and build your own personalized list. Or perhaps you’d like to browse my mega-project “Every Southern California theme park ride, ranked” and create an itinerary for your next visit.

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.

Visitors tie paper tags bearing wishes onto trees in the courtyard of the Broad as part of an exhibition dedicated to Yoko Ono.

(Kayla Bartkowski / Los Angeles Times)

Theme parks often are about the power of imagination, allowing us to play pretend in heightened, alternate worlds. And I had theme parks on my mind while I traversed the Broad’s excellent current exhibit dedicated to Yoko Ono.

What, perhaps you wonder, does Ono have to do with theme parks? “Yoko Ono: Music of the Mind” documents the entirety of the artist’s career, and much of her early work centers on play. Real, philosophical play, essentially the idea that through creativity, fantasy and a bit of silliness, we can all see the world differently.

Whether it was communicating with her audience while in a bag (1964’s “Bag Piece”), an antecedent to Meow Wolf’s “Experience Tube,” or offering instructions to count stars, tally our wrinkles, drop off peas on a morning walk, attach wishes to a tree or create fictional maps of our neighborhoods, much of Ono’s career was dedicated toward building community and connections through playfulness and imagination.

It’s freeing work, and a reminder that a little frivolity via participatory art — and that’s really what theme parks and so-called immersive entertainment provide — is a necessary ingredient for happiness.

It’s been about a month into the all-important summer box office season, and already, there is a noticeable boost in optimism.

I wrote last week about how the massive debut of Walt Disney Co. and Pixar’s “Toy Story 5” was a promising sign; many analysts and movie theater operators believe the summer’s theatrical revenue could finally reach pre-pandemic levels.

The cinema business has been propelled by the likes of Paramount Pictures and Miramax‘s “Scary Movie,” Universal Pictures’ “Disclosure Day” and, of course, A24’s “Backrooms” and Focus Features’ “Obsession.”

With more potential blockbusters on the way, my colleagues David Viramontes, audience editor for arts and entertainment, and Cerys Davies, who covers the business of the entertainment industry, joined me to give our best predictions for how this summer will shape up.

What will be the biggest movie of the summer?

Masunaga: After seeing how family movies — specifically, PG-rated films — were the winners of the last two years, I think we’ll be seeing “Toy Story 5” emerge at the top. The movie has already brought in more than $585 million worldwide less than two weeks after it opened, and if its billion-dollar-grossing predecessors are any indication, this franchise may still have a long life at the box office.

Viramontes: After the R-rated, three-hour drama “Oppenheimer” made nearly $1 billion at the worldwide box office in 2023, it would be professional malpractice not to pick Christopher Nolan’s “The Odyssey” as the biggest movie of the summer — and possibly the year. 70-millimeter IMAX screenings were sold out a year in advance and premium format tickets are still hard to come by in Los Angeles. Not to mention tentpole movies like this attract repeat viewings and even encourage viewers to seek out screenings in every format. And we haven’t even talked about how the film boasts one of the most stacked casts in recent history.

Davies: In an effort to play it safe, I’m going to pick a family movie and bet on “Toy Story 5.” Think about the dog days of summer — when the air gets heavy, a sense of inexplicable boredom takes over and it’s almost too hot to do anything. Deep down, you know the only reprieve is sitting in the comfort of your local theater chain’s air conditioning. But, at this point, you already saw “The Odyssey” with all your friends at the earliest available IMAX showing. What else will scratch that box office itch? I’m willing to bet it’ll be none other than the familiar faces of Woody, Jessie and Buzz Lightyear, as they fend off technology in their home.

Which movie’s marketing campaign will be the talk of the summer?

Masunaga: The marketing for “The Odyssey” has been less overt than that of other summer releases, giant Trojan horse in Venice Beach notwithstanding. But a film helmed by Nolan and starring a plethora of A-list actors basically markets itself. After all, both official trailers for the film have garnered more than 30 million views on YouTube.

Viramontes: I’m prepared for Spider-Man to be everywhere. From buses and billboards to talk shows and TikTok, the movie will reach full saturation. While “Brand New Day’s” marketing campaign hasn’t reached fever pitch just yet, I’m prepared to be inundated with activations, posters and commercials for the four-quadrant fave that’s poised to be one of Marvel’s biggest successes in years.

Davies: A massive orange monster named Irene with dozens of eyeballs has nearly engulfed the historic Carney’s restaurant on Sunset. A giant inflatable “Rich” minion, sporting a goatee and a blinged out chain, popped up on Fairfax. And minions have taken over Wendy’s frosty machines with a new banana flavor. At this point, Universal and Illumination could put a minion on every Los Angeles street corner, and I wouldn’t grow tired of them. (The ominous, goggle-wearing eye overlooking the 101 freeway just isn’t enough.)

What will be the biggest wild card of the summer?

Masunaga: The biopic “Young Washington” could make waves. Distributed by Provo, Utah-based Angel Studios, the movie has the backing of the studio’s 2 million Angel Guild members, who determine its slate and get other perks, including free movie tickets. That support proved crucial for 2023’s “Sound of Freedom,” which ended up grossing more than $250 million worldwide, and could end up being a factor here, too.

Viramontes: “The End of Oak Street” has been teasing a dinosaur adventure in trailers, but can the mystery box movie starring Anne Hathaway and Ewan McGregor attract audiences? There’s also potential counter programming to blockbuster hopefuls dotted throughout the summer with “Teenage Sex and Death at Camp Miasma.” But I’m putting my money on “Evil Dead Burn.” Horror movies put butts in seats, and this summer doesn’t have many other straight-down-the-middle scares in store for audiences.

Davies: There’s an Anthony Bourdain biopic called “Tony” hitting theaters in August. These days, it feels like Hollywood will make a biopic about just anyone, but something about seeing Dominic Sessa channel the chef’s undying passion for food and effortless swag on screen seems irresistible. Plus today’s audiences love stories about intense kitchens (“The Bear”) and debatable biopics (“Michael”) — let’s see what happens when the two marry.

Both Warner Bros.-owned DC Studios’ “Supergirl” and Sony Pictures‘ “Spider-Man: Brand New Day” are part of this summer’s lineup. Will we see a turnaround from the recent superhero fatigue at the box office?

Masunaga: This past weekend marked a disappointing debut for “Supergirl,” which brought in just $37.1 million in the U.S. and Canada and about $62.6 million worldwide on a reported budget of $170 million. Box office analysts had been expecting a domestic opening of about $47 million to $50 million. On the other hand, pre-sales for “Spider-Man: Brand New Day” have been extremely strong. Not every superhero movie prints money anymore, so even with a potentially big haul for “Spider-Man,” I don’t know that it’ll signify a complete turnaround for the genre as a whole.

Viramontes: If there’s any superhero with enough pull to rescue the genre from fatigue after “Supergirl’s” poor performance, it’s your friendly neighborhood box office king Spider-Man.

Davies: Tom Holland’s Spider-Man definitely has the potential to cure superhero fatigue, at least for a few months. But as soon as the internet’s favorite couple, Zendaya and Holland, stop walking red carpets and doing press together, audiences are likely to put superhero movies on the back burner once again.

Analysts and theater owners have predicted that this summer’s box office will reach pre-pandemic levels. Will that momentum continue for the rest of the year?

Masunaga: Yes. The lineup of movies this year is more plentiful and varied than in years past, and with massive blockbusters slated for the holiday season, I think it’s very possible we could see a year-end domestic box office total of $9 billion or more.

Viramontes: Yes. We’ll have an action horror in September with “Resident Evil,” Zach Cregger’s follow-up to “Weapons.” In October, Tom Cruise’s long-awaited “Digger” might hit pay dirt. Following that in November is the new “Hunger Games” movie, “Sunrise on the Reaping.” And I don’t even have to mention “Avengers: Doomsday” and “Dune: Part Three,” the juggernauts waiting for us in December, do I?

Davies: Given the overall excitement from audiences of all ages and the variety this summer’s box office has to offer, this season will definitely be the one to do it. When Christopher Nolan, Spider-Man, the minions and the toys from “Toy Story” join forces, there’s no stopping them.

“The Pitt” and its economic effect on California

As film and TV production has fled the Golden State in search of cheaper locales, HBO Max medical drama “The Pitt” stands out as a major contributor to California’s economy.

My colleague Meg James wrote about the economic impact of the show, which films almost entirely on the Warner Bros. lot in Burbank and has provided jobs for about 1,000 people. The show’s first season alone contributed $125 million to California’s gross domestic product, according to an estimate from Oxford Economics.

“We’re old men who didn’t want to go away from our homes any longer,” series star Noah Wyle, who also serves as an executive producer and writer on the show, said, half-joking. “We’ve all been plying our trades out of state, chasing tax credits and being away from our families for a really long time.”

Stuff We Wrote

Film shoots

Number of the week

Disney and Pixar’s “Toy Story 5” continued its dominance this weekend, pulling in $70 million in the U.S. and Canada to stay on top at the box office.

The animated film has now grossed more than $585 million worldwide in less than two weeks. The haul for “Toy Story 5” helped push Disney past the $3-billion mark at the global box office, making it the first studio so far this year to hit that milestone.

What I’m watching

I feel like I’m always catching up on shows, and this week was no exception. I’m just now starting Season 2 of Netflix’s “A Man on the Inside,” which continues the hilarious exploits of retired engineering professor-turned-private-investigator Charles, played by Ted Danson. As a fan of “The Good Place,” I’ve loved the similar humor of this latest Michael Schur show.

Former Walt Disney Co. Chief Executive Bob Iger and Thrive Capital founder Joshua Kushner have hired investment bankers and discussed making a bid for the National Basketball Assn. expansion team in Las Vegas, according to people familiar with their plans.

The bid would be for a majority investment in the team, according to the people, who asked to not be identified because the discussions are private. The NBA’s board of governors approved the exploration of a potential franchise expansion in Las Vegas and Seattle in March.

Iger and Kushner are discussing making the bid through Thrive Eternal, a company set up by Kushner’s firm to invest in iconic brands and cultural assets. The company operates as a holding company, structured to raise new capital and make investments into businesses without a set exit timeline. Iger is involved with Thrive as an advisor.

It’s unclear what the size of the bid and the valuation of the franchise would be. Representatives for Thrive Capital and Iger declined to comment.

Iger, who took over as CEO of Disney from 2005 to 2020 and then again from 2022 to March of this year, had a tenure marked by acquiring marquee entertainment franchises and expanding them, including Pixar, Marvel Entertainment, Lucasfilm and 21st Century Fox. The executive previously bought a controlling stake in Angel City Football Club, a women’s soccer team, with his wife, Willow Bay. A big basketball fan, he’s had a lot of experience with the NBA through Disney’s ESPN sports networks.

Kushner, meanwhile, has been building an investment portfolio of tech startups for decades, from investing early into OpenAI and Instagram, and working on dozens of incubations through his venture firm, Thrive Capital. The venture firm has total assets under management of more than $50 billion, according to a regulatory filing. Earlier this year, the firm raised more than $10 billion for its largest fund ever. The NBA discussions show the latest iteration in how Thrive is expanding beyond its roots of investing in technology startups, into also influencing culture through entertainment and sports.

Announced in April, Thrive Eternal, which operates a permanent capital vehicle, raised its initial capital from existing Thrive investors. “These are assets with qualities that cannot be replicated by technology,” Kushner said in a social media post. “In a world shaped by abundant intelligence where creation scales and distribution fragments, we believe they will matter even more.”

Thrive Eternal’s first investment, though not a controlling stake, was backing a Major League Baseball team, the San Francisco Giants. The capital of that deal is set to go toward the Giants’ Oracle Park and its surrounding real estate, according to a person familiar with the matter, Bloomberg previously reported.

Mascarenhas writes for Bloomberg.

When the creators behind Universal Studios Hollywood’s soon-to-open “Fast & Furious” coaster discusses the attraction, they speak of it not only as the most grown-up, intense ride at the park, but also as one of the most extreme coasters in Universal‘s global portfolio. That means, in theory, a ride as vaunted as its Florida coasters Jurassic World VelociCoaster and Stardust Racers.

For riders, some of the perception of danger will come from the coaster’s location. Fast & Furious: Hollywood Drift is set on a hill between the park’s upper and lower lots. It will careen over, under and around guest escalators, and take attendees on a journey that includes multiple inversions and speeds of 72 mph, making it the fastest coaster at any Universal park. A particularly unique facet is the ability for its cars, each meticulously designed after a real vehicle, to rotate 360 degrees.

Plenty of coasters have the capacity to spin, but Universal has been hyping the high-speed “drift” sensation of its cars. Each ride vehicle will have distinct programming along the coaster’s 4,100 feet of track, and the hope is to create the feel of a stunt car just barely maintaining its control.

I like a coaster, but I’m also, I’ll admit, a tad squeamish. Hollywood Drift is expected to open by mid-summer, and at the time of writing, only Universal stakeholders had been on the attraction. Jon Corfino, the park’s lead creative executive, was one of those riders, so as he gave me a tour of the coaster, I pressed him to describe what the experience is like. Here’s what I learned.

So Fast & Furious: Hollywood Drift is intense. But just how intense is it?

A loop on Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The late, great theme dark designer Eddie Sotto once devised a simple formula for what makes a good coaster: Fear minus death equals fun. I wanted to ask Corfino just how scared I would be. Answer: Pretty frightened. Probably.

“It’s a high level of intensity, absolutely, for sure,” Corfino says.

And yet Corfino tried to calm my nerves. Hollywood Drift, he explained, is designed to feel relatively slick — polished, if you will.

“I’ve ridden coasters that I would say are high intensity, but they’re very aggressive,” he says. “They’re very rough. But if you look at what we tried to achieve here, it’s that you’re in a [car] vehicle. It’s very smooth. It’s not something that would be not natural for a car, if that makes sense.”

Well, except for the whole going upside down part. Based on Corfino’s assessment, we can expect some white knuckles, as Hollywood Drift will lift riders off their seats at multiple points.

“You definitely feel you’re coming out a couple times, and not the least of it is when you’re upside down,” Corfino says. The coaster will utilize a lap restraint that extends from the top.

“You’ll be holding on,” he says. “When you’re upside down, you’re holding on.”

What about the drops?

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift is set to open this summer.

(Todd Martens / Los Angeles Times)

Corfino didn’t pinpoint the exact steepness of the drops on Hollywood Drift, but riders will encounter one immediately after launch. When exiting the show building, designed to look like a warehouse garage, Hollywood Drift will take a sudden dip off a cliff. The sharp drop is one of many.

Riders will encounter, for instance, a so-called “bunny hop,” which is typically a series of small hills that provide airtime. But Hollywood Drift will play with riders’ expectations through its terrain. Those mid-ride hills are “actually pretty darn steep,” Corfino says. And then before the ride ends, riders will go up, over and under Universal Studios’ most recognizable feature (except perhaps Stuart the Minion): its escalators.

“When you go up over the loop, that’s very steep. You’re coming straight down over the stairway and then underneath the stairway,” Corfino says.

How real are the cars?

The minicars of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and Toyota Supra — all come complete with working taillights. And each has its own distinct sound effects, engine and brake noises that match their real cars. Guests will hear brakes each time the vehicle drifts or turns.

The minicars aren’t complete tiny re-creations. The odometers in the coaster cars, for instance, are for show only.

“The truth is I was really laboring,” Corfino says of the accuracy of the coaster cars. “They all have realistic sound effects, and when you hit the bottom, the big launch, I wanted to hear the NOS kick in. But you’re going so fast, at 72 mph, and with the wind, you’re not hearing anything. Quite frankly, your vision is even kind of shaky because you’re going so fast.”

That sort of attention to detail is what separates a Universal or Disney coaster from so much of the industry — even if riders will be clutching their restraints too hard to notice the discrepancies in each car’s engine roar.

I’m eager to get on the ride. I will, however, pretend I didn’t hear Corfino say that thing about “shaky” eyesight.

This week in SoCal theme parks

Dataland is now open in downtown Los Angeles. Theme park fans should give it a look.

(Carlin Stiehl / For The Times)

• “Stranger Things” lives at Halloween Horror Nights. Universal Studios Hollywood’s trickle of announcing haunted houses for its Halloween event continues. After unveiling a “Sinners” house earlier this year, Universal has added “Stranger Things” to the roster. “Stranger Things” is no outsider to the festivities, but this house will be themed specifically to the show’s fifth and final season. Expect, of course, some Demogorgons and other nasty creatures. Halloween Horror Nights is set to launch on Sept. 3.
• Theme park fans, pay attention to this new museum. Now open in downtown Los Angeles is Dataland, which was described by this outlet as a “25,000-square-foot immersive, environmental, generative, multisensory AI arts museum.” While there’s much to discuss and debate regarding the center’s use of AI, Dataland’s inaugural exhibition, “Machine Dreams: Rainforest,” is the kind of all-encompassing, wrap-around display theme parks are known for (I’d argue Dataland is, in fact, more indebted to theme parks than the world of fine arts, but that’s another column). No doubt those in the immersive space are paying close attention as to how Dataland is received.
• “Toy Story 5” has arrived, in theaters and at the Disneyland Resort. Fans of the “Toy Story” franchise will want to make their way to Disneyland’s Pixar Place Hotel, where a second-floor exhibit features drawings and sculptures from the new film. And for hotel guests, coming July 2 is the “Disney Poolside Splash Bash,” a pool party with music, trivia and appearances from Jessie, Bo Peep and Woody. If you’ve seen the movie, I encourage you to check out Amy Nicholson’s review of the work. She found, perhaps, that the toys have overstayed their welcome.
• Bag checks and metal detectors arrive at CityWalk. Universal Studio’s theme park adjacent shopping and dining area is home to a couple should-be cultural institutions: the Los Angeles outpost of Jimmy Buffett’s Margaritaville and one of the finer Imax theaters in the nation. Now getting to either comes with an extra hurdle, as Universal has placed CityWalk within the theme park’s security zone. Prepare for bag checks, metal detectors and extra time if you’re heading to a sold-out screening of Christopher Nolan’s “The Odyssey.” The local film community, as reported by The Wrap, is having a fit.

What I’m thinking about

A media image distributed by Adobe and Walt Disney Imagineering is designed to show how AI software can be used in the design process.

(Adobe / Walt Disney Imagineering)

Generating attention this week was an announcement from Adobe and Walt Disney Imagineering, the creative arm of the company responsible for theme park designs, regarding a new AI partnership. AI is a term I generally believe is rightfully viewed with skepticism, especially when it comes to creative work. As a writer, I view utilizing AI to help craft a story as strictly forbidden; journalism, after all, is a storytelling art. But I’m not above tools that can help accelerate tedious aspects of the process, such as using AI to help transcribe an interview.

So places in which Adobe’s Firefly Foundry could, say, transform drawn 2D renderings into potential 3D models seem not entirely troublesome, especially for an industry in which one of the most time-consuming aspects is the build. And yet there were components of the announcement, as well as the press materials distributed with it, that made me cringe. The generation of on-demand, on-brand assets, for instance — one of the promised abilities of the software — is a job for an artist, not a computer.

And Adobe and WDI proved my point. Accompanying the press release was an image of Disneyland’s Haunted Mansion ride vehicles, the Doombuggies, as re-imagined by the program. A perfect, coffin-like design from Bob Gurr was now bedazzled with garish, grotesque imagery that had little similarity with anything in the Haunted Mansion. That the two companies viewed something this amateurish as a prime example of what the software could achieve should raise an eyebrow.

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.

Changes are coming to Disneyland’s classic Autopia ride.

(Allen J. Schaben / Los Angeles Times)

Disneyland’s classic Autopia attraction is facing a deadline. The Disneyland Resort has already stated that the gas-powered minicars of Autopia would be on the way out in early 2027. Disneyland officials confirmed just a few weeks ago that the park has an agreement with the California Air Resources Board to retire the current engines next year. No closing or reopening date has been announced, and no details on the new cars have yet been released.

But, thanks to new reporting from environmental reporter (and former Times staffer) Sammy Roth, it’s been revealed that the theme park faces a strict deadline to begin making the switch. In a recent edition of Roth’s Climate Covered Goggles, the writer noted that due to an agreement with the board, Autopia in its current form must shut down by Feb. 1, 2027.

While that doesn’t shed any clarity on when the ride may reopen with refreshed vehicles, it at least provides a timeline as to how long it will likely exist in its current form.

It’s been more than 30 years, but Andy’s toys are proving irreplaceable at the box office.

Walt Disney Co. and Pixar’s “Toy Story 5” opened to a massive $160 million in the U.S. and Canada last weekend, marking the biggest domestic box office debut so far this year. Internationally, the film brought in $152 million for a worldwide total of $312 million.

With those numbers, “Toy Story 5” broke several franchise records for opening weekend totals. As my colleague Cerys Davies and I wrote last week, it’s a sign of the long-running juggernaut’s firm grip on audiences amid a sea of Hollywood sequels, reboots and spinoffs.

“‘Toy Story’ has been breaking ground since it first hit the screen more than 30 years ago,” Disney Entertainment Studios Chairman Alan Bergman said in a statement. “It’s wonderful to see ‘Toy Story 5’ continuing that tradition and connecting with audiences around the world to deliver the biggest opening for the franchise and the biggest of this year as well.”

For theater owners, “Toy Story” may have seemed like a surefire bet. After all, the franchise has grossed more than $3 billion in worldwide box-office revenue, and its third and fourth installments each made more than $1 billion globally.

The big opening weekend for “Toy Story 5” has no doubt brightened the outlook for many theater operators as the all-important summer movie season gets underway.

Already, last weekend’s box-office totals were a whopping 80% improvement compared with a year ago, when Universal Pictures’ live-action “How to Train Your Dragon” was in its second weekend in theaters. But more importantly, the domestic box office is now up 14% to $4.46 billion compared with the same time a year ago, according to data from Rentrak.

This summer’s lineup of films, including “Toy Story 5,” will play an important role in terms of whether 2026 will truly be the year that the theatrical business turns the corner from the COVID-19 pandemic and the dual Hollywood strikes of 2023.

In one promising sign, summer box-office revenue so far is up 15.2% to about $1.84 billion compared with the same May to mid-June period in 2025. (That summer ultimately ended in a dismal finish of $3.67 billion.) Compared with pre-pandemic 2019, this year’s summer box office to date is down just 1.9%.

Studio executives and theater owners have told me they feel good about this summer and are optimistic about the overall outlook for 2026.

It’s easy to see why. The deck is stacked, with upcoming titles such as Universal and Illumination’s “Minions & Monsters,” Disney’s live-action “Moana,” Christopher Nolan’s “The Odyssey” and Sony Pictures’ “Spider-Man: Brand New Day.”

In a propitious sign, presales for “The Odyssey” and “Spider-Man” have already shown massive demand. Overall, there’s just more and varied movies in theaters now, which expands the pool of potential moviegoers, theater owners have said.

Take A24’s “Backrooms” or Focus Features’ “Obsession,” for instance. The two original and digital-native films shocked the industry by keeping a weeks-long grip on the box office, largely by attracting Gen Z audiences who were familiar with the 20-something directors from their followings on YouTube.

Beyond these two, as well as Steven Spielberg’s “Disclosure Day,” many of this summer’s films continue established franchises.

Although not all spinoffs have performed this year — including Disney and Lucasfilm’s “Star Wars: The Mandalorian and Grogu,” which saw ticket sales drop sharply after its late May opening — “Toy Story” has remained a consistent force in theaters over the decades.

Disney and Pixar executives credit the films’ focus on character relationships, particularly that of Tom Hanks’ Woody and Tim Allen’s Buzz Lightyear. And as the franchise spanned years, its appeal became generational.

“Having parents now that say, ‘I grew up with ‘Toy Story,’ and now I’m showing my kids,’ has been really gratifying,” Pixar Chief Creative Officer Pete Docter told me by phone a week before the movie’s opening.

“Toy Story” is now the most-watched franchise on the Disney+ streaming service, with more than 2 billion hours streamed. And its beloved characters have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

That has no doubt kept the franchise front and center for both adults and children, as well as fueling interest in future stories.

Stuff We Wrote

Film shoots

Number of the week

The FIFA World Cup has been a major boost for broadcasters, as an average of 6 million viewers tuned in to Fox and cable network FS1 for the first 16 group stage matches, an increase of 128% compared with the last World Cup in 2022, according to Nielsen data released last week.

On Spanish language network Telemundo, which is owned by Comcast, the first 12 group stage matches drew an average of 7.5 million viewers, up 234% from four years ago. (The Telemundo telecasts are also streamed on Peacock.)

I was in the Bay Area last week on vacation and didn’t watch many of the games, but I did catch my colleague Clara Harter’s great read about the mutual love and respect between fans of Mexico and South Korea and how that has played out in Los Angeles.

What I’m watching

Since I was out of town last week, I didn’t watch a ton of TV. But I did make time to watch the series finale of “The Way Home,” a quirky time-travel drama on Hallmark that I’ve followed for all four seasons.

I’m a big fan of time-travel stories (The “Back to the Future” trilogy is one of my favorites), so the usual past-future questions, plus the complicated family dynamics anchored by matriarch Andie MacDowell, made this a must-watch for me. The series finale was a satisfying ending, though there are definitely some loose strings that deserve further exploration.

The Walt Disney Co. is rallying public support for ABC as it faces an early Federal Communications Commission review of its TV station licenses and the guest booking policy of its daytime talk show “The View.”

ABC began running spots Monday asking viewers to comment on the FCC’s recent actions that Disney sees as an effort to stifle speech seen as critical of President Trump. The president has repeatedly threatened to pull broadcast licenses of TV outlets that feature journalists and hosts he dislikes.

In April, the FCC called for an early review of the licenses for Disney’s eight broadcast TV stations, a day after Trump demanded that ABC fire late-night host Jimmy Kimmel over a joke about First Lady Melania Trump. Carr has repeatedly threatened to use the levers of power he has to punish TV and radio stations that irritate Trump.

The licenses for the TV stations, including KABC in Los Angeles, were originally scheduled for renewal between 2028 and 2031. Calling for an early review is highly unusual, but the agency said its related to an inquiry into Disney’s diversity, equity and inclusion policies and whether they violated federal anti-discrimination rules.

The FCC has not declined to renew a TV license since the early 1980s. With court challenges, such a process can take years to enact.

FCC Chairman Brendan Carr has also taken aim at ABC’s daytime talk show, “The View.” He publicly questioned whether the program should have the status of news programs, which are exempt from having to give equal time to the opponents of political candidates who appear as guests.

“The View” was granted an exemption from the rarely enforced rule in 2002. ABC’s Houston station KTRK filed a petition with the FCC in May asking for a declaration that the program can maintain that status.

“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,” KTRK-TV said in the filing.

ABC has maintained that “The View” books politicians based on newsworthiness and not partisanship. The program featured Vice President JD Vance last week, where he received a cordial welcome.

ABC’s message asking consumers to support “The View” amid an FCC investigation.

(ABC)

ABC is airing spots which warn viewers that the FCC wants to control what viewers see on “The View.” The message opens with the voice of legendary broadcaster Barbara Walters giving her introduction to the program she founded — “I had this idea for a show — different women, with different points of view.”

Walters is followed by an announcer who says, “‘The View’ has welcomed your favorite guests and cover the issues you care about for nearly 30 years. Now the FCC wants to control who is allowed to appear on the show.”

The spot says “the FCC is questioning our support to the community.” A QR code shows up on the screen that takes viewers directly to the FCC’s electronic comment filing system where they can submit their comments, which is regularly part of the agency’s review process.

Disney is also airing spots calling for support of its local TV stations, including L.A.’s KABC. The spots are customized for each ABC station market, emphasizing their commitment to local news coverage.

Disney did not comment on the campaign. But an executive not authorized to speak publicly about it said “ABC believes it is important for the public to know what is happening, what’s at stake, and how to engage directly in the process if they want to make their voices heard.”

Disney’s aggressive defense of its stations and “The View” are a stark contrast to its decision to settle a lawsuit filed by Trump over inaccurate statements ABC News anchor George Stephanopoulos made about a sexual assault civil suit the president lost in court.

ABC agreed to pay Trump $15 million in Dec. 2024 to end the legal fight — sparking an outcry among free speech advocates, who believed the network would have won the case.

ABC also caved In September, when Kimmel’s program was briefly pulled from the air after two major TV station groups refused to air it following the host’s comments about the murder of right-wing activist Charlie Kirk.

Disney received major blowback from the Hollywood community, where Kimmel is extremely popular. Data also showed the company experienced cancellations of its Hulu and Disney+ streaming services in protest of the move.

THE sweet scent of popcorn and vanilla cupcakes wafts over me as I stroll along the shiny streets, filled with excited chatter.

It’s true what they say about Florida’s Walt Disney World Resort near Orlando.

The mega theme park is a real-life fairytale, where pink castles and bejewelled princesses really do exist.

I was visiting for the first time, with my sister Emma-Rose.

We are both in our twenties and without children. Would we be past the ideal age?

It quickly becomes apparent that the magic isn’t just for kids.

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

And with the new Toy Story 5 film released yesterday, our timing couldn’t have been better.

Simply wandering through the parks was enough to blow us away.

The resort is staggeringly huge — the same size as San Francisco — and contains four theme parks and two water parks.

The whole operation requires 80,000 staff members to make sure everything runs perfectly — and run perfectly it does.

While I’m a bit of a thrill-seeker, my sister is more of a chill-seeker, but there’s plenty for both types of holidaymakers to enjoy here.

Unsurprisingly, my favourite attraction was the newly revamped Rock ’n’ Roller Coaster, often referred to by fans as the most intense ride at Disney World.

The attraction has been given a makeover for 2026, with its previous Aerosmith theme being ditched to make way for The Muppets.

Visitors are invited to hop inside a mini limo and hold on for dear life as they are propelled forward, from zero to 57mph in under three seconds, before being thrown around two loops and three inversions.

I stepped off beaming and was soon dancing along to the new Muppet-themed party in the gift shop.

Star Wars fan Emma, on the other hand, was in her element swooping past Stormtroopers on the Rise Of The Resistance attraction and unlocking the new Mandalorian and Grogu experience on Millennium Falcon: Smugglers Run.

Both are must-dos for lovers of the franchise.

If you’re feeling that Toy Story nostalgia after the new movie, Buzz Lightyear’s Space Ranger Spin has also had an upgrade and been fitted with new hand-held blaster guns and targets.

Being able to track our accumulating scores very much fuelled the sibling rivalry.

It’s not all about the rides, though, especially not for a Disney newbie like me.

Thanks to social media, I knew that the dining was a huge part of the experience for most mega fans and I’d gathered my own list of snacks that I was desperate to try.

Mickey Mouse-shaped pretzels, Mickey ice cream cookie sandwiches and cheeseburger- flavoured spring rolls (they shouldn’t work, but they really do) were all top of the pile.

And that’s before you get to the main restaurants where characters wander up to your table mid-feast.

My favourite eatery was Tusker House, an African-inspired restaurant in Animal Kingdom, where Mickey, Donald, Daisy and Goofy visit your table and break out into dance around every 30 minutes.

Some say overstimulating, I say bring on the party.

We visited for breakfast and were treated to a huge buffet spread starring everything from shakshuka to Simba-shaped pancakes.

This place is famous for its take on French toast, which it does as South African bulkas buns slathered in icing and served like decadent bread and butter pudding.

You’ll have to resist gobbling down too much if you plan on tackling those rollercoasters straight after, though.

As for Toy Story fans, you won’t regret a visit to the Roundup Rodeo BBQ in Hollywood Studios, where bites of beef brisket and barbecue ribs come with a side of entertainment.

Diners are treated as fellow toys by the Toy Story gang and told to freeze when they hear “Andy’s coming!”.

The fun doesn’t even end in the parks and restaurants.

Disney hotels take the fun to a whole other level.

Guests can pick between Value, Moderate and Deluxe stays, but all on-site hotels bring big benefits such as early admission into the parks.

I stayed at Disney’s Polynesian Village Resort, which felt like a holiday in its own right.

I was greeted by large leafy palms and a smiling ukulele player on arrival.

And I was checked in with a friendly “Aloha” and a traditional lei (flower necklace).

Dads, this is surely your cue to break out that Hawaiian shirt and sunnies.

The hotel is home to three swimming pools, a waterslide, ten bars and restaurants, plus its own white sand beach.

Rooms are very well themed — ours smelt tropical with a whiff of freshly cut flowers.

I slept beside a large painting of Disney princess Moana and received wake-up calls from Mickey Mouse — the kind of extra touches you can’t get staying off-site.

But that’s not even the best part about the Polynesian.

Here, guests can watch the famous nightly fireworks display from the beach.

One of my fondest memories of the trip was pulling up a deck chair with my sister, tucking into a Hawaiian pizza and watching the night-time show take place above the Magic Kingdom from across the water.

We’re both grown-ups, but we felt like little kids watching the colours burst across the sky.

It’s safe to say I had very high expectations for the most magical place on Earth.

Yet, somehow, Walt Disney World still managed to exceed them.

And Emma and I flew home with smiles on our faces, which still haven’t faded.

This sort of magic is priceless, no matter your age.

Woody, Buzz Lightyear and Jessie will be back at the box office this weekend, delivering what could be the biggest film debut of the year.

Analysts expect the fifth installment of Disney/Pixar’s “Toy Story” franchise will pull in at least $150 million in the U.S. and Canada, with some predicting as much as $175 million — either of which would set a franchise record, topping the nearly $121-million opening of 2019’s “Toy Story 4.”

A strong showing for “Toy Story 5” will further fuel a recovery of the box office this year from the post-pandemic doldrums.

Domestic ticket sales are up over last year, and Roth Capital Partners forecasts the second quarter will climb 6.5% to $2.8 billion — a post-pandemic high.

“Toy Story 5” is the first of several family tentpoles this summer, ahead of Universal and Illumination’s “Minions & Monsters” and Disney’s live-action “Moana.”

“Right now we’re on pace for the best opening of the year,” said Daniel Loria, editorial director at Box Office Co. “This is a performer.”

The timing also is fortuitous for Walt Disney Co. at a moment when its other once-reliable franchises such as “Star Wars” and Marvel have faltered. The recent “Star Wars: The Mandalorian and Grogu” dropped sharply at the domestic box office after its late-May opening, bested by low-budget horror films “Backrooms” and “Obsession.”

“People love these characters from ‘Toy Story,’ ” said Paul Dergarabedian, head of marketplace trends at Comscore. “It’s just as appealing as ever.”

Indeed, across four films and 30 years, “Toy Story” has grossed more than $3 billion worldwide. It is the most-watched franchise on Disney+, with more than 2 billion hours streamed. Woody, Buzz Lightyear and Jessie have spawned 19 theme park rides, four themed lands, two hotels and roughly $1 billion a year in global retail sales.

The production budget for “Toy Story 5” is about $150 million to $200 million. A crew of about 300 people worked on the film at Pixar’s Emeryville, Calif., headquarters.

For Pixar, the reliance on “Toy Story” reflects a shift away from originals that used to be its lifeblood.

February’s “Hoppers” managed a respectable $372 million worldwide, but the surer money now comes from sequels.

“Inside Out 2” grossed nearly $1.7 billion in 2024, and both “Toy Story 4” and “Toy Story 3” crossed $1 billion globally.

Still, the franchise label is no guarantee: The 2022 spin-off “Lightyear” stalled at $226 million worldwide after straying from the formula, recasting Buzz as an actual sci-fi hero — voiced by Chris Evans rather than Tim Allen — and sidelining Woody and the rest of the gang.

“Toy Story 5” stays closer to home but wades into new territory: the explosion of tech in everyday life. The toys must contend with Lilypad, a tablet that captures the attention of their owner, Bonnie — a premise that grew out of a tech-toy character originally written for “Toy Story 4” and scrapped for time. Disney is betting the underlying tension is universal.

“What parent hasn’t had anxiety over tech versus toys with their kids?” said Andrew Cripps, head of theatrical distribution for Walt Disney Studios.

Disney is betting that this universal concern will drive audiences to the film.

The fifth installment also arrives with an unusually high-wattage assist: Taylor Swift wrote and performed an original song, “I Knew It, I Knew You,” and made a surprise appearance at last week’s premiere, performing it after the credits before joining longtime franchise composer Randy Newman for “You’ve Got a Friend in Me.”

“It means the world to me to be a small part of the universe of these films,” Swift told the crowd.

The expected blockbuster opening for “Toy Story 5” would be a full-circle moment for the long-standing franchise; Pixar animators in 1995 hadn’t even considered the possibility of a sequel while working on the first “Toy Story.”

“There was so much learned on that first film, specifically our iterative process,” Pixar Chief Creative Officer Pete Docter said in a phone call last week from Madrid, shortly before the film’s Spain premiere. “A lot of things that we discovered having worked on that film have just continued to inform every movie that we make.”

“Toy Story” revolutionized the movie business as the first computer-animated feature film. But its enduring appeal was in the bonds between the characters, Docter said.

Docter, who supervised animators and helped with character design and writing on the original “Toy Story,” added: “It certainly had some new technology, but it was really up to the story and characters to carry the audience.”

The franchise’s longevity is also due to its ability to capture generations of fans.

“Having parents now that say, ‘I grew up with “Toy Story,” and now I’m showing my kids,’ has been really gratifying,” Docter said.

When Jon Corfino was among the first to test ride Universal Studios Hollywood’s new high-speed “Fast & Furious”-inspired coaster, it was the culmination of a convoluted decade-plus journey filled with uncertainty. For before any track was laid, before the ride was even associated with “Fast & Furious” or any film franchise, Corfino, the park’s lead creative executive, didn’t know whether a coaster could even exist.

Universal Studios Hollywood is landlocked, constructed around a working film studio, meaning space is at a premium. And then there’s the problem of noise. Coasters, historically, are loud, and film productions necessitate a quiet environment. The theme park is also nestled against a neighborhood full of homes and apartments.

To make it work at all, the coaster would need to stand on a relatively steep hill, winding over, under and around escalators between the park’s upper and lower lot. It extends significantly beyond guest-accessible areas, visible even from nearby Ventura Boulevard. “It wouldn’t be your first choice,” Corfino says of the topography. “But in a way, it makes it more dynamic that we were able to do it.”

He continues, “Everything we do is a bit of invention.”

When discussion on the project first began a decade or so ago, Universal Studios Hollywood was far from a thrills park. While the Wizarding World of Harry Potter was nearing completion and would open in 2016 — a full-scale re-creation of a fictional world that would alter the tenor of the park — the vast majority of Universal rides were designed to place guests inside the world of stories they had already seen on the screen. Or to let them “ride the movies,” as Steven Spielberg once coined. The park’s portfolio was also dotted with stunt and animal shows.

Fast & Furious: Hollywood Drift will reach speeds of 72 mph and take riders through multiple inversions.

(Todd Martens / Los Angeles Times)

Universal was once heavily dedicated to pulling the curtain back on how movies were made. A coaster simply didn’t fit the vibe.

“It was never a thought,” Corfino says of his earliest days at Universal back in the 1990s. “It was a different ethos. We were going to take you behind the scenes and show you stuff. But during the epic transformation of bringing in ‘Potter,’ and immersing you in different environments, it became more of a reality.”

And so began the process of looking for a franchise to associate with the coaster, one that would still make sense with Universal’s inside-the-movies mindset. At the time, there already was a “Fast & Furious” segment on Universal’s behind-the-scenes tram tour (now shuttered, a replacement is expected to be unveiled in 2027).

“You go through a lot of ‘what ifs,’” Corfino says. “I can say, one of the earlier ‘what ifs’ was ‘what if this,’ in terms of brand. We already had one [‘Fast & Furious’ attraction] on the backlot, but we didn’t know what else we were going to be doing, so you go through a lot of different ideas. But it was early on that we said, ‘This brand speaks to it.’”

The view of Fast & Furious: Hollywood Drift from Universal Studios Hollywood’s Wizarding World of Harry Potter.

(Todd Martens / Los Angeles Times)

Fast & Furious, the street racing mega-franchise that’s celebrating its 25th anniversary this year, works in part because Universal could theme the coaster around cinematic stunts. Before guests board the ride, they will walk through a twisting queue area that will focus on prop cars with installations designed to show how movie magic is brought to life. Guests will be prodded to scan QR codes to further go behind-the-scenes, that is if they’re not distracted watching the coaster, which will launch directly above them and then go on a journey through multiple inversions on the side of a hill.

And then there was another problem: Would it be too loud? Before land was moved, Universal placed speakers on the old special effects and stunt buildings to see how noise traveled down the hill. “We did recordings all over the place and really established a baseline on which to design,” Corfino says.

Ultimately, the tracks would be complemented with multiple sound walls and shields, the latter clear structures designed to block coaster rumbles and audience screams. And because the cars can rotate 360 degrees, Universal can in theory direct rider yells away from the studio below and the neighborhood nearby. What’s more, the actual track has been filled with pea gravel, designed to minimize nose from any reverberations.

“It’s incredibly quiet,” Corfino says. “We were able to do that by putting materials inside portions of the track to deaden the sound. I’m not sure we would have needed it, but it was important to do the right thing. It’s pea gravel and rocks. It’s quieter than I ever thought it was going to be.”

VP of Universal Creative Jon Corfino, who led the creative development of the Fast & Furious coaster, photographed in 2019.

(Brian van der Brug / Los Angeles Times)

A 72-mph coaster with 360-degree rotation and multiple loops and inversions that’s relatively muffled? Perhaps. I can only say that as I watched test cars speed by me last week from an upper lot lookout, the soundtrack from the Jurassic World water ride below was certainly louder.

An opening date for the coaster has not yet been set, but it’s soon. The other week the Universal website briefly posted June 26 as a launch date, and while that was once a targeted day, it will not be the coaster’s grand opening, which is now expected after the Fourth of July holiday (the coaster will be open intermittently for tech rehearsals for some time before its official date).

But Corfino is willing to make one promise. “Given the physical realities of putting this on the side of a hill,” he says, “this is the best view in Hollywood.”

That is, if you’ll be brave enough to keep your eyes open to take it all in.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

This week in SoCal theme parks

• Los Angeles loves a parade. Head to the Los Angeles County Museum of Art on Saturday evening for the Art Parade, which is designed to showcase L.A.’s thriving creative community with a colorful procession down Museum Row. Of particular note: Experiential art firm Meow Wolf, which is in development on its first-ever Los Angeles installation, will be participating. Meow Wolf’s L.A. exhibit, influenced equally be sci-fi and cinema, is on target for a winter opening.
• Disneyland history is Los Angeles history. The Autry Museum of the American West has a new exhibit, “Life, Liberty and Los Angeles.” As part of the show, which highlights how SoCal reflected and contradicted our nation’s founding ideals, guests will come across a 1967 Autopia vehicle from Disneyland. Now perhaps a bit quaint, the ride once exemplified our region’s dreams of an open freeway. Autopia is due next year to be remade with electrical vehicles.
• Plan a tour of Walt Disney’s former Los Feliz home. Disney and his family in the 1930s lived in a storybook mansion. Keepers of the house have announced that it will be open on a few select Saturdays this summer for tours. Though a private residence, tours are led by Disney expert Dusty Sage, who oversees the Micechat website and fan community. I’ve been inside, and can report the house is full of unique design quirks as well as a number of only-in-SoCal historic tales.
• A lively night at Downtown Disney. Head to Downtown Disney on Friday at 5 p.m. for Yardfest 2026, an evening to honor the music and traditions of historically Black colleges and universities. Expect performances from the Texas Southern University Ocean of Soul Marching Band near the area’s live stage, which itself has a unique design paying homage to famed Black architects, as well as specialty food offerings and Mickey Mouse in his drum major outfit.

Ride report

Knott’s Berry Farm has a new show inside the Calico Saloon dubbed “Spirits and Shenanigans.” The production is part of the park’s summer offerings.

(Todd Martens / Los Angeles Times)

Today’s report is on a show. It’s summer season at Knott’s Berry Farm, which means a new storyline for its popular Ghost Town Alive!, a heavily improvised, actor-led experience that unfolds like a live-action role playing game. New this year is a hootin’ and hollerin’ good time of a show in “Spirits and Shenanigans,” which takes place in the Calico Saloon inside the park’s historic Ghost Town.

At 25-minutes, the production centers on the fictional husband-and-wife bar proprietors, who sing of leaving Illinois to open the spot, as well as its boot-tapping, can-can dancing staffers. Just ever-so-slightly risque with a bit of a patriotic feel, it’s a fast-moving ode to drinking holes and the sense of local community they provide. Expect tap dancing as well as numbers that will turn the entire stage into a drum kit. So if you’re heading to Knott’s this summer, “belly up to the bar,” as they sing, and grab a Boysenberry IPA and one of the few inside seats for this lively, can’t-miss production.

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

MARGARET Kerry, the actress and dancer who helped bring Disney’s iconic Tinker Bell to life, has died aged 97.

The star, whose movements inspired Disney’s mischievous fairy in the 1953 classic Peter Pan, passed away after a battle with lung cancer.

Kerry died peacefully on June 11 in North Carolina surrounded by her children, according to her family.

In a statement, they said: “It is with profound sadness that we share news of the passing of Margaret Kerry (Boeke), our beloved Tinker Bell.

“Margaret passed peacefully into the arms of Jesus on June 11, 2026, in Wilmington, North Carolina.

“Her three adoring children, Ellen, Christina and Eric, were with her as she lost her courageous battle with lung cancer at the age of ninety-seven.”

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The tribute added: “And remember, on any given night, look up into the night sky and search for that ‘Second Star to the Right’. Upon closer look, you might just notice that star shining a little brighter in Margaret’s honor.”

Kerry became immortalised in Disney history when she was chosen to model the movements of Tinker Bell for Peter Pan.

Standing just 5ft 2in tall, she spent months on a vast Disney soundstage acting out scenes for animators, wearing a swimsuit and imagining interactions with characters who weren’t really there, according to The Hollywood Reporter.

Recalling her unusual audition, she said in a 2003 interview: “They were looking for a young girl who was comfortable with dance movement.”

After choreographing and performing a mime routine to music, she landed the role and became the inspiration behind one of Disney’s most recognizable characters.

This is a breaking news story. More to follow…

Walt Disney World has a reputation for being for older kids if you want to get the most out of the parks – but it turns out there’s a whole other side to Mickey Mouse’s Florida home

Walt Disney World needs no introduction; it’s already on most UK families’ wishlists. However, with the travel and costs involved, it’s got a reputation for being a destination to visit ‘when the kids are older’. There are obvious reasons for this, but what about someone impatient like me who wanted to share that Disney magic as soon as my toddler could say, ‘Mickey Mouse’?

Well, I decided to brave a 10-hour flight to Orlando with a two-year-old, and find out what you can do with a toddler – and whether it’s actually enjoyable for parents too. (In the meantime, ignoring everyone’s warnings that it wouldn’t be as magical because he was too young).

I’m not going to lie and say it was all pixie dust and rainbows – any trip with a toddler is a challenge – but I was genuinely taken aback at just how much fun we all had.

Here’s everything I learned about doing Walt Disney World with a toddler (including the mistakes I made so you don’t have to)…

The rides you can do with a toddler

There was an impressive amount to do with our toddler – a load of rides don’t have height restrictions.

In Magic Kingdom we rode the likes of Peter Pan’s Flight, It’s A Small World, Aladdin’s Flying Carpets. Jungle Cruise is also great for sitting in the shade and spotting ‘animals’! Our toddler isn’t familiar with all of the Disney films yet, but he had the best time with all of the stimulation, music and colours. Buzz Lightyear’s Space Ranger Spin has had a revamp and is a lot of fun for adults as it’s interactive and competitive, while the noise and colours were an easy attraction for our little space ranger.

Over in EPCOT, the Remy’s Ratatouille ride and Frozen Ever After were two easy options with a toddler, and there’s an interactive space after the ‘Journey Into the Imagination’ where kids can run free. The Butterfly Garden is also a quiet space that proved a big hit. However, the highlight had to be the walk-through ‘Journey of Water, Inspired by Moana’. It’s all water play and a nice place to cool off in the Florida heat.

Meanwhile, Animal Kingdom with its Kilimanjaro Safaris jeep ride, walking trails and the gentle Avatar Na’vi River Journey boat ride made for a laidback day. Our little boy was obsessed with looking out for animals, and taking in all of the flowers and plants. Oh, and Bluey’s Wild World at Conservation Station is a fun interactive option for fans of the Heelers!

As for Disney’s Hollywood Studios? Its reputation for being the park full of thrill rides made me a little hesitant, but it’s actually got plenty for little ones too. The Toy Story themed land for a start is a dream; Toy Story Mania and the Alien Swirling Saucers were both immensely fun for both mum and baby! The park also has a new Disney Jr. Mickey Mouse Clubhouse Live! show which involved plenty of dancing, bubbles and character appearances.

However, take note that you can’t take prams into the queues. So either be prepared to take a baby carrier/toddler carrier, or have a bag crammed with snacks and toys to keep them entertained. My advice is to pick one or two ‘big’ rides you’re willing to queue for – or look at investing in Lightning Lanes (aka fast passes) to make your day as easy as possible.

Best Walt Disney World theme park for toddlers

While Magic Kingdom is the go-to classic as it has some of the iconic rides, parades and Cinderella Castle, for me it was actually EPCOT and Animal Kingdom that came out as my favourites with a two-year old.

EPCOT is made up of different pavilions inspired by countries around the world, which meant that when the toddler was napping, I could still walk around and soak up the atmosphere, try snacks and have a cheeky avocado margarita, so I didn’t feel like I was ‘missing out’ on loads of big rides.

Meanwhile Animal Kingdom hasn’t got too many big rides because of the animals onsite, so again it had a very laidback vibe. A big plus for me were some of the walk-through attractions such as Maharajah Jungle Trek which were pram-friendly, and a little quieter meaning our toddler wasn’t too overstimulated, but there was plenty to still keep him entertained.

Logistics – prams, naps and snacks

Disney is unsurprisingly very pram-friendly. There’s the monorail and plenty of walkable paths if you need them, while the Disney buses allow prams which are folded down. You can also get Lyfts around the resort – or for something a bit more magical, you can use the app to book a ‘Minnie Van’, where drivers always carry at least two car seats, and have screens with cartoons for the kids.

As for food, the good news is that you can bring your own snacks and drink into the parks. Still, we never struggled to find something for our two-year-old to eat. Every stall has kids’ menus and options, and all the restaurants had high chairs, baby-friendly dishes and off-menu options like a mashed potato side for fussy eaters.

If you’re in need of cow’s milk, you can buy cartons or pints of it in the coffee shops – we ran out one evening and staff were happy to give us a large glass of milk so we could fill up our toddler’s bottle to stretch out the evening a little longer!

Then of course, the big one; naps. Our toddler can nap in the pram so on some days we just used that downtime to wander around, hunt down some of those must-try snacks, or do some walk-through attractions we probably would have ignored in those pre-toddler years. It meant our days were a bit more chilled too. On some days, we opted to head back to our resort for a couple of hours and recharge while he slept – those days where when we were able to stretch to a longer evening and even make it to a dinner or two!

Extra tips

Manage your expectations: you’re likely going to miss out on evening shows and fireworks, unless you get lucky with a sleeping baby who doesn’t get woken up by loud noises. However, make the most of the day magic; the parades and shows are brilliant, and you still feel like you’re getting the ‘full’ Disney experience.

Don’t stress yourself out trying to fit in loads of ‘fun’. The Disney parks have heaps to do that aren’t rides and attractions. Think butterfly gardens, golden statues of characters, live music, themed trails and plenty going on. It’s all quality time to your little one, so enjoy it together.

Time zones; it was surprisingly easy to adjust when out in Florida because you’re doing so much, your kids are kept busy and stimulated, and our toddler crashed out easily most nights. It’s the return home that’s a bit trickier!

Book the holiday

Stay two weeks on a Hotel and Ticket package at Disney’s All-Star Sports Resort for 2 adults & 2 kids, arriving August 15, 2027, from £3,923 (total). Includes Free Disney Dining and Drinks on selected meals if booked before November 4, 2026. Find out more at disneypackages.co.uk. Virgin Atlantic offers direct flights from the UK to Orlando. Find out more at virginatlantic.com.