experience

They call this place the Sunshine State for a reason. It beats down with a fierce intensity, allowing little air to puncture it… until a fierce thunderstorm hits.

Such sweltering conditions were exactly what Clarke wanted, though, as he stressed the importance of “acclimatising” this week to the conditions his squad will face throughout their tournament.

The Scots start against Haiti (Sunday, 14 June, 02:00 BST) – live across the BBC – and also play Morocco in Boston, before returning to Miami to face Brazil on Wednesday, 24 June (23:00).

“It maybe would have been a shock if we had came out to the Miami game because it hits you as soon as you come off the plane, the humidity and the heat,” Hendry told BBC Scotland at the team’s hotel in Fort Lauderdale.

“So it’s good that we can come out here for this week, prepare and get used to it and I’m sure that will put us in really good stead going into the game.”

Water breaks will be in operation, and Hendry stressed the importance of “using them efficiently”.

“They’re certainly going to help us from a recovery point of view, but maybe tactical. as well,” he said.

“I’m accustomed to it in Saudi; we have these water breaks and it might disrupt the rhythm of the game a wee bit, but from the players’ point of view it definitely helps.”

By the time the Scots return south following back-to-back games in Boston, it could be they have already done what no other Scotland side have by reaching the knockout stages of a World Cup.

It’s undoubtedly the aim for this talented, together squad, but they’re not looking too far ahead. They’re still Scottish after all.

“It’s just trying to get as far as possible, I think,” Hendry said of what success for the country looks like this summer.

“It’s difficult to look too far ahead. The main ambition is going to be trying to get out of the group. Then we see where we can go afterwards.

“We can’t look too far ahead, just take it game by game and if we do that, enjoy it and play the best we can, then we should be able to achieve that.

“We’ve got to make the most of it and make sure we don’t come out of this with any regrets.”

Perched just above the Strand in downtown Manhattan Beach, this cozy studio has sliding doors that open up to a full, unobstructed view of the pier, beach and ocean only a few hundred yards away. The sound of sea waves infuses the room with nature’s original white noise, adding a sense of marine tranquility to every class.

“Because of our proximity to the ocean, we’re very connected to nature,” says owner Justin Randolph. “To be able to hear the waves and connect to that rhythm, especially during corpse pose — it’s a little slice of calm.”

In fact, calm is something of a specialty at this studio, which focuses less on high-intensity aerobic classes than on restorative, therapeutic methods. Soothing Yin classes are offered nearly every day, and Chair Yoga sessions are tailored for students who are nursing injuries — or just prefer a slower, deeper practice.

To keep your visit stress-free, it’s best to plan in advance for the challenges of beachfront parking. If you’re lucky, you might be able to snag a nearby metered space or a spot in one of the lower pier lots. Otherwise, your safest bet is the large parking structure at Metlox Plaza, about five minutes away by foot.

Single class: $30
New student offer: $59 for 21 days of unlimited in-studio, outdoor and livestream classes
Unlimited monthly membership: $149

From: The 27 best yoga studios in L.A. for stretching, sweating and spiritual awakenings

Nonfiction films and series are among some of the most-watched (and most-discussed) programming on TV. As Emmy season heats up, the directors of six notable contenders share thoughts about their projects.

‘The Yogurt Shop Murders’ (HBO)

“It’s just a famous, famous story in Texas, but particularly Austin,” director Margaret Brown says of the bewilderingly complex case of four teenage girls slain at a yogurt shop in the state’s capital in 1991. “You heard about it all the time at parties. My best friend was like, ‘That story is rabbit hole upon rabbit hole upon rabbit hole — no one knows what really happened. It’s impossible to figure out.’ I liked the idea of something that was impossible to figure out. But when I started doing the interviews, I was like, ‘This is dark, this is deep trauma.’ I’d never watched or done true crime before. I didn’t realize what it would be like to sit with people who hadn’t known what happened to their siblings and children for over 30 years. I remember [thinking], ‘I’ve got to get this right. I can’t mess this up. There’s just too much pain here.’”

‘The American Revolution’ (PBS)

“Leading up to it, I said I just don’t want us drowning in fife-and-drum treacle,” director Ken Burns says of his expansive treatment of America’s origin story, which draws out the experiences of Native Americans and enslaved people as well as the era’s atmosphere of civic discord. “Clearly it’s not, because we’re so existentially challenged by the moment. But the revolution gives us a sense of perspective. Times were more challenging then. More division. More division in the Civil War. More division in Reconstruction. Yes, the threats are unprecedented, but they’re not totally unfamiliar. Mark Twain is supposed to have said history doesn’t repeat itself, but he’s [also] supposed to have said it rhymes. I love that. So like Odysseus, I tie myself to the mast and resist the temptation to put a little neon sign in the film saying, ‘Isn’t this so much like today?’”

‘Sean Combs: The Reckoning’ (Netflix)

“There was so much noise,” says director Alexandria Stapleton, who tracks hip-hop mogul Sean “Diddy” Combs’ rise and shocking fall in this series, executive produced by 50 Cent. “I’m scared for my safety, I’m scared for my career. Then there was every journalist, every giant corporation, trying to chase the same story. Because there was a feeding frenzy, there were a lot of people that were not truthful. It was making sure that we were going after the right people to speak with, and then … making sure that they felt safe emotionally. No one knew who I was interviewing while I was making it. In making a project about a man who’s very connected in media and very good at whatever he wants his narrative to be, there was a very deliberate decision to not drop this project until we literally were a week out.”

‘Ocean With David Attenborough’ (National Geographic)

(Keith Scholey / Silverback Films and Open Planet / National Geographic)

“It’s been weird, because I’ve got older, and he sort of stayed the same, like the Dorian Gray picture,” says Keith Scholey, one of the film’s directors, of the 100-year-old broadcasting legend and naturalist. “He’s still got that huge power and presence and commitment. It comes from the heart. He’s got a huge depth to him, in terms of knowledge, experience, personality … but he’s also very self-effacing. The most boring thing in the world for David Attenborough is David Attenborough. He’s interested in every aspect of the truth, and he loves uncovering that and passing that on to the world. He knows how to present in a way that it’s a performance, but it’s not a performance.”

‘Neighbors’ (HBO)

“Neighbor disputes are a great leveler,” says Harrison Fishman, who co-directs this gonzo excursion into neighborhood feuds with Dylan Redford. “If you think about class and race and politics, all that stuff gets thrown out the window when people are dealing with such small, concrete problems. You quickly start learning why people care so much about the things that they’re fighting for. It becomes a bit like a Trojan horse into learning about aspects of America and things about people that have nothing to do with the dispute. Those tangents are so valuable to us, because it gives context to the dispute. But it also helps people understand who everybody is in our country.”

‘Mr. Scorsese’ (Apple TV)

“We would get together and have these very long conversations,” says director Rebecca Miller, who interviewed American cinema’s great poet of tortured masculinity over five years. “But then in terms of the other voices, I thought, ‘Who knows him best?’ There was this wonderful movie called ‘Crumb,’ by Terry Zwigoff. He interviewed [cartoonist R. Crumb’s] ex-girlfriend at a certain point, and I felt like I got a view into the person, not in a gossipy way, but … trying to get a rounded view. If you only get the front-facing part, you’re not going to get a full sense of who they are. It was very important to me that we hear from the daughters or his wife, that there’s a sense of a person in there.”

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

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

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

This week in SoCal theme parks

Space Mountain at night.

(Paul Hiffmeyer / Disneyland Resort)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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

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

Mauricio Pochettino knows the joy of making a World Cup roster. But he also knows the misery of being left off one.

In the first case, you want to celebrate; in the second, you want to be left alone.

The U.S. coach said he kept both emotions in mind when informing players they had — or had not — made the roster for next month’s tournament, a roster that was formally announced Tuesday during a sun-splashed, made-for-TV rally in the shadow of the Brooklyn Bridge, about 13 miles from where July’s World Cup final will be played.

“The most important event is to be in any single roster,” said Pochettino, who made Argentina’s team for the 2002 World Cup after being passed over four years earlier.

So when Pochettino decided which 26 men would be on his team this summer, each of them got a WhatsApp message, followed by a video, sent out at 1 p.m. Eastern Time Friday. Defender Tim Ream said he received the message as he walked to his car after training with his club team in Charlotte, N.C.

“It made me stop in my tracks and immediately call my wife to let her know,” he said. “We both had been anxious and excited for the announcement.

“I’m not overly emotional, but it was definitely a relief and there was a little bit of bit of quivering, for sure, with my family when I found out.”

Christian Pulisic was alone in Milan, where he plays in Italy’s Serie A, when his phone lit up.

“I was just relaxing. Then I saw the message pop up and got excited,” he said.

The 29 players from the provisional roster who didn’t make the cut? They each got a simple email. And no explanation.

“I know it is so painful. It was so painful for me,” Pochettino said.

“When I didn’t make the roster, I didn’t want my coach to call me,” he added. “Because we care a lot, we don’t want to say nothing to confuse the player. A player who didn’t make the roster, they don’t want to hear me say, ‘Oh [too bad].’”

Christian Pulisic holds up his U.S. jersey during a rally Tuesday in New York.

(Adam Hunger / Getty Images)

Ream and Pulisic are two of 13 players who are returning to the World Cup after making the team in Qatar four years ago, part of a list that includes midfielders Tyler Adams, Gio Reyna and Weston McKennie and defenders Sergiño Dest and Antonee Robinson. They will be joined by defenders Miles Robinson and Chris Richards, both of who missed the last World Cup because of injury, and forward Ricardo Pepi, one of the final cuts in 2022.

Richards was chosen despite tearing two ligaments in his left ankle playing for Crystal Palace earlier this month. Pochettino had no new information on the injury Tuesday but said the final World Cup roster doesn’t need to be filed with FIFA until Sunday; after that, teams can replace players up to 24 hours before their opening match in the event of injury or illness.

Reyna’s inclusion was also a minor surprise since he has played just one full 90-minute game for club or country in the last four years. In the last World Cup in Qatar, he was nearly sent home for a perceived lack of effort in training after he learned he wouldn’t be a starter in the tournament.

But Pochettino said picking him was an easy decision.

“I really trust in him,” Pochettino said. “He’s a different player. A different talent. The roster needs to have a player like him.”

There were also notable omissions, among them midfielders Diego Luna and Tanner Tessmann. Luna, who plays in MLS for Real Salt Lake, has been a regular under Pochettino, playing in 17 of the U.S. team’s 18 games in 2025. But he missed time earlier this season with a knee injury and sat out of his club team’s last two games with a muscle problem

Tessmann had been called into six training camps under Pochettino and was seen as a potential starter for the U.S. before being shut down by his French club, Lyon, at the end of the season, leaving his fitness for the World Cup in question.

Pochettino declined to talk about either player — or anyone else left off the team.

“We are not going to talk about the players that are not on the roster,” he said. “That’s disrespectful to the players who are on the roster.”

Raising questions about who should have been included, the coach said, necessarily leads to questions about who should have been left off.

“That was my decision to pick that 26,” he said

Pochettino said he didn’t settle on a roster until the day before players got the WhatsApp videos — or the simple email.

“We wanted the right balance with the right players,” he said.

Among the first-time World Cup selections are midfielder Malik Tillman, the German-born brother of LAFC midfielder Timothy Tillman; Mexican-born attacker Alejandro Zendejas, who plays for Club América in the Liga MX; and Vancouver Whitecaps midfielder Sebastian Berhalter, son of Gregg Berhalter, the U.S. coach in the last World Cup.

Berhalter said he was in Qatar four years ago, cheering on his dad’s team. This year, his dad will be cheering for him.

“If you believe in your dream and put in the work, you never know what might happen,” he said from the stage after being introduced to the crowd at Tuesday’s rally.

The team will open training camp in Atlanta on Wednesday ahead of friendlies with Senegal in Charlotte, N.C., on Sunday and against Germany on June 6 in Chicago. The team will then move to the Orange County Great Park in Irvine for final preparations for its World Cup opener against Paraguay at SoFi Stadium in Inglewood on June 12.

ROSTER

Goalkeepers: Chris Brady (Chicago Fire), Matt Freese (New York City), Matt Turner (New England Revolution)

Defenders: Max Arfsten (Columbus Crew), Sergiño Dest (PSV), Alex Freeman (Villarreal), Mark McKenzie (Toulouse) Tim Ream (Charlotte FC), Chris Richards (Crystal Palace), Antonee Robinson (Fulham), Miles Robinson (FC Cincinnati), Joe Scally (Borussia Mönchengladbach), Auston Trusty (Celtic)

Midfielders: Tyler Adams (AFC Bournemouth), Sebastian Berhalter (Vancouver Whitecaps), Weston McKennie (Juventus), Gio Reyna (Borussia Mönchengladbach), Cristian Roldan (Seattle Sounders), Malik Tillman (Bayer Leverkusen)

Forwards: Brenden Aaronson (Leeds United),Folarin Balogun (AS Monaco), Ricardo Pepi (PSV), Christian Pulisic (AC Milan), Tim Weah (Marseille), Haji Wright (Coventry City), Alejandro Zendejas (Club América)

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

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

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

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

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

(Disney Parks)

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

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

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

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

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

(The Walt Disney Co. )

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

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

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

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

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

A coastal scene from Soarin’ Across America.

(Disney Parks)

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

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

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

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

This week in SoCal theme parks

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

(Wally Skalij / Los Angeles Times)

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

The best thing I ate at the parks

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

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Fumi Games / PlaySide Studios)

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

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

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

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

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

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

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

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

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

(Disney Parks)

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

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

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

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

(Disney Parks)

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

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

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

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

(Disney Parks)

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

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

WE HAD one job – to get the crystals – but as I found myself sliding down a vertical drop into a pit of sand, I realised it’s a lot harder than it looks on telly.

The Crystal Maze TV series first graced our screens back in 1990, with host Richard O’Brien leading a team of six ambitious players to complete challenges.

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For the uninitiated, each challenge wins a crystal – which gives the team five seconds in the giant glass dome at the end to catch as many gold foil tokens while they are blown about.

Weekends during my childhood were spent screaming at the TV with my mum and sister as we vowed we would be able to do The Crystal Maze’s famous challenges better than the contestants themselves.

So where better to test my mettle than at the Crystal Maze experience itself, as it celebrates its 10th anniversary?

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The immersive experience is one of the oldest in the UK and is still running at its Shaftesbury Avenue venue in London.

Joined by our rather peppy Maze Master to help us along the way and keep us entertained, our experience started with an introduction to the show for those who had (shockingly) not seen it, to understand what the experience is about.

And before I knew it, I was selected as team captain, responsible for picking who to do each 2-3 minute challenge in one of four categories just like the show – physical, skill, mental or mystery.

And just as you’d expect with the TV show, the experience has all of the much-loved themed ‘zones’ too.

Starting in the Medieval Zone, we made our way through a historic street leading to a courtyard with a well in the middle covered in cobwebs, to our first challenge – a physical that involved bouldering around a room to reach the crystal before coming all the way back (think ‘the floor is lava’).

You do a couple of challenges in each zone before heading to the next, with enough options meaning you can return again and not do the same ones.

The Futuristic Zone felt like entering a space station but with classic 90s features like a big red button and a stereotypical alien form.

It was here where I started my first challenge.

Completely blind to what I was doing, my team guided me through as I had to get a ball from one end of the maze to the other. Thankfully I completed it… with just seconds to spare.

There is also the recently launched Ocean Zone, where you descend down a ladder into the shipwreck of the steamship S.S. Atlantis.

And last but not least, the brilliant Aztec Zone – entered via a vertical slide.

Complete with sand and crawling vines, I felt transported to another world.

In another physical challenge, fellow Travel Reporter Alice Penwill had to slither under criss-crossing ropes with dangling bells, that she daren’t ring otherwise it would mean an automatic lock-in.

After an hour of two or three challenges each, sweating, cheering and high-fiving, we had secured 35 seconds in the much-anticipated crystal dome.

“Will you start the fans, please,” our host bellowed after we entered, making adrenaline rush through my body as it felt like I was living the iconic TV moment.

I won’t lie, frantically catching foil tokens and shoving them as fast as you can into a narrow letterbox, was hilarious – I think I laughed more than actually catching anything.

If you manage to get enough tokens you’ll get a prize. Although if I’m being honest, I wasn’t there for the prize; I was there to live out my childhood dream.

Before leaving the experience, you can grab a picture in Crystal Maze bomber jackets in front of the iconic dome.

The experience is suitable for those aged nine years old and over, though be warned the whole experience is quite physical with moments crawling through tunnels (though there are ways around this if this isn’t accessible to you).

And if you book the experience before May 30, you’ll be entered into a draw where winners will get the chance to play in a ‘Money Dome’ session, where you have 30 seconds to collect as much money as you can, up to £1,000.

The experience costs £47 per person and considering it’s the original immersive experience, it remains one of the most impressive I’ve been to yet.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Ken Hively / Los Angeles Times)

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

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

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

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

And yet Shellhorn successfully tied together multiple disparate spaces.

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

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

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

The week in SoCal theme parks

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

(Artist concept / Disneyland Resort)

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

The best thing I ate at the parks

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

(Todd Martens / Los Angeles Times)

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

Ride report

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

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Antenna Releasing)

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

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

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

When Andrea Werhun started writing her memoir, “Modern Whore,” nearly a decade ago, she was afraid to be honest about working as an escort and stripper. But she embraced going public to “use storytelling to advocate for the plight of sex workers.”

In the documentary version of “Modern Whore,” directed by Nicole Bazuin, Werhun has gone not one, but several steps further. Werhun, 36, is not only the main interview subject, she’s also the frequently topless star of all the vividly depicted reenactments of her experiences. The documentary also features bright colors, funky music and an often jaunty tone.

Werhun, who started escorting in college and still does sex work even while pursuing writing and acting, was a consultant on Sean Baker’s “Anora,” and he served as a producer here, offering feedback on their script and numerous cuts of the film. It premiered at the Toronto International Film Festival in 2025 and is now available on video on demand.

Werhun and Bazuin recently discussed the film’s style and goals in a joint video interview edited for length and clarity.

How much were you consciously trying to make this different from other documentaries about sex workers?

Bazuin: I wanted this to feel like a storybook come to life — we literally jump inside Andrea’s book with Andrea as our storyteller and reenactor of her own experiences. People might expect a film about sex work to be be drab or dour, and we wanted to confront that right away with vivid colors and a stylized expressionistic mode that can support all the moods of her experiences. Stylized films sometimes can contain more truth than realistic forms.

Werhun: Cinema verité, which is typically how sex workers are portrayed in documentaries, inevitably comes off as voyeuristic.

Most documentaries about sex work don’t include R-rated reenactments starring the film’s subject. Why include that?

Bazuin: We wanted to disrupt expectations audiences might have and to make it a more human portrait.

Werhun: I love performing and I’d love to have an acting career and this was an excellent showcase of my abilities.

But also it would feel censored if there weren’t any tits, if there were no sex scenes in a film about sex. I’m not ashamed of the fact that I’ve used this body to make a living. Nicole and I crafted the scenes meticulously to convey a point that is artistic, funny and educational.

Bazuin: The movie runs the gamut tonally. It’s a “Trojan whore” for a feminist and sex worker manifesto for political and social change, so we also show the challenges and the assaults that Andrea experienced because we want laws that would make this work safer, including the decriminalization of sex work.

Andrea, why interview your boyfriend and mom on camera?

Werhun: The sex worker stereotype is that we’re isolated and vulnerable, with no support systems; that stereotype makes predators think we’re easy victims. I wanted to dispel the idea that we are incapable of having loving, meaningful relationships.

This is presented as a film memoir yet you then include other sex workers’ perspectives.

Werhun: Unfortunately, when it comes to sex work storytelling, there is a proliferation of cis white, educated women and those tend to be the stories that get platforms. But that experience is minute compared to the wide range of sex workers, so it was vital to expand the narrative to include other perspectives, whether it’s race, gender orientation or class. What we have in common is that we all deserve to be treated with respect and dignity.

You say you’re rewriting the usual story of sex workers as victims or villains but you were a victim, both of exploitative working conditions and sexual assault. Will sex workers always be victimized without legal protection?

Werhun: Most of our clients are not bad people, they’re paying for a service we’re willing to provide. But under any criminalized model, there is inherently exploitation and people don’t feel safe accessing justice. If we don’t have labor rights, we’re going to be victimized. Even strippers are not comfortable going to the police.

We’re fighting a society that wants to keep our work in the dark, to pretend that this isn’t happening, that it can be abolished by throwing people into prison. Criminalization is harmful and guarantees there are more victims.

Where does OnlyFans fit into the sex work equation?

Werhun: The beauty of escorting and stripping is that you can dip in and out. With OnlyFans you’re working 24/7, creating content, interacting with your fans and doing constant self-promotion. With sex work in person, no one has to know about it but OnlyFans will follow you for the rest of your life. I did it for a year and a half and it paid my rent but it’s not my preferred type of sex work. It’s great for people who live online.

How did audiences respond to the film at festivals?

Werhun: Obviously, creating this film was a trust fall. The film is a song and dance on behalf of all whores, trusting humanity to hold me and not hurt me. I was pleasantly surprised by how audiences warmly embraced it. Some people were working through their prejudices in real time and it’s amazing to watch them transform. We hope the film can inspire social change. If it pulls your heartstrings, then when issues of criminalization and legal change arise, people might say, “I remember that movie and I think whores deserve to have equal rights with everybody else.”

IF you want to do the ‘best experience in the world’ you’ll be pleased to know it costs less than a fiver and a few mere hours from the UK.

A city tour of Portugal’s historic Porto has just become the number one thing to do, according to Tripadvisor.

Called The Unvanquished Tour in Porto City Center, the experience has just topped Tripadvisor’s ‘Travellers’ Choice Awards: Best of the Best Things to Do‘.

Rates start from just £2.64per person and local guides take visitors through the city on a walking tour.

A description of the tour reads: “Dive into 2,000 years of history as you visit the city’s iconic landmarks and hidden gems.

“Led by a passionate guide, this tour provides valuable local insights and recommendations.”

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The tour begins at City Hall and heads through the city including stops at Avenida Dos Aliados, which is one of the largest avenues in Porto.

Another stop is at Livraria Lello, what’s considered one of the most beautiful bookshops in the world.

Igreja do Carmo, the narrowest house in Porto, is also on the itinerary as is Porto’s university.

Other stops include at the city gardens, Jewish quarter, train station, and the Dom Luis bridge.

The tour isn’t long either, taking two hours and 30-minutes with a maximum number of 25 people.

The awards are based on quality and quantity of reviews and ratings on Tripadvisor between February 1, 2025 through January 31, 2026.

On Tripadvisor, The Unvanquished Tour in Porto City Center has over 26,000 five-star reviews and it’s recommended by 99.9 per cent of travellers.

One reviewer wrote: “We had Diogo, and he was a fantastic tour guide, genuinely one of the best tours I have done. He gave us a lot of insight about Porto’s history, current situation, recommendations, and lots of jokes!”

Another said the tour was the “best way to see Porto”.

While the price of the tour is under £3, the experience does say “the price is flexible—pay what you think reflects your enjoyment” with tips “welcome and expected”.

Porto itself is Portugal‘s second-largest city that sits by the Douro River, and there’s so much to do outside of the tour too – especially when it comes to food and drink

Firstly, make sure to pick up a gooey pastel de nata which can be bought for as little as €1 (86p).

For savoury dishes, the region is known for its traditional food which includes bacalhau (salted cod fish).

And the Francesinha toasted sandwich which is layered with hot meats, cheeses and smothered in a rich beer sauce.

Of course, Porto is known for its Port production, having been making it since Roman times – and there are plenty of places to try a glass, or two.

One Sun Writer even tried out the Wine Experience which included a tasting and learning the grape-to-bottle process.

Porto is easy to explore on foot – but it also has the Gaia cable car which has incredible views over the city.

Other recommendations include a scenic train ride tour, and a booze cruise.

Here are Tripadvisor’s ‘Top Experiences in the World’

1. The Unvanquished Tour in Porto City Center, Porto, Portugal
2. Peaceful Hiroshima & Miyajima UNESCO 1 Day Bus Tour, Hiroshima, Japan
3. Barcelona in 1 Day: Sagrada Familia, Park Guell,Old Town & Pickup, Barcelona, Spain
4. Amsterdam All-Inclusive 90-Minutes Canal Cruise by Captain Jack, Amsterdam, The Netherlands
5. Beatles Magical Mystery Tour, Liverpool, United Kingdom
6. Berlin’s Best: 2 Hour Walking Tour Third Reich and the Cold War, Berlin, Germany
7. London Small Group Tour of Historical Pubs, London, United Kingdom
8. Classic 4-Day Inca Trail Trek to Machu Picchu from Cusco, Cusco, Peru
9. Krakow–Zakopane: Cable Car, Chocholow Baths, Cheese & Vodka, Krakow, Poland
10. Amanda Cruise – Ha Long, Lan Ha Bay – All Inclusive 2D1N & 3D2N, Hanoi, Vietnam

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Movie theaters are no longer just for watching stories — they’re becoming live entertainment portals. In a pivot toward live music entertainment, AMC is launching a real-time, interactive concert experience across 300 of its locations.

Unlike the static concert films of the past, the new tech allows artists on a remote stage to see, hear, and respond to the theater audience, effectively turning your local cinema into a stadium.

Pop stars Bebe Rexha, Paris Hilton, Kim Petras and Maren Morris are the first headliners for the concert series hitting AMC screens this June. The program moves away from pre-recorded content, opting instead for live broadcasts that allow artists to perform for a national theater audience in real time.

The movie theater chain is partnering with live entertainment company, Arena One, to bring this technology to 89 markets across the country.

“This is a highly immersive, communal experience, combining the energy of a live concert with the scale, comfort, accessibility and affordability unique to AMC,” Adam Aron, the chief executive officer of AMC Entertainment said during an earnings call Tuesday afternoon.

These one-night-only live events are meant to simulate the look and feel of going to a concert in-person — without the often-pricey cost of admission. According to AMC, the prices for these tickets will range from $40 to $75, depending on the artist and the market.

“The next chapter of live shows isn’t about proximity to big venues, it’s about creating visceral, intimate, affordable live connection between artists and fans no matter where they are,” Rohit Kapoor, Arena One’s founder, said in a statement.

“Arena One gives artists a new cinema-native canvas to create live performances, while amplifying the raw energy and shared fandom that makes live shows unforgettable.”

Music has been a hot topic for movie theaters of late as the industry continues to navigate rough waters amid hopes of a durable post-pandemic recovery.

Between box office-topping biopics like “Michael,” documentaries like “EPiC: Elvis Presley in Concert” and concert films like the forthcoming Billie Eilish movie “Hit Me Hard and Soft: The Tour,” movies rooted in music are consistently drawing sizable and enthusiastic theater audiences.

Aron, AMC’s CEO, added, “We believe that this innovation can open an entirely new chapter in live entertainment while driving incremental attendance and revenue across our circuit.”

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

A change in the Force

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

(Christian Thompson / Disneyland Resort)

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

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

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

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

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

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

A failed dream

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

(Allen J. Schaben / Los Angeles Times)

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

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

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

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

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

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

The week in SoCal theme parks

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

(Christian Thompson / Disneyland Resort)

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

The best thing I ate at the parks

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

(Todd Martens / Los Angeles Times)

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

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

Ride report

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

(Todd Martens / Los Angeles Times)

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

Trevor Brown needs to beat his alma mater, Hart High, to win the Foothill League baseball title.

Brown, a first-year head coach at West Ranch, has his team at 8-3, which is tied for first place with Castaic going into Friday’s regular-season finale against Hart at West Ranch.

West Ranch defeated Hart 6-5 earlier this week.

Brown was a standout catcher for Hart, then went on to star at UCLA and played briefly with the San Francisco Giants.

They say catchers make the best managers, and Brown is another example of using his catcher’s experience to help with coaching.

This is a daily look at the positive happenings in high school sports. To submit any news, please email eric.sondheimer@latimes.com

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

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

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

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

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

Take on a character and quest at Universal Studios

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

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

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

(Christina House / Los Angeles Times)

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

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

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

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

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

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

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

(Christina House / Los Angeles Times)

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

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

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

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

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

(Christina House / Los Angeles Times)

The week in SoCal theme parks

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

The best thing I ate at the parks

Universal Studios’ Scooby Snacks cookies are a delightful treat.

(Todd Martens / Los Angeles Times)

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

Ride report

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

(Genaro Molina / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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

Everyone craves a spa weekend getaway, but this destination is just a short flight away from the UK and it’s so worth the visit. People even claimed it’s quite “underrated”

Ditch the pricey spa breaks here in the UK and hop on a flight to this unmissable European city instead. If you’re on the hunt for a relaxing weekend retreat, then you’re in for a treat.

A spa weekend can work wonders, not only for your mental health but also for your body, offering deep relaxation, stress relief and improved sleep quality. Now, travellers are singing the praises of one European destination that boasts an “unbelievable” spa complete with indoor and outdoor bars, as well as water slides.

The destination in question is Bucharest, Romania. In a viral TikTok video, a popular travel account told followers to pay a visit to Therme Bucharest – and for very good reason.

In the TikTok clip shared with its 27,200 followers, the video opened with: “A cheap underrated European city break you need to visit.”

It continued: “No joke, I genuinely believe that a trip to this European spa can be cheaper than going to one in the UK nowadays.

“Therme Bucharest is located in Romania and honestly is one of the most underrated city breaks.

“The city itself is absolutely gorgeous and the spa is unbelievable. They have indoor bars, outdoor bars, the most gorgeous botanical interior, face mask that you can use, temples, aqua aerobics, saunas, water slides, it’s honestly massive.”

What does the spa offer?

Therme Bucharest offers three unique experiences to “suit your desires”.

Galaxy: Perfect for family entertainment as it boasts 1.7km of exhilarating water slides, a wave pool and interactive activities for all ages. This is the sole area where children aged 3-14 are allowed.

The Palm: An adults-only pool featuring a retractable roof, mineral pools, hydromassage beds, a pool bar, plus indoor and outdoor relaxation spaces.

Elysium: After a premium experience? This relaxation zone provides thematic saunas, a wide array of wellness therapies, bespoke spa treatments and fine dining experiences.

If you’re planning a visit, ensure you bring your swimsuit, flip-flops and a towel. You can pop to the shop for any essentials.

Ticket prices vary from £20-£50 per adult, roughly 100-250 RON. This depends on the length of your visit, 3 hours, 4 hours or a full day, plus the number of zones accessed (Galaxy, Palm or Elysium).

Spa tickets typically start around £22-£24 for basic access, with extra costs for sauna packages or full-day access.

How much do flights cost?

Amid the ongoing travel disruption around the world, flights from the UK to Bucharest generally cost around £40-£100 for budget airlines like Ryanair or Wizz Air, if you’re departing from London.

Nevertheless, average return prices are often near £169, with premium or last-minute flights potentially higher. Direct flight time is approximately 3 hours 10 minutes.

Los Angeles — Lisa Rinna said she would return to the “Real Housewives” franchise, but to get her husband Harry Hamlin on board, it would have to involve some big numbers.

“You guys are gonna laugh and think I’m ridiculous, but I was like, ‘I might do it for $5 million,’” Rinna explained. “He’s like, ‘No, 10. $10 million, you can go back.’”

The “Real Housewives of Beverly Hills” alum wasn’t afraid to throw shade on a sunny Saturday morning during her panel at The Times’ Festival of Books.

The “You Better Believe I’m Gonna Talk About It” author sat down with Times senior television writer Yvonne Villarreal to talk about Rinna’s journey from soap star to her rise on the “Real Housewives of Beverly Hills” and her recent “The Traitors” fame.

As a “Real Housewife,” Rinna was known for her snappy comebacks and for sharing her candid emotions. Her memoir explores Rinna’s experience during Season 12, which was filmed shortly after the death of her mother, Lois Rinna. Rinna explained that her grief manifested into feelings of “rage.”

“Rage was the first emotion that came. I didn’t expect that. You know, you think you’re going to be in shock, and then you think you’re going to be really sad? Well, I went immediately into rage, and that’s not really very cute,” Rinna said. “But I think my being in grief triggered the housewives, and it triggered the audience.”

After Rinna’s time on “RHOBH,” she joined the cast of Season 4 of “The Traitors.” The show — loosely based on the game Mafia — selects celebrities to be faithfuls and traitors, and the faithful must attempt to discover the traitors. Wearing outfits like her viral cheetah-print ensemble, Rinna skyrocketed to fan-favorite status during her tenure as a traitor.

“So when I decided to do ‘Traitors,’ I was like, ‘Self, listen. You’re gonna go in there and just be you. No Housewives s—, no, none of that reactionary stuff, no, you’re gonna just be you,’” Rinna said.

She also joked that being a traitor was the “highlight” of her year: “I could kill people, I could lie, I could deceive, I could backstab. Heaven.”

Rinna compared the objectives of “RHOBH” to “The Traitors” and the different strategies she had to employ on the franchises.

“‘Housewives’ is not a game. ‘Traitors’ is a game,” Rinna explained. “‘Housewives,’ you just tried to literally protect yourself from the drama and the toxicity. And it’s even though it’s a television show, it’s real. I mean, no one is writing a script for you. You’re dealing with interpersonal relationships and conflict.”

THE crowd gasps. Arched backwards in a dramatic display, a woman has just breathed fire across the audience.

She continues dancing, swinging flaming sticks against the inky night while a flatcap-wearing crowd looks on, transfixed.

I’ve arrived at Black Country Living Museum in Dudley, near Birmingham, which was crowned the best large visitor attraction in England last year.

There for a special Peaky Blinders night, I enter a replica village featuring streets any fan will recognise – as this is a filming location for the hit series.

The show’s creator, Steven Knight, has gone as far as describing the museum as “home”.

The event costs £21 and instructions are enticingly vague: “Arrive in 1920s attire and expect mayhem.”

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

Judging by the fire dancers at the entrance, I’m in for one hell of a night.

Wobbling across the cobbles in heels, I’m wrapped warmly in a thick trenchcoat. If someone had told me I’d accidentally wandered back in time to the actual 1920s, I could have believed them.

Visitors drift between functional stores, from a post office to a barber shop, where one teen exchanged £15 for a Shelby-inspired undercut while their girlfriend laughed from the sidelines.

At the bottom, past a WWI memorial, sits a ruckus of flashing gold fairground rides.

It is so authentic, the only indication that I’m standing on a film set and not a real street corner is the vintage signage and outfits.

I’m jolted to attention by a 1920s car rumbling towards me, open-topped and overflowing with cackling passengers.

“I swear that was Ada,” someone remarks, in a nod to Arthur Shelby’s daughter in the show.

In dim lighting, strangers do have a habit of morphing into familiar faces.

Down a flight of steps sits Canal Street Bridge, a secret meeting place for Ada and Freddie. From there, I can see queues forming for the village pubs, as jaunty piano tunes drift from their doorways.

Having snagged a £4.50 bottle of Cobra, my attention is drawn towards two storefronts: a bakery and a traditional sweet shop. For £10, I secure a bag of lemon sherbets, lemon bonbons and cinder toffee.

Clutching my treats, I teeter down the steps of Canal Street Bridge to enter Charlie’s Yard. This sits on the banks of a canal, where Charlie Strong smuggles illicit goods for the Shelbys.

“Welcome to 1910,” a chainmaker yells, wielding a hammer over a glowing link.

This event is strictly 16+ , and judging by the three street brawls I’ve witnessed already, that’s probably for the best. All incidents involved actors and the colourful language sparked waves of giggles.

My final hurrah is horse racing at St James’ School.

Shuttled into wooden rows, the atmosphere is electric and, after picking their horses, everybody is on the edge of their seats.

Celebrating the flutter with a portion of fish and chips “to go”, it’s time for the steady walk to the exit. By 10.30pm, it feels like I’ve just scratched the surface.

Straddling 29 acres, the site has events exploding on a spitfire schedule. Catching it all seems impossible.

Ticket included, I’ve spent around £50, so this evening has been a steal.

Like Cillian Murphy, I’m leaving with a “great fondness” for the Black Country Living Museum.

The Shelby legacy is alive and well.

Kaylyn “KK” Alves had been talking all day about her favorite moment in any Dodgers game: when Teoscar Hernández greets his teammates at the entrance to the dugout with a shower of sunflower seeds after a home run.

KK, 14, could name Hernández’s favorite flavor of seeds — ranch — and had thought through the potential downsides of throwing flavored seeds instead of original — the seasoning posed a risk for the eyes.

So, when Hernández met KK on the field Tuesday before the Dodgers’ game against the Mets, he had a suggestion for a pregame activity.

“Do you want to be part of the celebration?” he asked, gesturing toward the dugout. “Come on, let’s go.”

KK, her parents and her sister visited Dodger Stadium this week for an experience coordinated by the Make-A-Wish Foundation of America. KK, who was diagnosed with epilepsy at the age of two, is an avid Dodgers fan from Northern California.

Those at the game Tuesday saw her throw out the first pitch to Freddie Freeman, her favorite player. In addition to the sunflower seed celebration with Hernández, KK’s wish — the 1,000th granted since Make-A-Wish and Fanatics partnered in 2023 — included a tour, field passes for batting practice, and extra time with Freeman before the game.

Kaylyn “KK” Alves throws out the first pitch before Tuesday’s game against the New York Mets at Dodger Stadium.

(Gary A. Vasquez / Los Angeles Dodgers)

“To see my kid meet her hero, basically — it’s indescribable,” said KK’s father, David.

KK inherited her Dodgers fandom from her dad, who was originally an A’s fan but made the switch when infielder Max Muncy did. It became a family passion.

David watched KK light up when they walked out to the field Tuesday and spotted Freeman going through his ground ball routine. And the day kept getting better. Freeman walked over and gifted KK a jersey with his number and her name on the back.

“It was amazing,” KK said. “He’s the sweetest.”

Freeman then led the family to the media room and took a seat next to KK at the podium. She asked him about his growing family — Freeman and his wife Chelsea have three sons and announced in March that they are expecting a baby girl.

Kaylyn “KK” Alves prepares to throw sunflower seeds with Dodgers left fielder Teoscar Hernández to mimic the team’s home run celebration before Tuesday’s game at Dodger Stadium.

(Gary A. Vasquez / Los Angeles Dodgers)

Freeman asked KK about her interests. She grew steadily more talkative, nerves subsiding, as they talked about puzzles and video games. She even ran her thoughts on the seed celebration by Freeman.

“I’ve had sunflower seeds go all the way down my back, and into my shirt, and it’s quite uncomfortable,” Freeman said. “But if you’ve got sunflower seeds down your shirt, it means you’ve hit a home run, so you can take it.”

An hour and a half later, KK experienced just that, walking through a shower of sunflower seeds thrown by Hernández. Then they traded places and she returned the favor, both smiling ear to ear.