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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.

They call themselves the Booked Babes. Tonight, the women are gathered in Anna Sokol’s kitchen, surrounding an oven-roasted duck stuffed with apples. The dish is a Ukrainian delicacy from Sokol’s home country, where she was once a fashion designer and influencer. Now, she’s in Venice Beach. Sunlight bleeds in from the window where the sun is setting over the Venice Canals. At the women’s feet, a mini Bernedoodle, Zipper, paces nervously, barking at arriving guests. Screams echo from the upstairs bedrooms, where two husbands are in exile, watching a Green Bay Packers game with a newborn baby.

Tonight’s book club is Eastern European-themed, prompting the women to wear red cardigans and dresses. The book under discussion is “The New Rules” by Russian-born TikTok influencer Margarita Nazarenko, who prescribes gender roles that Sokol recognizes as distinctly Eastern European. Nazarenko is a best-selling author with more than 600,000 followers on Instagram, known for offering practical, blunt dating advice to women. “Her methodology feels very Eastern European in male and female relationships and dynamics,” Sokol explains as her guests pick at deviled eggs and brie cheese with manicured nails.

The guest list for the Booked Babes is small — only six women, with one of them commuting remotely from Miami; this time, she joins over FaceTime. The Booked Babes was founded more than two years ago at a holiday party as a New Year’s resolution to read more and forge new friendships. Since then, the women have become best friends, and the book club meetings they host have taken on a life of their own —becoming more spectacular and competitive with each meeting.

The Booked Babes journeyed to a gothic mansion in La Jolla and dressed as Marie Antoinette in extravagant rococo dresses.

(Anna Sokol)

“It started off very normal in the beginning, very casual,” book club member Cassandra Leisz explains. “I don’t really know when the switch happened.”

With each passing month, the book club became more elaborate and more involved — including vacations in coastal towns, costuming, pickleball tournaments and monogrammed custom merch.

Take the historical literary fiction novel “Perfume: The Story of a Murderer” by Patrick Süskind, for example, set in the 18th century. The group journeyed to a gothic mansion in La Jolla and dressed as Marie Antoinette in extravagant rococo dresses. Eighteenth century activities included croquet and designing a custom perfume, all accompanied by fashion photography. Sokol chose the novel for its cult status in Ukraine: “Everyone read it, even though it’s a really weird book.”

For the book club members, the spectacle is part of the fun. “It gives us all a chance to be creative and come together. You get to make it whatever you want it to be. There’s the element of: how do I want to express myself in this time period?” says Leisz.

For the book club pick “Flawless” by Elsie Silver, Ashley Goldsmith planned a cowboy picnic in Franklin Canyon, complete with her mother’s vintage Chevy pickup truck.

(Anna Sokol)

For her turn hosting, Leisz rented a boat — not quite a yacht, she clarifies — in Marina del Rey, paired with lobster rolls and champagne. The novel was “The Wedding People” by Alison Espach, set in a hotel in Newport, R.I. Leisz leaned into the snobby, blue-blood aesthetic described in the book for her outing.

“It is a financial commitment. We put a lot of money into it between the decor, the gifts and the activity,” says Leisz.

Opinions and literary taste often vary among the women. The book club enjoys sparring over polarizing books, but the point is always friendship. “There are a lot of times I don’t like the book, but I love having an opportunity to spend time with girlfriends,” says Ashley Goldsmith.

Custom merch like personalized sweatshirts, elaborate gifting and travel have become a tradition for this book club.

(Anna Sokol)

For her book club on “Flawless” by Elsie Silver, Goldsmith planned a cowboy picnic in Franklin Canyon, complete with her mother’s vintage Chevy pickup truck for photo ops. The meal was followed by a mechanical bull-riding competition at Saddle Ranch. Goldsmith even hired a security guard to secure the public picnic bench beginning at 7 a.m.

The Booked Babes have attracted attention on the members’ social media with eager requests to join. The book club always politely declines, given its specific chemistry. “The second we started posting about this and talking about it, people were like, ‘Oh my God, how do I join?’” says Leisz. Since schedules are already tricky to maneuver, the club does not accept new members.

The Booked Babes raise their glasses.

(Carlin Stiehl / For The Times)

In curating a book club, the members insist that diversity of opinion is key. “We’re all quite different from each other. We have very different backgrounds. Some of us come from different countries,” says Leisz. Illana O’Reiley, who joined over Facetime, immigrated from Dublin and is currently living in Miami.

At dinner, the book club sits down for the Ukrainian meal to discuss “The New Rules.” On the table are elaborate rose arrangements and settings draped in red ribbon. Amanda Ghaffari slyly streams the Green Bay Packers game on her iPhone. O’Reiley jokes via Facetime she is eating popcorn and watching the hit gay drama “Heated Rivalry.”

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1. A flower arrangement is set for a themed book club. 2. A cheese plate. 3. Book club members wear red and pink dresses for their meeting. (Carlin Stiehl / For The Times)

The conversation includes some light teasing about each other’s attachment styles — the intimate banter of close friends. Victoria Frenner, who is a therapist, expresses skepticism about the book’s punchy tone. “When someone is speaking on something with a lot of conviction, like, there always has to be some kind of caveat,” Frenner says.

“This is why I wanted you to read it. It’s very Eastern European-focused.” Sokol says. “American girls are a little more on the independent side. She doesn’t say ‘don’t be independent,’ but she talks a lot about femininity.” Sokol recounts the dizzying story of meeting her husband at a wedding in Moscow, which begins with her husband attending a nightclub in Dubai.

Ashley Goldsmith reads her individualized star chart.

(Carlin Stiehl / For The Times)

For the activity planned, Sokol, who is eight months pregnant and wearing a dazzling candy-pink dress that matches the chosen book’s cover, presents the members with their own custom Slavic astrology reading, one she procured from a Ukrainian astrologer she visited when she was 19. Fortune telling and mysticism are common in Eastern Europe, she explains. The custom readings are bound in booklets, each featuring a spirit animal, such as a panda, and suggested habits.

“Avoid fast cars and motorcycles. Avoid countries with active war,” one of the booklets read.

Ghaffari explains that ever since she was 3 years old in Milwaukee, her mother has been in a decades-long book club. “She flies back for it, and she’ll recommend books that they just read,” Ghaffari says. Three weeks ago, Ghaffari had her first baby, who is in attendance, whom she jokes is the “book club heir.”

The Booked Babes fall quiet as they thumb through their astrology booklets, reading about destiny, transfixed by the mesmerizing promise of inevitable fate.

Connors is a writer living in Los Angeles. She hosts the literary reading event Unreliable Narrators at Nico’s Wines in Atwater Village every month.

Gray skies didn’t prevent L.A.’s arts community from getting fancy in support of the Hammer Museum’s annual Gala in the Garden. Adorned in fur coats, colorful sunglasses and patterned ties, artists and celebrities including Owen Wilson, Rufus Wainwright, Lauren Halsey and Catherine Opie joined to celebrate gala honorees Betye Saar and television writer and producer Darren Star.

The event highlighted how the Westwood-based museum inspires creatives and harnesses community for the city’s artists. Under pink and yellow lights, guests enjoyed cocktails while admiring the museum’s galleries. Guests, including Los Angles County Museum of Art Director and Chief Executive Michael Govan and the Hammer’s Director Emerita Ann Philbin, reunited with old friends and colleagues, making the event feel like a family affair.

All were unified in their admiration of the night’s guests of honor.

At 99, Saar is among L.A.’s most esteemed and accomplished living artists. Her career has spanned more than seven decades, with an early focus on rejecting white feminism and reclaiming the Black female body. Civil rights activist Angela Davis traced the start of the Black women’s movement to the creation of Saar’s 1972 assemblage piece, “The Liberation of Aunt Jemima.”

During onstage comments at the gala, Getty Research Institute presidential scholar Sandra Jackson-Dumont discussed the massive impact Saar has had on the art world.

“It measures in the artist who found their voice because you insisted that your voice mattered. It’s in the institutions that shifted because you demanded that they see us,” Jackson-Dumont said while introducing Saar to the stage. “You take what the world cast aside and breathe spirit into it, insisting that the overlooked can speak, that the discarded can testify, that the everyday can dream.”

Ann Philbin, from left, director emerita, Hammer Museum, Kohshin Finley and Lauren Halsey attend the Hammer Museum’s 2026 Gala in the Garden.

(Stefanie Keenan / Getty Images for Hammer Museum)

The event also served as an early celebration for Saar’s 100th birthday in July, with Jackson-Dumont calling her birthday “100 years of vision. 100 years of courage.”

“[It’s] not 100 years of working, of making art, but 100 years of living with eyes wide open, heart attuned, spirit unbound, we stand in awe,” Jackson-Dumont said.

Saar took to the stage amid a resounding standing ovation, and when she spoke, the crowd’s gaze remained intently on her. While Saar kept her remarks short, she talked about the importance of art in everyday life.

“So many people do not realize how important art is, how it affects everything we do. Even bad things, because you can take art and make it good,” Saar said. “I want to thank you for coming to this event because by you being here, it encourages a lot of other people who are not here to love art and to use art and to know how important art is in this foreign life.”

Netflix co-Chief Executive Ted Sarandos introduced Star, who created groundbreaking series including “Beverly Hills, 90210,” “Sex and the City,” “Younger” and “Emily in Paris,” which defined pop culture references for generations of television viewers.

Sarandos called it a “privilege” to work with Star, explaining that his work has an “enduring staying power” and that “there has never been a storyline that is too bats— crazy for Darren.”

“Darren is simply one of the most talented showrunners of his generation, with his finger on the pulse of pop culture for more than three decades,” Sarandos said. “He influences the clothes we wear, the way we cut our hair, the music we listen to and the dreams we dream.”

Star, who has long served on the Hammer’s board of directors, celebrated his honor by explaining what he loves about the museum, including its Alice Waters’ restaurant Lulu, and the environment the space provides for Los Angeles creatives.

The view from above the courtyard at the Hammer Museum’s 2026 Gala in the Garden, which honored artist Beye Saar and television writer and producer Darren Star.

(Charley Gallay / Getty Images for Hammer Museum)

“The Hammer creates a wonderful community. We come together because we all love art, love Los Angeles and love this museum,” Star said. “I’m grateful to be part of this family and the city’s extraordinary artistic life.”

The gala was the second under the leadership of Hammer Museum Director Zoë Ryan, who succeeded longtime director Ann Philbin in January 2025. Former Los Angeles City Council President Joel Wachs called Ryan a “true scholar, open-minded, unflappable.”

“I believe she is exactly the kind of strong leader this institution needs in these really difficult, complicated and turbulent times,” Wachs said during his opening remarks. “And if anyone can be counted upon, I believe it’s her that will vigorously defend against the grave dangers and vicious attacks on freedom of expression that both museums and universities currently face.”

During her speech Ryan said the Hammer is “cherished” by the Los Angeles community, and that she intends to keep providing a space for creatives in the city.

“At the heart of the Hammer is a deep commitment to giving space to artists, bold and experimental ideas, and supporting audiences as a catalyst for change through dialogue and exchange — all much needed in this country right now.”

The Repair Shop expert Steve Fletcher faced a challenging restoration on the BBC show.

Steve Fletcher, an expert on The Repair Shop since its launch in 2017, was left astounded by the item he was called upon to restore.

During the latest episode of the BBC programme (April 29), viewers watched Steve alongside Sonnaz Nooranvary examine the item that had been brought in.

Casting her eye over it on the table, Sonnaz remarked: “I’m no builder, but needless to say, this looks like it’s seen much better days.” Concurring, Steve responded: “Yeah, I’ve done up old buildings, and I don’t think any of them were as bad as this.”

Stepping into the barn was Dawn Shrives from West Sussex, who jokingly told the experts they were looking at “ruins” before revealing it was an extraordinary model watermill constructed by her late father in 1996.

She explained: “He put it all together to go in front of our family home to replicate the red brickwork of the house. Every little brick he made by hand, individually, he wanted it to be a working watermill. Obviously, the years of it sitting on the ground, outside, the weather had gotten to it.”

Dawn went on to describe how her father had planned to install an underground chamber to make the watermill turn. Tragically, he passed away in 2014, and her mother subsequently moved to a smaller property, reports the Manchester Evening News.

She noted that with her mother now living in a bungalow, there is nothing left to remind her of her beloved late husband, underlining just how precious the watermill model truly is. Dawn continued: “He’s touched, every single piece of this. He’s crafted this, and she looks out her front window and sees this deteriorating; it’s just so sad to see.”

She went on: “So to have it brought back to life for the family, for mum, would just be amazing. Just to see it put back together and whole again, I think, is almost- we can’t even think of that.” As Steve outlined his intentions to repair the model, it was evident he faced a considerable challenge.

Ultimately, after crafting bricks to substitute those Dawn’s father had originally made, Steve succeeded in restoring the dilapidated model and incorporated water to make the wheel rotate as her father had envisioned decades earlier.

When the moment arrived to reveal the completed restoration, Dawn brought her mother, Pam, along to view the model. The two women were immediately moved to tears upon seeing it unveiled, astounded by Steve’s achievement.

Pam promptly thanked Steve as Dawn exclaimed: “Look at that! Isn’t that lovely?” Pam remarked: “Gosh, that’s amazing. You’ve done all of these (roof tiles). Gosh, thank you.”

Upon noticing the water feature surrounding the house, Steve activated it for the first time, demonstrating the functioning watermill. She observed: “It’s just beyond anything that we could’ve thought would ever happen to it, thank you.”

Addressing the camera directly, Dawn said: “The watermill just sums up a legacy that will now stay in the family, be preserved, and dad would be so pleased to know that it’s working and it’s loved and it’s still loved.” Pam agreed, adding: “It’s just the best thing we could have done, isn’t it?”

The Repair Shop is available to watch on BBC iPlayer.

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.

WASHINGTON — Directly outside the Washington Hilton ballroom, as the yearly White House Correspondents’ Assn. dinner got underway Saturday, a Times reporter had just entered the men’s room when he heard a handful of loud pops ring out.

“Shooter!” someone shouted. “Get down! Shots fired!”

Inside the ballroom, thousands of journalists and politicians began to duck for cover as the event devolved from a celebration of free speech to a scene of fear.

The Times had six reporters at the dinner, seated at a table near the right side of the stage.

The Times reporter in the restroom, Gavin Quinton, heard the gunfire around 8:30 p.m. He had left The Times’ table minutes earlier, moving past the TV cameras and up toward the raised terrace near the ballroom’s security entrance. He crossed paths with CNN anchor Wolf Blitzer.

Outside the restroom, Cole Tomas Allen, 31, had broken into a sprint through the metal detectors, security footage would later show, getting within feet of the ballroom entrance.

Five or six shots fired by Secret Service agents missed Allen before agents brought him down near a staircase leading to the main floor, where Trump sat prominently in view.

A federal agent was hit in the chest in the exchange of gunfire but was wearing a bullet-proof vest and not seriously injured.

Inside the restroom, Quinton crouched near a corner. Others rushed into the room, including three hotel security guards who flung themselves in so quickly their backs slammed against the tiled wall. Within moments, a Secret Service agent positioned himself at the bathroom entrance, his pistol drawn.

“Head count?” he asked.

“A dozen — no, 15!” someone shouted back.

People stayed locked in bathroom stalls. Some tried to overcome the poor cellphone service to call loved ones. Confused, the mix of tuxedo-clad attendees, uniformed hotel guards and waitstaff tried to piece together what had happened.

“He had a gun,” one of the hotel guards said.

Another witness told Quinton that he initially thought Blitzer had been the shooter’s target.

“I look around and I hear shots as I’m opening the door. And I turn and I see him,” the man said of the gunman. “I look again and I’m like, ‘Oh, they just shot someone.’ ”

Blitzer, who was tackled to the floor by officers during the incident, would later say that “the first thing that went through my mind was whether he was going to shoot me.”

As the group speculated over whether the shooter had died in the volley, one man wondered aloud whether the event would continue. Initially thinking the gunman must have been killed, Quinton replied no.

“Why not?” the man asked. “It’s a bad guy who’s dead. It was a good f— ending. Seriously.”

The Washington Hilton has hosted the annual correspondents’ dinner for decades. The event, referred to locally as “Nerd Prom,” now comes with a slate of pre-parties and after-parties.

This was the president’s first appearance at the dinner since 2015; he had skipped it during his entire first term.

Questions now surround the security protocols. Guests faced little screening to enter the hotel on Saturday — a quick flash of a paper ticket — before heading down escalators to the only area with magnetometers, where bags were also searched.

Trump had entered the ballroom at 8:15 p.m. as the Marine band played “Hail to the Chief.”

Twenty minutes later, videos show, Secret Service officers with ballistic vests and long guns barked instructions to clear a path as they rushed into the ballroom and onto the stage.

One agent pulled Vice President JD Vance away. Another escorted Trump, who appeared to trip, but later explained he had been urged to drop to the floor.

Other officials — Secretary of State Marco Rubio, Defense Secretary Pete Hegseth, FBI Director Kash Patel, Homeland Security advisor Stephen Miller — were quickly whisked away too.

At The Times’ table in the ballroom, nothing appeared amiss at first.

Waiters had just begun to clear plates of spring pea and burrata salad. The reporters did not hear the gunshots, but watched as the room fell silent and others began to drop from their seats and duck under the floor-length white tablecloths.

One reporter lost a shoe in the process and then feared a gunman would spot it. She dragged it under the table.

They stayed in place for several minutes, texting loved ones and waiting for an all-clear, but none came.

From under the tablecloth, reporters heard someone yell out, “God bless America! USA!” They feared that was the shooter.

It turned out to be Dan Scavino, White House deputy chief of staff. The chant did not catch on.

Eventually, others could be heard speaking loudly and dishes clanking. Guests began to peek out from under their tables and warily stand up. Uneasy laughter flickered about the ballroom.

Cellphone service inside the ballroom was spotty. There was confusion at first about whether a shooting had occurred or whether plates dropping to the floor had been mistaken for gunshots.

“I thought it was a tray going down,” Trump said later.

Just before 9 p.m., Weijia Jiang, a senior White House correspondent for CBS News who is president of the White House Correspondents’ Assn., told guests the program would “resume momentarily.”

A half hour later, Jiang returned to the stage and announced that law enforcement had requested guests leave the premises. She said Trump had told her no one was hurt and that he, the first lady and members of the Cabinet were safe.

In closing remarks, Jiang said journalism is a public service “because when there is an emergency, we run to the crisis — not away from it.”

“And on a night when we are thinking about the freedoms of the 1st Amendment, we must also think about how fragile they are,” she said. “I saw all of you reporting, and that’s what we do.”

Law enforcement and media leaders offered conflicting guidance. Quinton was among the first to evacuate the building, though the vast majority of guests waited inside for longer.

On his way out, he noticed a metal detector had already partially been dismantled when the shooter ran through.

Quinton passed the grounded shooter, restrained on his stomach, near the staircase just 20 or so feet from the bathroom entrance. He lifted his phone and recorded a brief, shaky video of the scene before security forced him out of the hotel and onto the street.

The entire spectrum of emotion was on display when security finally ordered everyone to evacuate. Women in gowns ran in fear. One man sobbed into the sleeves of his evening jacket.

Photos on social media showed others stopping to take selfies. Some drank wine straight form the bottle.

Quinton spotted the presidential motorcade outside of the hotel lobby at about 8:45 p.m. Around the same time, an ambulance arrived as about 100 event attendees were escorted out of the secured event perimeter.

More law enforcement was inside the hotel as guests exited the building, including agents from the Secret Service, ATF, FBI and the Department of Homeland Security. National Guard soldiers replaced celebrities and politicians at the red carpet entrance.

Outside, Metropolitan police ushered people north on Columbia Road NW. Hungry guests in tuxedos filed into a nearby 7-Eleven. The dinner’s main course — prime beef and Maine lobster — had not been served.

At the White House afterward, Trump said the event would be rescheduled.

“We’re not going to let anybody take over our society,” he told reporters who had rushed to the news conference still dressed in gowns and black tie. “We’re not going to cancel things out because we can’t do that.”

Meanwhile, the night’s after-parties continued, though organizers attempted a more somber tone. MS NOW, for instance, told those who had RSVP’d that their “Democracy After Hours” party would be a “space for friends and colleagues to be together.”

Independent journalist Tara Palmeri posted a photo on the social media site X of a full party with blue mood lighting.

“People were still partying, still hitting WHCD afterparties last night,” she wrote. “Epstein corruption, an escalating Iran conflict, and an active shooter— and Washington just… kept going. The cognitive dissonance is the system.”

On Sunday morning, the Washington Hilton appeared back to normal, except for the presence of journalists using the hotel as a backdrop for their live shots.

WASHINGTON — An attack on the White House correspondents’ dinner by a gunman who came within feet of the ballroom where President Trump sat raised immediate questions about the night’s security protocol — and the future of large, high-profile events in a country with easy access to firearms and increasingly high political tensions.

The man breached metal detectors in front of the Washington Hilton ballroom and sprinted dozens of feet ahead before exchanging fire with federal agents. Shots were fired in an anteroom that had not an hour before seen thousands of guests, including senior government officials, streaming through.

A manifesto allegedly written by the suspect described his targets as members of the Trump administration, ranking from the highest to the lowest — but said he was willing to “go through” any guest standing in his way in order to kill the president’s aides.

The attempted attack on a room full of dignitaries underscored domestic unrest in Trump’s second term and deepened questions about how to effectively create security in a modern era of lone actors, online radicalization and mass shootings. It was the third known time an attempted assassin has come close to Trump since his 2024 presidential campaign began.

Acting Atty. Gen. Todd Blanche on Sunday called the U.S. Secret Service response a “massive security success story.” But within hours of the incident, bipartisan leaders of the House Oversight Committee demanded a hearing on the agency’s security plans for the dinner.

In the manifesto sent to his family, the alleged gunman, Cole Tomas Allen, of Torrance, marveled at a lack of security.

“No damn security. Not in transport. Not in the hotel. Not in the event,” he wrote. “I walk in with multiple weapons and not a single person there considers the possibility that I could be a threat.”

The Hilton, in a ritzy Washington neighborhood, has long hosted the White House correspondents’ dinner. It is the same hotel where President Reagan and three others were shot in 1981.

The shooting caused terror among guests, some of whom noted they had expected more security to enter the event and Trump was whisked offstage within the first minute of shots being fired. While the event has traditionally hosted sitting presidents in the past, Trump’s decision this year to appear for the first time since taking office made the event particularly high profile.

His presence, alongside Vice President JD Vance and much of the Cabinet and line of succession, brought with it added security protocols and personnel — raising questions over whether the storied dinner and its guests of congressional members, diplomats and mid-level officials would have been even more susceptible to attack without Trump in attendance.

Trump on Sunday said it is “tough” to secure a hotel in the middle of a city with “buildings all around and hotel rooms on top,” but praised the Secret Service and law enforcement officers. One officer was shot, not fatally.

Talking to reporters after the incident Saturday night, Trump swiftly likened it to the attempt on his life by a gunman in Butler, Pa., during the 2024 presidential campaign, and suggested that it justified his controversial plans to construct a fortified ballroom on the White House grounds. He called the hotel “not a particularly secure building,” though he later said the room was “very, very secure.”

Plans to reschedule the dinner are under review. White House Correspondents’ Assn. President Wiejia Jiang of CBS News said the organization’s board would meet to assess what had happened.

Blanche said Sunday an investigation into what had happened was ongoing. He had attended a reception before the dinner on the first floor of the hotel hosted by CBS News, one of many that did not require any security check by law enforcement authorities.

“The first takeaway, or the takeaway that should be obvious, is that the system worked. And that we stopped the suspect, and we stopped him as soon as he tried to do what he was trying to do,” Blanche said on NBC’s “Meet the Press.”

But the attack raises a question about whether presidential security protocols are effective for modern tactics, or whether the country is “in a new domain” in which those procedures no longer meet the nature of the possible threats, said Neil Shortland, director of the Center for Terrorism and Security Studies at the University of Massachusetts Lowell.

Federal investigators should examine what the security policies were, what type of attacks they were designed to prevent, and whether that protocol was out of date, Shortland said.

“Did you follow the policy is a great question,” he said. “Was the policy correct in this modern day and for this modern situation is a separate question.”

The country is facing “the most complex threat environment in our nation’s history,” particularly from lone actors who are often radicalized online, Sam Vinograd, a former official at the Department of Homeland Security, said on CBS’ “Face the Nation.”

“It can be true that law enforcement and intelligence professionals prepared exhaustively for last night,” she said Sunday. “But it can also be true that in this moment, in this security environment, the paradigms of the past may not be sufficient to meet the moment.”

That raises the “need to rethink what it is going to take to actually secure these mass gatherings,” she said.

Trump appeared to voice the same idea Saturday evening, telling reporters, “Today, we need levels of security that probably nobody’s ever seen before.” He went on to say that “this is why we have to have” the East Wing ballroom, which he described as drone-proof and having bulletproof glass.

Kris Brown, president of the gun control organization Brady — which is named after Reagan’s press secretary, James Brady, who was shot in the 1981 attack — said lawmakers should instead consider passing legislation to help prevent gun violence.

“Not every public event can take place in the ballroom, in that kind of protection — nor can we afford to live in a society where our solution to gun violence is to barricade our public officials, our children, away in fortresses,” Brown said.

About 2,000 journalists, dignitaries and other guests attended the event, rushing through rain to enter using multiple hotel entrances. They were asked to show their tickets as they walked past security guards, but there was no check-in procedure or ID check. A Times reporter was waved toward the entrance without showing a ticket as she tried to get it out of her purse.

Inside, guests milled about on multiple levels where pre-dinner receptions were occurring. Hotel guests mingled with the crowd, granted full access to the hotel’s amenities, including its boutiques and restaurants.

Two protesters briefly took over a small red carpet where guests were lined up to take professional photos; Times reporters saw a third woman dressed in a formal gown and shouting protest slogans being escorted out by security guards after apparently having entered the event.

Guests were required to flash their tickets to go down an escalator to the ballroom level, then present the ticket before walking through metal detectors and having bags searched ahead of the ballroom entrance.

Allen, who had reserved a room as a hotel guest, said in his manifesto obtained by the New York Post that security was far less stringent than he had expected. Two U.S. officials told The Times that the contents of the manifesto are authentic.

“I expected security cameras at every bend, bugged hotel rooms, armed agents every 10 feet, metal detectors out the wazoo. What I got (who knows, maybe they’re pranking me!) is nothing,” he wrote.

He noted that security guards appeared to be focused on protesters and arrivals outside, writing, “apparently no one thought about what happens if someone checks in the day before.”

It is possible that steps to further restrict access to the ballroom level, keep guests away from the event location and check attendees’ identities outside could have provided additional security, said Erin Kearns, director of law enforcement partnerships at the National Counterterrorism Innovation, Technology and Education Center.

“The lesson that can be taken away is just thinking about how to harden and strengthen security at future events when you have so many high-profile people,” she said.

The hotel was a “soft target” with a makeshift perimeter, and there were “almost zero intervention points” where the shooter could have been apprehended before arriving, Shortland said. That was partly because he traveled by train, which does not have security screenings.

Authorities should also examine whether Allen was known to authorities and, if so, whether intelligence operatives could have pieced together his train travel and arrival in the president’s orbit, Shortland said.

The attempted shooting added to a growing list of instances of political violence in the United States. Last year, one Minnesota state legislator and her spouse were killed by a gunman while another lawmaker and his wife survived; the conservative activist Charlie Kirk — whose wife, Erika, was in attendance Saturday — was shot and killed at a speaking event; an arsonist attacked the residence of Pennsylvania Gov. Josh Shapiro.

Some of that violence has been directed toward Trump, something he frequently talks about. He was injured in the Butler incident, but has used his survival to argue that God saved him so he could become president. Two months later, a Secret Service agent shot at a gunman pointing a rifle on Trump’s golf course as the president golfed.

On Feb. 22, an armed man was shot and killed after entering the secure perimeter around Trump’s Mar-a-Lago home, when the president was in Washington.

“It’s always shocking when something like this happens. It’s happened to me a little bit,” Trump said Saturday.

Don’t worry if your Hogwarts acceptance letter got lost in the mail — a new “Harry Potter” experience will soon let you hop aboard the Hogwarts Express anyway.

Harry Potter: A Hogwarts Express Adventure will open at the Southern California Railway Museum this summer for guests to experience the Wizarding World rite of passage aboard a real moving train in the Inland Empire. The experience will run from July 24 through Sept. 27. Yes, that includes Back to Hogwarts Day on Sept. 1.

A Hogwarts Express Adventure will include a Platform 9¾-themed preboarding experience as well as House competitions and chants, spell-casting challenges and other interactive activities aboard the train. Guests will also be able to grab some themed treats from the trolley. The train ride will end at a Hogsmeade-inspired village where more food, beverages and merchandise will be available.

The Rail Events Inc. press release also teases a possible encounter with “a dark and mysterious force.” The company, also known for the Polar Express Train Ride, developed A Hogwarts Express Adventure along with Warner Bros. Discovery Global Experiences.

This is a big year for “Harry Potter” fans. “Harry Potter and the Philosopher’s Stone,” a new television series based on author J.K. Rowling’s popular book series, is set to debut on HBO Max on Christmas Day. The show will introduce audiences to a new Golden Trio, portrayed by Dominic McLaughlin (Harry Potter), Alastair Stout (Ron Weasley) and Arabella Stanton (Hermione Granger), as they embark on their Hogwarts journey. (Rowling remains controversial for her views on trans women.)

Ticket sales for A Hogwarts Express Adventure will begin April 28, with prices starting at $77 for adults and $67 for children ages 2 to 11, depending on departure time.

I’ve rarely been more embarrassed.

Saturday Kitchen has been a regular part of the weekend for millions of people over the years. In the days before I had children, I enjoyed nothing more than starting off the weekend slowly with some relaxing, wholesome TV over brunch and a cup of coffee.

I adored not only the live studio cooking fronted first by the legendary James Martin then the equally watchable Matt Tebbutt, but also the segments from the likes of Rick Stein, Mary Berry or the great Keith Floyd slurping his wine while cooking up his rustic, no-nonsense meals somewhere in the south of France.

In fact, I loved it so much that I actually appeared on the show. Remember those days when two random members of the public would be studio guests and would sit at the table off to the side of the set while the guest chefs and celebrities wondered who they were and what they were doing there? Yep, I was one of those.

This was obviously quite a while ago — Saturday Kitchen stopped having members of the public as guests back in 2012, with James Martin saying afterwards: “That wasn’t my decision. I liked having the studio guests. It was the BBC’s decision. Budget cuts — and don’t look at me, I didn’t get a pay rise.”

James wasn’t the only one who was disappointed, with viewers taking to forums to ask why the show had got rid of its non-celebrity guests. One said: “Every Saturday without fail I watched Saturday Kitchen. Now it is just another cookery programme with, nine times out of ten, a boring guest. Bring back the viewer guests, get rid of the celeb.”

Not everyone agreed, though, with one saying: “Er, the viewer guests did nothing, they were hardly ever interviewed, they added little to the programme. So how can that be a loss?”

Viewers also speculated whether their sudden absence was down to the cost to the BBC of paying the guests’ hotel and transport costs. However, having been a Saturday Kitchen guest, I can confirm that the BBC didn’t pay for either of these things. Rightly so, of course.

This is how it worked. There were always two guests, usually a couple (or two friends if someone’s other half was too embarrassed to go on with them). You had to submit an application, including a picture, and then hope for the best.

Not long after we submitted our application, my partner and I got a phone call from a show producer telling us they would like us to be guests on the show. She said something like “As soon as we saw your picture we knew we had to have you on the show.” Which, if you had seen the picture, or any picture of me really, you would find hard to believe. Still, the flattery worked and we were booked on.

The only instruction I can remember being given about our appearance was not to wear black. I forgot this instruction and wore a black shirt, meaning I had to scrabble around on the day to find something to wear over it — which ended up being a beige-coloured tank top. Lovely.

Next we had to get ourselves to the Saturday Kitchen studio, which at that time was in the Kennington area of London, not far from the Oval cricket ground. We were asked to arrive at a stupidly early time in the morning (the show starts at 10am) and were shown into the green room to wait. We were even there before James Martin because I remember him arriving in the car park outside in what my partner described as “one of his funny little sports cars”.

We got to watch from the wings as James and the guest chefs practised their dishes and then it came time for the live show to start. I don’t remember being told not to speak unless spoken to but I didn’t say a word during the entire live broadcast. My partner was interviewed, though, and described having recently cooked a lobster when we’d been guests in a Michelin-starred kitchen.

Her description had the celebrity guest, Eve Myles, laughing out loud and James abruptly moved the conversation on! I still remember the warm way Eve laughed, she seemed genuinely tickled.

But after the show came a moment I still cringe about. I happened to leave the studio at the same time as Eve, who has just starred in one of the best TV crime dramas I’ve seen in a long time. As we both lived in roughly the same area of the UK at the time, I offered her a lift for the 150-mile journey home. Obviously, as any sensible person (let alone a well-known TV star) would, she politely declined this offer of a long lift home to Wales in a battered old Fiesta from a stranger. A less kind celebrity may well have been more blunt in her refusal. But Eve did her best to be polite despite my idiocy, which I’ve always remembered.

Incredibly, this wasn’t my only cringeworthy moment from that day. I’ve also worried ever since that I offended the hugely successful TV chef Jason Atherton, when I asked him at the chef’s table during a break in live filming why he didn’t have a recipe book out. He replied: “I do.” This was way back in 2008 but I’ve still not fully got over the embarrassment.

So, if Eve or Jason happen to read this, please accept my very late apologies. Thankfully, I don’t think I embarrassed myself in front of James Martin or the show’s other guest chef, Bryn Williams (they must have had a Welsh theme that day) and I’ll always remember being on the show. It’s a shame no one gets to any longer. Bring back the guests, BBC!

I decided that, just this once, I was rooting for evil to win — mainly because I liked their energy more.

The wereboar growled next to Black Pudding, a hulking vicious monster, both focused on ripping Puck and Cordelia to shreds. Oberon, an Archfey god, stood alongside them, concerned. But only one thing would decide the fate of everyone on stage: the D20, a 20-sided die.

For 45 minutes on Saturday morning, a rambunctious audience of elves, fairies, gnomes, wizards and more was transported to another land, far away from any concern for modern life, as they watched the “Dungeons & Shakespeare” live show at the Renaissance Pleasure Faire at the Santa Fe Dam Recreational Area in Irwindale.

Lynx the Sword Swallower prepares the audience for his show.

Before Saturday, I’d never attended a renaissance fair, a reenactment of the English Renaissance in the form of an immersive festival (i.e. why the Irwindale fair is based in the 16th century village of Port Deptford). Although I was not entirely new to fanciful make-’em-ups. My family had been members of the Society for Creative Anachronism, a medieval-era living history organization. We frequently dressed up to visit our local kingdom. Once, a wizard gave me a cape. Another time, I won a plague-themed frog toss.

I’d long forgotten what a blissful escape those weekends had been for a young queer kid living in rural America — until Saturday, when I looked around the fair and realized it was a diverse crowd in every sense of the word.

At the “Dungeons & Shakespeare” show, host Willy Nilly encouraged us to lean into the welcoming atmosphere we found among our fellow outcasts.

“Let’s stop worrying about whether we seem weird and make our stories amazing,” the actor, who grew up in conservative Midland, Texas, told the crowd.

And with that same energy, my wife and I trodded further into the fair in hot pursuit of merriment and wonder.

I should note: The Irwindale fair is packed full of opportunities to spend a day. It can, at times, feel overwhelming (and dusty). Here’s what we learned that will set you up for success, should you fancy a trip back in time.

Guests make their way out of the Renaissance Pleasure Faire at sunset.

1. Thou must plan thy morrow

Translation: You must plan your day.

The best way to have the perfect day?

It depends!

Before your visit, I would recommend loosely plotting out your day using the fair’s map. First, you’ll want to discern which performances you’d like to see. Each weekend’s entertainment schedule is released the prior Wednesday, although it can change due to “weather, illness or Her Majesty’s whim,” as the fair website notes.

There are 12 stages and performance areas, each with their own programming. And it’s a real range.

For example, you’ll find MooNie the Magnif’Cent, a fair staple who mixes clowning, stunts and comedy, all without speaking. Supernova the Strongwoman will dazzle the crowd with risky tricks and demolition. And Dora Viellette teaches her audience about an array of music, from medieval to folk favorites, as she plays the hurdy-gurdy (which is very fun to say aloud).

I’d recommend attending the performance you want to see the most early in the day, as the fair seems to get more crowded as the day progresses.

Similarly, if you’d like to focus the day on playing games and experiencing human-powered carnival rides, I’d recommend doing that first. We originally wanted to practice our archery skills, but because we’d waited until after noon, the line was long every time we checked. That said, I did quickly get to throw 10 javelin for $10 later in the day, and I noticed the lines for the “big swing” — aptly named — and the dragon swing were both short. Additionally, it looked like a fairly quick wait to learn from the teachers at St. Jude’s School of Fencing and the Sword Master’s Challenge, where a worker told my wife, “You look like you’d like to hit someone!” (Trust, it wasn’t me, despite my perpetually high anxiety.)

There are also additional paid activities, like having tea with the queen or imbibing via a pub crawl. And then there are the jousting competitions (more on those below).

Her majesty the queen is seen with her court.

2. The Queen doth nay require fanciful garb

Translation: Costumes are not required but very fun.

About five minutes into the fair, I realized I could entertain myself for probably the entire day by simply people watching. Entertainers and guests’ costumes alike were incredible.

Woodland fairies carrying giant daffodils or wearing hats covered in mushrooms. Knights in real armor. Every version of Merlin the wizard, spanning an expansive gender spectrum. Gnomes in tall red hats. And at least one pickle pope blessing people with herbs. You might say they were kind of a big dill. (Hold your applause.)

There are multiple themed weekends, too, including the first weekend when guests were encouraged to strut out in their best pirate garb.

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1. Stephanie Divinski looks down at her shoulder puppet. 2. Trilainna Stanton, also known as Prince Rain, of San Diego. 3. Partners Reese Pei, left, and Mariner Song are pictured. 4. Meisha Mock, left, and Aimey Beer both wear wolf masks created by Meisha.

3. Parley with the guildfolk

Translation: Talk to the townspeople.

Around the fair, you have the opportunity to interact with several guilds and performance tropes. “The most fun you’ll get at the fair is from talking to people,” my friend Matthew, who has several years of renaissance fair experience, told me. “As someone who volunteers with a guild, we aren’t just there to sit around and look pretty. Come talk to us.”

I loved watching the fae creatures of the Fantastikals frolic around, getting into mischief. I kept an eye out for Danse Macabre, whose members dance away the threat of the plague to the fair. But I was most starstruck when I met her majesty Queen Elizabeth I. (Note: The actors do not break character, even to tell a journalist their given name outside of their fair life.)

As I waited in line, I observed the diligently trained actors of the Queen’s Court. The lord high treasurer bent down and handed a gold coin to a toddler doddling around as his family waited to meet the queen. He tried to eat it, but was bested by his mother.

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1. The Fantastikals, representing nature and the elements, provide a sense of wonder and mischief. 2. Royal guard member Maria DeSilva, left, stands by Anna of Austria, the queen of Spain, and her sister Elisabeth of Austria as they read their Bibles together. 3. A maid of honor to the queen passes the time with canvas work.

“You must be quicker if you are to be successful,” Sir Thomas Heneage, the court’s gentleman usher, told him.

I asked the queen what a newbie like me should know about visiting her village.

“I would tell them that at the fair, there is all the world to be had,” she said. “And no matter what you find that will set your heart alight, you will find it here.”

(I also asked her if it was as fun as it looked to be carried around in a basket by the Yeomen of the Guard, and after a good laugh, she affirmed, “It is truly a highlight of our day.”)

The crowd cheers as the jousters charge one another during the final bout of the day.

4. Hark! What a clatter!

Translation: Prepare for shouting

But it’s the fun kind!

When the fair opens at 10 a.m., guests shout, “Open wide the gates!”

“Huzzah!” is commonly shouted out in celebration, like when you tip someone, or when your trusty javelin strikes the target (mine did not).

And “God save the queen!” is exclaimed during the parades and just about any time the queen is around.

5. By hook and crook, ready thyself for a joust

Translation: It’s essential to attend a joust.

A jousters charges toward his opponent during the final bout of the day.

Attending a joust is one of the quintessential renaissance festival experiences.

At the L.A. fair, there are generally three joust performances per day: the Deptford tournament joust, the queen’s joust and the “joust to the death.”

It’s best to arrive 45 minutes early to get a seat, as the performance space fills to capacity. You will be turned away if it is full.

And it’s competitive. Immediately after sitting down, my seatmate informed me that we were rooting for green and blue, and the other team was our mortal enemies. I hooted and hollered accordingly.

6. There is much fine belly-timber

Translation: There is so much good food.

OK, here’s a confession: I eat a vegan diet. But, I can still appreciate the wide range of food options available — including the iconic turkey leg.

After securing our marinated tofu nachos and poke bowl, my wife and I sat down among other guests. Our tablemates had purchased a litany of fried options, including scotch eggs from the Quail Inn, which also serves bacon-wrapped jalapeño peppers, cheese fritters and “whole, partially deboned quail.”

I personally regret not heading over to Scoops on Tap, where I could have ordered vegan lemon blueberry swirl and mint chip ice cream. Their spirit-infused offerings include buttery beer, mocha stout crush and drumstick stout (which is not turkey-flavored, but rather a vanilla base).

7. Pray thee pay full mind to the merchants

Translation: Take time to learn about the artisans.

Drabbits, hand-crafted and one-of-a-kind shoulder puppets, at the Imagination Adoptorium booth.

Throughout the fair, you can easily find unique and colorful birthday gifts, like dragon eggs or a buy-your-own-fairy house, that would make your nieces, nephews and little cousins quickly proclaim you their favorite relative.

Beyond that, you can speak to artisans who’ve been honing their craft, in some cases, for decades. I asked glass artist Stuart Abelman, who has regular glass-blowing demonstrations during the fair, how his artistry fits into the renaissance fair.

“They’ve been blowing glass for 5,000 years,” Abelman, whose studio is based in Van Nuys, said. “Through the Renaissance, there were incredible glass blowers at Murano, Italy, incredible glass blowers. The queen drank [out of] beautiful glassware. They were the best.”

An assortment of masks are seen in the Mischief Masks booth.

8. Fret not if the winds of fate blow you elsewhere

Translation: Don’t worry if you can’t attend this specific fair.

California has several renaissance fairs and similarly themed events throughout the year. And, for the most adventurous, there are other fairs across the country and world, including the Texas Renaissance Festival, said to be the largest in the U.S.

Fairs scheduled this year in California include: Escondido Renaissance Faire (spring event: April 25–26, May 2–3; fall event: TBD); Summer Renaissance Fantasy Faire in Idyllwild (June 13–14); Central Coast Renaissance Festival in San Luis Obispo (July 18–19); Idyllwild Renaissance Faire (Sept. 12–13); and the Northern California Renaissance Faire in Hollister (Sept. 19–Oct. 25).

I spoke to Deptford’s lord mayor, Sir Barnubus Bliss, about what’s most important to him about folks experiencing the fair closest to L.A.

“Every time someone comes through those doors, I always wish them a ‘Welcome home,’” he said, “because it is my understanding that no matter where you are from, no matter what your life has been, when you come within these gates, when you are within our walls, you are at home, no matter where you were beforehand.”

Nik Frey, far left, and his partner Joanna Dominguez, far right, sword fight with Bexleigh Kilker, 9, and Bexleigh’s dad Kevin, as they all wait out traffic after opening day at the Renaissance Pleasure Faire.

And I felt that as I watched adults gallivant around with childlike glee. As my wife and I left the fair, I did not find myself immediately reaching for my phone. I wanted to stay, just a while longer, in a world where seemingly everyone is welcome to be just as they are.

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”

BROOKLYN Beckham was offered a public show of support by Sir Elton John — who made him a VIP guest at his Oscars party.

The 27-year-old, locked in a family feud, was seen at the bash alongside wife Nicola Peltz deep in conversation with the singer, 78.

We revealed last year that the I’m Still Standing singer has been acting as a peacemaker between Brooklyn and estranged parents David and Victoria.

And the VIP invitation to Sir Elton’s Academy Awards viewing party in West Hollywood on Sunday night showed his continued love and support for his godson.

A source said: “Elton has seen Brooklyn all adrift without his biological family and he’s stepped up for Brooklyn.

“Inviting him and Nicola to the party was a public show of support for him.

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“Elton doesn’t want to get involved in the row — as far as he’s concerned that’s between Brooklyn, David and Victoria.

“But he has been watching everything that has unfolded over the past ten months.

“Brooklyn lives in Los Angeles and when Elton is in town, he’ll often touch base with him.

“Brooklyn knows he has Elton’s ear and support.”

Brooklyn and US actress Nicola, 31, were among a string of celebs at the Elton John Aids Foundation bash, co-hosted by the singer and his husband, David Furnish.

They were photographed with Sharon Osbourne and her I’m a Celebrity star son Jack, while singer Dua Lipa and her actor fiancé Callum Turner were also there.

A source added: “Brooklyn and Nicola had a fantastic time with Elton and David.

“He just wants to move on with his life and is happy to have the support of Elton and David, who have always looked out for him.”

Sir Elton, who has two sons Zachary and Elijah with his hubby, has been very close friends with Posh and Becks for several years.

They asked the singer to be godfather to their first-born son Brooklyn in 1999, and they did the same with Romeo three years later.

Former Spice Girl Victoria was also a guest at Sir Elton’s Oscars party in 2009.

But they have not been pictured together in public since August 2019, when the Beckhams joined Sir Elton and David on a yacht during a holiday in the South of France.

Victoria posted pictures of their trip on Instagram with the caption: “Happy Summer with friends. Kisses @davidfurnish @eltonjohn. We love u both and your boys so much.”

In May 2023, David and Victoria supported Elton on the final night of his Farewell Yellow Brick Road tour and shared videos and photographs from a box at London’s O2 Arena.

Last summer The Sun revealed that Sir Elton had reached out to Brooklyn and Nicola amid their family feud — and invited them to lunch to talk in the South of France.

A source said at the time: “Elton wants everyone to be happy.

“There is no side-taking as such; he simply adores his godson, and really has a laugh with Nicola who he thinks has a great sense of humour.

“He wants to look after them in his role as ‘spiritual adviser’ as a godfather.

“It’s a role he takes seriously.”

We revealed yesterday that Brooklyn snubbed Victoria on Mother’s Day — while posting a birthday message to “the best mother-in-law”.

He told Nicola’s mum, Claudia, “Love u so much”, as she turned 71.

Who won on Hollywood’s biggest night?

One Battle After Another ran away with the night with six Oscars, while Sinners, which was nominated for a record-breaking 16 awards, came away with four. See the full winners list below:

Best Picture: One Battle After Another

Best Actress: Jessie Buckley, Hamnet

Best Actor: Michael B. Jordan, Sinners

Supporting Actress: Amy Madigan, Weapons

Supporting Actor: Sean Penn, One Battle After Another

Directing: One Battle After Another, Paul Thomas Anderson

Adapted Screenplay: One Battle After Another, Paul Thomas Anderson

Original Screenplay: Sinners, Ryan Coogler

Documentary Feature: Mr. Nobody Against Putin

Documentary Short: All the Empty Rooms

Animated Feature: KPop Demon Hunters

Animated Short: The Girl Who Cried Pearls

Cinematography: Sinners, Autumn Durald Arkapaw

Costume Design: Frankenstein, Kate Hawley

Film Editing: One Battle After Another, Andy Jurgensen

International Feature: Sentimental Value – Norway

Life Action Short: 

The Singers (TIED)

Two People Exchanging Saliva (TIED)

Makeup and Hairstyling: Frankenstein, Mike Hill, Jordan Samuel and Cliona Furey

Original Score: Sinners, Ludwig Goransson

Original Song: Golden, KPop Demon Hunters

Production Design: Frankenstein, Tamara Deverell and Shane Vieau

Sound: F1, Gareth John, Al Nelson, Gwendolyn Yates Whittle, Gary A. Rizzo and Juan Peralta

Visual Effects: Avatar: Fire and Ash, Joe Letteri, Richard Baneham, Eric Saindon and Daniel Barrett

Casting: One Battle After Another, Cassandra Kulukundis