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How landscape artist Ruth Shellhorn transformed Disneyland

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.

You’re reading Mr. Todd’s Wild Ride newsletter

Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.

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.

A group of people in front of a half-built Disneyland castle

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.

Disneyland blueprints.

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

Concept art of the cockpit of the Millennium Falcon ride.

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 decadent puffy dessert with lots of cream on top of a pastry.

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

A character in a theme park ride juggling mugs of beer.

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.

An animatronic figure with glasses and a green cap on a science contraption.

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.

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Antiques Roadshow guest stunned by valuation on item that’s been in envelope for years

A guest on BBC’s Antiques Roadshow was left stunned after the price of her item she kept in an envelope since 1967

An Antiques Roadshow guest was left stunned by a “crazy” valuation.

The BBC programme visited an antiques fair at Belfast’s Botanic Gardens, with Fiona Bruce presenting as usual while guests brought along cherished possessions to discover their worth.

The opening valuation featured a guest clutching a genuine piece of rock and roll history. Expert Raj Bisram was clearly impressed when presented with three autographs from The Jimi Hendrix Experience members, reports the Liverpool Echo.

Scrawled on the reverse of three ordinary-looking tickets were the signatures of the legendary guitarist alongside bandmates Noel Redding and Mitch Mitchell. The guest revealed how she managed to obtain press passes for the Northern Ireland gig back in 1967.

She explained: “I had a friend whose name was Jerry Fox. She was a great Hendrix fan because he had a song called Foxy Lady. She had a friend, who managed to get us backstage press passes for the concert.

“It was part of Queens University Festival Belfast. We were up at the very front. It was very loud. But it was a great concert and he did all his usual of playing his guitar with his teeth. I can’t remember, but I think he smashed his guitar at the end.”

The guest recalled the gig coincided with the All Along The Watchtower musician’s 25th birthday. She added: “The organisers at the festival had arranged to have a birthday cake for him and they presented it to him backstage.

“Because we had press passes, we were allowed to go backstage and he was there. The cake was on a table. “I don’t think he was eating the cake. From what I remember, he was drinking a bottle of whisky.””

Seizing her chance in the presence of music royalty, the guest recalled: “We only had these tickets so we got the three band members to sign the back of the tickets.”

The concert took place in 1967, and the guest revealed the signed tickets had been tucked away in an envelope ever since. Expert Raj explained that the memorabilia had soared in value following Jimi Hendrix’s death at just 27 in January 1969.

Items linked to Jimi command a hefty price tag, thanks to the legendary musician’s enduring and devoted fanbase.

The expert explained: “People do that but then they forget where they put the envelope. To remember it and to keep it is absolutely lovely, because, unfortunately, he died very young, which makes some of this memorabilia that he’s left behind, even more valuable.

“As far as valuation is concerned, obviously Jimi Hendrix is the one that’s the most valuable. But putting all three together, if these went to auction, they would make somewhere between £5,000 – £7,000.”

Stunned by the staggering figure, the guest exclaimed: “What? You’re joking. That’s crazy.”

You can catch up on Antiques Roadshow on BBC iPlayer

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Galaxy’s Edge was revolutionary. If only Disney would’ve let it soar

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.

You’re reading Mr. Todd’s Wild Ride newsletter

Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.

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.

Parkgoers hold up their hands in front of two Stormtroopers.

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

Actors as "Star Wars" personalities in a theme park land.

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

A shot of a "Star Wars" spaceship in a theme park land.

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

Roger Rabbit's Car Toon Spin.

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 plate of scallops.

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

A bearded man in sunglasses in front of a theme park ride.

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.

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Inside the elaborate, competitive L.A. book club taking immersion to the extreme

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.

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.

The "Booked Babes" book club

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.

The "Booked Babes" book club

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.

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.”

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.

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.

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.



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A family affair: Hammer Museum Gala pays tribute to Betye Saar and Darren Star

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.”

Three people at a party.

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.

A gala at a museum.

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.”

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The Repair Shop guest breaks down in tears over late father’s incredible item

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.

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Disney could learn a thing or two from Universal Studios’ Fan Fest Nights

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.

You’re reading Mr. Todd’s Wild Ride newsletter

Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.

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 van and a theme park Scooby-Doo character.

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 giant, bird-like puppet before guests at a theme park.

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.

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

Two graham cracker cookies and two colorful boxes of cookies with a cartoon dog.

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

Guests head to a tram tour at Universal Studios Hollywood.

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.



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We were there: Hearing gunfire and ducking for cover at the D.C. gala shooting

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.

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Shooter’s path to White House press gala prompts security questions

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.

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Harry Potter: A Hogwarts Express Adventure to open at SoCal museum

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.

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