pirates

In Shohei Ohtani, who on Tuesday became the first Japanese player to hit 300 home runs in MLB, the Dodgers had the first National League All-Star voted in this year.

They still have a chance for a late addition.

Dodgers manager Dave Roberts has been lobbying for two members of his pitching staff to be named replacement players: left-handed starter Justin Wrobleski and left-handed reliever Tanner Scott.

“There’s going to be some changes and some talks here,” Roberts said before the Dodgers’ 4-3 loss against the Colorado Rockies at Dodger Stadium. “There’s continual talks about both guys.”

Earlier Tuesday, MLB announced replacements for three NL pitchers who won’t be eligible to appear in the All-Star Game. Pittsburgh’s Braxton Ashcraft, Philadelphia’s Jesús Luzardo and St. Louis’ Riley O’Brien claimed spots as Pittsburgh’s Paul Skenes, Milwaukee’s Jacob Misiorowski and Miami’s Max Meyer bowed out.

“Obviously it’s disappointing,” Wrobleski said after holding the Rockies to one run through seven innings. “You want to be an All-Star. It’s something that, regardless of the year, whenever, it’s always a big deal. It’s something I wanted to do. It’s frustrating to not get that nod. But like I said before, it’s just more reason to try and keep getting better. Hopefully I can gain the respect of players and everybody else and maybe be in there next year.”

There should continue to be movement on the All-Star roster, especially on the pitching side, with rotation schedules limiting which starters can participate. Dodgers right-hander Yoshinobu Yamamoto, for example, is lined up to start Saturday, which may take him off the table for the All-Star Game next Tuesday.

That could open the door for Wrobleski and Scott.

Asked to make his pitch for Wrobleski, Roberts pointed to his ERA (2.69, No. 8 among qualified NL pitchers), average of more than six innings per start and 10 wins.

“We run a six-man rotation, and I just don’t want him to get dinged for not making a couple more starts that he potentially could have had,” Roberts said. “I just think that he’s performed enough to earn that opportunity.

“And also, Tanner had a rough one [Monday], but I still think that … he’s one of the elite relievers in the National League.”

Scott, after notching just his second blown save Monday, compared to his 12 saves and 2.70 ERA, didn’t have an opening to improve on his All-Star campaign Tuesday.

Wrobleski, however, strengthened his.

He stayed true to his identity, pounding the strike zone and inducing weak contact to go with nine strikeouts. The only run he gave up came on a groundout in the sixth inning with runners on the corners.

In a nod to Wrobleski’s new nickname, “The Shark,” coined by Hall of Fame pitcher Pedro Martínez, Dodger Stadium organist Dieter Ruehle played a snippet of the “Jaws” theme to punctuate Wrobleski’s punchouts, and as he walked off the mound for the last time.

Justin Wrobleski was great for seven innings Tuesday.

(Eric Thayer / Los Angeles Times)

Once Wrobleski’s job was done, he paced in the dugout, interrupted once in a while by a hug or handshakes from a teammate. Catcher Dalton Rushing held his hand up to his forehead like a shark fin.

The name and attacking reputation had stuck. Would it be enough for an All-Star nod?

“If it happens, great,” Wrobleski said. “If it doesn’t happen, some time off and just chill for a couple days. Either way, I’m all good.”

On the offensive side, Ohtani’s leadoff homer made him the first player to notch 300 home runs and 100-plus stolen bases in his first nine MLB seasons, according to ESPN Insights. Tuesday was his 1,101st game with at least one plate appearance. By that measure, he was the fifth-fastest to 300 home runs, according to mlb.com and Elias Sports Bureau, behind only Aaron Judge (953), Ralph Kiner (1,086), Ryan Howard (1,091) and Juan González (1,093).

“It was quite the homer,” Roberts said. “I mean, it was [112 mph] off the bat, low launch angle. It was squared up, got out in a hurry. And 300 — he got there pretty quickly for us. I just marvel at him every day.”

Defense unravels late

The Dodgers widened their lead to two runs but gave it up in the eighth on a pair of errors, including one on a sacrifice bunt.

Shortstop Miguel Rojas, who botched a grounder to his left earlier in the inning that enabled a run to score, was late breaking to cover third, leaving the bag wide open. Second baseman Alex Freeland tried to hit Rojas in stride with his throw and was charged with an error when it got away and the go-ahead run scored.

“Physical errors happen, and I’m OK with that,” Rojas said. “I’m not perfect, and I’m going to make errors, and physical errors are OK. But mental errors are the ones that are disappointing. I should have been on third base, I shouldn’t be putting Alex Freeland in the situation of throwing the ball with me on the run there. That’s the one that I kick myself for.”

Said Roberts: “This guy’s as dependable as they come. So that it happens, we don’t like it, doesn’t feel good, but you know that player. I give him a lot of grace, because he is very dependable.”

Right-hander Evan Phillips made his first major-league appearance in 14 months, after undergoing Tommy John surgery last summer, and had two strikeouts in a scoreless ninth inning. But the Dodgers offense didn’t muster a comeback, as the top of the batting order went down in order with two runners on.

Ohtani on track

Ohtani is still in line to pitch Friday against the Arizona Diamondbacks, Roberts said.

The right biceps issue that flared in Ohtani’s final at-bat last Friday, and sidelined him Saturday, raised the question of whether he should skip his last start before the All-Star break. But Roberts said Ohtani’s catch play has been normal and he hasn’t reported any concerns with his biceps.

“As he goes through the next couple days, if he doesn’t feel great, we’ll pivot, and we’re prepared to pivot,” Roberts said. “But as we sit here, I don’t see that changing.”

Roberts said he doesn’t think Ohtani will pitch in the All-Star Game or participate in the home run derby. But he does expect him to take an at-bat or two as the NL’s starting designated hitter.

“He understands the responsibility he has,” Roberts said. “So I do think that there’s a middle for what’s best for him, what potentially could be downside, but also what’s best for the game.”

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

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

This one, however, is more complicated.

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

This week in SoCal theme parks

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Kayla Bartkowski / Los Angeles Times)

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

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

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

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

CHICAGO — Dodgers superstar Shohei Ohtani was out of the lineup Friday against the White Sox after exiting the game before with discomfort in the back of his left knee.

Manager Dave Roberts had expressed optimism Thursday night, after the Dodgers’ 8-6 win against the Pirates at PNC Park, that Ohtani would not miss additional time for the ailment. But he added: “Obviously with the travel [to Chicago on Thursday night], we’ll just kind of see how he comes in.”

Especially at this point in the season, the Dodgers have incentive to play it safe with Ohtani’s recovery. Pushing him to return early and exacerbating the injury would be a larger blow to a team seeking its third straight World Series championship.

With Ohtani out, left fielder Alex Call was in the leadoff spot, and Santiago Espinal served as the designated hitter.

It was not immediately clear whether the injury would affect Ohtani’s next pitching start. He’s lined up to take the mound Wednesday against the Rays, before the Dodgers’ off day Thursday.

Families of 10 Pakistani crew members taken hostage by Somali pirates have rallied in Karachi to demand their release. The crew of the Honour 25 have been held for more than three weeks. Hijackings off the coast of Somalia are on the rise in the wake of the US-Israeli war on Iran.

Donald Trump says US forces are ‘like pirates’ taking over Iranian ships and cargo near the Strait of Hormuz. The US is maintaining a blockade of Iran’s ports and has seized at least three Iranian flagged vessels.