theme park

Disney California Adventure this month turns 25. Though Disneyland Park’s littler and much younger sibling, the park has grown into a respectable offering, one that ranks among my favorite Disney parks in North America. No small feat, considering its checkered, less-than-ambitious launch.

California Adventure is today emblematic of some of the best that Disney has to offer. And yet it remains a work in progress. The subject of constant tinkering, another reimagining is on the horizon.

With more Marvel, more “Avatar” and more Pixar due to be injected into the park, California Adventure stands at a crossroads. But also one with risks: Will it soon feel like a collection of brand deposits? This, of course, has appeared to be the vision of the company’s theme parks in the recent past. This doesn’t always have to be a negative. Consider it more a word of caution.

A “Coco” boat ride is destined for Disney California Adventure. The ride is under construction.

(Pixar / Disneyland Resort)

Few Disney properties, for instance, seem more ripe for exploration in a California-focused theme park than “Coco.” Under construction where Paradise Gardens and Pixar Pier meet, a “Coco”-inspired boat ride will give the park at long last a permanent home to recognize our state’s Latin culture and heritage. While fans may long for the days of original attractions such as Pirates of the Caribbean and the Haunted Mansion, those based on intellectual property — IP in industry speak — aren’t evil, especially when used to heighten the overall themes of the park. California Adventure’s own Cars Land is a key example.

When it starts to feel like retail, however, parks can become exhausting. Looking at you, Avengers Campus, a half-finished land with a bombastic orchestral score and familiar, urban design that wouldn’t be out of place in downtown L.A. In its current state, the land works best as a backdrop for live entertainment as it lacks the welcoming feel of Disney’s top creations.

California Adventure, at its most idealized, stood for more than an assortment of film properties. Its pitch was to show the Golden State as a romanticized destination, one that in the post-Gold Rush era has often given America permission to dream. It would capture our people, our nature, our food and our glamour through a lighthearted, optimistic lens. When completed, the park had a mini Golden Gate Bridge and giant letters that spelled out the name of our state (which were removed about a decade later).

By the time California Adventure opened in February 2001, it had already been the subject of much revision. The Walt Disney Co. wanted it to be a West Coast answer to Walt Disney World’s Epcot. Its plans at the time were well-documented, with the Walt Disney Co. initially giving Westcot, as it was to be called, a spherical answer to the Florida park’s Spaceship Earth. In time, and in attempts to quell neighborhood concerns, the globe’s design would shift to become a large, futuristic needle.

California Adventure in 2001 was meant to depict a romanticized vision of California.

(Mark Boster / Los Angeles Times)

None of it was to be. Financial headaches, caused in part by the early-year struggles of Disneyland Paris, inspired Disney to change course. Disney California Adventure would open with few attractions that rose to the Disneyland level, and yet The Times was kind in its opening coverage, praising the park’s change of pace from its neighbor and admiring how its architecture blurred fiction and reality.

The hang-gliding simulation Soarin’ Over California was an instant hit, and Eureka! A California Parade was Disney theatricality at its weirdest, with floats that depicted Old Town San Diego, Watts and more. But California Adventure’s prevalence of dressed-up county fair-like rides failed to command crowds. Disney’s own documentary “The Imagineering Story” took a tough-love approach, comparing some of its initial designs to those of a local mall.

The grand opening of California Adventure in February 2001.

(Mark Boster / Los Angeles Times)

And yet today it’s home to one of the Walt Disney Co.’s most fully-realized areas in Cars Land, which opened in 2012. Flanked by sun-scarred, reddish rocks that look lifted from Arizona, Cars Land is a marvel, and on par with the best of Walt Disney Imagineering’s designs (see New Orleans Square, Star Wars: Galaxy’s Edge and Pandora — the World of Avatar). Nodding to our Route 66 history, the land is a neon-lit, ‘50s rock leaning hub of activity, complete with the showstopping Radiator Springs Racers.

Cars Land led a major makeover of the park that also included the nostalgic Buena Vista Street, a nod to the Los Feliz era of the 1920s. And by the mid-2010s, many of California Adventure’s most insufferable traits, such as its ghastly puns (San Andreas Shakes was bad, but the Philip A. Couch Casting Agency was cringe-inducing) as well as the short-lived disaster of a ride that was Superstar Limo, had begun to disappear.

Cars Land, added to California Adventure in 2012, is one of Walt Disney Imagineering’s grandest achievements.

(Mark Boster / Los Angeles Times)

With the nighttime show World of Color, and a bevy of in-park entertainment, California Adventure pre-pandemic began to feel like something akin to a full-day park. It wasn’t perfect, of course — no park is.

The Little Mermaid — Ariel’s Undersea Adventure, though lightly charming, suffers from being a hodgepodge of familiar scenes from the film rather than a narrative tableau that can stand on its own. Too many empty buildings clutter its Hollywood Land area, the makeover of Paradise Pier into Pixar Pier did little but add garish film-referencing art to the land and the crowd-pleasing transformation of the Twilight Zone Tower of Terror into Guardians of the Galaxy — Mission: Breakout! was completed at the expense of the park’s prime Southern California theming.

Paradise Pier at California Adventure in 2002. The land has since been remade into Pixar Pier.

(Don Kelsen / Los Angeles Times)

But there is much about California Adventure to adore. It shines during holidays, whether that’s Lunar New Year at the top of the year or the back-to-back combo of Halloween and Christmas seasons near its end. Here is when California Adventure’s entertainment comes to the fore, bringing the park alive with cultural tales that at last reflect the diversity of the modern theme park audience.

How grand it would be, however, if California Adventure were blessed with this level of entertainment year-round. The Hyperion Theater, a 2,000-seat venue at the end of Hollywood Land, and once home to shows inspired by “Frozen,” “Aladdin” and “Captain America,” today sits empty. If the Walt Disney Co. can’t justify funding the theater, jettison it with the park’s upcoming makeover, as it stands as a reminder of how fickle the corporation can be when it comes to live performance (also gone, the great newsboy-inspired street show).

Staff at California Adventure put the final bit of polish on the letters that spell out “California” ahead of the park’s 2001 opening. The letters once stood at the entrance of the park.

(Mark Boster / Los Angeles Times)

Looking ahead, I expect Disney to deliver a powerful “Avatar” ride, and early concept art has shown a thrilling boat attraction that appears to use a similar ride system to Shanghai’s Pirates of the Caribbean: Battle for the Sunken Treasure, which is hailed by many as one of the company’s strongest modern additions. Worthy of debate, however, is how the pure fantasy landscape of “Avatar” fits in a park that still nominally tries to reflect California and our diversity.

And does it matter?

The company would likely argue that if the ride wows guests and extends the “Avatar” brand into another generation, that it does not. But Disneyland next door isn’t timeless because it has “Peter Pan” and “Star Wars.” It has endured for 70 years because its attractions, by and large, reflect cultural myths. And it’s a park we want to spend days in, thanks to its gorgeous landscaping, calming Rivers of America, and human tales of avarice, unity and romance spread throughout its attractions.

For theme parks, after all, can jump the shark, so to speak. Spend some time, for instance, sitting in California Adventure’s San Fransokyo Square. It’s a needless, post-pandemic makeover. What was once a simple food court has been transformed into a loud nook stuffed with a “Big Hero 6” meet-and-greet and gift shop. You’ll be transported, but to a place more akin to a marketing event.

So happy 25, California Adventure. We love you, and you’re a park worth celebrating, but like most post-collegiate kids, there’s still some room to learn.

After two decades and two stints as Walt Disney Co. boss, Bob Iger finally is hanging up the reins.

Disney this week tapped 54-year-old parks chief Josh D’Amaro to succeed Iger as chief executive. The handoff is set for March 18, at the company’s annual investor meeting, with Iger staying on as a senior advisor and board member until his December retirement.

The changing of the guard atop one of America’s iconic companies marks the end of an era.

History probably will remember Iger as a visionary leader who transformed Disney by reinvigorating its creative engines through a series of blockbuster acquisitions, broadening its international profile and boldly steering into treacherous streaming terrain by launching Disney+ and ESPN+ as audiences drifted from the company’s mainstay TV channels.

Iger, 74, has long been Hollywood’s most respected and inspiring studio chief, known around town simply as “Bob.”

Disney Chairman James Gorman said in an interview that Iger’s nearly 20 years in power is framed by two epochs: “Bob 1” and “Bob 2.”

After becoming CEO in 2005, Iger presided over a period of remarkable growth. Through acquisitions of Pixar Animation, Marvel Entertainment and the “Star Wars” studio, LucasFilm, the company gained blockbuster franchises and popular characters, including Captain Marvel, Baby Yoda and Sheriff Woody from “Toy Story,” to populate movie theaters and theme parks.

“Bob steadied the company and built it out,” Gorman said. “He created an absolute powerhouse.”

Simultaneously, Iger strived to preserve ABC, ESPN and the whimsical charm that spilled from founder Walt Disney’s imagination so many decades ago. Iger has treasured such animated gems as Mickey Mouse, Goofy, Winnie the Pooh, Polynesian princess Moana and more.

“The Iger era has been defined by enormous growth, an unyielding commitment to excellence in creativity and innovation, and exemplary stewardship of this iconic institution,” Gorman said in a statement on behalf of the board, adding: “We extend our deepest gratitude to Bob Iger for his extraordinary leadership and dedication to The Walt Disney Co.”

Former CEO Michael Eisner told The Times that Iger has “succeeded masterfully” at every turn.

“From ABC Sports to ABC Television Network and then at Disney, when we inherited him in the ABC/Capital Cities acquisition, Bob created success upon success,” Eisner said. “It’s why he was picked as the Disney CEO, a role that has been his greatest success … What a record!”

Iger‘s first reign ended when he stepped down as CEO in February 2020, then retired from the company 22 months later.

But that leadership handoff proved disastrous, becoming Iger’s biggest blunder — one he has since worked hard to correct.

Bob Iger passed the CEO torch to Bob Chapek in 2020.

(Business Wire)

Former parks chief Bob Chapek stepped into the big role, but he lacked stature, creative chops and support among key executives. He quickly confronted the magnitude of the COVID-19 pandemic, which shuttered Disney’s revenue machines — theme parks, movie theaters and sporting events that anchor ABC and ESPN.

Wall Street soon soured on multibillion-dollar streaming losses by Disney and traditional entertainment firms that were jumping into streaming to compete with Netflix. The company’s stock fell.

Chapek also stumbled into a political feud with Florida’s Republican Gov. Ron DeSantis, who branded Disney as “woke.” The public tussle tarnished the Burbank company’s clean image and undermined its goal of entertaining the masses, no matter their political stripes.

The board beckoned Iger back in November 2022 to quell a revolt by senior Disney executives and allay concerns among investors.

“When I came back three years ago, I had a tremendous amount that needed fixing,” Iger acknowledged during a Monday earnings call with analysts. “But anyone who runs a company also knows that it can’t just be about fixing. It has to be preparing a company for its future.”

Succession immediately became the board’s top priority with Iger then in his early 70s. But Disney’s executive bench had thinned through a series of high-level departures and the company’s expenditures had gotten out of control.

Iger restructured the company, which led to thousands of layoffs, and gave division executives financial oversight to, in Iger’s words, give them “skin in the game.”

His successor, D’Amaro, last spring recalled bringing a 250-page binder to Iger for review upon the chief’s 2022 return to the Team Disney building in Burbank. The book was stuffed with detailed updates for each component of D’Amaro’s enormous parks and experiences division.

The following day, Iger showed up at D’Amaro’s office, binder in hand.

“He pulled out one page,” D’Amaro recounted during an investor conference last year, adding that Iger said: “we have plenty of room to grow this business. We’ve got land in all of our locations around the world,” D’Amaro said. “We’ve got the stories [and] we’ve got the fans.”

That laid the seeds for Disney’s current $60-billion, 10-year investment program to expand theme parks and resorts, cruise lines and open a new venture in Abu Dhabi, United Arab Emirates. D’Amaro was put in charge of the effort, which is designed to cement Disney’s leading position in leisure entertainment. That mandate has become increasingly important to Disney amid the contraction of linear television and cable programming revenue.

Iger’s second stint as CEO wasn’t nearly as fun as the first.

He was dragged into a bitter proxy fight with two billionaire investors, who challenged his strategy, succession plans and Disney’s 2019 purchase of much of Rupert Murdoch’s 21st Century Fox. The move was controversial, with critics lamenting the $71-billion purchase price. Disney reduced its outlay by selling regional sports networks and other assets, but the deal left the company with significant debt just before COVID-19 hit.

The Fox deal gave Disney rights to hundreds of properties, including “Avatar,” “Deadpool” and “The Simpsons.”

Iger vanquished the proxy challenge, and this week, he again defended the Fox purchase, which gave Disney control of streaming service Hulu, National Geographic channels and FX.

“The deal we did for Fox, in many ways, was ahead of its time,” Iger said on the earnings call, noting the lofty bidding war currently underway for Warner Bros. Discovery.

“We knew that we would need more volume in terms of [intellectual property], and we did that deal,” Iger said, pointing to Disney’s deployment of its franchises beyond the big screen into its money-making theme parks. “When you look at the footprint of the business today, it’s never been more broad or more diverse.”

TD Cowen media analyst Doug Creutz still thinks the Fox deal was a dud, saying in a report: “There were plenty of value-destroying media deals before DIS-FOX, so we disagree with their assertion” despite the multiples being offered for Warner.

From left; James Gorman, chairman of the Walt Disney Co. board of directors; Disney Experiences Chairman Josh D’Amaro; Dana Walden, co-chair of Disney Entertainment; and Bob Iger, chief executive of the Walt Disney Co.

(Walt Disney Co.)

Iger is credited with astutely managing Disney’s image and corporate culture.

He was instrumental in resolving Hollywood’s bitter year of labor strife by negotiating truces with the Writers Guild of America and performers’ union, SAG-AFTRA, in 2023.

He has also sought to distance the company from divisive politics, albeit with limited success.

Disney agreed to pay President Trump $16 million to settle a dispute over inaccurate statements that ABC anchor George Stephanopoulos made a month after Trump was reelected. But free speech advocates howled, accusing Disney of bending to Trump.

In September, Iger led the company out of political quicksand amid an uprising of conservatives, including the chairman of the Federal Communications Commission, a Trump appointee, who were riled by comments by ABC late-night comedian Jimmy Kimmel in the wake of activist Charlie Kirk’s killing.

Iger maintains Disney made the decision to return Kimmel to his late-night perch independent of the political pressure from both sides.

Enormous challenges remain for D’Amaro, the incoming CEO.

He and his team, including Chief Creative Officer Dana Walden, must ensure Disney’s movies and TV shows deliver on the company’s commitment to quality, and that its streaming services — Disney+, Hulu and ESPN — rise above the competition.

In recent years, Disney’svaunted animation studios, including Pixar, have struggled to consistently release hits, though it has found success with sequels. Disney Animation’s “Zootopia 2” is now the highest-grossing U.S. animated film of all time, with worldwide box office revenue of more than $1.7 billion, and the 2024 Pixar film “Inside Out 2” hauled in nearly $1.7 billion globally.

The company also must maintain its pricey sports contracts, including with the NFL, to drive ESPN’s success. This week, Disney and the NFL finalized their deal for the league to take a 10% stake in ESPN.

And, as broadcast TV audiences continue to gray, Disney must evaluate the importance of the ABC network, where Iger got his start more than 50 years ago working behind-the-scenes for $150 a week.

Investors also are looking for D’Amaro to lift Disney’s wobbly stock, which has fallen 9% so far this year.

“The stock price doesn’t fairly reflect what [Iger] has done, but … it will,” Gorman said. “And he should get credit for it.”

In a statement Tuesday, D’Amaro expressed gratitude to Disney’s board “for entrusting me with leading a company that means so much to me and millions around the world.”

“I also want to express my gratitude to Bob Iger for his generous mentorship, his friendship, and the profound impact of his leadership,” D’Amaro said.

Times staff writer Samantha Masunaga contributed to this report.

The family of David Adam Williams, better known as YouTube personality Adam the Woo, has shared his cause of death. The travel vlogger’s father revealed in a Monday Facebook post that his son died of natural causes.

“Our beloved Son … your beloved friend … died, in essence, of a heart attack in his sleep from health issues he probably never knew he had,” wrote Jim Williams, who said he had received his son’s medical examiner’s report earlier that day. “Now, we can all stop guessing. Be grateful the Lord allowed him to die at home and not in a foreign country. Be grateful he was found by friends (as hard as that was) and not some nameless stranger.”

Jim Williams shared that Adam Williams’ official cause of death was atherosclerotic and hypertensive cardiovascular disease, with obesity as a contributory factor. According to the American Heart Assn., atherosclerotic cardiovascular disease is caused by plaque buildup on arterial walls. Hypertensive heart disease is related to high blood pressure.

Williams, known for his theme park and urban exploration videos, was found dead in his Celebration, Fla., home on Dec. 22. He was 51.

A self-described “‘80s pop culture nerd with a desire to travel and video what I see,” he had posted more than 4,000 videos about his adventures at Disney and Universal Studios theme parks, pop culture conventions, movie filming locations, abandoned cities and more since 2009 across two YouTube channels. Combined, his channels had more than 1 million subscribers.

“If you never met Adam, I want you to know, that how you saw him on video, that was our son,” Jim Williams said in a Jan. 11 YouTube video about his son. “That was how Adam lived his life. He was always courteous, he was always kind, he was always patient with people. He was always gentle, even when he had to correct people. … He would stop and talk to everybody.”

Williams, who had addressed his Facebook message to Adam’s friends and fans, concluded his post with gratitude: “Thank you for loving Adam.”