Lifestyle
New film on Disney+ reveals the frenzied race against time to build Disneyland
Today Disneyland is so fully formed that it‘s taken for granted. We debate ticket prices and crowd calendars, strategizing the optimal time to visit.
The new documentary “Disneyland Handcrafted” hits pause on all of that.
Culled from about 200 hours of mostly unseen footage, director Leslie Iwerks’ film takes viewers back to the near beginning, tracing the largely impossible creation of the park from a year before its opening.
“Can you imagine L.A. without Disneyland?” Iwerks asks me during an interview.
To begin to answer that question cuts to the importance of “Disneyland Handcrafted,” which premieres Thursday on Disney+. For while Disneyland is corporately owned and managed, the park has become a cultural institution, a reflection of the stories and myths that have shaped America. Disneyland shifts with the times, but Iwerks’ film shows us the Walt Disney template, one that by the time the park opened on July 17, 1955, was so set in place that it would soon become a place of pilgrimage, a former Anaheim orange grove in which generations of people would visit as a rite of passage.
Walt Disney surveying the Anaheim land that would become Disneyland, as seen in Leslie Iwerks’ film “Disneyland Handcrafted.”
(Disney+)
Iwerks comes from a family of Disney royalty. Her grandfather, Ub, was a legendary animator instrumental in the development of Mickey Mouse. Her father, Don, was a cinematic and special effects wizard who worked on numerous Disney attractions, including the Michael Jackson-starring film “Captain EO.” As a documentarian, Iwerks has explored Disney before as the director of “The Imagineering Story” and has a long career of films that touch on not just Hollywood but also politics and environmental issues.
Here, Iwerks reveals just how fragile the creation of Disneyland was.
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1. A worker applies gold detailing to the ornate spires of Sleeping Beauty Castle, showcasing the elegance and precision that defined the centerpiece of Disneyland Park. 2. A craftsperson applies paint to the stone facade of Sleeping Beauty Castle. 3. A glimpse of Sleeping Beauty Castle under construction. (Disney+)
Having watched the film now numerous times, there are many small moments that stick with me. A worker, for instance, carefully sculpting the concrete on Sleeping Beauty Castle just months before opening while a narrator speaks of the park’s rising cost. A construction vehicle toppling, with its driver escaping a life-changing accident by jumping out just in the nick of time as Disney himself talks up how there have been very few accidents. And the mistakes, such as frantically learning — and failing — at how to build a river.
That Disneyland is as popular today as it was in 1955 — the film reveals that more than 900 million people have visited the park — is no accident. We live in stressful, divisive times, and Disneyland was not only born of such a moment but built for them, arriving in 1955 in a post-World War II America that was adjusting to more internalized, less-overtly-visible fears. The specter of nuclear annihilation was now forever a reality, and the Cold War heightened the sense of uncertainty.
A fake world inspired by a real one that never existed, don’t mistake Disneyland for nostalgia. Disneyland seeks to reorient, to show a better, more optimistic world that only exists if we continue to dream — to imagine a walkable street, for instance, in which a fairy tale castle sits at its end. Disneyland isn’t so much an escape from our world as it is a place where we go to make sense of it, a work of live theater where we, the guests, are on a stage and can play at idealized versions of ourselves.
“Why do we care? Why does it matter?” asks Iwerks. “I think what matters, for Disneyland, is that Walt set out to create the happiest place on Earth. Right there, putting that stake in the ground. That’s so impressive. That’s so risky. And yet he did it by sheer belief that he wanted families to come together and experience a place they could come back to time and again, a place that would continue to grow and always be evolving through cultures, through time, through generations.”
The front gates of Disneyland under construction.
(Disney+)
What makes the film so poignant is that Iwerks essentially gets out of the way. The footage was initially commissioned by Disney and shot for use in the company’s then weekly ABC series, which was funding the park. Some of the clips have appeared in episodes of “Walt Disney’s Disneyland,” but very few. For that show, Disney was selling the public on the park. With the public having long been sold, Iwerks can show us the park in shambles, a dirt path entering a wood-strewn Frontierland while Harper Goff, then Disneyland’s art director, speaks of a frustrated Disney lamenting that half the park’s money is gone and it remains nothing but a pile of muck.
“This is what worry is,” Goff says in the narration.
“What rose to the surface was how much pressure there was during this one year,” Iwerks says. “It was impossible. It was building what ultimately was a mini city in less than a year, pulling together all those construction workers, all those people who handcrafted this whole park in record time using their own skills, artistry and storytelling.”
Adds Iwerks, “You can’t remodel your kitchen right now in a year.”
Since the film is a light cinéma vérité style, Iwerks doesn’t editorialize as to how it all did get done. But we see workers, for instance, straddling beams in Tomorrowland with no support, making it clear this was an era with fewer regulations. Iwerks herself points to the ABC funding, acknowledging that the arrangement simply necessitated the park being completed in a year. But when it opened, it was far from finished. Disneyland’s struggles on opening day have long been mythologized, be it stories of weak asphalt or plumbing disasters.
A craftsperson works on the yellow decorative trim of King Arthur Carousel in Fantasyland.
(Disney+)
Iwerks is more interested in showing us the race against time, especially for a park that deviated from the light theming and simple rides of amusement parks of the era. Throughout the film’s hour and a half running time, Iwerks is making the argument that Disneyland simply wasn’t practical. Two months before opening we see a concrete-less Main Street while we’re told of a debate as to whether Disneyland should delay its planned July date. The decision was made not to, as the park was running out of money and there was a fear any push would ultimately kill it.
And in some ways it’s a surprise we’re seeing any of this. Iwerks notes the film was completed years ago, but sat on the shelf. She credits Disney executive Jason Recher with pushing it through. “I showed him a link, and he said, ‘This has to be seen.’ It takes someone with a vision to see that this could get out there and be appreciated by audiences,” Iwerks says. “I was thinking this would never see the light of day.”
The end result is a film that will likely be cherished by Disney fans but also admired by anyone interested in the making of an American classic. One of the most striking moments in the film is that of the cars of the Disneyland Railroad being ferried on trucks past downtown’s City Hall, a reminder that Disneyland, no matter its influences, its stewards or its changes, is a Southern California original.
Mara is a single mother of two in Minnesota. She and her family have depended on SNAP benefits to make ends meet.
Caroline Yang for NPR
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Caroline Yang for NPR
Although Mara is unemployed, she is busier than ever.
When she is not taking care of her two children, Mara is at her desk applying for jobs. She is surveying her belongings to see what she can pawn off to buy toiletries. Or she is sifting through bills, calculating which ones can wait and which need to be paid right away.
Soon, Mara, a single mom in Minnesota, may have another task on her busy schedule: figuring out how to afford food for her and her family.
That’s because of new work requirements for people receiving aid from the Supplemental Nutrition Assistance Program, also known as SNAP or food stamps.
“It would be so beyond hard” to lose SNAP benefits, Mara said. “Without SNAP, there’s no funds for food.” Mara asked for her last name to be withheld given the stigma tied to receiving government assistance. She is also worried that speaking publicly will affect her chances of getting a job.
Previously, SNAP recipients with children under 18 were exempt from work requirements mandating that recipients work, volunteer or participate in job training at least 80 hours a month. But now, under President Trump’s One Big Beautiful Bill Act, that exemption only applies to those with children under 14 — which is how old Mara’s youngest child turned in December.
“It would be so beyond hard” to lose SNAP benefits, Mara said.
Caroline Yang for NPR
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Caroline Yang for NPR
The Trump administration has argued that the mission of the nation’s largest anti-hunger program has failed.
“SNAP was intended to be temporary help for those who encounter tough times. Now, it’s become so bloated that it is leaving fewer resources for those who truly need help,” the White House said in a statement in June.
But policy experts say the SNAP changes do not fully take into account the unique challenges faced by single parents like Mara or the sluggish job market in many parts of the country. They argue that losing food assistance will only create more barriers for recipients struggling to find work.
The timeline for implementing the new SNAP policy varies based on state and county. In Mara’s home state of Minnesota, recipients who don’t qualify for an exemption or meet work requirements will be at risk of losing assistance as early as April 1. Others may have more months depending on when they next need to certify they are eligible for benefits.
Over 100 job applications
Mara imagined she would have a job by now.
It was August when she was let go from her part-time administrative assistant role due to her workplace restructuring. Since then, Mara estimates that she has applied for over 100 positions. She has also attended job fairs and taken free workshops on resume writing.
She has been working since high school, she said, but “ I’ve never been out of work for more than one month, so it’s very difficult.”
Mara spends time working at the computer at CareerForce, a resource for job seekers in Minnesota, on March 4.
Caroline Yang for NPR
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Caroline Yang for NPR
Although she misses her old job, Mara said it didn’t pay enough to support her and her kids, so she relied on SNAP benefits.
Many recipients are part of the low-wage labor market, where job security is often unpredictable and turnover tends to be high, according to Lauren Bauer, a researcher at the Brookings Institution who has studied SNAP extensively.
“SNAP is supposed to be there to help people smooth that and not let the bottom fall out when they experience job loss,” she said. “And this policy doesn’t account for that at all.”
Mara’s lowest point came in November when the government shutdown led to disruptions in SNAP benefits. Not only was she searching for a new job, but she was constantly figuring out where to get her family’s next meal.
“I might be looking for food stuff during the day when I should have been looking for a job,” she said. “Then, I’m trying to make up that time in the evening after my kids go to bed.”
During the pause, Mara turned to food banks, which revealed other challenges. First, food pantries do not always provide enough for an adult and two growing teenagers, she said. Second, they often lack gluten-free foods, which is essential for her daughter who has celiac disease, an autoimmune disorder that causes digestive problems if gluten is consumed. Gluten-free products tend to be more expensive.
If Mara loses access to SNAP again because of the new work requirements, she fears another stretch of long days spent looking for the right food and enough to feed her family.
“I would be so reliant on looking for food shelves or food banks,” she said. “There would not be time to even live.”
“We’re going to see increases in poverty. We’re going to see increases in food insecurity”
The Congressional Budget Office estimates that roughly 2.4 million people will lose food benefits in a typical month over the next decade as a result of the new SNAP requirements — including 300,000 parents like Mara with children 14 or older.
Gina Plata-Nino, the SNAP director at the nonprofit Food Research & Action Center, says many of the affected recipients will be single mothers who make up a majority of single parent households in the U.S. She added that the changes target a group that often lacks or struggles to afford a support system to help care for their children.
“How can they have a full-time job when they need to pick up their children [for] various activities?” she said. “And they are working — just not enough hours because they need to be there present for their children.”
Mara shops for groceries at a local discount grocery store.
Caroline Yang for NPR
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Caroline Yang for NPR
The new law also imposes work requirements on veterans, homeless people, young adults aging out of foster care, and able-bodied adults without dependents from ages 55 to 64.
It also toughened the criteria for waiving work requirements for recipients in areas with high unemployment. Previously, there were multiple ways to determine a weak labor market and secure a waiver. Now, it only applies to places with an unemployment rate above 10%. (Alaska and Hawaii have a different measure.)
For those who fail to meet the work requirement, SNAP provides assistance for up to three months within a three-year span. But Bauer from the Brookings Institution argues that it is not enough and the impact of SNAP changes will be widespread.
“We’re going to see increases in poverty. We’re going to see increases in food insecurity. We’re going to see increasing strain on the charitable food sector,” she said.
Mara holds her favorite anchor ring, which carries the inscription, “God for me provide thee.”
Caroline Yang for NPR
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Caroline Yang for NPR
As anxiety hangs over her head, Mara tries to put on a brave face for her children. She does not want them to worry, explaining that her recent struggles have reminded her how tough life can get as an adult.
“I remind them it’s not their responsibility and they’re not accountable for me or for what’s happening,” she said. “I say, just know you get to be a kid.”
Dylan Dreyer
Savannah Will Likely Come Back … Just Not Sure When
Published
TMZ.com
Dylan Dreyer is giving a small update on her embattled “Today” co-host, Savannah Guthrie, as the search continues for Savannah’s mom, Nancy — telling TMZ she does believe she’ll likely return to the show at some point.
We caught Dylan leaving NBC Tuesday afternoon, and she said while she thinks Savannah will come back, the timing is totally unclear — adding everyone at the show is simply giving her the space she needs because they care about her so much.
TMZ.com
Dylan also reflected on Savannah’s emotional visit to the “TODAY” studio last Thursday, saying the hug they shared was something they both really needed in that moment.
Catch the full clip — Dylan says the visit was incredibly emotional, adding Savannah clearly wants to get back to some sense of normal life … she just doesn’t quite know how yet.
Still, Savannah managed a few smiles during the brief stop by the studio, doing her best to keep moving forward during an incredibly tough time.
TMZ.com
As we reported, Nancy was taken from her Tucson home in the middle of the night on February 1. She was last seen entering the house just before 10 PM on January 31 after dinner with her daughter Annie and Annie’s husband, Tommaso Cioni.
Kevin Kline plays actor Richard Bean, and Laura Linney is his sister-in-law Kristen, in American Classic.
David Giesbrecht/MGM+
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David Giesbrecht/MGM+
American Classic is a hidden gem, in more ways than one. It’s hidden because it’s on MGM+, a stand-alone streaming service that, let’s face it, most people don’t have. But MGM+ is available without subscription for a seven-day free trial, on its website or through Prime Video and Roku. And you should find and watch American Classic, because it’s an absolutely charming and wonderful TV jewel.
Charming, in the way it brings small towns and ordinary people to life, as in Northern Exposure. Wonderful, in the way it reflects the joys of local theater productions, as in Slings & Arrows, and the American Playhouse production of Kurt Vonnegut’s Who Am I This Time?
The creators of American Classic are Michael Hoffman and Bob Martin. Martin co-wrote and co-created Slings & Arrows, so that comparison comes easily. And back in the early 1980s, Who Am I This Time? was about people who transformed onstage from ordinary citizens into extraordinary performers. It’s a conceit that works only if you have brilliant actors to bring it to life convincingly. That American Playhouse production had two young actors — Christopher Walken and Susan Sarandon — so yes, it worked. And American Classic, with its mix of veteran and young actors, does, too.
American Classic begins with Kevin Kline, as Shakespearean actor Richard Bean, confronting a New York Times drama critic about his negative opening-night review of Richard’s King Lear. The next day, Richard’s agent, played by Tony Shalhoub, calls Richard in to tell him his tantrum was captured by cellphone and went viral, and that he has to lay low for a while.
Richard returns home to the small town of Millersburg, Pa., where his parents ran a local theater. Almost everyone we meet is a treasure. His father, who has bouts of dementia, is played by Len Cariou, who starred on Broadway in Sweeney Todd. Richard’s brother, Jon, is played by Jon Tenney of The Closer, and his wife, Kristen, is played by the great Laura Linney, from Ozark and John Adams.
Things get even more complicated because the old theater is now a dinner theater, filling its schedule with performances by touring regional companies. Its survival is at risk, so Richard decides to save the theater by mounting a new production of Thornton Wilder’s Our Town, casting the local small-town residents to play … local small-town residents.
Miranda, Richard’s college-bound niece, continues the family theatrical tradition — and Nell Verlaque, the young actress who plays her, has a breakout role here. She’s terrific — funny, touching, totally natural. And when she takes the stage as Emily in Our Town, she’s heart-wrenching. Playwright Wilder is served magnificently here — and so is William Shakespeare, whose works and words Kline tackles in more than one inspirational scene in this series.
I don’t want to reveal too much about the conflicts, and surprises, in American Classic, but please trust me: The more episodes you watch, the better it gets. The characters evolve, and go in unexpected directions and pairings. Kline’s Richard starts out thinking about only himself, but ends up just the opposite. And if, as Shakespeare wrote, the play’s the thing, the thing here is, the plays we see, and the soliloquies we hear, are spellbinding.
And there’s plenty of fun to be had outside the classics in American Classic. The table reads are the most delightful since the ones in Only Murders in the Building. The dinner-table arguments are the most explosive since the ones in The Bear. Some scenes are take-your-breath-away dramatic. Others are infectiously silly, as when Richard works with a cast member forced upon him by the angel of this new Our Town production.
Take the effort to find, and watch, American Classic. It’ll remind you why, when it’s this good, it’s easy to love the theater. And television.
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