Lifestyle
7 genius tips for avoiding preschooler meltdowns (and bankruptcy) at Disneyland
When you figure in the high cost, endless lines, height restrictions and miles of walking, does it ever make sense to take a preschooler to Disneyland?
Yes, as long as their adults adjust their expectations, plan carefully and slow waaay down. Because, let’s face it, most preschoolers are too young to understand what Disneyland is all about. It’s the parental (and grandparental) excitement and expectations that are really driving this visit.
Case in point: When we took my Seattleite granddaughter to Disneyland for her fourth birthday, her parents and I spent most of the time watching her reactions, which, I must admit, were pretty gratifying.
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Following the advice of Disneyland enthusiasts and L.A. Times readers, we were right in front when the park opened its gates. We were making a beeline to Fantasyland when out of the corner of my eye I saw Minnie and Mickey Mouse waving by the train station. Ordinarily, with my teen (and now adult) kids, nothing would have deterred us from racing to our favorite ride. But this was my granddaughter’s first visit, and all she really knew about Disneyland was that it was Mickey Mouse’s home. How could we ignore this introduction?
So we turned, which was hard, since she was already laser focused on Sleeping Beauty Castle, but when she finally saw Mickey and his gang cavorting just a few feet away, she reared back and started shaking so hard I feared she was going into shock. She couldn’t approach them or even wave; she just stared and vibrated, like an awestruck cartoon character with her finger in a light socket.
Meeting Mickey and Minnie was an emotional start to the day.
(Jae C. Hong / Associated Press)
I wanted photos, but her parents and I were so busy wiping away our tears we could barely hold the camera. It was a pretty intense start to the morning, and we had barely left the entrance.
“Going when they’re preschoolers may be the best time, because everything is a wonderment at that age,” said Kristen Carr, of Orange, a “Disney mom” of four (ages 10, 9 and 6-year-old twins) who podcasts, blogs and organizes Disney-related activities.
Don’t expect to go on massive thrill rides with preschoolers, Carr said, “but many of the rides feel very well suited for children 3 to 4. Some of my most fun memories are from when my kids were that age.”
Most of the 35 readers who responded to our question “What can you do with a preschooler at Disneyland?” agreed with Carr. Only four said taking preschoolers to Disneyland was a waste of money and time; the rest came down squarely in the plan-ahead-and-you’ll-love-it camp. We followed most of their top tips when we made this Disneyland pilgrimage and almost all were winners. Plus, we discovered rides and experiences at the park we’d never really noticed before.
1. Adjust your expectations
Focus on visiting just one park, and missing most of the big rides. We were in Disneyland from 8 a.m. until 9 p.m., but between rests, meals, more rests and endless lines, we only managed eight rides — the carousel, Storybook Land and Casey’s Railroad in Fantasyland, the junior roller coaster in Toontown (after an hour wait to visit Minnie at her house), the Thunder Mountain roller coaster, Finding Nemo Submarine Voyage (almost too scary), the Jungle Boat Cruise and the Winnie the Pooh ride, plus the Tiki Room, the Toontown playground and the parade.
Chip ‘n’ Dale’s Gadget’s Go Coaster at Toontown is a good introduction to roller coasters for small children — although larger adults may feel crippled for hours after having wedged themselves into the seats.
(Irfan Khan / Los Angeles Times)
But we had no meltdowns and she was smiling when we left. (Of course, she was also carrying a new toy purchased just before our departure, but you know, what are grandmothers for?) If the adults must go on a big-person ride, make sure you have someone in your party to take the preschooler to something they’ll enjoy — in my case, we bought a balloon, ate some pre-packed snacks and watched the parade (which she loved) while her parents waited 90 minutes for their first ride on Star Wars: Rise of the Resistance (which they loved).
2. Get a stroller
OK, I wasn’t going to do this because I’ve always hated the herd of strollers blocking everyone’s path in Disneyland, but Carr said it was an absolute must, even for her 6-year-old twins, and most of our readers agreed. The kids start out strong, but when they get tired (which happens quickly for little legs), your choices are to carry them or try to find a quiet bench for a nap (good luck). So we rented a big-kid stroller ($38 for 24 hours), which was delivered to our hotel, and it gave us a place to stash our snacks, extra clothing, and a cuddly blanket so she could relax later in the day. Worth every penny.
The sea of strollers at Disneyland, here at the King Arthur Carrousel, was long a subject of scorn in my family until we discovered their value in keeping young children happy (and as a place to stash all our gear).
(Jay L. Clendenin / Los Angeles Times)
Carr notes: If you don’t have your own, rent a good sturdy stroller outside the park; Disney’s are hard plastic and not very comfortable, she said. Umbrella strollers are too little for big kids and back breakers for whoever is pushing them. Plus, you won’t have to wait in line at Disneyland to rent and return a stroller. Our stroller was delivered to the hotel about 30 minutes before our departure, and all we had to do was leave it at the front desk when we returned that evening, which was a godsend since we had to walk back to the hotel.
3. Pack water and non-sugary snacks
You can get plenty of sweet stuff at Disneyland, “but a lot of sugar equals a lot of breakdowns” for little ones, Carr said. Bring a small cooler loaded with water, apple slices, carrot sticks, grapes and/or sandwiches, but also do yourself a favor, Carr said: If your child has a favorite snack they eat every day, be sure you pack some of that too.
4. Arrive early, before the park opens
In our case, that meant leaving our off-site hotel at 7 a.m. and running the gauntlet through metal detectors, bag searches and guard dogs so we could be at the gates when they opened at 8 a.m. People who stay in park hotels might be able to enter even earlier. The point is to get in early, before the crowds and head for Fantasyland first, which has the greatest concentration of little-kid rides but also the worst lines once the park starts filling up. Several Fantasyland rides, like Pinocchio, are too dark and scary for preschoolers, but once you get your fill of the sunnier ones, Carr said, you can stop mid-morning, have a late breakfast and plan out the rest of your day.
5. Download the Disneyland app
With preschoolers, I’m not convinced it’s worth the extra $35-$50 per person to get the Genie+ and Lightning Lane passes that let you skip the line at the most popular rides, but the free Genie app is mandatory for ordering food (so you don’t wait in yet another line to eat), keeping track of special events in the park and seeing what rides have the longest lines or are shut down. Pro tip: Bring a portable phone charger.
6. Prep your child for what to expect
The Storybook Land Canal Boats almost resulted in a major meltdown when the boat left while we waited in line. Our 4-year-old Disneyland newbie didn’t understand that new boats would keep coming.
(Todd Martens / Los Angeles Times)
We almost had a meltdown at the first ride, when my granddaughter thought the boat we were waiting for at the Storybook Land canal left without us. It took about four boats coming and going before she began to understand that their appearance was continuous and we would eventually get our turn to climb aboard. Nothing will truly prepare them for the experience IRL, but you can at least explain how the rides and lines work and show them some photos of what they’ll see.
7. Gird your loins and watch your spending
The nickle-and-diming at Disneyland is intense. Preschoolers want just about everything they see, and doting adults are eager to oblige, but between $30 Ariel bubble wands (which need refilling almost immediately), $20 Mickey Mouse balloons, $30 Star Wars stuffies and $50 sweatshirts, it’s easy to overspend. One of the biggest lures for little ones is the Bibbidi Bobbidi Boutique, where “magical makeovers for royalty-in-training ages 3-12” start at $100, a fee that includes a princess hairstyle, nail polish, sash, T-shirt and “shimmering makeup and face gem.” The prices go up from there, to nearly $500 for all of the above, plus a princess gown, tiara and satin hanger (every preschooler’s dream). There’s also the $80 Deluxe Knight Package, which includes a knight costume, gel hairstyling and a “mighty sword and shield.”
Emily San Miguel, 6, beams as she shows off her fancy “Belle” dress at Disneyland, but the price of a princess “makeover” can have a decidedly different effect on adult pocketbooks.
(Dania Maxwell / Los Angeles Times)
Here’s where advance planning can pay off, Carr said. She bought her daughter’s favorite princess gown online for a fraction of the park price, showed it to her the morning of their trip and let her wear that to the park. They still visited the boutique, she said, but only to get a free sprinkling of pixie dust (a.k.a glitter) anyone can request. I can’t emphasize this enough: Plan ahead for what purchases are a must ($6.50 bowls of Dole Whip are non-negotiable in my family) and let your children and accompanying adults know they can’t have everything they want.
Bonus: The lasting memories may surprise you
With two nights at an off-site hotel ($525), four admissions to the park (only $602, thanks to a short-time $50 deal for young children), meals, treats and souvenirs, our one-day visit in early February cost about $1,500, or $375 per person. That’s an eye-popping figure, but truth be told, we had a lot of fun, and if we’d curbed our souvenir shopping and been willing to spend nearly three hours driving home after a long day at the park, it could have been at least $300 cheaper.
Note this, because four months after our trip, I asked my granddaughter, “What was your favorite part about Disneyland?” Her answer was immediate: When the servers at Café Orleans brought her a tiny cake — basically three blobs of whipped cream in the shape of Mickey Mouse’s head — with a little candle on top. We all sang happy birthday while she beamed and blew the candle out, and that precious moment came free of charge.
Lifestyle
Terry Tempest Williams on why women with big ideas get labeled ‘crazy’ : Wild Card with Rachel Martin
A note from Wild Card host Rachel Martin: I met Terry Tempest Williams about 25 years ago at a writer’s conference in Yosemite Valley. I was a young reporter who was there to do a story about how literature was addressing climate change and she made such a huge impression on me. I had never heard someone talk about the natural world the way Terry did and she had a spiritual depth I hadn’t encountered in my life at that point.
To this day, Terry’s writing always reorients me towards what is good, what is beautiful, and what is true. Her newest book is called “The Glorians.”
Lifestyle
Meow Wolf taps famed L.A. animation house for its new Los Angeles venue
For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward skewering our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.
The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.
It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.
As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.
“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”
Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.
An in-progress art installation destined for Meow Wolf L.A. at the art collective’s Santa Fe, N.M., headquarters. The L.A. exhibition will feature animation from Titmouse.
(Gabriela Campos / For The Times)
Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”
“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”
Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.
“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”
Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.
In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.
“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”
Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Phimémon Martin, and Jun Ioneda.
Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.
Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.
“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”
Lifestyle
Appeals court denies Trump’s request to halt removal of his name from the Kennedy Center
The Kennedy Center on June 28, with its facade signage still covered by a tarp and scaffolding.
Alex Wroblewski/AFP via Getty Images
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Alex Wroblewski/AFP via Getty Images
On Wednesday, a federal appeals court denied President Trump’s request to stop the removal of his name from Washington, D.C.’s Kennedy Center. The signage on the building has been covered with tarp and scaffolding since June 13, but in a court filing last month, the center’s current executive director said that Trump’s name has been removed.
In their decision, three judges from the U.S. District Court of Appeals for the District of Columbia Circuit said that the president had failed to prove that the arts center would be “irreparably injured” without Trump’s name attached to it.

NPR requested comment from the Kennedy Center, but did not receive an immediate reply.
This latest round of court decisions is part of the ongoing litigation filed by Rep. Joyce Beatty, D-Ohio, against President Trump and the board of the Kennedy Center. In a statement emailed Wednesday to NPR, Beatty said: “Today’s ruling again affirms that this administration’s efforts to rename the Kennedy Center were unlawful. His name no longer desecrates this sacred memorial, which belongs to the American people. Now it is time for the Trump administration to accept this, comply with the law, and take the tarps down.”
In previous court filings, Trump’s legal team had asserted that removing the president’s name from the arts complex, both on the physical building and in its digital materials, would inflict irreparable harm in both time and money already spent. In the denial, the three judges — Patricia Millett, Robert Wilkins and Gregory Katsas — wrote that since Trump’s name has already been removed, “a stay would not avert those harms.”
Furthermore, Trump had claimed that without his name attached, future fundraising would be threatened “and [will] contribute to the financial decline of the Center.” In response, the appeals judges wrote: “Appellants, however, have failed to support this assertion with any specific facts or evidence. They offer only the conclusory assertions of the Kennedy Center’s Executive Director that were made in a factually unsupported declaration.” The center’s current executive director, Matt Floca, specializes in physical plant management.

The presiding judge in the case, Christopher R. Cooper, has ordered that the center provide him a status report on the center’s operation and programming before the end of this month. As of Wednesday, the center’s calendar lists a small roster of programs, including outdoor free movie screenings, workshops for children, and five free live performances in July on its Millennium Stage. In the past, the Kennedy Center presented over 2,000 arts and education events each year, including free daily Millennium Stage performances.

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