A pivotal moment early in “Harry Potter and the Sorcerer’s Stone” arrives when Harry’s suburban house is swarmed and flooded with letters of acceptance for the Hogwarts School of Witchcraft and Wizardry. Harry’s aunt and uncle have been preventing such dispatches from reaching the young wizard-to-be, but the boarding school’s messenger owls are having none of it.

Letters flood in from the fireplace, windows and nearly seem to cause the house to burst. And while watching the film recently at Inglewood’s Cosm, home to an all-encompassing high-definition spherical screen, I half expected a letter to fall upon my lap. Cosm specializes in sports, but has released three collaborations with Warner Bros. for what it deems “experiential film.” A framed screen displaying the original 2001 work from director Chris Columbus is untouched, but surrounding it are newly added digital animations designed to envelop guests.

And in this early “Sorcerer’s Stone” scene, letters were a-flying any which way I looked. Up, down, left and right — mail missives were rocketing toward the center screen. As the world closed in on Daniel Radcliffe’s Potter and family, it did so, too, at Cosm. I’ve seen Cosm’s take on “The Matrix” and “Willy Wonka and the Chocolate Factory,” so I knew a letter wouldn’t come zapping my way, but one could be forgiven for protecting their cocktail — themed, of course — from being knocked over.

Such is the power of Cosm’s curved screen, which brings a sense of dimension, and even at times movement, to the film. Think of Cosm, perhaps, as a mini version of Las Vegas’ Sphere, but smaller doesn’t mean any less sweeping. No, “Harry Potter and the Sorcerer’s Stone” in Cosm’s hands is often quite grand, as the first glimpse of Hogwarts Castle inspired cheers from the opening night audience, its cliffside towers, a romanticized spin on medieval architecture, towering above us in such a way that we will crane our necks. Only in Universal’s theme parks does the palace seem more real and welcoming.

“Harry Potter and the Sorcerer’s Stone” arrives at Cosm during what is a big year for the franchise. It’s the 25th anniversary, of course, of the first film in the series, and later this year on Christmas Day a new television series based on author J.K. Rowling’s popular book series is set to premiere on HBO Max. This summer, Harry Potter: A Hogwarts Express Adventure will open at the Southern California Railway Museum for guests to experience the Wizarding World rite of passage aboard a real moving train in the Inland Empire.

All of this activity is happening as Rowling has become the center of heated debate for her controversial views on trans women. None of it, however, has seemed to curtail fan interest in the series. The 2023 video game “Hogwarts Legacy” became a massive hit despite calls for a boycott, and Universal Studios last year opened in Florida a brand new theme park land based upon the franchise at its Epic Universe park, with its centerpiece ride, Harry Potter and the Battle at the Ministry, often commanding some of the longest waits at the park.

At the film’s early May premiere at Cosm, Rowling was mentioned little, and wasn’t among the massive list of names being thanked by studio and Cosm execs. “Harry Potter” in 2026 is perhaps best viewed as a franchise that has outgrown its creator to take on a life of its own, and Cosm’s approach is that of a love letter to its many fans, recognizing that this is a magical, enchanting world that generations have long wished to find themselves immersed in.

A climatic scene in “Harry Potter and the Sorcerer’s Stone” is outfitted with additional effects at Cosm.

(Stefan Silvers / Cosm)

To that end, I’d rank “Harry Potter and the Sorcerer’s Stone” as the most successful of Cosm’s three cinematic interpretations. Certainly the subject matter plays a role, and while Cosm has been successful in matching the high-energy of “The Matrix” or the trippiness of “Willy Wonka,” here Cosm and its partners — experiential firm Little Cinema and effects house MakeMake — can simply luxuriate in atmosphere. The train to Hogwarts, for instance, is especially well done, seemingly stretched to infinity. The famed “sorting hat” scene, too, as Cosm’s wizards contrast the internal anxiety of being assigned a role with the external one of doing so in front of an audience, bringing to exaggerated life the cavernous Hogwarts assembly hall.

Cosm works best when it’s able to use its venue to create the illusion of no longer being a spectator, when the space itself starts to feel like a living theater. Feel this, for instance, when Harry and pals traverse the moving staircase. The frame of the screen may move, creating a slight sense of disorientation as the stairs themselves shift. The portraits on the wall, whose characters occasionally come alive, start to envelop us. Cosm used some restraint here, keeping us guessing as to which framed pictures may seek to speak or nod our way.

If there’s any qualm in Cosm’s work it’s that at times there could be a tinge more self-control in order to let the film do its work. Stepping into the hidden magic nook of London’s Diagon Alley is a showcase moment in Columbus’ film, and at times it is in Cosm’s interpretation as well. Out on the street, the shops circle around us, further conveying the cramped nature of the neighborhood. It feels, more than ever, like a real-life space. Inside an intimate pub, however, filling out the scene with empty tables could distract from the hurried, nervous nature of the filmmaker’s original intent.

But we live in an immersive age. Art, increasingly, is maximized to encompass us, and Cosm understands this moment well. Once again, the venue has made the argument that cinema can feel like communal, live entertainment.

Monte Carlo Liquors & Steak House is a lone brick island in a large asphalt lot that sits just over 100 feet from the Central Avenue Bridge that stretches over the Rio Grande in Albuquerque.

Stories, photos and travel recommendations from America’s Mother Road

The business’ name says everything: The front of the building lodges a liquor store selling the basic brands of spirits and beer. Around back, an arrow, painted garnet against an otherwise beige facade, points toward a red door sheltered by a small, domed awning. The words “steakhouse entrance” have been stenciled above in letters big enough to be seen two blocks away.

The 56-year-old throwback is often my first stop after landing in New Mexico. I have been traveling to the state regularly since the summer of 1999, when I attended my first of many writing retreats led by Natalie Goldberg, author of “Writing Down the Bones” and many other books. Its northern topography — the enormous sense of space, the way the light moves and colors shift against the mountains and desertscapes — keep me returning.

The 56-year-old throwback Monte Carlo Liquors & Steak House is often my first stop after landing in New Mexico.

Albuquerque, home to the state’s largest airport, is a gateway. It’s also the city with the longest continuous urban stretch of Route 66, named Central Avenue and running nearly 18 miles through its core. Two of my very favorite restaurants in New Mexico reside along this zagging sweep, both quirky and atmospheric and also grounding in their sense of place.

I return to Monte Carlo for two reasons: the honky-tonk atmosphere and the green chile cheeseburger.

Beyond the red door lies the platonic ideal of a Midcentury dive. The windowless dining room remains perpetually dim. Crimson pleather booths line the walls, which are covered with vintage beer signs and framed portraits of Elvis Presley and Marilyn Monroe … and Guy Fieri, who visited in 2008. A collection of model cars sits behind glass in one corner. It is easy to imagine a near past when cigarette smoke hovered like low cloud cover.

I cannot report on the fried appetizers or char-broiled steaks that comprise much of the menu. Occasionally I order a Greek appetizer — a nod to the heritage of Michael Katsaros, whose family still runs the place — which includes a block of feta sprinkled with oregano, olives, a single rolled grape leaf, slices of tomato and cucumber and, uniquely, thick blocks of salami.

Here’s why I return to Monte Carlo: the honky-tonk atmosphere and the green chile cheeseburger.

Chasing green chile cheeseburgers through New Mexico is sport for food obsessives. Cheryl Jamison, a longtime food writer who lives in Santa Fe, steered me to Monte Carlo years ago.

The staff grounds the beef sirloin daily, a crucial step. Seeds are visible among the chopped roasted chiles, smoky and vegetal and bringing some heat, overlaid with a single square of American cheese melted into place. The sting of a dry gin martini is exactly right between bites.

Is this the best green chile cheeseburger in Albuquerque? Impossible for me to say, but it is an excellent gauge from which to begin a survey.

The dining room is perpetually dim, and crimson pleather booths line the walls, covered with vintage beer signs and framed portraits.

The chile cheeseburger at Monte Carlo.

Wherever you’re headed from Monte Carlo, it’s worth a quick stop to admire the twin Route 66 Rio Grande markers that stand on either side of the nearby bridge. Their adobe color blends so seamlessly into the landscape that you could speed by them without much notice. They were installed in the early 2000s as part of the city’s public art programs. Their tiered form nods to the cloud terrace motif that appears repeatedly in New Mexico’s indigenous Pueblo art and architecture. It’s easiest at night to spy their subtle Route 66 logos lit up in red and green neon.

Red and green are the unofficial state colors of New Mexico, as you’ll see again and again on plates delivered by servers at Duran Central Pharmacy, the finest destination along Central Avenue for immersion into regional cooking.

Indigenous ingredients (corn, beans, squash, game meats, berries and piñon among them) and heavy Spanish colonial influences (chiles were said to have been brought to the area as early as the late 1500s) help define New Mexican cuisine.

Modern restaurant menus, with the familiar enchiladas and tamales and hard-shell tacos, can resemble Tex-Mex, but never say that to a New Mexican local. The chiles delineate culinary borders. “Red or green?” customers will be asked repeatedly. Meaning: Do you want your dish smothered in sauce made from roasted green chiles, or a simmered counterpart fashioned from dried red chile pods?

The combination plate, Christmas style, at Duran’s.

If you want both, as many of us do, the answer is “Christmas.”

At “Duran’s,” as locals call it, see and taste the distinctions on Duran’s combination plate, which includes one beef or chicken taco, one pork tamale and one rolled cheese enchilada with a side of pinto beans. Green has a toothier texture and fresher flavor; red is saucier with dusky, earthen undertones. Try the duo over a hefty knife-and-fork breakfast burrito filled with chorizo, chilaquiles, a bowl of chili or, a special on Wednesdays and Fridays, sopaipillas (pillows of fried dough) blanketed in cheese.

Founded in 1942, Duran originally had a soda fountain that converted to a sit-down restaurant in the 1960s. Touches of Midcentury Modern kitsch, especially a starburst clock on the restaurant’s roadside sign, marks its place along Route 66.

Touches of Midcentury Modern kitsch include a starburst clock on the restaurant’s roadside sign, marking its place along Route 66.

And yes, this building also pulls double duty as a thriving pharmacy. On return visits when I’m feeling too excited about jumping back into New Mexican foodways, I start at Monte Carlo for a cheeseburger and martinis before a second lunch of sopaipillas, “Christmas-style,” at Duran, knowing I can pick up ibuprofen and calcium carbonate for dessert.

Monte Carlo Liquors & Steak House is located at 3916 Central Ave. SW, Albuquerque, (505) 836-9886, monte-carlo-liquors.hub.biz

Duran Central Pharmacy: 1815 Central Ave. NW, Albuquerque, (505) 247-4141, duransrx.com