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Review: Alien Romulus Is The Only Worthy Sequel To The 1979 Original

It took a fresh vision to prove there’s still cinematic life in the xenomorph and its ability to terrify audiences, but Romulus really shines where its affable characters are concerned.

Over four decades and six films — eight if you count crossovers — in the Alien universe, no one had been able to capture even a fraction of the terror, novelty or magic of Ridley Scott’s original 1979 science fiction-horror classic.

James Cameron turned the immediate sequel into a James Cameron movie, which means it’s packed with Velveeta one-liners, Spanish catch-phrases that no Spanish-speaking person would ever utter, and doesn’t exercise an ounce of the restraint Scott used to such cosmic effect.

In the third outing, David Fincher took on the impossible task of trying to reconcile the tone of the first two films and set the entire thing in a drab space prison, while Joss Whedon’s script for the fourth film was Firefly in Alien trappings.

While the xenomorphs never looked better, Alien: Covenant felt like half a movie, ending on a cliffhanger that will never be resolved.

The titular monster had been stripped of nearly all its mystique by the time Scott returned to the franchise with Prometheus and Covenant, the fifth and sixth installments.

Both films were visually spectacular thanks to Scott’s efforts, but suffered from characters audiences couldn’t connect with, and in the case of Damon Lindelof’s script for Prometheus, characters the audience loathed. Instead of leaving the origin of the aliens ambiguous, Prometheus and Covenant offered a bizarre, nearly franchise-killing backstory involving alien-designed panspermia, artificial intelligence gone rogue and half-baked creationism given the veneer of science.

When Fede Alvarez presented his vision for an Alien film, he understood he had two do two things:

Ignore everything that came after Scott’s original film
Offer something more than the formulaic “monster stalks the cast deck by deck and kills them one at a time, leaving only the Final Girl”

Alien: Romulus sets off on that task by engaging in economical world building to give us more context than the five previous sequels managed together.

It’s tightly focused on our heroes, a group of five twenty-somethings who were born on a fiery world where lava perpetually flows, novel diseases spawn every year and a permanent atmospheric coat of soot and ash hides the sun and sky from the people who live there.

It’s a hellish place, and they’re there because multinational megacorporation Weyland-Yutani (“the company” in Alien parlance) wants the valuable ores within the planet’s crust. Like the crew of the Nostromo, the people are expendable in the company’s pursuit of profit.

Alien Romulus: Jackson's Star — The people who live in the colony at Jackson’s Star can’t even see their own sun as they slave for Weyland-Yutani corporation.

Our heroes work for the company, and they’re all orphans who lost their parents to work-related accidents or diseases from the mines.

Marie Rain Carradine’s (Cailee Spaeny) hope lies in the completion of her indentured servitude. With 12,000 hours of service to the company under her belt, Rain can finally take her brother to the colony world Yvaga, where the air isn’t toxic, people aren’t worked to death, and best of all in her mind, you can see the sun.

When Rain visits a Weyland-Yutani administrative center to formally separate from the company and relocate to Yvaga, a bureaucrat doubles her work requirement to 24,000 hours with the stroke of a key, damning her to another five or six years toiling on a planet that kills everyone eventually. Worse, the bureaucrat transfers her from farming to the mines, where her parents died.

“Know that the company is really grateful for your service,” the Wey-Yu representative says with an infuriating affect, dismissing the shocked young woman.

It’s in the depth of her despair that Rain gets a message from her friend Tyler (Archie Renaux) and listens to his pitch. Tyler and the others were working their orbital jobs miles above the colony’s surface when their computers pinged, alerting them to the approach of a massive starship.

Scans revealed a decommissioned Weyland-Yutani vessel that hadn’t been entirely stripped of its useful parts, slowly drifting through the system. Crucially, the ship still carried functional cryo pods, which would allow the group to sleep out the nine-plus year journey to Yvaga.

It’s freedom, there for the taking “before someone else does,” Isabela Merced’s Kay tells Rain.

When Rain balks at the dangerous and highly illegal plan, Tyler points out Weyland-Yutani will never grant them approval to leave the nightmarish world where they were born.

“I don’t want to end up like our parents,” he says, nodding toward the dead-eyed, soot-covered miners marching back to their utilitarian prefab homes after another shift toiling for the company.

You don’t need to guess that the plan does not go smoothly, nor the reason why.

What most people will need to know, in order to entrust two hours of their time to a franchise that has been beating a dead horse for decades, is that Alien: Romulus is the kind of sequel Scott himself would have made after the original, at the height of his directorial powers, if he hadn’t moved on to other projects.

Romulus replicates the magic of the original by taking things in exciting new directions, and by giving the audience a series of astonishing set pieces, including a gloriously nail-biting sequence that not only captures the beauty of space, but reminds us how hostile it is to our fragile human bodies.

It also takes care to give us reasons to root for characters we’ve just met, to sympathize with their plight and understand why they’d do something so desperate and reckless.

Alien Romulus: Cailee Spaeny — Cailee Spaeny is inarguably the best of the actresses who have tried to take the mantle from Sigourney Weaver’s Ripley in the last several films from the franchise.

Rain and her friends have one important thing in common with the characters from the first Alien film — they’re fighting for survival in more ways than one. There’s the immediate threat to their lives, and their eventual slow, agonizing doom if they don’t find a way off their colony world.

Unlike the characters from the previous sequels, they didn’t volunteer for a military mission, an archaeological expedition or to be pioneers on a world full of life. They’re desperate adults barely out of childhood who know life holds nothing but misery for them if they don’t succeed.

Like the best science fiction, Romulus doesn’t just entertain, it uses an imagined future to comment on our society. AI has now permeated our lives, but mainstream science fiction is still stuck on the same tired “AI evolves, turns on humans for reasons and tries to wipe us out” narratives.

Alien Romulus — Andy (Jonsson) in an airlock early in the film.

For those of us who are genre fans, it’s frustrating to see Hollywood clinging to ideas that were first kicked around many decades ago by science fiction novelists. Besides, the “AI turns on humans” thing has little to do with reality and everything to do with human anxiety that we’ll be judged for our behavior as a species the moment we encounter an intelligence capable of judging us.

Romulus eschews the formulaic stuff to explore a more interesting question: what separates biological intelligence from artificial intelligence, and can the latter really qualify as life? Can machines ever approximate human emotions, or are they limited to simulating them for our benefit? It’s still not the most original idea, but it’s a marked improvement from the same old Terminator and Ex Machina-inspired narratives.

As for the alien itself, it’s more menacing than it’s been since the first film, and it has a few tricks up its sleeve thanks to circumstances that tie directly into the original. To say more would be an injustice, because the twists here are well-conceived. They also make perfect sense given what we already know, and don’t require any great shift in franchise lore.

Lastly, as an admirer of retrofuturism, I can’t let this review pass without praising the set designers, special effects teams and Alvarez for reviving the utilitarian 1970s vision of the future from the original. This is a worn, lived-in universe, not a gleaming utopia. Alien’s aesthetics influenced virtually every science fiction effort over the last 45 years, and for good reason.

Alien Romulus sets design — Set designers at work on an interior for Alien: Romulus

There’s something anachronistic about a civilization that has mastered interstellar propulsion, cryopreservation and advanced artificial intelligence, but remains reliant on monochrome displays with vector graphics and tactile interfaces. And yet that visual shorthand signals to viewers that this is a return to the fundamental elements of the franchise, and a universe where space exploration is corporate and soulless.

Perhaps the best sign that Romulus has revived Alien is the fact that a sequel is already in the works. Spaeny and David Jonsson, who plays Rain’s brother Andy, are already on board for a second installment.

There’s certainly more story to tell, and if Alvarez can maintain the magic blend of homage and novelty that made Romulus such a strong entry, we’re in for another fun ride. To Yvaga!

Alien: Romulus is available to stream on Max, Hulu and Disney+. For a list of alternate sites where the film can be rented or purchased, or to check availability in regions other than the US, check out the movie’s listing on JustWatch.

Apocalypse Z: A Man And His Cat Fight For Survival

As the world ends, Manel doesn’t lose sight of his most important priorities: making sure his cat is safe and well-fed.

Shhhh, don’t meow!

With A Quiet Place: Day One and Apocalypse Z: The Beginning Of The End, it looks like the “protagonist and cat surviving the world’s end” thing might be a growing subgenre.

While Day One lit up theaters in spring and early summer, Apocalypse Z is a zombie flick out of Spain, currently sitting atop Amazon’s Prime Video charts as a major crossover hit.

It stars Francisco Ortiz as Manel, the owner of a small solar power business and servant of a talkative cat named Luculo. Manel’s brother-in-law works for the Spanish military, and as reports of a deadly and spreading virus hit the news, his sister relays privileged information from her husband warning Manel to hide during mandatory evacuation and find a way to join the family on the Canary Islands, where Spain’s military and civil leaders have fled.

After weathering the initial wave of the virus by huddling in his apartment in Galicia, Manel seeks out a way to make the 2,400km (about 1,500 mile) journey to safety.

One thing I loved about this movie was Manel’s absolute devotion to Luculo. When he tries to stock up at a store being ransacked by panicked locals, the first thing he does is grab cat food. When he finds a set of wheels at one point — a sporty motorcycle — he straps Luculo’s carrier securely to the back of the seat.

No matter how impractical, no matter how much danger it puts him in, Manel refuses to abandon his pal, even though the little guy can’t keep his mouth shut.

Apocalypse Z — Manel with Luculo the cat in his carrier, strapped to the back of the motorcycle.

While watching Day One, all I could think about was how conveniently silent Sam the cat was, and how dead I’d be trying to survive with Bud in the same situation.

Luculo is incapable of being quiet, although he’s not as loud or insistent as Bud is. He’s named after the Roman statesman and conqueror Lucinius Lucullus, described as “the greatest glutton of antiquity, who stunned Rome with his lavish feasts” and his dedication to bringing recipes for the tastiest dishes from the provinces back to the capital.

“He came, he ate, he conquered” might be an appropriate motto for Lucullus, and his feline namesake is similarly food-obsessed, often seen scarfing down yums as if the apocalypse is just a minor obstacle between meals.

Apocalypse Z isn’t a walk in the park, given the genre, but it’s significantly less gory than The Walking Dead, The Last of Us or even Zombieland. The film’s infected are Danny Boyle-style zombies, the terrifyingly fast baddies from 28 Days Later and 28 Weeks Later, rather than the slow shufflers of Romero-influenced productions. Accordingly, they’re much more dangerous and enable more intense action sequences.

Finally, because this is a cat blog and I’ll most certainly get emails and comments if I don’t address the tabby in the room: nothing terrible happens to Luculo. His greatest ordeal is having too many admirers, who are shocked to see a guy who’s survived so long with his pet cat.

Apocalypse Z: The Beginning of the End is the first part of a bigger story, as the title suggests. It rocketed to the top as the most-streamed movie in more than 90 countries, so we should be hearing news about a sequel soon.

If you’re a fan of genre movies and escapism, Apocalypse Z is a fun way to spend a few hours.

Apocalypse Z is available now to stream on Amazon Prime Video. The stream will default to an overdubbed version, but we highly recommend enabling English subtitles and switching the audio track to its original Spanish.

Evil Dodgers World Series Hero Adopts A Kitten After Defeating Yankees

In a tragedy for the baseball world, the hated Dodgers defeated the beloved Yankees in the World Series. Buddy the Cat is NOT happy about the outcome.

Freddie Freeman, Dodgers first baseman, infuriating hit-celebrator, and Yankee killer, has adopted a kitten.

The evil Freeman has named his new kitten Champ, in a not very subtle nod to his team winning the World Series with a game five victory over the Bronx Bombers on Oct. 30.

“Freddie Freeman thinks he can buy his way into my good graces by adopting a cat, and a gray tabby, no less,” Buddy the Cat, president-elect of the Americats, told reporters. “Well, I have news for you, Tom Brokaw — you’re still on my poop list!”

freemankitten — Freeman with Champ. Credit: Freddie Freeman/Instagram

Buddy cited the considerable distress Freeman’s five home runs and 12 RBI caused Buddy’s human, including the “despicable” game one walk-off grand slam that shocked the Yankees. He also blasted Freeman for “doing a stupid little dance” every time the Dodger reached base.

But most of all, Buddy said, he blamed Freeman for cutting short the celebratory treats he enjoyed at every previous stage of the playoffs, when the Yankees were on a roll en route to the World Series.

“In the American League Division series against the Kansas City Royals, snacks rained down from the heavens as the Yankees took the series 3-1,” he said. “In the American League Championship Series, I feasted like a viking in Valhalla as the Yankees crushed the Cleveland Indians.”

But tragically, the silver tabby said, there was only one game in the World Series that merited celebration at Casa de Buddy.

“One measly game!” Buddy raged. “So no, you’re not on my good side, Freeman!”

Freeman dance — Freeman should be kicked out of the league just for doing this dance on the bases, Buddy said.

Asked about Freeman’s teammate, Shohei Ohtani, and his dog, Decoy, Buddy claimed the canine “lives by my forbearance alone, and it would be a shame if he found his home raided by Feline Bureau of Investigation (FBI) agents.”

Oscar The Cat Reminds Us Animals Sense Entire Worlds To Which Humans Are Oblivious

Oscar the Cat lived in a Rhode Island nursing home where he became famous for knowing exactly when a patient was dying.

There’s a scene in the film adaptation of Stephen King’s Doctor Sleep that shows Ewan McGregor’s character, Danny Torrance, working the night shift as a hospice orderly when a cat jumps up onto the desk and nuzzles his hand.

“Hi, Azzie,” Torrance says, and watches as the cute feline pads down the hall and enters a patient’s room.

doctorsleepazzie — Danny Torrance (Ewan McGregor) pets Azzie in Doctor Sleep.

When Danny pokes his head in, the patient is distraught. He knows he’s going to die.

“Cat’s on the bed,” the man says. “I knew he would be. That cat…always seems to know when it’s time. Guess it’s time.”

Danny shakes his head.

“No,” he reassures the old man. “It’s just Azrael being a silly
old cat.”

“Nope. Been that way since I got here. The cat knows when it’s time
to go to sleep, everybody knows that. I’m gonna die.”

It’s a pivotal moment early in the movie because it marks Danny’s evolution into Doctor Sleep, a man whose innate ability to “shine” allows him to comfort the dying. (Yes, Doctor Sleep is the sequel to Stanley Kubrick’s The Shining. Do yourself a favor and watch the Director’s Cut, which is the definitive and most satisfying version. It’s a long film, but worth it in every sense.)

It turns out Azzie is based on a real cat: Oscar, the resident feline at Steere House Nursing and Rehabilitation Center in Providence, Rhode Island.

Oscar, who died in 2022 at the age of 17, had an uncanny ability to sense the imminent deaths of patients. When someone was near death, Oscar would leap onto the person’s bed and stay with them until they passed.

oscarthecat1 — Oscar at the nurse’s station in the Rhode Island nursing home where he lived.

When his story was first publicized in a 2007 essay in the New England Journal of Medicine, Oscar had “predicted” the deaths of a few dozen patients.

“Thus far, he has presided over the deaths of more than 25 residents on the third floor of Steere House Nursing and Rehabilitation Center in Providence, Rhode Island. His mere presence at the bedside is viewed by physicians and nursing home staff as an almost absolute indicator of impending death, allowing staff members to adequately notify families. Oscar has also provided companionship to those who would otherwise have died alone. For his work, he is highly regarded by the physicians and staff at Steere House and by the families of the residents whom he serves.”

In a follow-up story by Reuters in 2010, Oscar had snuggled with more than 50 dying patients.

To be clear, no one’s suggesting Oscar is peering into supernatural realms. Cats are known for their remarkable hearing, but they’ve also got an exceptional sense of smell. In fact, they have a unique olfactory organ in their mouths, the vomeronasal organ, that allows them to “taste” scents.

We know very little about what kind of information they’re able to glean from scent alone, but we do know animals can sense things that would otherwise require sophisticated machines for us to detect, including cancers and other diseases.

Cat_giving_Flehmen_response — A cat’s Flehmen response looks like a disgusted reaction, but actually indicates cats are processing a scent through their vomeronasal organ.

It may be that the most unusual thing about Oscar’s case is that he was allowed to live in a nursing home. The vast majority of medical facilities have strict prohibitions against allowing animals due to potential allergies and the perception that they’re dirty, despite the fact that they have significant therapeutic benefits. Even the facilities that do allow animals typically do so under controlled circumstances and for short periods, as when therapy dogs or cats are brought to visit patients.

Perhaps we’d hear about Oscars all the time if they were resident cats in hospitals and nursing homes.

“I don’t think Oscar is that unique, but he is in a unique environment,” Dr. David Dosa told Reuters. “Animals are remarkable in their ability to see things we don’t, be it the dog that sniffs out cancer or the fish that predicts earthquakes. Animals know when they are needed.”

It’s a reminder that just because we can’t see, smell or hear something, that doesn’t mean there’s nothing there. When dogs “bark at nothing,” they may have caught the scent of a stranger in the neighborhood. When a cat stares at a wall, it could be picking up mice making sounds that are too high in frequency for human ears to detect.

There are likely thousands of sounds, smells and even forms of tactile feedback to which we remain oblivious, but are noticed by animals. Migratory birds, for example, have magnetoreception abilities. That is to say, they can detect Earth’s magnetic field and magnetic dips, an ability they put to use when navigating as the seasons shift.

And then, of course, there’s Buddy and his incredible ability to detect catnip. Little man could be in a deep sleep in another room, yet the instant I open the sealed container of the good stuff, it’s a matter of seconds before he’s at my feet, meowing happily. In fact, it’s a reliable way to find him when he’s in some novel hidden napping spot, doesn’t respond to me calling for him, and I get worried because I haven’t seen or heard him in some time.

So next time your cat freaks you out by apparently staring at a corner of your living room, remind yourself she’s probably been alerted to something you can’t sense — and be wary of any cats who aren’t snugglers but suddenly climb into your bed.

Playland: Riding A 100-Year-Old Roller Coaster At New York’s Historic Amusement Park

New to kids and nostalgic to adults, Playland means summer for New Yorkers. PITB visits the National Historic Landmark.

“You know,” I said to my niece, rapping my knuckles against a wooden support beam of Playland’s Dragon Coaster, “they built this thing 100 years ago.”

Her eyes widened. At 10 years old and already wise beyond her years, she smelled a joke at her expense by her constantly wise-cracking uncle. (I once told her and her sister that my cat had a vast collection of Pokémon cards, and that he almost certainly had the ultra-rare cards they coveted. At the time, their young minds didn’t question it and wanted to propose trades with Buddy, but now it comes up every time I tell them something absurd.)

“No it wasn’t!” my niece said as we stood in line to ride the venerable and historic wooden coaster.

My brother chimed in.

“It says it right there,” he said, pointing to a sign above the queue. “This roller coaster was built in 1929, the year the park opened.”

Playland’s ferris wheel and the manicured midway that runs the length of the park, with a giant fountain on one end and a stage for outdoor performances on the other. Credit: PITB

The Dragon Coaster is indeed almost a 100 years old, and to a 10-year-old a century is an incomprehensible amount of time. Mentioning the ride’s age almost backfired on us and we had to assure the kids the ride was safe.

Truth be told, the Dragon Coaster doesn’t look safe. It’s all aging wooden beams, rusting rivets and peeling paint, and the coaster rattles as it allows gravity to do the bulk of the work, with an initial 80-foot drop propelling the cars over 3,400 feet of shuddering track. But it passes inspection every year and it’s a relic of a time when things were built to different standards.

The iconic coaster’s history also extends to pop culture: Tom Hanks rode the Dragon Coaster in the 1988 film, Big, as did Mariah Carey in the video for her 1995 hit Fantasy. In 1987, it was featured prominently in the psychological thriller Fatal Attraction with Glenn Close and Michael Douglas.

Tom Hanks at Rye Playland — A young Tom Hanks on Playland’s boardwalk in Big (1988). The “Zoltar” machine that grants Hanks’ wish in the movie is still in the park and has been moved to the midway.

Dragon Coaster at Rye Playland — The Dragon Coaster’s front entrance in September of 2024. Credit: PITB

My brother and I rode the Dragon Coaster when we were kids, as did my mom and her friends in their youth. If you grew up in Westchester County, the Bronx or Manhattan, chances are that Playland was a big part of your summers.

I have vague memories of the park from early childhood, fond memories of screaming on rides like the Mind Scrambler in my teenage years, fresher memories of taking my little charges there when I was a summer camp counselor, and new memories formed annually as I bring my brother’s kids.

Taking the kids to the amusement park was one of the things I most looked forward to when I became an uncle, and they’re at the age now where they really love it. Visiting the park brought on waves of nostalgia (“Good Vibrations” by Marky Marky and the Funky Bunch blasted from the PA when we first arrived), the happiness of seeing the kids’ eyes light up with joy, and the realization that even though I get dizzy and my stomach doesn’t appreciate rapid changes in gravity and direction anymore, some rides are still a hell of a lot of fun as an adult.

The Carousel at Playland — The medium-size version of three carousels at Playland in Rye, NY, September 2024. Credit: PITB.

We returned this year to find new rides, refurbished shops and lots of construction. Playland is in the middle of yet another refresh, this time to the tune of $150 million, leaving some rides and areas of the park dark to visitors.

Playland was built on 280 acres of prime waterfront real estate on the Long Island Sound and it’s very much a product of its time. Although it has seen its share of retrofits and refurbishment over almost century of existence, there’s no hiding the fact that it was constructed in the 1920s.

The structures — which include an entrance plaza, an ice casino and arcade, a pool, a beachfront boardwalk and a central tower — were built in an Art Deco style, with a consistent limestone, orange and emerald green color scheme.

As a kid my favorite ride was the Mind Scrambler, a blackout ride variation on the classic Scrambler housed within a dome. I remember waiting on line with my friends, hoping we’d get a good song for the ride, which was adorned with lots of neon and blacklights for maximum funkiness and disorientation.

Alas, messing around on a ride like that doesn’t bring good results. In a sequence of events that’s still difficult to believe, a seven-year-old girl was killed when she was thrown from the Mind Scrambler in 2004.

Playland's Mind Scrambler — The exterior Mind Scrambler shortly before the darkride was dismantled following a series of deaths.

Three summers later, park management promoted a 21-year-old Playland employee who was working the night the girl was killed, making her the ride’s manager. She died that summer on the same ride. An investigation found she was kneeling backwards in her seat when she was thrown from the Scrambler just 20 seconds in.

The woman’s death prompted the park’s management to shut the ride down, a decision that was later made permanent despite the fact that “user error” was to blame.

Playland during the Depression — Riders on the Dragon Coaster during the Great Depression. Credit: Rye Historical Society

Playland poster — A poster from the 1930s showing a bird’s eye view of Playland in Rye, NY. Note the beaches and the boardwalk below the park and the adjacent suburban neighborhood. Very little about the park’s layout or the neighborhood has changed over the years. Credit: Rye Historical Society

A close second favorite was the Music Express, a straightforward moderate speed ride that was also known for pumping out loud pop hits. I have fond memories of riding the Music Express to everything from the Spin Doctors’ Two Princes and Technotronics’ Move This, to Blues Traveler’s Run Around and Snow’s ludicrous summer hit, Informer.

The Music Express was out of commission last summer, but this time it was back in action.

“We’ve gotta ride this!” I told my nieces. Just when I was thinking it was getting a little intense, it slowed down. That wasn’t so bad, I thought. Then it spun up again, faster than before, this time spinning backwards. I felt like I’d downed a six pack of beer in a half hour when I stumbled off the damn thing.

I wisely limited myself to less strenuous rides for the rest of the night, including the bumper cars, Ferris wheel and the Zombie Castle. At seven years old, my younger niece isn’t big enough yet to ride some of the attractions by herself, and that’s when the Funcle steps in. Thankfully she’d had her fill of stomach-churners too.

Above: A classic swing ride at rest, left, and mid-sequence as it twirls riders through the air. Credit: PITB

Playland became a National Historic Landmark in 1987, and is unique among amusement parks in the US — and possibly the world — in that it’s government-owned. That’s because the people who live in the area, a wealthy waterfront enclave, were worried about growing crowds, traffic and “unsavory” people. In the 1920s at the urging of the community, Westchester County purchased the land, folded several smaller waterfront operations into a single park, and began drafting plans for a larger destination in the Art Deco style popular at the time.

While Art Deco is typically associated with structures like the Empire State Building and the Chrysler Building in Manhattan, as well as the Chicago Board of Trade skyscraper, the jazz-age aesthetic is another feature that makes Playland so unique.

Zombie Castle at Playland — The Zombie Castle was built in the 1930s with a different theme, then was refurbished in the late 1960s, perhaps in response to the success of George Romero’s Night of the Living Dead, which was released in 1968. This image shows the Zombie Castle on September 22, 2024. Credit: PITB

Remarkably, many of the attractions are as old as the park itself, including the aforementioned Dragon Coaster, The Whip, and the original carousel. Several of the older rides were designed and manufactured by engineer W.F. Mengels, the “Wizard of Coney Island” who was famous for designing many of that iconic park’s rides.

Taking the kids to Legoland in New York earlier this summer felt like a soulless experience, like paying to sit through a four-hour commercial for eponymous toys. Every ride was tied to a Lego intellectual property, every note of the piped-in music a corporate composition, every ride forcing you to exit via attached gift shops where $300 play sets beckoned to the children.

Even the “waterpark” had a corporate regimen to it: you’re required to book “appointments” ahead of time and get precisely 20 minutes to cool off under sprinklers on a Lego pirate-themed water playground, complete with Lego palm trees and Lego ships while the next group queues in the afternoon sun and watches, willing time to go faster.

Playland may not be as polished, but the experience feels more honest, and there’s no doubt the kids had more fun here. If I were a betting man, I’d wager Playland will still be there when they have kids of their own, while Legoland will be consigned to the dustbin of themed parks that don’t give you a reason to come back.

The Whip at Coney Island — Coney Island’s version of The Whip designed by W.F. Mengels. Undated but likely in the 1910s.

A sign with original architectural drawings of The Whip from 1928, explaining “free-pivoting joints, combined with centrigual force, generates twists and turns which change with every rotation.”

Kiddyland is a section of the park for the little ones. It has a miniature roller coaster, a tiny carousel, and at least a half dozen other rides for young kids.