
Shoppers are rushing to get their hands on Disney dolls for under £3 at Home Bargains – and they'd make great gifts
WALT A DELIGHT Shoppers are rushing to get their hands on Disney dolls for under £3 at Home Bargains – and they'd make great gifts
ANYONE who has a Disney-obsessed son or daughter will know that merchandise doesn't come cheap.
But mums are in luck ahead of the summer holidays as Home Bargains is selling Disney dolls for under £3.
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Shoppers are rushing to get their hands on Encanto dolls for less than £3 at Home Bargains
Credit: Facebook
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You can nab this whole family pack for just £6.99 down from £40
Credit: Facebook
Taking to the Facebook group Extreme Couponing & Bargains UK, one mum revealed that Encanto dolls were on offer at the bargain shop.
Down from £12.99 the Mirabel Madrigal doll is priced at just £2.99, giving shoppers a hefty £10 off the RRP.
Meanwhile you can also pick up a five pack of Encanto dolls, including Antonio, Pepa, Camilo, Felix, and Dolores, for just £6.99 down from £40.
Whether you're stocking up on birthday gifts or just feel like treating the kids this summer it means you can bag six dolls for under £10.
Fellow bargain hunters were seriously impressed, with Disney fans quick to like the post and make plans to grab the bargain for themselves.
If you're on the hunt for more Disney bargains, fans are raving about both Tesco and Asda's crockery ranges, with some designs reduced to just a few pence.
Asda has launched a brand new Beauty and the Beast collection, with one shopper sharing a snap of some adorable cups to Facebook group Extreme Couponing and Bargains UK.
The teacups have classic characters from the film, including Belle, Lumiere and Cogsworth, while an inscription on the pink-themed chinaware says 'never give up'.
Sharing a snap of the cups online, one woman said: 'Beauty and the beast fans Asda have these new mugs for £3.50 each.'
Meanwhile another Disney fan spotted some reduced cups in Tesco featuring their most iconic character - Mickey Mouse.
Inside brand new Lilo and Stitch cafe in Scots store
The cups feature the letters of the alphabet with Mickey in various poses, which have been slashed from £1.50 to just 38p.
Snapping them up, one happy shopper wrote: 'All different letters.... reduced to 0.38p.'
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Disney fans spied a brand new Beauty and the Beast range in Asda
Credit: facebook / extreme couponing and bargains
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Scottish Sun
2 hours ago
- Scottish Sun
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The Sun
3 hours ago
- The Sun
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The Guardian
4 hours ago
- The Guardian
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But six decades after it first premiered as part of the 1964 World's Fair, the ride still has long lines. The mid-century aesthetic of the ride's building, scenes and characters, is mesmerizing in its detail. Mary Blair, the concept artist for Cinderella, Alice in Wonderland and Peter Pan, designed the look of the ride and chose its bold colors; Rolly Crump designed its gleaming tower and the Sherman brothers, who wrote many of Disney's hits, composed its signature song, with major feedback from Walt Disney himself. The rides' themes of youthful innocence and longing for global cooperation still resonate, said Bethanee Bemis, who curated an exhibit at the Smithsonian and wrote a book on the reflection of American history in Disney's parks. 'All children share the universal language of play,' Bemis said. Today, some of the cultural symbols chosen in the 1960s may read as racial or ethnic stereotypes: there is a snake charmer in one scene, and crocodiles and hyenas in an African tableau. Disneyland has tried to strike a balance between preserving the ride as a nostalgic time capsule and meeting more contemporary expectations about cultural representation, Bemis said. Some of its most successful updates have been adding new touches of cultural authenticity, like including traditional parol lanterns during the Christmas season for Filipino visitors. Long before it inspired the early 2000s film franchise, Pirates of the Caribbean was a standalone ride – one that put visitors in a boat and sent them on a seafaring journey. The ride is the last one that Walt Disney worked on himself – and it's ambitious, both in the quality of its audio-animatronic pirate figures and its narrative sweep – not to mention the engineering challenge of digging the tunnels underground necessary to build the ride, Bemis said. The experience begins gently, with riders drifting through the dusk of a bayou and listening to a banjo play. Then the boats descend into darkness, and with a sudden drop, emerge into the dangerous world of the pirates where cannonballs fly overhead, ships glide past cities on fire and pirate crews fight and carouse onshore. While the ride has been updated with details from the more recent film franchise – such as animatronic figures made to look like Jack Sparrow, Johnny Depp's character in the films – what makes it work is the attention to the ride's fundamentals, designers said, from the pirate costumes that the ride attendants wear, to the temperature at different phases of the ride: humid and warm in the bayou, and then chilly when riders plummet into the skeleton-filled 'Davey Jones' locker' under the sea. 'Somehow, they have manipulated the environment to set mood and tone through temperature and humidity control,' said Noah Nelson, the publisher of No Proscenium, a publication that covers the US immersive experience design industry. He called the technique 'super effective'. 'Every single aspect of these rides has been designed with the most care and attention. I don't think we go inside a lot of places like that these days,' said Jeff Stark, who teaches a course on design for narrative space at New York University. 'The craftsmanship that you encounter inside of Disney – the level of thought, of preparation – matches what it is like to go inside a cathedral. The amount of care that was put into Pirates of the Caribbean is far more than the care that was put into the church that I grew up going to.' The Haunted Mansion begins with a group initiation in the dark tower room of an old Victorian house. The tower appears to grow to uncanny heights, as the oil paintings of ancient dignitaries on the walls expand to reveal their deaths. 'We have 999 happy haunts, but there's room for a thousandth,' a deep voice asks. 'Any volunteers?' The ghostly figures and spooky tricks of Disneyland's Haunted Mansion were created in the 1960s, and they're decidedly low-tech, made with old-fashioned smoke-and-mirror devices like Pepper's Ghost. That only makes the ride more appealing, said Kathryn Yu, a Los Angeles-based game designer. 'In a world that's increasingly digital, it is charming to see these physical effects in person.' As candles flicker, visitors are led through the dark halls to the tombstone-shaped 'doom buggies' that will whisk them through one haunted scene after another: a ghostly banquet hall, a seance, a graveyard. Many Disneyland's first 'imagineers' came from backgrounds in animation, 'so they really understood cinematography, and the perspective of the audience as a camera', Yu said. In The Haunted Mansion, as in the Pirates ride, the designers packed each spooky vignette with 'character development, backstory, an emotional connection to one of the ghosts'. One of the famous moments in the Haunted Mansion is when the 'doom buggies' swing backwards before descending into the graveyard, putting viewers on suddenly their backs, staring upwards at skeletal branches, as if they themselves are being lowered into a grave. In creating Punchdrunk's latest experience, Viola's Room, a gothic mystery now playing in New York, the British team repeatedly referenced Disney rides, Barrett said, including discussing how to create theatrical surprises that would affect viewers' bodies in the same way as a sudden drop in a roller coaster. (One tactic they're trying is asking visitors to go through the experience barefoot.) The 2006 cartoon movie Cars, a toddler favorite, might not seem like the most inspirational source material for an immersive work of art. But Radiator Springs Racers, Disneyland's Cars-inspired ride, is massive in its ambition: it's nothing short of a full recreation of the red rock spires of the American south-west, complete with native plants and the replica neon-lined main street of a small desert town. (At a reported $200m, it was also the most expensive Disneyland ride at the time it was built). If you visit Zion national park in Utah or Monument Valley in Arizona after seeing Radiator Springs Racers, Bemis, the Smithsonian curator, said, 'You feel like you've already seen the real thing.' The ride taps deeply into the American nostalgia for Historic Route 66 in the 1950s, Bemis said, an era of nostalgia that came too late for Walt Disney himself to appreciate, but that strikes a chord with the park's other tributes to small-town American life. 'It's really stunning work,' said Kadlubek, the Meow Wolf artist. While the ride ends with a shriek-inducing car race and includes plenty of interaction with fast-talking cartoon automobiles, it begins with a more contemplative cruise through the faux desert landscape. 'There's this really beautiful romanticism to it,' Kadlubek said. The most popular new ride in Disneyland's new Star Wars-themed area 'surpasses everything that's been attempted before' in experience design, Kadlubek argued, calling it 'ambitious to a pretty absurd degree'. The ride is set in a newly built area of the park, Star Wars: Galaxy's Edge, that allows movie fans to visit a replica of the battered frontier planet of Batuu. There are bars, restaurants, a giant version of the Millennium Falcon and Storm Troopers who stalk the streets, occasionally interrogating visitors. Several designers who are Star Wars fans said the atmosphere feels eerily like being inside the films: Nelson said he's sometimes content just to sit in the replica Docking Bay 7, listening to audio of space ships streaming overhead, and drinking a cup of 'Caf,' as coffee is known in the Star Wars universe. 'My first time stepping into it, I felt like I came home,' he said. Rise of the Resistance tells an elaborate story that begins in the waiting line, where visitors are treated as new recruits to the resistance against the villainous First Order. After an early mission goes awry, they are taken captive. Costumed actors playing members of the First Order mock them while marching them off to an interrogation cell: members of the resistance have to break them out of prison, then lead them on a wild escape journey. The process of moving the visitors into the experience, and even getting them into the 'transports' they ride in, is deeply embedded in narrative. 'It goes from being a 3-minute ride to this 20-minute long saga. They really reinvented what we would expect from a ride,' Stark said. Under pressure from Harry Potter world at Universal Studios, Stark said, Disney introduced newer ride technology in Rise of the Resistance, leaning heavily on trackless ride vehicles, which are programmed to move the visitors through space without physical rails, creating new opportunities for ride tricks and surprises. But like the best early rides, what makes Rise of the Resistance thrilling is the accumulation of tiny details, Stark said, like the moment when 'the sparks from Kylo Ren's lightsaber are showering around you, and you feel like you're in this moment of threat'.