Wave Breaker: The Rescue Coaster races into San Antonio summer 2017.
Rendering courtesy of SeaWorld Parks
The first roller coaster of its kind in North America will debut at SeaWorld San Antonio next summer.
Wave Breaker: The Rescue Coaster will combine "the thrill of the sea, the adrenaline rush of a multi-launch roller coaster, and the inspiration of animal rescue," says a release. Passengers will ride on unique jet ski-like cars, zooming across the surface of the water and 60-plus feet in the air.
The ride is inspired by Sea Rescue, an ABC show that follows the SeaWorld Rescue team. It's designed to mimic a real jet ski experience, allowing riders to lean into turns.
"Replicating an adventure limited to only a few trained professionals, Wave Breaker will launch riders into an exhilarating experience similar to going on an animal rescue mission. The coaster is sure to thrill, but also brings awareness to the brave efforts of our animal teams," says SeaWorld San Antonio president Carl Lum in a statement.
"Inspired by our guests' ongoing requests to learn more about how they can help support animal rescue efforts, each ride begins by telling the story of a rescue mission and invites guests to become personally involved in helping to protect animals," he says.
Wave Breaker is the fourth roller coaster at SeaWorld San Antonio, joining the Great White, Steel Eel, and Shamu Express. Several other SeaWorld locations are getting new attractions next year too, including a virtual reality ride in Orlando and an orca exhibit in San Diego.
Hannah Einbinder and Gillian Anderson in Teenage Sex and Death at Camp Miasma.
The horror genre really ramped up in the 1970s and ‘80s, bringing with it a new subgenre — the slasher — that gave audiences new visuals of gore, but also a reliance on sexism and homophobia that would come to define the era. The new film Teenage Sex and Death at Camp Miasma wrestles with that legacy in ways that are funny, thought-provoking, and downright strange.
Kris (Hannah Einbinder) is a queer filmmaker who has been hired to reboot the moldy IP that is the Camp Miasma franchise, one that was fresh in the 1970s but which numerous shlocky sequels have rendered irrelevant. In an attempt to get to know the property better, Kris has scored a meeting with the reclusive Billy (Gillian Anderson), the star of the original film who has shunned the public eye for decades.
Turns out that Billy lives deep in the woods at Camp Rivoli, which served as the location for the first film. As Kris tries to get to know Billy and convince her to be a part of the new film, she starts to fall under Billy’s spell and the lore of the franchise as a whole. That includes believing that the movie’s villain, Little Death — a transgender person who has an air conditioning vent as a head/mask — may not just be a character created for the movies.
Written and directed by Jane Schoenbrun (I Saw the TV Glow), the film at first feels like it’s going to go the straight-up comedy route, with comic explosions of blood, a strange fascination with candy brands, and a production design that does nothing to hide that the two main actors are on a movie set with painted backdrops. This is backed up by Kris’ phone conversations with her girlfriend, Mari (Jasmine Savoy Brown) and her agent (Sarah Sherman), as well as numerous other details.
But the film starts to go down the surreal route the longer Kris stays at the camp with Billy, especially when they sit down to watch the original Camp Miasma. An extended sequence shows a good amount of that film-within-the-film, demonstrating why Kris and Billy have a love/hate relationship with the property. For Kris, though, the lines between the film and the real world start to blur, and Schoenbrun uses a variety of out-there elements to drive the point home.
The final act of the film can barely be described as Kris goes deeper down the rabbit hole, with Schoenbrun using her film to comment on the horror genre as a whole, its treatment of women and LGBTQIA+ people, the movie industry, and more. All the while the “camp” of Camp Miasma maintains a presence, with candy wrappers showing up everywhere and the tongue-in-cheek references to Little Death (the French term la petite mort, which means “the little death,” is a euphemism for orgasm).
Einbinder, an Emmy winner for Hacks, is the perfect person to inhabit her role. Her established real-life and fictional personas color everything she does in the film, with her enthusiasm and curiosity shining through. Anderson leans heavily into another reference — Norma Desmond from Sunset Boulevard — to create a character that is as mysterious as she is alluring. Supporting actors like Brown, Sherman, Patrick Fischler, Dylan Baker, and Eva Victor keep the movie at the right pitch all the way through.
While other films have made fun of horror movie tropes before, Teenage Sex and Death at Camp Miasma finds a wholly unique way of doing so. It’s a funny and daring trip into the psyches of two women who may be victims of their own obsessions, and of the movies that made them that way.
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Teenage Sex and Death at Camp Miasma is now playing in select theaters
