Soarin’ Across America has officially taken flight at EPCOT, and the verdict from Fantasy Land News is one we reserve for experiences that land squarely in the middle of the spectrum: it’s fine. And we mean that as genuine praise, not a dismissal. We got a chance to ride Soarin’ Across America during the Cast Member preview, and are grateful to our family/Cast member for the invite.
This limited-time overlay, running as part of Disney Celebrates America 250 and the broader Cool Kids’ Summer 2026 season, replaces Soarin’ Around the World with an all-new flight path across the United States. It fits comfortably alongside its siblings, Soarin’ Over California and Soarin’ Around the World, as a well-crafted, enjoyable version of one of Disney’s most reliable attractions.
The scents are the immediate highlight. They hit every note you would want from an American landscape tour, and they do so with precision. The sensory layering that has always made Soarin’ work as an experience, and not just a film, is fully intact here and arguably at its best in this version.
The scenery itself covers the landmarks most people picture when they think of America. The Statue of Liberty, the Grand Canyon with an eagle alongside you for the ride, Hollywood, Mt. Rushmore, and a New England coastline all make appearances. The visuals are grounded and atmospheric in a way that pulls back from some of the more aggressive CGI work that made Soarin’ Around the World a talked about experience over the years. Early reactions from other outlets and cast member previews echo this, with many noting the film feels closer in spirit to the original Soarin’ Over California, citing smoother transitions and a more natural aerial photography style. That assessment lines up with what we experienced.
The cuts between scenes are the one technical note worth flagging. Some transitions are abrupt in a way that briefly pulls you out of the illusion. Other early reviewers flagged this as well, noting that certain scene changes feel slightly disjointed, potentially tied to the sequencing of locations. It does not ruin the experience, but it is noticeable.
The finale over EPCOT, with Spaceship Earth lit in red, white, and blue and fireworks in the shape of an Eagle and the Stars and Stripes overhead, is genuinely moving. It is the kind of closing image that will land especially hard for guests who have a personal connection to EPCOT. Our one lingering question walking out was a simple one: how did they make that shot? Was that a real aerial flyover with practical fireworks? Is it digitally composited? Is there AI involved in any of the effects work? We genuinely do not know, and we want to. Disney has not addressed it, and it is the kind of production detail that would make for a fascinating behind-the-scenes story if Imagineering ever wants to tell it.
Our one genuine criticism is geographic, and it is personal. The film spends real time on the Louisiana bayou, a beautiful choice, but completely skips Philadelphia. For a film built around the idea of celebrating America’s 250th anniversary, leaving out the city where the Declaration of Independence was signed, where the Liberty Bell lives, and where Independence Hall still stands is a notable omission. We are Philly people, so take that bias for what it is. But the Cradle of Liberty deserves a flyover on a patriotic attraction more than almost anywhere else in the country. Maybe in the next version.
Our Take: Soarin’ Across America is exactly what it is supposed to be, a crowd-pleasing, well-executed celebration of this country’s landscapes that fits perfectly into the America 250 summer Disney has built. Patriotic guests will absolutely want to make this a priority, but honestly, so will everyone else. It is Soarin’. It works. The bayou is gorgeous, Philly deserved better, and we still have questions about that finale. Good questions, though. The kind that make you want to ride it again.
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