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There are heaps of fun theme parks and attractions in the UK to enjoy but there are a handful that would have been great yet unfortunately plans had to be abandoned

The UK is full of amazing attractions, both old and new, from historic palaces to theme parks and world-class museums. But not every idea manages to get off the ground.

There were many large-scale projects that could have potentially become major tourist landmarks, which sadly, either failed due to cost or logistics. We’re talking theme parks that were said to have the potential to rival Disneyland, weird and wonderful pyramids, and giant bridges that cost millions but never actually opened.

We look at some of the incredible attractions that could have been gamechangers, but sadly didn’t manage to see the light of day (even if we’re still hoping!).

Check out our top picks below…

WonderWorld theme park

In the 1980s, a £346m plan to turn an old quarry into the ‘British Disneyland’ was hatched. The site of this ambitious project was Corby, Northants, where the abandoned quarry was connected to the town’s closed steelworks. The collapse of the steelworks had led to 10,000 job losses, and with a third of the town out of work, the theme park was cited as a way to get locals back into employment.

WonderWorld is said to have been inspired by Disney’s Epcot, and was set to have 13 themed villages, the first six of which would have opened in 1992. The idea was to showcase the best of British design, with David Bellamy set to help devise a mock safari, while Sir Patrick Moore would have helped design an observatory.

There would be a mix of the educational and fun, high-tech rides, themed restaurants, shops, and much more, which it would estimate would bring in four million visitors a year through the park gates.

The ambitious plans also included a 10,000 seat stadium for sporting events, and a Disney-style family resort with seven hotels, which would eventually offer 6,000 rooms and 100 holiday villas.

Sadly, all that was ever built of WonderWorld was a sign and a wooden cabin. Planning delays and rising costs were blamed, with backers soon pulling out. The site which would have been WonderWorld is now a new build estate, with nothing to indicate that it could have been the site of a major British attraction.

Garden Bridge

While a failed project can waste a lot of time, London’s Garden Bridge project also managed to waste a lot of money along the way. £53.5m was spent on a bridge which never broke ground, after many years trying to turn the idea into reality.

London’s Garden Bridge would have been a pedestrian bridge set between Waterloo Bridge and Blackfriars Bridge. The idea was it would be covered in shrubbery and flowers, creating a sort of park area you could wander round, rather than just crossing from A to B.

The project was such a disaster that Transport for London (TfL) launched an inquiry, which concluded that £43m of the sunk costs came from the public’s pocket. The failed project’s spends included £21.4m in construction costs and £1.7m in executive salaries, according to BBC reports.

The Garden Bridge Trust also spent £161,000 on a website and £417,000 on a gala for the failed proposal. Had it been built, the project was projected to cost £175m overall.

The idea for the bridge dates back to 1998, when actor Joanna Lumley had the idea for a “floating paradise” that would be built in honour of Princess Diana. But it wasn’t until 2012, when Boris Johnson was Mayor of London, that the unusual project was picked up.

While they managed to secure planning permission in 2014, the project had a number of vocal critics who complained that it would have had an impact on sight lines of St Paul’s Cathedral and Monument.

When Sadiq Khan took over as mayor, he ordered a review as to whether the bridge would offer good value for money for Londoners, before withdrawing his support the next year. The cancellation of the project was officially announced on August 14, 2017.

Trafalgar Square Pyramid

Trafalgar Square could have looked very different if one MP and soldier had seen their plans come to fruition. After beating the French at the Battle of the Nile, Sir Frederick William Trench decided that what London really needed was a giant pyramid right in the middle of Trafalgar Square to really celebrate their military success.

The proposal, submitted in 1812, shows a 300ft pyramid with 22 steps, one for each year of the two Anglo-French wars. At the time, the tallest structure in London would have been the Dome at St Paul’s Cathedral which was 365ft, meaning the pyramid would have completely changed the London skyline.

One idea to turn the plan into reality was to use the labour of men who’d recently been discharged from the armed forces, giving them employment once the war was over. However, the only thing that was ever built was a scale model, which ended up in the home of the Duke of York. A few years later, the land was cleared and the version of Trafalgar Square that brings in millions of visitors a year was created. But there’s no doubt the giant pyramid would have brought in the tourists too.

London Paramount Entertainment Resort

A more recent attempt to build a giant theme park in the UK was the London Resort, which was announced in 2012. Its location in Swanscombe, Kent led to some dubbing it the ‘Dartford Disneyland’, and it was set to include Europe’s largest indoor water park, theatres, live music venues, attractions, cinemas, restaurants, event spaces and hotels.

The park would have had several worlds including a Spaceport, The Isles, The Kingdom, and High Street, all themed around the UK. Another planned attraction was a triple launched roller coaster that would reach speeds of 70mph.

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The park’s troubles continued during the planning process, when Natural England decided to designate a large portion of the planned park area as a Site of Special Scientific Interest (SSSI).

In 2022, it was reported that plans for the park were scaled back, and would be resubmitted the next year. Its company, London Resort Company Holdings (LRCH), then went into administration and faced a lawsuit from Paramount. Finally, in January 2025, it was reported that the High Court had ordered the company to be wound up, effectively killing off the dream of the £2.5b London Resort.

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THE UK is set to get a brand new neighbourhood with film studios, play spaces and outdoor film screenings.

Plans have been revealed for a new £1billion creative neighbourhood, called the Camden Film Quarter, located in London, which is set to bring film and TV studios into the city centre.

According to Time Out, the new studios and overall site will be the “UK’s answer to Hollywood“.

Developed by the same people behind London‘s Olympia – Yoo Capital – the new neighbourhood would create space for British creative industries to grow.

What makes the project even better is that, rather unusually, the studios building set for the site would be open to visitors to explore, with a studio tour, cafes, restaurants, events and a roof garden.

The planned area for redevelopment sits west of Kentish Town and, once built, would be home to a number of film, creative and cultural industries.

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In the neighbourhood, there would be several film and TV studios, eight sound stages, galleries, shops, restaurants and bars, a gym, community spaces and public spaces.

In addition, there will be an Education Hub for people interested in entering film, TV and digital careers and The London Screen Academy for 16-19-year-olds to learn about production.

The National Film and Television School, which is one of the most respected screen schools in the world, is also set to open a campus in the Camden Film Quarter.

According to Yoo Capital, “the architecture [of Camden Film Quarter] references the area’s industrial heritage through robust materials such as brick and metal”.

Away from the buildings, in sunny weather the public will also be able to enjoy six new play spaces, two or more parks and 400sqm of rain gardens – all set to feature sculptures, murals and interactive pieces as well.

The play spaces will include areas inspired by the journey of water, with a large seasonal dry river bed and natural stone play.

In the area known as Western Park, visitors will be able to explore local markets, art installations and outdoor film screenings.

Then, in the area known as Eastern Park, there would be smaller green spaces and playgrounds.

There would also be a pedestrian high-line route (a walking route above roads and railway lines) around the buildings and around 1,000 new homes.

Plans were submitted to Camden Council last month, who will decide whether to approve the project or not and it is currently unclear when the project would open if it is approved by the council.

A report detailing the project states: “Camden Film Quarter will establish Kentish Town as a new centre for the creative industries, bringing film and media jobs right into the neighbourhood.

“The development will include inner London’s first significant film studio campus – state-of-the-art sound stages and studios that meet the booming film and TV sector’s need for production space.”

Plans to create the Camden Film Quarter were first unveiled in 2023.

At the time, Lloyd Lee, managing partner at Yoo Capital, said: “We are looking forward to working with the London Borough of Camden and the local community to bring forward the ambitions for a Camden Film Quarter.

“This project will be a shot in the arm for the UK’s creative industries as we look to fuel its exponential growth by attracting the best talent in TV and film to the area.”

Councillor Danny Beales, cabinet member for New Homes, Jobs and Community Investment, said: “We know there is huge creative potential in the people who live and work in Camden.

“We want to unlock the Kentish Town industrial area to transform this cut-off, unwelcoming site, into one that becomes a greener, welcoming space, connecting Gospel Oak with Kentish Town.

“A new thriving neighbourhood, which is a beacon for creativity, providing more desperately needed affordable homes for local people, good jobs and opportunities for existing communities.”

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Yoo Capital is also behind London’s newest tourist town in a ‘forgotten’ district, which will be a £1.3 billion attraction with hotels, a theatre and a rooftop bar.

Plus, a new Pixar attraction is set to open in UK – with film sets you can step into including Toy Story, Monsters Inc and Up.

It’s election night in Robert Icke’s “Oedipus,” a modern retelling of Sophocles’ “Oedipus the King” that must be the buzziest, if not the chicest, Broadway offering of the fall season.

The production, a prestigious London import that opened at Studio 54 on Thursday under Icke’s smart and sleek direction, stars a charismatic Mark Strong in the title role. His elegant and urbane Oedipus, a politician on the cusp of a momentous victory, prides himself on not playing by the old rules. A straight talker who has made transparency his calling card, he frequently veers off script in paroxysms of candor, to the chagrin of Creon (John Carroll Lynch), his brother-in-law who has been steering the campaign to what looks like a landslide victory.

But “count no mortal happy till / he has passed the final limit of his life secure from pain,” as the chorus intones at the end of Sophocles’ tragedy. There is no chorus in Icke’s version, but the sentiment holds, as Oedipus unravels the puzzle of his identity with the same relentlessness that has brought him to the brink of electoral triumph.

Anne Reid, left, and Olivia Reis in “Oedipus.”

(Julieta Cervantes)

A birther conspiracy has been raised by his political opponent, and Oedipus, speaking impromptu to reporters on-screen at the start of the play, promises to release his birth certificate and put an end to the controversy. What’s more, he vows to reopen an investigation into the death of Laius, the former leader who died 34 years ago under circumstances that have allowed rumor and innuendo to fester.

Oedipus calls himself Laius’ “successor, the inheritor of his legacy,” and in true Sophoclean fashion he speaks more than he knows. Jocasta (Lesley Manville in top form), Oedipus’ wife, was married to Laius, and so Oedipus is occupying his predecessor’s place in more ways than one.

In Sophocles’ play, Oedipus confronts a plague that has been laying waste to Thebes. In Icke’s drama, which had its premiere in Amsterdam in 2018, the pathogen is political. The civic body has fallen ill. Oedipus sees himself as an answer to the demagogic manipulation that has wrought havoc. The water is poisoned, economic inequality is out of control and immigrants have become an easy target. Sound familiar?

Icke’s Oedipus has an Obama-level of confidence in reason and reasonableness. His direct, pragmatic approach has seduced voters, but has it deluded him into thinking that he has all the answers? Oedipus is an ingenious problem solver. Puzzles entice his keen intellect, but he will have to learn the difference between a paradox and a riddle.

Mark Strong, left, and Samuel Brewer in “Oedipus.”

(Julieta Cervantes)

His daughter, Antigone (Olivia Reis), a scholar who has returned for her father’s big night, ventures to make the distinction: “One’s got a solution — one’s just something you have to live with?” But Oedipus is in no mood for academic hairsplitting.

A countdown clock marks the time until the election results will be announced. That hour, as audiences familiar with the original tragedy already know, is when Oedipus will discover his true identity.

Merope (Anne Reid), Oedipus’ mother, has unexpectedly turned up at campaign headquarters needing to speak to her son. Oedipus fears it has something to do with his dying father, but she tells him she just needs a few minutes alone with him. Thinking he has everything under control, he keeps putting her off, not knowing that she has come to warn him about revealing his birth certificate to the public.

The handling of this plot device, with the canny veteran Reid wandering in and out of the drama like an informational time bomb, is a little clumsy. There’s a prattling aspect to Icke’s delaying tactics. His “Oedipus” is more prose than poetry. The family dynamics are well drawn, though a tad overdone.

Mark Strong and the cast of “Oedipus.”

(Julieta Cervantes)

Reid’s Merope and Reis’ Antigone, ferocious in their different ways, refuse to play second fiddle to Manville’s Jocasta when it comes to Oedipus’ affections. Manville, who won an Olivier Award for her performance in “Oedipus,” delivers a performance as sublimely seething as her Oscar-nominated turn in “Phantom Thread.” Endowed with a formidable hauteur, her Jocasta acts graciously, but with an unmistakable note of condescension. As Oedipus’ wife, she assumes sexual pride of place, which only exacerbates tensions with Merope and Antigone.

Oedipus’ sons, Polyneices (James Wilbraham) and Eteocles (Jordan Scowen) are given personal backstories, but there is only so much domestic conflict that can be encompassed in a production that runs just under two hours without interruption. And Polyneices being gay and Eteocles being something of a philander would be of more interest in an “Oedipus” limited series.

When Sophocles’ tragedy is done right, it should resemble a mass more than a morality tale. Oedipus’ story has a ceremonial quality. The limits of human understanding are probed as a sacrificial figure challenges the inscrutable order of the universe. Icke, who views classics through a modern lens (“Hamlet,” “1984”), is perhaps more alert to the sociology than the metaphysics of the tragedy.

Oedipus’ flaws are writ large in his rash, heated dealings with anyone who stands in his way. Icke transforms Creon into a middle-of-the-road political strategist (embodied by Lynch with a combination of arrogance and long-suffering patience) and blind Teiresias (a stark Samuel Brewer) into a mendicant psychic too pathetic to be a pariah.

Mark Strong and Lesley Manville in “Oedipus.”

(Julieta Cervantes)

But Oedipus’ strengths — the keenness of his mind, his heroic commitment to truth and transparency — mustn’t be overlooked. Strong, who won an Olivier Award for his performance in Ivo van Hove’s revival of Arthur Miller’s “A View From the Bridge,” exposes the boyish vulnerability within the sophisticated politician in his sympathetically beguiling portrayal.

Wojciech Dziedzic’s costumes remake the protagonist into a modern European man. Yet true to his Ancient Greek lineage, this Oedipus is nothing if not paradoxical, suavely enjoying his privilege while brandishing his egalitarian views.

The production takes place on a fishbowl office set, designed by Hildegard Bechtler with a clinical and wholly contemporary austerity. The furnishings are removed as the election night draws to its conclusion, leaving no place for the characters to hide from the unwelcome knowledge that will upend their lives.

What do they discover? That everything they thought they understood about themselves was built on a lie. For all his brilliance, Oedipus was unable to outrun his fate, which in Icke’s version has less to do with the gods and more to do with animal instincts and social forces.

When Oedipus and Jocasta learn who they are to each other, passion rushes in before shame calls them to account. Freud wouldn’t be shocked. But it’s not the psychosexual dimension of Icke’s drama that is most memorable.

The ending, impeded by a retrospective coda, diminishes the full cathartic impact. But what we’re left with is the astute understanding of a special kind of hubris that afflicts the more talented politicians — those who believe they have the answers to society’s problems without recognizing the ignorance that is our common lot.

Welcome back to the Times of Troy newsletter, where we’re still struggling with how to view USC’s 21-17 win at Nebraska. On one hand, USC gutted out a hard-earned road victory, just its second true road win outside of L.A. since 2023, with a stingy defensive stand in the second half. On the other, USC’s offense was out of sorts, its quarterback had the worst start of his tenure and its defense was run over for the third time in four games.

No matter your perspective, this much is indisputable: USC is 6-2, bowl eligible and in prime position to be 8-2 heading to Eugene in late November. Remember, the Trojans were 4-5 at this time last year.

But after flying back west for the final time this regular season, we’re going to take a brief break from football to alert you that college basketball season, believe it or not, is about to begin. And both of USC’s teams enter the season on fascinating and uncertain terms.

Let’s start first with the men’s team and Eric Musselman, who thought he’d have a five-star freshman to help springboard his program to relevance in Year 2. But the injury to Alijah Arenas has undoubtedly altered that trajectory. What we don’t know now is how much and for how long.

That’s just the beginning of the questions facing USC. Here are three others …

1. Who’s going to play point guard?

You may remember this same query from this time last season, when USC entrusted the role to Desmond Claude, who was a good playmaker, but not a great floor general. He turned the ball over nearly four times per game.

Arenas was expected to be the primary ballhandler. But with him out, it’ll be some combination of Rodney Rice, Chad Baker-Mazara, Jordan Marsh and Jerry Easter sharing ballhandling duties. None have any extensive experience as a floor general. Marsh has been a pleasant surprise in practice, but was more of a pure scorer at North Carolina Asheville.

Rice will have a lot on his shoulders already. And that’s not considering his actual shoulder, which has held him out for much of the preseason. He’ll need someone else to step up to help.

2. How much better is USC’s frontcourt?

When USC played its two exhibition games last month, opposing coaches couldn’t believe how much 7-foot-5 center Gabe Dynes affected the game defensively. Dynes was arguably USC’s best player in the preseason, and he wasn’t even expected to start in the Trojans’ frontcourt.

He had six blocks in his debut and should help give USC improved rim protection this season. Which is to say any rim protection at all.

The staff has been high on Jacob Cofie since he arrived on campus. Don’t be surprised if he ascends to a major role. Ezra Ausar, at 253 pounds, should be a beast on the boards, and Jaden Brownell should give USC’s frontcourt range out to the arc. This group has a lot of varied skillsets, and that should put the defense especially in a much better position.

3. Can USC score enough?

When asked what he learned most from his team during the preseason, Musselman didn’t mince words.

“We’ve got to figure out a way to score better,” he said.

Arenas, again, was supposed to lead the way in that regard. Rice was more of a secondary scorer at Maryland, as was Baker-Mazara at Auburn. USC looks, as of now, like a whole team of complementary offensive players, with no alpha yet. That can change. Maybe Cofie steps into the spot before season’s end. But it’s definitely something to monitor through the non-conference season.

What about the women’s team?

Kennedy Smith controls the ball while pressured by UConn guard Paige Bueckers during last season’s NCAA women’s tournament.

(Young Kwak / Associated Press)

USC enters this season with far lower expectations than this time last year, on account of JuJu Watkins’ knee injury, which will keep her out until next season. So what can we expect from Lindsay Gottlieb’s Trojans?

Here are the three big questions facing the USC women this season …

1. How can USC fill the void without Watkins?

This is the only question that really matters. Problem is there’s no clear answer. Gottlieb has been clear that no one player will replace Watkins, as tempting as it may be to slot top prospect Jazzy Davidson into that spot.

It’s more reasonable to recreate Watkins’ production in the aggregate. But that won’t be easy when you consider how much other production the Trojans lost from last season, in addition to Watkins. USC must replace 88% of its scoring and 80% of their rebounding output, and while that’s not that unique in the era of the transfer portal, it does mean the team is likely to have a very different identity.

Gottlieb has said that USC is going to play with more pace this season. But who will it turn to when it needs a bucket? Davidson is perhaps the likeliest candidate, but I’m particularly curious to see the development of sophomore Kennedy Smith. Smith was inconsistent offensively as a freshman. But Gottlieb plans to put the ball in her hands more, and how that works out will say a lot about the direction of the season.

2. What’s going on in the frontcourt?

Last season, there was no question who USC could count on down low. Rayah Marshall was a three-year starter, while Kiki Iriafen is now one of the best young bigs in the WNBA.

But with both gone, USC doesn’t have any proven options to step into their place. Gottlieb has said that USC will use a by-committee approach with transfer Yakiya Milton, Lithuanian import Gerda Raulusaityte and returners Vivian Iwuchukwu and Laura Williams. Of those four, only Milton was part of a college basketball rotation last season, and she only averaged two points per game in 11 minutes at Auburn.

Raulusaityte is the big unknown. One of the youngest members of the Lithuanian national team, USC kind of needs her to be an immediate contributor. Especially with her ability to stretch the floor as a shooter, something the other three don’t do. If she struggles, USC could be in trouble with its lack of talent down low.

3. How good will Davidson be right away?

Watkins is a tough act to follow as a top-rated freshman. But Davidson has the potential to be a stat-stuffing star right away.

I don’t know if she’ll score quite like Watkins, who shot 42% and scored 24 points per night as a freshman. What she will do, perhaps even more than Watkins, is elevate the games of teammates around her. You can read more about that in an upcoming story on Davidson.

But can she get a bucket when USC needs one? And can she force her way through traffic with her spindly frame? There are still questions to be answered. But while Gottlieb is doing her best to temper expectations, I think USC is going to need its star freshman to be a star right away, if it has any hope of competing in the Big Ten like it did last season.

—Jayden Maiava didn’t have it as a passer. So he used his legs. And that worked wonders. Maiava was a meager nine of 23 through the air for 135 yards, but he reminded the world that he’s a capable runner, too, as he rushed for 62 yards in 11 carries. The highlight of his day came in the third quarter, when Maiava took off on consecutive plays for a pair of 16-yard gains, the second of which saw him stiff-arm his way to a score. Maiava hasn’t looked to run much this season. But maybe he should consider doing it more.

—USC’s three most influential players Saturday were all walk-ons. Running back King Miller was USC’s only consistent source of offense. Kaylon Miller, his brother, stepped in for an injured Alani Noa and was arguably USC’s best lineman in the ground game. And USC kicker Ryon Sayeri continued to shine by knocking through two more field goals. I’m not sure what that says about USC’s team. But it’s not something you see every day.

—The offensive line just can’t stay healthy. Left tackle Elijah Paige returned after missing the previous three games, only for Noa to go down. Noa never returned, and we won’t know more about his status until at least Monday. USC is getting especially thin on the interior, with guard Micah Banuelos having also missed Saturday’s game. Center Kilian O’Connor should be back soon, but it’s a wonder that USC has held it together up front while being ravaged by injuries.

Olympic sports spotlight

After losing three of four to start their Big Ten slate, the women’s volleyball team’s tough start to the Big Ten slate is now firmly in the rearview. The Trojans have won six in a row. Among Big Ten teams, only Nebraska, which is 21-0 and No. 1 in the nation, has an active win streak that’s longer.

USC should win its next two before welcoming the Huskers to Galen Center for an epic match on Nov. 16.

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IT: Welcome to Derry

(HBO)

I’ve written in this space before about my love of all things Stephen King. I’m also well aware of the less-than-stellar track record of adapting his books into television and movies.

I’m not sure just yet where “IT: Welcome to Derry” falls on that spectrum. Only the first two episodes of the spinoff prequel to “It” are currently available on HBO Max, and while Derry remains as creepy and tense as ever, I worry a bit about where the story is headed. All that said, my favorite part of the original book was the character building with the town’s kids. So far, that part remains intact.

Until next time …

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at [email protected], and follow me on X at @Ryan_Kartje. To get this newsletter in your inbox, click here.