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A FORMER Disney heartthrob looks unrecognisable 17 years after he found teen fame on the channel.

This actor is known for appearing alongside the likes of Miley Cyrus, Demi Lovato, Selena Gomez and Zac Efron.

You may remember him from Sonny With A Chance, 17 Again, Hannah Montana or even his own Disney movie, Starstruck.

It’s Sterling Knight!

The actor, now 37, looks a far cry from his days on Disney Channel now.

Sterling now sports a full beard and longer mousy brunette hair – as opposed to the choppy blonde locks he was known for.

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He is still acting and appeared in new movie 40 Dates and 40 Nights just this year.

Sterling is also on video platform Cameo, where fans can pay for a personalised video shoutout from him.

The star has just shy of 250,000 followers on Instagram and regularly shares updates with his fans.

He appears to not follow former co-stars such as Demi, Selena or Miley – suggesting their on-screen chemistry hasn’t lasted since their Disney days together.

Sterling’s Sonny With A Chance character famously had a relationship with Demi’s on-screen character, with the relationship becoming a focal point of the show.

The pair were known to be close friends off screen, too.

Child star Sterling, who hails from Texas, began acting aged 10 and had his breakout role in 17 Again – where he played the teenage son of Mike and Scarlet O’Donnell (played by Matthew Perry/Zac Efron and Leslie Mann).

“Night Watch” has an easy hook, starting with its setting. The immersive monster show is staged inside an ominous white van.

Yes, a real van. It’s creepy, and pulls equal inspiration from immersive theater, video games, escape rooms and environmental design. At a little over 30 minutes or so, it’s refreshingly approachable, a bite-sized slice of interactive, participatory theater that lingered with me long after I saw it. And not just because there were moments that startled me. “Night Watch,” like any good monster story, has metaphors on its mind.

“Night Watch” is the creation of Sara Biel and KJ Knies, a husband-and-wife creative team with day jobs working for a themed entertainment design firm. On their own, however, they go by Bee’s Knees. There’s buzz around “Night Watch.” Its initial October dates sold out nearly instantly, but the couple is extending the run at least into mid-November. Additional tickets will go on sale Wednesday at 9 p.m., and those interested are advised to join the waitlist.

The couple’s experience in theme park design is evident in “Night Watch,” as its small cargo van is ripe for exploration, with TVs, monitors, filing cabinets and more outfitted with vintage tech and lore-building corporate paraphernalia. Before the show properly began, I started frantically combing through folders and flipping through notebooks.

KJ Knies and Sara Biel are the creators of “Night Watch,” an immersive horror story set in a van.

(Bee’s Knees)

Yet I soon learned my goal here was not so much to find clues, like in a typical escape room, but to build a personality profile. Participants are assigned the role of an overnight security guard to monitor a mysterious tech firm. You’re unaware, at least at the start, of what kind of business the company is in, but “Night Watch” wants you to get to know the person who held the job before you. The van is outfitted with posters of national parks, hinting at someone who was longing for a life with more freedom and travel than a working-class career provides.

“Night Watch,” off the bat, wants us to grapple with how personal dreams can clash — or become lost — with the corporate world. It feels personal, and that’s no accident, says Biel, as the show was informed by the couple’s own talks about their future.

Throughout “Night Watch,” attendees are tasked with examining security footage.

(Bee’s Knees)

“I moved to L.A. to become a writer. KJ moved to L.A. to become a filmmaker,” Biel says. “Now we’re on this different corporate path. Is this the path that we should be on or should we have listened to our gut and went a more artistic direction? I feel like all of our friends are going through this. You move to this city to do one thing, and you fall into a different path. That’s not bad. I’m of the opinion that you follow the doors that open as you go, but that’s what we were grappling with and what we wanted to bring into this show.”

With monsters, of course.

I completed “Night Watch” solo, but the show can accommodate up to four people (tickets for two start at $90). You’ll interact with an actor who plays your co-worker during the production, primarily via a two-way radio. At times, you’ll monitor the action outside of the van. Other moments have you digging into the digital files of the previous security guard, who is said to have mysteriously left his job. But mostly you’ll just talk with your unseen co-worker, who might push you into philosophical discussions about your hopes for a better life. This creates an inherent tension in “Night Watch.” You might know on one level that this is a monster story, and yet like me, find yourself opening up about personal details, trying to manifest a better day for yourself.

Details inside the van.

(Bee’s Knees)

With “Night Watch’s” emphasis on security footage and old computer logs, Knies says he was influenced by full-motion video games, citing the work of Sam Barlow and his voyeuristic crime game “Her Story.” It isn’t hard to see the show as a thinly veiled statement about our current tech-obsessed era, with each day bringing with it seemingly fresh announcements about some new site, social media add-on, gadget or AI tool that promises to improve our lives (but rarely, if ever, does). There’s a moment when you start to wonder if the business you’re providing security for is actually one of the “good guys.”

The project’s story, says Knies, began with a simple sketch from Biel: “The first idea that Sara pitched me was a monster sucking souls and pooping gold.” It spiraled from there, and the last half of “Night Watch” comes quick as we unravel its multiple mysteries. And that’s where the frights, heightened by the intimacy of the van, come in.

“We really wanted to play with having a confined space that we could manipulate to our advantage,” Biel says. “We wanted to play with the effects of moving the van and shaking the van and closing off your viewpoint.”

The confined venue — a dimly lit storage van — helps participants narrow in on the mission.

(Bee’s Knees)

The van has other benefits, too, especially in L.A. where it’s hard to find a unique venue for a limited-run show. “The cheapest and easiest places you can get are white walls with tile floor, but then you’re going to spend so much money decking that out to make it feel like a lived-in space,” Knies says.

“Night Watch” is currently staged outside of Hatch Escapes, home to some of the city’s finest escape rooms, in Arlington Heights. Biel says the two are talking to Hatch about hosting the show there long-term, but there is one hitch. The van is a rental, and at some point it will need to be returned.

“Don’t tell Enterprise that we painted on their walls,” Knies says.

This week in SoCal theme parks

An audio-animatronic Indiana Jones figure hangs above guests on Disneyland’s Indiana Jones Adventure.

(Myung J. Chun / Los Angeles Times)

• Indiana Jones is adventuring again. Disneyland’s popular Indiana Jones Adventure reopened after a six-week refurbishment on Friday with a number of changes. Most of them will be invisible to guests, but Disneyland engineers worked behind-the-scenes to make the attraction more reliable and found ways to increase its capacity. They also added some spiders. Read all the details here from my walk-through of the attraction last week.
• A bookstore for us immersive, theme park geeks. Coming next year to Los Angeles, near the corner of Melrose and Fairfax avenues, is Genres Book Society, boasting a design led by former Walt Disney Imagineer Ann Morrow Johnson. Genres is part bookshop, part speakeasy and part immersive venue. There’s a dragon, a secret bar and a tree with glowing books. Read more about this bookshop dreamed up by Clare Grant and Karissa Marston here.
• Nikki, meet Nikki. One of my highlights of this year’s Halloween Horror Nights at Universal Studios Hollywood was interacting with a scare actor playing the role of Nikki from the film “Obsession.” The other week, the actor who initiated the role in the movie, Inde Navarrette, visited the horror event and had her own dalliance with one of the park’s Nikki performers.
• Still need Halloween plans? The doors of downtown’s Clifton’s, a venue some say inspired Walt Disney (although this isn’t really confirmed by any official sources), will be open for an immersive theater dinner show. Expect roving actors, multiple storylines to follow and an otherworldly wedding that may or may not involve monsters. The current operators of the historic space have big plans for programming similar such events throughout the holiday season. “The Dark Wedding” runs Friday through Sunday, and tickets start at $65.

A farewell to Halloween season (but mostly just to Cars Land’s zombie car)

A mostly deceased “zombie car” struggles to come to life at Cars Land in Disney California Adventure.

(Todd Martens / Los Angeles Times)

The first Oogie Boogie Bash at Disney California Adventure was held this year on Aug. 18, which means Halloween season is coming to a close after a 2½-month celebration. Our local theme parks will be wrapping up Halloween festivities this weekend, and it was a good one. Universal Studios Hollywood shined with a “Sinners”-inspired maze, but the star of the event was its dedication to Ozzy Osbourne. And Knott’s Berry Farm was wise to partner with the Magic Castle.

But in terms of pure decor, the Disneyland Resort has everyone beat, and I wanted to take a moment to salute my favorite Halloween adornment. I was initially nervous, as when the resort debuted its Halloween look in August the zombie automobile in Cars Land was missing. I make a beeline to it each season because it’s such a demented tale that I want to make sure it hasn’t left the park. This mostly dead skeleton car sits outside Radiator Springs Curios, owned by the character of Lizzie. Lizzie is a widow, lovesick at the loss of her husband Stanley.

The shop was under refurbishment earlier in the season, hence the reason for the zombie car’s late arrival, but I was relieved when it finally materialized a couple weeks ago, its body trying to emerge from the ground from under a tree. It’s a morbid story. Lizzie, see, has created a “ghoul-ant” (coolant, get it?) in the hopes of bringing dead cars back to life. She wants to use it on Stanley, but not until its perfected. It’s not. This mostly lifeless car struggles every few seconds to get its engine going. Occasionally, it musters enough strength to get the radio powered on. But it’s mostly just trapped in a near-dead state.

This zombie car is nothing more than the result of a failed experiment, and the implication is there will be more, as Lizzie will not stop until she’s reunited with Stanley. It’s more than a little sick, but also a statement about the way a lost love can forever haunt us. In that sense, it’s perfect, and I adore it. See you, hopefully, next year, zombie car.

The best thing I ate at the parks this week

The short rib lasagna from the Hearthstone Lounge.

(Todd Martens / Los Angeles Times)

With the heat briefly lifting a little bit ago, it was time to revisit my favorite dish at the Disneyland Resort. It’s heavy, hence the reason I was eager to tackle it when things cooled down. I’ve ordered the short rib lasagna from the Grand Californian’s Hearthstone Lounge three or four times over the past year, and I’m now convinced it’s among the best items on the menu at any restaurant at the resort, including the high-end fine dining establishment Napa Rose. It’s that good. And yes, it’s pricey at $42, but it’s a large portion and could easily be split. In fact, I wish I had done the latter, but I was at the park solo and had to immediately end my night after feasting on this decadent dish because I was simply too full to continue exploring. The tender short rib easily peels apart with a fork, and it’s plentiful. A trio of cheeses, and a heavily creamy Bechamel sauce, coupled with a buttery Mascarpone, make this the perfect winter dish. I’ll be at Disneyland on Thanksgiving, and am half thinking of making this my holiday meal rather than turkey.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Morning crowds at Disneyland just after park opening, known as “rope drop.”

(Myung J. Chun / Los Angeles Times)

Late breaking theme park news arrived Tuesday morning courtesy of trade group the Themed Entertainment Assn., which released its 2025 global attendance report. The news for the theme park sector is … mixed? Here in SoCal, attendance at Disneyland Park and Disney California Adventure increased ever-so-slightly, at 0.4% each. Disneyland drew 17.4 million in 2025, making it once again the second most-visited park in the world, behind only Walt Disney World’s Magic Kingdom. Just over 10 million visitors took in California Adventure.

Universal Studios Hollywood fared less great, suffering an attendance dip of 8%. The report attributes the downtown to our devastating wildfires early in the year, as well as a decline in international tourism to the region. It’s worth noting that the park in 2023 opened Super Nintendo World, and it’s newness may have worn off a bit for local visits last year. Overall, the park drew 8 million guests.

Also suffering declines in attendance were Knott’s Berry Farm and Six Flags’ Magic Mountain, each dipping about 4%. Knott’s drew 4.3 million attendees while the Valencia park brought in 3.2 million visitors.

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Walt Disney World holidays are a bucket list event but that can amp up the pressure to get ‘everything’ right – we take a look at some easy booking tips not to be missed

At 40 square miles, Walt Disney World isn’t just theme park. The entire resort is roughly the same size of San Francisco, with four theme parks, two water parks, countless hotels, and even Disney Springs, a dedicated shopping zone with a cinema, theatre and bowling alley. While all of that means heaps of rides, shows, attractions and play areas to discover, it’s not surprising that for first-timers it can feel overwhelming.

Mickey Mouse’s Orlando home is worth it; it genuinely lives up to the hype. The pyrotechnics, the immersion, the magic; it’s all brilliant. But a place this huge requires planning – it’s not somewhere you want to wing it entirely. I’ve been lucky enough to visit Walt Disney World three times and let me tell you; the difference between a magical holiday and a sweaty, feral meltdown can come down to some tactical decisions.

Here are my top tips for getting the most out of your Walt Disney World holiday…

1. Make use of Walt Disney world package deals

Booking doesn’t have to be complicated. In fact, you can find Walt Disney World packages that include your hotel, flights and park tickets. British Airways Holidays currently offers seven-night packages in 2027 including your return flights, a Disney hotel stay, 2027 Free Dining + Drinks Offer and 14 days for the price of 7 Disney Magic Tickets. Package options include:

• 3* Disney’s All Star Sports Resort, from £1899pp
• 4* Disney’s Port Orleans Resort – Riverside, from £2249pp
• 5* Disney’s Grand Floridian Resort and Spa from £3749pp

You can book by November 1 to make use of the deals on ba.com/orlando. Disney’s 7-day and 14-Day Magic Tickets cover all four theme parks (and park hopping), water parks, and a Memory Maker which gives you unlimited professional photo downloads.

You can find plenty more information and packages at disneyholidays.co.uk.

2. Download the Walt Disney World App

It is not optional. It is the holiday. Live wait times, park hours, maps, restaurant bookings, your photos and, if you’re staying on-site, your hotel room key all live in the My Disney Experience app.

Download it before you fly and learn where things are. Resort guests can book Lightning Lane passes up to seven days before their stay begins, so work out your must-do rides now. Turning up without a ride strategy is exactly how Snow White ended up exhausted, making a panicked apple purchase, and sharing one bathroom with seven strangers. My must-do rides? TRON, Flight of Passage, Rise of the Resistance and the new muppets-themed Rock N Rollercoaster.

Consider a MagicBand+ too. This handy watch can be used to tap into the theme parks, unlock your hotel door, scan into fast pass queues, and even download your ride photos straight to your account. There are some fun surprises along the way – one of which is how it syncs up to the evening fireworks!

3. Meal planning

Do not be a poor, unfortunate soul standing in a 40-minute queue for a cheeseburger. Nothing triggers a family mutiny faster than a hangry child in the Florida sun. Use the Mobile Order feature on the app. You tap a button, waltz past the sweating masses, grab your tray, and try to hide your supreme smugness.

For proper sit-down dining, you can book exactly 60 days out before your visit. Just be warned to get in early, as tables in the more popular restaurants feel like they vanish faster than Cinderella’s carriage at midnight. My elite tier? Space 220 and Via Napoli in Epcot, Roundup Rodeo BBQ in Hollywood Studios.

As for Character Dining, it’s worth the splurge. At the Grand Floridian’s 1900 Park Fare, I ate Eggs Benedict and gummy bears with Cinderella, Tiana, Mirabel, and Aladdin coming directly to my table. It is peak efficiency. Let the royalty come to you. (Prices for this experience cost £44 per adult and from £27 per child at 1900 Park Fare).

Currently if you book by November 4, Walt Disney World has a Free Disney Dining and Drinks deal for holidays in 2027, which includes school holiday dates. The offer includes free table service dining plans or quick service plans, along with one drink per meal (alcoholic or non-alcoholic, depending on the plan chosen). The offer applies to a minimum of five consecutive nights when booking a Walt Disney World hotel alongside a park ticket package.

4. It doesn’t have to be an intense holiday

You do not need to be strapped to a ride vehicle for 14 consecutive hours to “get your money’s worth.” The Florida heat is aggressive, and the daily walking can be tiring. Take breaks, like enjoying some downtime at your hotel. Do not become a Disney Villain just because you want to force your sobbing toddler onto Peter Pan’s Flight a third time.

Don’t dismiss the water parks either. I retreated to Blizzard Beach – a “melted ski resort” where you float down a lazy river in blazing sunshine surrounded by fake snow. It is an absolute fever dream of a concept, and it is glorious. Disney has been here for decades. The castle will still be there after you’ve had a lie-down.

5. Don’t underestimate the size of the place

Walt Disney World isn’t simply one theme park; in fact, the entire resort is roughly the same size of San Francisco. Leave the glass slippers at home and pack your broken-in trainers. You will walk a half-marathon every day, and wet shoes feel like walking on angry sponges. And for the love of Jiminy Cricket, bring a refillable bottle. Ice water is completely free at quick-service spots if you just ask.

Staying on-site at a Disney hotel comes with some handy perks; for example, you get free transfers from your accommodation to the parks, and you can get 30 minutes of Early Theme Park Entry. Half an hour may not sound like a huge amount, but it’s enough to get in the parks early and head to the biggest rides before the queues kick in. The easy transport options also mean you can park hop or head back to your hotel for a break.

My advice is plan the logistics for high-stakes elements such as key rides you want to do, or food you want to eat, but leave space on the itinerary for the plot twists, and even just time to sit by the hotel pool doing absolutely nothing. This is a holiday after all!

Theme parks attractions are never really finished, especially those intended to be built to last. And so it is with Disneyland’s Indiana Jones Adventure, which officially reopens Friday after a six-week refurbishment. The ride is looking as fresh as it has in years. There were minor changes — more large spiders and other creepy critters were added to one foreboding tunnel — but also some substantial ones designed to increase the attraction’s capacity and reliability.

While some ride refurbishment closures result in very noticeable changes to the guest — for instance, the recent addition of a face-shifting buccaneer on Pirates of the Caribbean, or the temple-shattering projections that were added to Indiana Jones Adventure back in 2023 — other updates are less visible yet enhance the experience, such as helping to eliminate downtime.

That is the case for Indiana Jones Adventure. Behind-the-scenes engineering modifications over the last year have boosted not only the attraction’s reliability, but allowed its capacity to increase by about 125 people per hour. Ultimately, that allows for about 1,000 more guests per day, says Nicholas DiBernardo, an area manager for Attractions Engineering Services and eight-year veteran of the resort.

A yearly rehab of the ride is required, says DiBernardo, in part because it is one of the resort’s most complex, with many moving show elements. To ensure that it continues to meet the theatrical and safety standards required, it may appear to Disneyland regulars that Indiana Jones Adventure receives tune-ups with more regularity than other rides at the resort.

Nicholas DiBernardo surveys the guest load-in area of Indiana Jones Adventure. DiBernardo, an area manager for Attractions Engineering Services, helped oversee the recent refurb.

(Myung J. Chun / Los Angeles Times)

When asked whether that’s the reality, DiBernardo answers: “Yes and no.”

“Every attraction is different,” he says. “Indiana Jones typically has a refurbishment every year just because of the size of the attraction and the amount of work that goes into keeping this attraction up. It all depends on the needs for improving show quality or maintenance reliability.”

An audio-animatronic figure of Indiana Jones, which was disassembled and rebuilt during the recent refurbishment of the attraction.

(Myung J. Chun / Los Angeles Times)

Two key changes were made to the attraction in 2026. The most recent — and the reason for the ride’s downtime this fall — was something of a wishlist item, and that was changing the machinations that drive its first major show scene, the doors that lead guests face-to-face with Mara, the deity within the Temple of the Forbidden Eye that drives the ride’s action. Prior to the refurbishment, the doors were controlled by hydraulic actuators. Now they’re fully electric. In simple terms, DiBernardo says the doors are now easier to maintain, there’s no longer a risk of a hydraulic spill, and they should properly open and close with significantly more dependability.

That may not sound like a sexy ride enhancement, but it’s one that DiBernardo says will ensure Indiana Jones Adventure runs more efficiently. “In the past, when the old actuators would fail, the doors would have to remain open, ruining the guest’s show experience,” he explains. Not just that, but it slowed down the ride, as fewer cars could be dispatched so riders weren’t seeing the vehicle in front of them.

Nicholas DiBernardo gives a tour of Disneyland’s Indiana Jones Adventure, which just completed a six-week tune-up.

(Myung J. Chun / Los Angeles Times)

Elsewhere, DiBernardo says capacity was able to be increased by improving the loading and unloading process, again a change that will be invisible to guests. Essentially, the vehicles park more accurately.

DiBernardo, who works Disneyland’s third shift from 2 a.m. to 11 a.m., says this adjustment, a mix of hardware and software changes, was made over the course of the past year. The problem, oversimplified: Vehicles did not always park in their precise loading and unloading position. Because a theme park attraction needs to operate with extreme exactness to ensure guest safety, DiBernardo says that before this fix, operators would have to send vehicles through the temple sans guests to reset them.

“That was a major win for us,” says the lifelong San Pedro resident. The parking issue was completed in May, and it’s changed the ride’s capacity.

Skulls on Indiana Jones Adventure. The area received a cleaning and a lighting refresh.

(Myung J. Chun / Los Angeles Times)

Of course, a huge cause of downtime for a Disneyland attraction is often largely out of the park’s control. It’s us, the guests, who are the problem.

“Our No. 1 downtime driver is guest items,” DiBernardo says. “Guests will be on the attraction, and they’ll have a large water bottle or a backpack. All the vehicles have a pouch for them to store everything, but if they don’t do that, there’s many twists and turns throughout the ride, and those articles can fly out. We’ll have to stop the ride. Not only are we working on ways we can improve maintenance reliability, we’re also working with our operations to help notify guests to store their items.”

Nicholas DiBernardo, who helped lead the recent refurbishment of Indiana Jones Adventure, walks toward Mara, the deity within the Temple of the Forbidden Eye.

(Myung J. Chun / Los Angeles Times)

To that end, each Indiana Jones Adventure vehicle has been outfitted with new, bigger pouches that should make it easier for riders to dump in their items. All of that should ensure more guests throughout the day can enjoy the attraction, and right now they’ll want to, as all the figures have been dusted, blacklight paint has been reapplied, and the Indiana Jones audio-animatronics have been disassembled and rebuilt.

Walking through the attraction on Thursday, DiBernardo pointed out how all the figures are currently moving with full mobility. The first time we see Indy he’s attempting to force shut a door, one that moves with the figure in front of vibrant animations. Later, he’s hanging over a guest in one of the ride’s grandest illusions, one designed to trick guests into believing the vehicle is reversing (it doesn’t move backward, but rather the walls shift) as a crater of a ball closes in on us.

Walking the track, I noticed many a detail I hadn’t seen on my hundreds of rides on the attraction over the decades. As Indy hovers above us, for instance, his legs and hips subtly shift. Elsewhere in the ride, when a vehicle dips down a hill, it’s actually going down steps. The latter are painted on the track, but DiBernardo notes that over time the cars eventually strip away the paint. I had never seen the stairs. Of course, it’s easy to be distracted by the skull in front of us hovering over a pit of lava, where many of the lights have now been refreshed.

Flames amid a decaying skull on Disneyland’s Indiana Jones Adventure.

(Myung J. Chun / Los Angeles Times)

Indiana Jones Adventure has changed over the years. Some opening day effects are long gone, such as the illusion created by actual shifting doors at the start of the attraction, or visions of tumbling rubble near its beginning. But Indiana Jones Adventure remains one of the park’s most detailed attractions, one in which I’m still discovering artistic minutiae more than 30 years after it opened in 1995. And as the recent refurbishment proves, it’s an attraction that remains an ever-evolving work of art.

“The sky is the limit on what we can also add to this attraction,” DiBernardo teases. But for now, it looks good as new.

Mr. Todd’s Wild Ride comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.

In the summer of 1957, Walt Disney spotted a monorail in Europe and decided he’d like to have one of his own. Design and construction began in 1958, and the following year, Disneyland had a monorail.

The LAX SkyLink people mover was approved by the L.A. City Council in 2018 and construction began in 2019, with a targeted completion date of 2023. In the latest news of yet another delay, the hoped-for startup has been pushed into next year.

Almost eight years, and the train has not left the station.

It’s the little engine that can’t.

The people mover that doesn’t.

There’s been finger-pointing, litigation and a grand jury probe into how a $1.9-billion choo-choo has become a $3.3-billion boondoggle.

Maybe they should have hired Disney.

“Tell me about it,” said Los Angeles City Councilmember Monica Rodriguez, who noted that Disney imagineer Bob Gurr, who helped design the monorail and other iconic Disneyland attractions, lives in her district.

I’m waiting to hear back from Gurr, who’s in his mid-90s, to see if he’s available to work a little magic and help get the people mover moving.

“I’m down with that,” Rodriguez said. “And we get an E Ticket ride.”

To fully appreciate the madness, a bit of historical context is helpful.

Given the region’s legendary traffic, a well-designed transit system has always made sense in Southern California, and billions of dollars have been invested, with quite a bit to show for voter-approved sales tax increases with Measures R and M and boatloads of federal dollars.

But the ride has been bumpy.

In the 1990s, the Green Line, as it was then known, was supposed to go to the airport.

It stopped two miles short.

The rail line known as the purple, or the D, was sometimes referred to as the Subway to the Sea.

But even if its next phase is ever completed, it would stop about 3.5 miles short of the beach. (You can, however, take the E Line to downtown Santa Monica.)

Meanwhile, as The Times’ Colleen Shalby just reported, construction is beginning this week on the Van Nuys-Pacoima light rail line.

Only five years behind schedule.

And the cost has gone from $1.3 billion originally to almost $4 billion.

Are you catching on to a pattern here?

And these are not rocket launches we’re talking about. A light rail line. A people mover.

We’re in California, which has a Silicon Valley and Silicon Beach and a few remnants of the aerospace industry, but we can’t get Joe Blow from the Hertz rental lot to an airport terminal in less than eight years?

Meanwhile, the Vision Zero plan introduced 11 years ago by then-Mayor Eric Garcetti, with a goal of eliminating traffic deaths with roadway design and safety improvements, has fallen far short. As Damian Kevitt of Streets Are for Everyone told Shalby, for three years running, L.A. has had more traffic fatalities than homicides.

“The rest of the world has seen a decrease in traffic deaths,” Kevitt told me. “There are ways to do this, and we run into roadblocks. … It’s lack of leadership … at every level. … To me, the people mover is almost an indicator of systemic issues across the city.”

L.A. Mayor Karen Bass is the chair of Metro and appoints airport commissioners. So unsurprisingly, Councilmember Nithya Raman, her challenger in the mayoral campaign, is going after her on the people mover debacle and other transportation shortcomings.

Bass says the LAX project began before she took office, and regarding disputes that led to delays, “we pushed for a settlement so there would be a firm finish line.”

That’s weak.

There’s never been a firm finish line.

It’s like every other major public project in L.A. and beyond. They come with no firm starting time and no firm completion date, and the only two guarantees are that the tab will keep growing, and when the job finally is complete, public officials will take bows at the ribbon cutting.

So what happened in the case of the people mover?

The grand jury report goes into great detail about an arrangement in which L.A. World Airports awarded designing, building and operating authority to a private contracting consortium called LINXS, for LAX Integrated Express Solution.

Are you comfortable with that? Can you understand why anyone would be, other than the contractors?

The grand jury found no criminal activity on anyone’s part, but you’ll be shocked to know there was a considerable amount of eyebrow-raising behavior. The contractor has sued the city, blaming it for delays, but the grand jury suggested it was the contractor who caused the delays, essentially holding out for payment of $550 million in settlement claims.

It’s as if city officials, who missed out on having the project done in time for the World Cup matches, were easy marks, desperate to make sure the trains are running at least by the 2028 Olympics.

We could have flying taxis by then, but no airport locomotive. This would not be a good look.

Rodriguez, who initially voted no on the upcoming convention center expansion project, said she was explicit about one concern she had regarding that public-private partnership.

“Whatever contract language was in the people mover contract, make sure it’s not in the convention center project,” she said.

“This is an embarrassment, by all means,” said James Moore, emeritus engineering professor at USC.

Although the people mover — which would finally make it possible for rail passengers to connect to LAX — is only 2.25 miles long, it’s a sophisticated feat of engineering. But, as Moore noted, countless airports around the world have figured out how to get the job done.

“Should it have taken this long? No,” Moore said. But “when anything goes right in Los Angeles, that’s when I’m surprised.”

Paging Bob Gurr, Disney designer extraordinaire.

We need your help, Bob, and you can name your price.

Money appears to be no object.

steve.lopez@latimes.com

Put away the holochess board, C-3PO is going to the 2027 Super Bowl!

An animated “Star Wars” version of Super Bowl LXI featuring characters from the galaxy far, far away will air live, simultaneously with the game, on Feb. 14 on Disney Channel and Disney XD, the NFL announced Monday along with partners ESPN, Lucasfilm and Disney. “Star Wars Funday Football” will also be available on Disney+ and the ESPN app.

Anthony Daniels, who has portrayed C-3PO since the original “Star Wars” trilogy, will voice the worry-prone protocol droid in the live alternate telecast. If the brief teaser video is any indication, C-3PO will be joined by his favorite astromech, R2-D2.

“Star Wars Funday Football” will feature live-animated avatars of all of the players on the field as they play the game. Viewers can expect “Star Wars” characters to sub in during special moments, as well as various Easter eggs to appear throughout the game.

The “Star Wars” themed telecast follows previous “Funday Football” installments that were themed to “Toy Story,” “The Simpsons,” and “Monsters, Inc.” This marks the first time that the Super Bowl is getting the “Funday Football” treatment.

The traditional telecast, featuring announcers Joe Buck and Troy Aikman with reporters Lisa Salters and Laura Rutledge, will be available on ESPN, ABC and Disney+.

Super Bowl LXI will be held at SoFi Stadium in Inglewood. Details for the halftime performance have not officially been announced, but Jay-Z is rumored to be the headliner.

Following “Star Wars Funday Football” and Super Bowl LXI, a newly restored version of “A New Hope” will return to theaters on Feb. 19. “Star Wars: Starfighter,” a new standalone film starring Ryan Gosling as Kade Auberon, is slated to hit theaters May 28.

Accidents on roller coasters are rare. But that is precisely why when they happen, they are so disarming and affecting. Places such as theme and amusement parks are where we go to momentarily escape the stressors of daily life, often with friends or loved ones.

Last week, Hassan Jihad Ibn Kariem, 42, of Atlanta, was ejected from a roller coaster at Six Flags Over Georgia and struck other riders as he fell, the Cobb County Police Department said in a statement. It’s tragic and heartbreaking, and the type of event that can make all fans of these spaces begin to question their safety, and whether theme parks can be a third space where we can go for a respite.

It’s been a particularly rough year for Six Flags, a company still in transition after merging with Cedar Fair just a couple of years ago. Last month, Six Flags Magic Mountain closed its X2 coaster permanently after a history of injuries. While it’s important to note that there is no connection or similarities between the two incidents, their combination creates an overall public perception that the brand is compromised. The industry will be closely watching how Six Flags responds in the weeks and months that it may take to complete an investigation.

In the days since the Georgia accident, I have been asked repeatedly, by friends and even members of the media, if I have been scared on a roller coaster or would hesitate to get on one.

They’re not easy questions to answer. For one, roller coasters are safe, and yes, I have been scared on them, but they are designed to frighten, to thrill and provide airtime in our seats that makes us wonder just how secure they are. To be sure, this is not a flaw. This is their intent.

I was also reminded of a 2003 accident at the Disneyland Resort, when a guest died after a derailment on Big Thunder Mountain. The ride was shuttered for about six months before it was reopened, and when it did so it was immediately met with long lines and cheers. Such is the pull and trust of Disneyland, but the company at the time was relatively transparent about the cause of the accident — two bolts on the locomotive’s left guide wheel assembly fell off — and measures taken to retrain workers.

It took officials from the state of California three months to investigate the incident, and Disney detailed to the media the changes it made to park maintenance procedures. Big Thunder has operated without any headline-generating incidents since.

We don’t yet know what happened in Georgia, and it may be some time before we do, but I only hope Six Flags is similarly direct, especially if this accident was the result of mechanical or human error. There’s too often little reporting on roller-coaster incidents, in part because rules and regulations can vary by state, and also because most infractions are deemed relatively minor and quickly handled in-house by the various parks. Journalists, including myself, should do better when it comes to requesting public records and educating ourselves on coaster engineering.

And when the unthinkable happens, such as what occurred last week, the public should be made aware of exactly what caused it. We’re owed that. To be sure, this is less about assigning blame for an accident, and more about ensuring measures are taken to guarantee it doesn’t happen again. Park operators would be wise to realize the issue just won’t be forgotten or disappear.

Of course, nothing is 100% fail-proof. Daily life is full of risk-taking endeavors such as getting behind the wheel of a car, and riding a roller coaster is strictly optional. But theme and amusement parks — despite the warnings that accompany most any attraction — enter an unspoken contract with their guests. And that is that here, you are safe. I don’t know when or if Six Flags will regain the trust of those who may be rightfully coaster-timid at the moment. But I know that the way they respond can determine whether they’ll lose it for good.

This week in SoCal theme parks

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

• A dinosaur spotlight. The other week, I noted a recent ride around the park on the Disneyland Railroad was looking particularly spiffy, thanks to a refurbishment of the Grand Canyon diorama and dinosaur-heavy Primeval World section of the attraction. No changes to the dinos, but the lighting overall felt more lively and theatrical. Later Walt Disney Imagineering posted a behind-the-scenes look at the updates on Instagram, noting there had been a full lighting overhaul. A switch to an LED-based system gave the team greater control and flexibility in the tone of the lighting.
• A Magic Mountain coaster reopens. Six Flags closed a number of rides around the country, including Goliath at its Valencia park, after a man fell to his death from a roller coaster at one of its parks in Georgia. After a two-day shutdown and review last week, Goliath reopened by the end of the week.
• A can’t–miss Disneyland double feature. We’ve highlighted the current Walt Disney Studies film program at Santa Ana’s Frida Cinema before, but this Sunday will have a showing that’s particularly notable to park fans. The movie theater will be screening “Disneyland Handcrafted” and “Disney Worldbuilders,” two films that I’ve praised. The screening, hosted by author/historian Jeff Kurtti, will feature a discussion with former Imagineer-turned-historian Tom Morris as well as Roland Betancourt, who wrote the fascinating “Disneyland and the Rise of Automation: How Technology Created the Happiest Place on Earth.” Tickets are $16 for the 5:30 p.m. event on Sunday.
• Get ready for candy cane season. Disneyland has unveiled the dates in which guests can attempt to snag one if its handmade, oversize 18-inch candy canes. They are available select dates at Candy Palace in Disneyland and Trolley Treats in Disney California Adventure beginning Nov. 27. Prepare to rope drop the park if you want one, as guests will need to head straight to the candy shop to score a wristband to purchase one. I bought one back in 2018 or so, and used it primarily as a holiday decoration. Since then, they’ve become a coveted item thanks to social media hype, and I’ve struck out in attempts to snag another one. @FoodatDisneyland has all the dates.
• Attention, Haunted Mansion fans. Disneyland Magic Key holders can starting this week pick up one of four lenticular cards celebrating 25 years of Haunted Mansion holiday. They’re free, and released on Mondays at Disneyana in Disneyland, Kingswell Shop in Disney California Adventure and WonderGround Gallery in Downtown Disney. Limit one per guest, and the cards come with a display frame. More information is available on the Disneyland Magic Key site.
• Meow Wolf noodles! The opening of Meow Wolf’s L.A. locale is now just a couple months away, and the Santa Fe, N.M.-based art collective is in the midst of a promotion with Tsujita Artisan Noodles. The latter, with local locations in the downtown Arts District as well as in Sawtelle, is currently serving up what it’s calling the Meow Wolf Anti-Gravity Noodles. The noodles on the latter appear in a frozen, midair state, and Meow Wolf fans may also want to go for the branded chopsticks.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

The Ghost of Halloween Future (Samantha Aotaki) in “A Halloween Carol.”

(Lawrence Meyers)

On a lighter note, it’s spooky season, and that means the L.A. immersive scene is at its best. I’ve long maintained that there is a big overlap between the the theme park community and those who appreciate interactive, immersive entertainment, and that is why I would heartily recommend “A Halloween Carol,” which has a few more dates open before its run concludes next week.

The show, as the name implies, is a twist on the Charles Dickens classic, only here we are visited by the ghosts of Halloween past, present and future. It’s an insightful look at how, from a young age, we are asked to don metaphorical masks of sorts. The show asks us to grapple with what aspects of our personality we are hiding, or putting forth, and does so via intimate, one-on-one conversations, many of which take on a philosophical bent.

If you come ready to play, you may find yourself being disarmed to the point of vulnerability. I wouldn’t call it scary — some may even find some moments near the end a bit sexy — but it does ask us to thoughtfully confront how honest and performative we are being to get through the day.

It’s been nearly 40 years since the dread-filled tones of the “Unsolved Mysteries” theme song first hit network TV airwaves.

In that time, the celebrated documentary series has been through nearly every iteration of the TV business — and is about to embark on a new one.

Next week, “Unsolved Mysteries” will launch a video podcast in partnership with the audio and entertainment firm Audacy. The weekly podcast, which will be available on YouTube and on all podcast platforms, will release new episodes starting Oct. 29 that explore cases such as mysterious deaths and unexplained disappearances.

The podcast will be hosted by actor and TV host Jordan Murphy and will include interviews with the people involved in the case, “Unsolved Mysteries” co-creator Terry Dunn Meurer told me in a recent interview.

“We’re still trying to expand the brand and pivot,” she said. “It just feels like that’s where the industry is heading. The YouTube audience is the biggest audience out there, and we are looking for the biggest audience because we’re trying to help solve these cases. So the more viewers we can get with these episodes, the better.”

“Unsolved Mysteries” isn’t the only Hollywood player to bet on video podcasts. Spotify has bet big on video podcasts, and Netflix has added them to its platform, both of which are attempts to compete with YouTube, diversify their offerings and keep consumers tuned in.

For “Unsolved Mysteries,” the move is just the latest way the show has tried to evolve with the TV industry’s ups and downs.

The show debuted in 1987 as a series of specials NBC used to fill holes in its lineup, Dunn Meurer said. That kind of pinch-hitting meant there was no marketing or publicity to get audiences excited about the show, but viewers started tuning in anyway.

Eventually, the specials became a weekly show that aired on NBC for nine seasons before moving to CBS. “Unsolved Mysteries” also had a syndication run on cable channels Lifetime and Spike TV.

Throughout its TV lifetime, the show would highlight stories of mysterious disappearances, escaped fugitives, lost connections and even the occasional paranormal story. “Unsolved Mysteries” made appeals to viewers, urging them that someone out there “knows the truth” and encouraged them to write in with tips or new suggestions for investigation, which has resulted in tens of thousands of submissions over the years.

More recently, “Unsolved Mysteries” was revived on Netflix for three seasons, with a format focused on a single story. The series also previously had an audio-only podcast.

In addition to the video podcast, “Unsolved Mysteries” also recently produced a full-length documentary on new evidence surrounding the so-called Tylenol Killer, a 1982 case in which seven people died after unknowingly taking cyanide-filled pill capsules.

Though the method of delivery has changed, Dunn Meurer said the show’s mission remains the same. Over the years, the series has helped to directly solve more than 260 cases, she said, though many are so-called lost love cases of missed connections, as well as fugitive whereabouts and some murders.

“There’s so many mysteries out there that need attention, cases that have gone cold,” she said. “For me personally, it’s hard to not keep putting those stories out there and helping these families and law enforcement that need the help to solve these cases.”

‘Musk’ advertising controversy

In notable media news, the TikTok ad account for Bleecker Street’s documentary “Musk” was “permanently suspended” Friday, the day the film opened nationwide, a spokesperson for the indie studio confirmed.

But on Sunday, a spokesperson for TikTok said the account was restored “after an error.”

The documentary, directed by Alex Gibney, follows billionaire Elon Musk and the effect he has had on politics and his support for the GOP and President Trump.

The ban raised suspicions in Hollywood as TikTok is now partially owned by Oracle, which was co-founded by billionaire Larry Ellison. Ellison, who still serves as executive chairman of the tech company, is briefly mentioned in the documentary when he offers to help Musk finance his acquisition of Twitter, according to the Hollywood Reporter.

The documentary will make its streaming debut on HBO Max, which is owned by Ellison’s son, David.

In its second weekend in theaters, “Musk” grossed about $306,700 across 472 screens in the U.S. and Canada, for a $650 per-screen average. The film has notched a 97% critics rating on aggregator Rotten Tomatoes.

Stuff We Wrote

Film shoots

Number of the week

A24’s “You Can See Everything” brought in $15 million at the domestic box office over the weekend, a huge feat for the nearly three-hour documentary that delves into the life of disgraced Theranos founder Elizabeth Holmes shortly before she reported to federal prison for defrauding investors.

The documentary, directed by deadpan comic Nathan Fielder and “Primetime” filmmaker Lance Oppenheim, got a ton of buzz after its surprise debut at the Telluride Film Festival last month. The $15-million opening is even more impressive given that it was available only on 855 screens.

That was good enough for second place at the weekend box office. In first was Skydance-owned Paramount Pictures’ “Street Fighter,” which scored $31 million domestically for a worldwide gross of $51.1 million.

What I’m watching

During a busy (news) week like last week, sometimes you just need a comfort watch. For me, that’s HGTV.

There’s nothing more calming than watching people try to redo their houses into the home of their dreams. But because it’s spooky season, I ended up watching “Scariest House in America,” a hilarious home makeover competition hosted by “Parks and Recreation” comedian Retta, where homeowners show off their creepy, strange or wildly dilapidated houses in hopes of winning a renovation. After watching the travails of people who chose to live in a former jail or a self-constructed giant gingerbread house with a rickety single-person elevator, I was oddly soothed.

HAVE you been dreaming of that bucket-list Orlando holiday? Well, it’s about to get a whole lot cheaper.

AttractionTickets.com are launching a massive Black Friday sale, where you can save up to hundreds of pounds on visits to Walt Disney World, Universal Orlando Resort and more.

Sign up to the AttractionTickets.com Black Friday sale and receive an EXTRA discount

The sale will include theme park and attraction tickets, as well as combo tickets and holiday packages with hotel or villa stays.

And you’ll want in on these Black Friday deals, as this is the website’s biggest sale of the year.

If you pre-register for the sale ahead of time, you’ll score yourself an EXTRA discount, which will land in your inbox on November 5.

This means that those pre-registered for Black Friday will have access to the absolute cheapest holidays and attraction tickets available on the website all year long.

ORL YOU WANT

Everything new at Disney World for 2026 including viral snacks & ride upgrades

RISING UP

Universal’s new ‘floating rides’ & ‘AI guides’ as UK theme park plans revealed

Click here to sign up to the Black Friday sale so you’ll be among the first to know as soon as these deals drop.

Last year’s mega Black Friday sale saw 20% off all Orlando tickets, so theme park fans are already expecting big discounts again this year.

The deals will be for 2027 holidays, with major savings to be had during the school summer holidays.

While the exact offers are tightly under wraps until the big day, Attraction Tickets have revealed that the average customer will save hundreds of pounds on their holiday, based on the website’s typical orders.

So where could you go and what could you do with a holiday booked through AttractionTickets.com?

If you’re looking for a Florida holiday, you will be able to bag discounts on Disney, Universal, the Kennedy Space Centre and more, plus hotels and villas if you want to extend the magic by staying on-site.

Sign up to the AttractionTickets.com Black Friday sale and receive an EXTRA discount

The site also offers handy combo ticket deals – which are great if you want to tick off Walt Disney World and Universal Orlando Resort in one trip, for example.

2027 is the ideal time to visit Disney World, with new upgrades including a Muppet takeover of the former Rock ‘n’ Roller Coaster as well as the brand new Magic of Disney Animation zone in the Hollywood Studios park.

At Universal Orlando Resort, new coaster Fast & Furious: Hollywood Drift is set to launch in 2027, and the previews of this coaster have excited theme park fanatics around the world.

And if you’re wanting to visit California, now’s the time to get planning. You’ll also be able to save on tickets for Disneyland Resort California and Universal Studios Hollywood in this sale.

Disneyland Resort California is home to Cars Land, which you won’t find in Orlando, plus you can tick off the world-famous studio tour at Universal Studios Hollywood.

If you prefer a Spain or Tenerife holiday, you’ll be able to bag discounts at PortAventura World, Siam Park and Loro Parque.

Just make sure to pre-register ahead of the Black Friday deal to bag an extra discount to make your trip even cheaper.

Sign up to the AttractionTickets.com Black Friday sale and receive an EXTRA discount

Heidi Burge Horton, a former WNBA player who started her basketball career alongside her twin sister at Palos Verdes High School and inspired a Disney Channel Original Movie, has died. She was 54.

Horton died Oct. 5 after a battle with gliobastoma, a type of brain cancer, according to an online obituary. The former University of Virginia standout was reportedly diagnosed with the Grade 4 cancer last year and briefly went into remission, but the tumors returned in July, according to Houston news site Chron.

“We are deeply saddened by the passing of Heidi Burge Horton,” the Virginia women’s basketball team said in a statement posted last week on X. “Heidi was a cherished member of the Virginia Women’s Basketball family, her legacy will forever be a part of Virginia Athletics.”

Horton and her identical twin, Heather Burge, played four seasons at Virginia, where they helped the team win three Atlantic Coast Conference titles and make three NCAA Final Fours under future Hall of Fame coach Debbie Ryan. Among their teammates at college was Dawn Staley, the Hall of Famer and Olympian who coaches the University of South Carolina.

“We are all heartbroken!” Staley wrote on X following Horton’s death. “We love you Heidi. May your soul rest in peace and your body pain free.”

The University of Virginia’s Heidi Burge, right, with sister and teammate Heather Burge during the 1991 NCAA women’s championship game against Tennessee.

(Jim Gund / Getty Images)

After graduating from college, Horton and her sister headed overseas to play professionally in Europe. When the WNBA was formed in 1996, she joined the Sparks to play in the inaugural season alongside a familiar face, Lisa Leslie.

“I played with the twins since we were 14 years old,” Leslie wrote, along with a broken heart emoji, in the comments of the WNBA’s Instagram post announcing Horton’s death. “I’m so sad to hear this! I pray for the whole family.”

Heidi Ann Burge was born six minutes after her twin sister, Heather Marie, on Nov. 12, 1971, in Harbor City. She grew up in Redondo Beach before her family moved to Palos Verdes so the sisters could attend the high school there, according to a notice by Eickenhorst Funeral Services.

The twins didn’t grow up playing basketball but were recruited by Palos Verdes High‘s coach, who noticed their towering height. Both sisters were 6 feet 1 by ninth grade and would grow to be 6-5.

Horton was more resistant to trying out than her sister, and both were novices when they joined the team. The sisters would become star players over the course of their high school careers, but they were praised more for their character and work ethic than their impact on the court.

“I don’t think they’ve had a weekend off in three years,” their coach, Wendell Yoshida, told The Times in 1989. “They’ve practiced when they didn’t want to practice. They’ve worked through the tears, the sweat, the hurt, the pain. That’s what made them special. They didn’t make it just because they’re tall.”

Horton was known as the more outgoing and gregarious of the pair, but both sisters were described as being inquisitive, opinionated, fiercely loyal and competitive.

The adjustment to the college game was a bit rough for them at first, and the sisters did not get much playing time together until their junior year. They developed a reputation for being prone to mistakes and turnovers and were considered a bit soft. But once again, the sisters put in the work to improve and became key pieces for their team.

“When we did cry it was mostly out of frustration,” Horton told The Times in 1992. “Just not being able to do the things the other players could do. … Our defense wasn’t effective enough for us to deserve to be out there together. Now, we’ve proved offensively and defensively that we are an unstoppable pair when we get to play together.”

Heidi Burge, right, rises up to block Houston Comets guard Kim Perrot during a game on July 16, 1997.

(Mark J. Terrill / Associated Press)

After graduating with degrees in Spanish and rhetoric and communications studies, Horton played basketball professionally in Europe. After the establishment of the WNBA, she played for the Sparks in 1997 and the Washington Mystics in 1998 before retiring after two seasons.

Horton and her sister inspired the 2002 Disney Channel Original Movie, “Double Teamed.” The movie told a fictionalized account of the twins’ time at Palos Verdes High School. Horton was portrayed by Annie McElwain.

After retiring from playing, Horton moved to Houston, where she briefly served as a commentator for the Comets. She later became involved with Hoops-School, a youth basketball camp where she served as a coach and mentor.

“When you had the kind of coaching I did, you have to work really hard,” Horton told the Buzz Magazines in 2024. “But I also want to give a lot of credit to my coaches. Now I get to give the golden nuggets of wisdom to the kids I coach.

“Second graders, fifth graders, they listen,” she added. “That’s the biggest reward in your whole life. I had so many people pour into me, and I get to just pour it right out. That’s the torch.”

Horton is survived by her husband, Patrick; their children, Jonathan and Holly; her twin sister, Heather Quella, and other loved ones.

Steve Tatham always wanted to work in theme parks. And growing up in Anaheim, some sort of career associated with Disneyland seemed readily attainable.

“Disneyland was the local business,” Tatham says. “It’s where everyone ended up when they were students and working part-time, and I was no exception.”

While in college, he got a job as a Jungle Cruise skipper, and since then, he has never looked back. Over the course of his career, Tatham has spent nearly 30 years with the Walt Disney Co., many of them in theme park design with Imagineering. More recently, Tatham worked at Universal Creative for more than a decade and was the executive creative director of Epic Universe, the company’s impressive new Florida park.

Today, Tatham is turning his focus toward the next generation of theme park designers, having recently been tapped by USC to lead the Bachelor of Fine Arts in Themed Entertainment program, which is offered out of the cinema school. The four-year program is designed to prep students for a myriad of fields — modern theme park design firms work not only on new attractions but readily contribute to museums, zoos, immersive marketing events and more.

And yet theme park designer can feel like an elusive dream job, one based on connections, mentoring or even just luck. Part of that myth was shaped by the initial Disney Imagineers, many of whom were simply making up the job as they went along. As a longtime admirer of Tatham’s work, I recently chatted with the newly crowned academic leader on how one should prep for a career in the field, hoping to demystify it just a little bit.

Steve Tatham, photographed in Florida’s Epic Universe, is leading USC’s undergraduate program in theme park design.

(Steve Tatham)

You don’t need to major in themed entertainment to work in theme parks

There aren’t too many universities that offer a theme park design degree. (Along with USC, Purdue offers a themed entertainment design major and the Savannah College of Art and Design has one of the best-known and longest-running programs in the country.)

But Tatham notes that when he began his career in the industry, it generally wasn’t a field accounted for by universities. And many theme park designers I meet as a reporter, whether relatively new to the industry or veterans, created their own paths into the biz.

Tatham’s own background still provides a solid template for those students looking to enter themed entertainment design, as not everyone will have the means or the ability to attend a program such as USC’s. “I wrote my own major,” he says of his time as an undergrad at UC Berkeley, where he targeted theme parks as his career goal. He majored in film design but took courses that combined theater, architecture, environmental psychology and film studies. After graduating, Tatham went to UCLA for a masters in architecture.

Architecture was a career path pushed to Tatham by longtime scenic designer Henry May, who was his advisor at Berkeley. It was an early recognition that theme park design is an offshoot of urban design, requiring principles necessary in both stagecraft and real-world planning.

Think beyond theme parks

People are hungry for themed experiences. Global theme park attendance topped 246 million in 2024, a 2.5% increase, according to the Themed Entertainment Assn., which also charted a nearly 15% growth in attendance at the world’s top 20 museums, which are often a fertile industry for theme park designers. And that says nothing of the domestic trend of smaller, more locally-focused entertainment centers (think Netflix House or Meow Wolf).

It’s why Tatham tells his USC students to think beyond a Disney or Universal creation.

“If you look in the world out there, there’s marketing firms doing pop-up retail and pop-up dining, and they are doing immersive design in museum spaces,” Tatham says. “In addition to theme parks, there are opportunities within marketing and within architecture. Students who get this interdisciplinary training, which involves coding, architecture, design, exhibition work, landscape architecture and lighting, it’s a growing field.”

Steve Tatham once served as a tour guide on Universal Studios Hollywood’s behind-the-scenes tram tour.

(Genaro Molina / Los Angeles Times)

The best lessons come from observing guests

Long before Tatham was designing Epic Universe, he was working as a tour guide at Universal Studios Hollywood. As a film buff, he enjoyed the early-career job, but says one lesson from those days continues to stick with him.

“I would go on and on, because I love movie history, and I would be like, ‘Right here is where Jimmy Stewart worked, and Edith Head designed costumes,’” Tatham says. “They would politely listen, but then when ducks walked across, they would get excited and take pictures. People love things that are alive and immediate and happening now. People respond to what is immediate.”

The best theme park design is in conversation with guests. I think of Epic’s “How to Train Your Dragon”-inspired land and the bounty of movement found in the space via animatronic dragons (if you promise dragons, guests better see dragons!), or Disneyland’s New Orleans Square, where the curved, winding paths encourage constant discovery.

AI won’t replace great original ideas

Tatham is careful when speaking on the subject of artificial intelligence. He doesn’t want to dismiss its potential to be used as a development tool. And yet Tatham is direct when it comes to AI and creativity.

“I think there are a lot of challenges with AI. I think there are a lot of things that are scary,” he says. “But I think, ultimately, if it’s used as a tool, it can be useful to artists.”

But there are limits.

“AI is never going to come up with a great idea,” he says. “It’s just going to recombine and reconfigure and spit back to you ideas that others have had. So I think this is an opportunity for original thought to stand out even more than it has in the past.”

Jennifer Bascom of Disneyland, gives a telegram to Disneyland guest Keith Kocienski of Fullerton while playing a live-action role-playing game in Frontierland called Legends of Frontierland back in 2014.

(Christina House / For The Times)

But the integration of smartphones remains a challenge

While Disney recently shuttered its Play Disney Parks mobile app, the park is experimenting with connectivity between the video game “Fortnite” and its attraction Millennium Falcon: Smugglers Run. Tatham cautions that any time a theme park invites someone to use a smartphone during their day at the park, designers are then pulling them away from the curated experience.

“The problem is when you’re in Universal or Disneyland, you’re now competing with all the opportunities that people have to explore their own entertainment,” Tatham says. “Are they going to be on Instagram or playing Solitaire online? So now you’re competing with that.”

And yet Tatham thinks there are lessons to be learned from the interactive world, as long as designers focus on real-world play. Tatham, after all, worked on what was once of my favorite Disneyland projects, the great but short-lived Legends of Frontierland. Some of those who contributed to it brought it to Knott’s Berry Farm, where it has been fine-tuned into the terrific Ghost Town Alive! The latter is a rarity in the theme park space.

Yes, it’s possible to make a decent salary

So how much can one expect to make? This isn’t an easy question to answer, as there’s only so many slots at Walt Disney Imagineering and Universal Creative, and the theme park design industry encompasses so much more.

There are independent themed entertainment firms to marketing outposts to studios to museums to architecture companies to theaters and more. And salaries can vary greatly between the public or private sector, as well as entry level versus senior positions. Even recruiting sites have a broad range, from around $50,000 to above $200,000.

The good news, says Tatham, is there is a high ceiling. Additionally, that there is a breadth of industries to work in should help any potential graduates. “There are many different job descriptions with different salaries in the themed entertainment field,” Tatham says.

And yet he knows it’s a concern of parents.

“I want students and parents to know that it is possible to make a solid steady income in the arts and that they shouldn’t focus on a backup plan but rather on putting together a killer portfolio because there is work for those who have honed their skills,” he says. “I would tell them that they should be prepared to live in Orlando, Fla., or Glendale, Calif., and be open to international assignments. Top directors can make in excess of $250,000 a year, but they should be prepared for starting salaries similar to architecture, graphic design or similar creative fields.”

A Disneyland cast member playing the role of Alice in Wonderland interacts with guests.

(Christina House / Los Angeles Times)

Remember why theme parks still matter

Anytime I have an opportunity to chat with someone with Tatham’s experience I want to hear their take on one question in particular, and that’s why they love theme parks and why they believe the spaces resonate with so many people. As someone charged with creating passion among the next generation of theme park designers, I was especially interested in Tatham’s response.

“If you go to a theme park, there is something for every demographic,” he says. “There are things for kids. There are things for grandparents. There are things for everyone in between. People can enjoy those times together, which was the original intent of Walt Disney. He was looking for a place while in Griffith Park where he could go do things with his daughters. He created it because it did not exist.”

For Tatham, it’s about the memories.

“If you ask people about their experience in theme parks, they will remember in great detail which parks they went to and who they were with,” he continues. “Ask them about going to the movies, they might say, ‘Sure, I went with my family, but can’t tell you what movies and who I was with.’ But they will remember those moments with theme parks. It’s a great bonding experience. That’s the reason they exist and the reason I love to create them.”

This week in SoCal theme parks

Plans are underway to refurbish the Griffith Park merry-go-round.

(Christina House / Los Angeles Times)

• The Griffith Park carousel will spin again. Assessments are underway to see what it will cost to once again get the Griffith Park merry-go-round spinning. Theme park fans best know it as the site that is said to have inspired Walt Disney to dream up what would become the Disneyland Resort, and it has been shuttered since 2022. Curiously, there’s also a Disney connection with the carousel today, as some of those who work at Walt Disney Imagineering are volunteering their time and efforts to restore this treasure in Griffith Park. Read my story here.
• Six Flags Magic Mountain shuts down second coaster. Six Flags is closing several rides across the U.S. and Canada — including the Goliath roller coaster at Six Flags Magic Mountain in Valencia — after a man fell to his death from a roller coaster at one of its parks in Georgia. Park officials said Tuesday that the closures were out of an abundance of caution and were temporary. Times writers Hailey Branson-Potts and Fedor Zarkhin have more on this story.
• Merry Minions. Universal Studios Hollywood has unveiled its slate of holiday of programming, and returning this year are its popular “Grinchmas” offerings, including the 65-foot winding, drooping, Dr. Seuss-inspired Christmas tree. There will be meet-and-greets, including a reading of “How the Grinch Stole Christmas,” as well as holiday carolers and ornament decorating. New this year will be holiday festivities in the park’s kid-focused Minion Land, complete with Minions in holiday attire. Super Nintendo World, Wizarding World of Harry Potter and other areas will also be dressed for the season, beginning Nov. 21 and lasting through Jan. 3.
• A heads-up for ‘Cars’ fans. It’s the 20th anniversary of the “Cars” franchise, and those with a special affinity for the series will want to find their way to Disneyland’s Pixar Place Hotel and park themselves on the hotel’s second floor art gallery. That’s where the hotel is hosting an exhibit honoring the film with drawings, paintings, sculptures and behind-the-scenes footage that document how Radiator Springs Racers was brought to life. And before you go, read my story on how Route 66 inspired the film and Cars Land.
• Step into the world of ‘Dune.’ Tickets are now on sale for an immersive “Dune” exhibition in downtown L.A. that promises spectacle, as well as a bit of mystery. Step around, and potentially inside, awe-inspiring vehicles from the film, or come face-to-face with the Bene Gesserit, a group of priestesses who possess, among other things, the ability to bend the will of others. “Dune: The Experience” opens Nov. 20 and and is currently set to run through Dec. 20, although an extension is likely. Standard tickets start at $42 but there are various ticket packages available.

Ride Report

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

It’s always a good idea to hop on a Disneyland attraction that has been recently refurbished. It’s generally a chance to see the ride in tip-top shape. And so I was eager to get on the Disneyland Railroad on a recent trip to the park, as the dinos in the Primeval World world section of the attraction had recently been hidden behind illustrated tarps. Good news, as the dinosaurs are looking as sharp as they ever have. No real changes were made to the figures, but they’re all moving as they should, be it munching on grass, rattling out of an egg or getting ready for battle.

The theatrical lighting overall feels a little brighter, and the few digital effects — a volcano erupting in the background, for instance — are all in working order and bring an added sense of dimension to the diorama scenes. Be sure to add it to your day. The Disneyland Railroad is also a fine reminder to slow down during your Disneyland visit.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

What is “Eggs in Space”?

(Todd Martens / Los Angeles Times)

A cinematic mystery is brewing, one that seemingly has connections to the local immersive entertainment community. What, for instance, is “Eggs in Space”? A recent sci-fi event at indie nonprofit movie theater and store Vidiots ended with the beginnings of a puzzle.

The screening appeared to be interrupted by a film that was taking control of the projectors. The film? “Eggs in Space.” As an abstract image of an egg appeared on screen, performers began walking toward the front of the theater in a transfixed, cult-like fashion.

There is, of course, no record of a film titled “Eggs in Space,” although there is a website dedicated to its disappearance. So dig in. A new alternate reality game just dropped. I have a hunch you’ll want to know where it leads.

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DISNEY Cruise Line has just unveiled its newest ship – and it’s the company’s glitziest yet.

With themed dressing-up parties, glam stage shows and immersive dining experiences featuring much-loved characters, kids will love everything about Disney Believe.

But it’s not just the House of Mouse putting little ones at the forefront.

Many cruise lines are introducing activities, meals and entertainment options to keep youngsters happy – which means more downtime for Mum and Dad.

Here, Sophie Swietochowski shares her pick of the most child-friendly cruise ships for 2027.

DISNEY CRUISE LINE

LITTLE ones can just Let It Go on board Disney Believe, which is home to a sparkling Frozen-themed dining venue.

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

Oaken’s Table: A Frozen Family Feast is more than just a restaurant.

Here, youngsters are surrounded by characters Oaken, Anna and Kristoff as they tuck into dinner with live singalongs and performances throughout.

The kids’ clubs here take things to new heights, and children will love checking out the first ever Encanto musical, too.

But parents are not forgotten about.

While teens are soaring on the ship’s water coaster AquaMouse, unleashing their inner Spider-Man at the Hero Zone or paddling in the Toy Story-themed splash zone, adults can knock back cocktails at Sea Notes — the Little Mermaid-inspired piano bar.

GO: The ship makes its debut in December next year. More info, including cruise packages, will be released on Monday next week. See disneycruise.com or call 0800 171 2317.

ROYAL CARIBBEAN CRUISES

ROYAL CARIBBEAN is renowned for its family-friendly offering, and has enough high-energy activities to keep rugrats happy for at least two weeks on the trot.

Freedom of the Seas, in particular, ranks highly for its adrenaline-pumping fun.

While tiny tots play with cannons and drench buckets in Splashaway Bay, teens can race each other on the Perfect Storm waterslides or unlock new surf skills on the FlowRider surf simulator.

On top of some excellent kids’ clubs, there’s laser tag, rock climbing, mini golf, an arcade and even an ice rink.

Pizzas, tacos and burgers will ensure they never go hungry, although the ice cream counter is sure to be the biggest hit — and it’s free for all cruisers.

GO: A five-night Northern Europe sailing is from £579.50pp for a family of four, departing from Southampton on August 17 next year. The cruise calls at Hamburg and Zeebrugge (for Bruges). Check out seascanner.co.uk.

P&O CRUISES

BUCKLE in for a thrilling ride on board P&O Cruises’ Arvia.

This ship has a properly immersive escape room that takes you well below sea on a fictional submarine.

Families will rely on interactive consoles, motion simulators and high-tech controls to succeed in their mission and retreat from the submarine safely.

Kids can reward themselves with a sundae from the gelateria afterwards but most of the time they’ll be itching to get to the youth club.

There is also the Altitude Zone with a high-ropes course, mini-golf and splash zone.

Families can also benefit from a Children’s Tea at the buffet.

It’s at 5pm daily so parents can get little ones fed before dropping them at the night nursery.

GO: A 14-night Spain and France sailing is from £1,049pp, based on a family of four sharing and departing Southampton on July 18 next year. Ships calls at Vigo, Malaga, Alicante, Toulon, Barcelona and Cadiz. See pocruises.com.

NORWEGIAN CRUISE LINE

AURA is the newest ship to grace Norwegian Cruise Lines’s fleet and definitely one for action-seekers.

Its thrill zone, Ocean Heights, is spread across three decks and features so many spine-tingling activities you won’t know where to start.

Along with rock climbing, a high-ropes course and funfair, there are three waterslides and a main pool deck with sea-view hot tubs.

Best of all, grown-ups with their eyes on the speciality dining can bag free meals for kids under the age of 12.

GO: A seven-night Eastern Caribbean sailing is from £907pp departing Miami on August 7 next year. Calls at Puerto Plata, St. Thomas, Tortola and Great Stirrup Cay, NCL’s private island. See iglucruise.com or call 020 3733 5557.

MSC CRUISES

THE highlight for children on MSC’s World Europa is the dry slide that drops 11 decks, making it the longest slide at sea and sending riders spinning down 240ft in a matter of seconds.

With Lego on board as official sponsor, children will have their fill of building-block games at the kids’ clubs, while teens can get stuck into video games.

The waterslides integrate virtual reality and project animations while riders whizz to the bottom.

The high-tech fun does not end there, either.

The ship also has a Formula 1 simulator, 5D interactive cinema and virtual reality arcades.

GO: A seven-night Western Mediterranean sailing is from £574pp based on a family of four sharing and departing from Civitavecchia in Italy on May 1, 2027. It calls at Palma de Mallorca, Barcelona, Marseille, Genoa and La Spezia. See msccruises.co.uk.

Nestled a short stroll from the Griffith Park Ranger Station, near some tennis courts and not far from the remains of the park’s original zoo lies a gem that is on most days behind lock and key. The Griffith Park merry-go-round, which turned 100 this year, stands motionless, many of its 66 wooden horses weathered and caught mid-ascent.

But the effort to ensure that they once again rise, fall and spin around a spherical base has begun. The Griffith Park merry-go-round is being resurrected by a group of passionate supporters and volunteers, some of whom are veterans of the theme park industry. Collectively, they argue that this isn’t simply a relic from another era, but a place of multigenerational connection, a reminder of the beauty of handmade art and a statement piece of Los Angeles.

Tracy James, who works in the Department of Recreation and Parks and focuses on Griffith Park, is helping to lead the plans to refurbish the Griffith Park merry-go-round.

Visitors ride the Griffith Park merry-go-round, a favorite haunt of Walt Disney and his daughters, on Aug. 24, 1951.

Shuttered since the COVID-19 pandemic, save for a brief but limited run in 2022, the Griffith Park carousel is now under city control, purchased last year for $1 million. That’s a veritable bargain for such a museum piece, argues Tracy James, who is leading the efforts to restore the project, one that’s expected to take at least two years and cost millions.

“This is the jewel in the middle of the city,” says James, who works in the Department of Recreation and Parks and focuses on Griffith Park. “The ornamentation and the craftsmanship represent a bygone era.”

There was a real fear, James says, that the merry-go-round would fall into the hands of a private collector, as the carousel, if not officially, has long symbolically belonged to L.A. A piece of whimsy, artistry and play in the middle of a natural wonderland, it is where Walt Disney is said to have dreamed up the vision for what would become the Disneyland Resort and a site that has withstood Civil Rights actions and ’60s-era love-ins. To some, it’s a beacon of hope in the midst of an imperfect urban fabric that has long prioritized the fantastical.

“I got teary-eyed when I walked up,” says Wendy Osmundson, who approached the carousel during a recent open house while on a stroll around the park. Osmundson reflected on a day, decades ago, when the merry-go-round saved the family’s Christmas.

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2

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1. Details from the Griffith Park merry-go-round, which is in need of refurbishment. (Christina House / Los Angeles Times) 2. The horses of the Griffith Park merry-go-round are known for their flowing manes. 3. Each horse at the carousel is outfitted with jewels.

“I was 21, and my mom’s kitchen burned down,” Osmundson says. “We couldn’t have Christmas at my mom’s house. Everyone came to my one-bedroom apartment in Los Feliz, and me and my three sisters came here and rode the carousel. We were adults, but it was really great. I’d love to see it restored.”

Joining the project to do just that are some of the brightest minds in the theme park and amusement industry, and they’re doing so without pay and on their own time. Kurt Sawitskas has already spent weeks analyzing the carousel’s innards, marveling at its antique nature, but also being amazed that it’s still mostly intact.

“Honestly, I don’t think carousels were ever intended to last 100 years,” Sawitskas says. “And now here we are with a carousel that’s 100 years old. We want to honor it and make it run again.”

Sawitskas’ day job is at Walt Disney Imagineering, the creative arm of the company responsible for theme park design. Beginning to think ahead toward retirement, Sawitskas says he was looking for a project in which he could volunteer his time and expertise. He found it.

The painted panels at the Griffith Park merry-go-round will also need to be restored.

Built in 1926, near the end of what many consider the heyday of the American carousel, the Griffith Park merry-go-round began its life in San Diego and was relocated to Los Angeles in the depths of the Great Depression in 1937. It is the showcase product of the Spillman Engineering Co., whose carousel horses were known for the flowing, wind-blown manes and heavily detailed secondary carvings on the portion of their bodies that face viewers, known as the “romance” side.

A few, for instance, have lion heads extending from their chest. Others have cherubs reaching toward the horse’s face. All are adorned with jewels and tails made of real horse hair, many of which have been eaten by squirrels or other critters. Griffith Park’s carousel is especially unique in that it also has horses from master carvers Charles Looff and Charles Carmel, considered the finest carousel craftsmen of the era.

The few carousel companies that survived the Depression largely did so by switching to a cheaper, mass-produced product, such as transitioning from wood to aluminum. An art was lost.

“It’s brought to me a real appreciation of the deeper aesthetic,” Sawitskas says. He mentions this as he’s giving a tour of the horses, emphasizing how the thickness of the paint created a sense of depth in the figures — a saddle, for instance, of a crisscrossing chessboard-like pattern, or elsewhere an aged leathery toughness. “I recognize what is attractive about an amusement like this, and that’s the ability to return again and again and still see something different.”

Horses and a mural at the Griffith Park merry-go-round.

Sawitskas has recruited a pair of co-workers, Troy Leverton and Pim Renting, who work in various aspects of ride engineering, to help in the task. For Leverton, restoring the carousel is important in bringing a piece of history back to the city, one centered on affordable outdoor entertainment.

“I brought my nieces here 10-plus years ago, and rode it and it was really cool,” Leverton says. “Unfortunately, since my daughter has been born this has been shut down. So it was like, you know what, I live in the city, and it’d be really cool to be a part of something that is doing something for the city. I want to bring my daughter back here when it is running.”

It’s also not lost on them that there’s an association between the company they work for and the carousel, although it’s important to stress they are not volunteering their time as representatives of the Walt Disney Co.

The organ inside the Griffith Park merry-go-round.

“There’s obviously a connection with Walt Disney and what we do,” Leverton says. “There’s a lot of history here. The industry was born out of Disneyland, and Disneyland was born out of this place.”

The story goes that Disney would bring his daughters to the merry-go-round, sit on a bench and dream of a place where adults and children could be entertained together. Both Disney and the company have long told this tale, and a bench, as well as one of the original horses from the carousel, can be found on Disneyland’s Main Street, U.S.A. (There were initially 68 horses, but one, says James, is at Disneyland, and another is with a former owner.) With Disneyland’s King Arthur Carousel, which itself dates to the 1920s, Disney requested a number of modifications that closely match the Griffith Park attraction, such as wanting all its animals be “jumpers” that look like they’re galloping.

James, along with Sawitskas and his pals, want the carousel to be restored to its original glory, a magnificent, gleaming merry-go-round that inspired Disney to dream. On a recent Saturday, Sawitskas hopped on a ladder to analyze the condition of the mechanisms that raise and lower the horses and started poring over carousel history books to match the horses with their original paint colors. In the 1920s, lead paint was used, which must be stripped away.

Wendy Osmundson takes a moment to appreciate the memories of riding the Griffith Park merry-go-round.

“There’s no way to just keep painting over this and hiding the problem,” Sawitskas says. “We really need to get down to the bottom. A lot of the horses have small fractures in the wood joints that need to be repaired as well. You can’t do that on top of paint. You need to be at the wood. We have some very nice ways to get down to the wood without destroying the wood itself, just lifting the paint off. We want to restore all the worn wood and reintroduce the carving lines.”

And that says nothing of the mechanical adjustments and efforts to make the carousel ADA accessible. The Griffith Park carousel has one speed — 14 mph — and the hope is to update it with some modern controls to create a smoother ride. All of this is why James is estimating the tally to restore the carousel will top $3 million or $4 million. An assessment is expected in the coming weeks, and fundraising will occur via the nonprofit Friends of Griffith Park. James will be hosting open houses on as many Saturdays as she can, posting updates on the Griffith merry-go-round project Instagram page.

As the world turned, so did the carousel. In 1961, for instance, a riot erupted at the merry-go-round when police officers alleged a 17-year-old Black rider failed to pay for his admission. Onlookers leapt to the teen’s defense, and it took 75 officers to quell the disturbance. Later that decade hippie love-ins were held regularly at the base of the carousel, occasionally drawing the likes of the Hells Angels or law enforcement. The merry-go-round also became a gathering spot for a candlelight vigil when the Grateful Dead’s Jerry Garcia died in 1995.

And today, even in its shuttered and bruised state, it stands defiantly — a testament to handmade art at a time the world is spinning toward all-digital everything.

“One of the biggest challenges here is making it look new again,” Sawitskas says. “But I think if we do that, it’s going to be a treasure.”

One that, by the time it’s operational, will twirl gallantly into its next century.

Marvel Unlimited, the company’s digital comics subscription service, is shutting down after 19 years.

Marvel announced Monday that it is launching Marvel Comics, a new digital comics app that will house more than 35,000 current and classic titles featuring Spider-Man, the X-Men, Captain Marvel and more from its extensive library. The new platform is built and operated by Webtoon and will launch Nov. 16.

The Marvel Comics app library will feature comics spanning Marvel, Star Wars and 20th Century Studios titles at launch, with stories from Disney’s other brands — like Pixar and Disney Animation — expected to follow. The new app will support both the traditional page-based comics format that mirrors physical books and the more mobile-device-friendly vertical-scroll format. (Marvel Unlimited also featured vertical-scroll comics under its Infinity Comics banner.)

A preview of the Marvel Comics app.

(Marvel Comics)

Those attending New York Comic Con this Thursday through Sunday can get an early look at the new app at the Marvel Comics booth (#2435).

With the arrival of the new Marvel Comics app, Marvel Unlimited will “sunset” on Dec. 7. Marvel Unlimited has been the company’s in-house digital hub for its comics since its launch as Marvel Digital Comics in 2007. Subscriptions and payment information from Marvel Unlimited will not automatically carry over into the Webtoon-operated Marvel Comics, and Marvel says those whose paid subscriptions will be cut short because of the shutdown can expect a prorated refund on or around Nov. 16.

Marvel Unlimited members who sign up for Marvel Comics will be able to import their current library and reading history into the new app once it’s launched. The steps required for that process have not yet been detailed, but the company says these members will have until Dec. 21 to access their Marvel Unlimited library to ensure the transfer was successful.

Marvel Comics will offer two subscription tiers: The base-tier membership will run $9.99 per month or $69.99 annually for access to the app’s full catalog, with new issues of ongoing titles added as early as three months after print release. For those who would rather not wait that long to read newer comics, Ultimate-tier members will be able to access new issues as early as a month after its print release. Subscriptions for that tier will run $12.49 a month or $99.99 a year. Marvel is currently offering a special $59.99 “founder member” price for the first year of an annual Ultimate-tier memberships for those that preorder the service.

DISNEY has revealed what to expect onboard its huge new ship, Disney Believe from new restaurants to one-of-a-kind performances.

Launching in late 2027, it will be the ninth ship, and the fourth in the Wish class alongside Disney Wish, Disney Treasure and Disney Destiny.

Onboard will be 7 swimming pools, splash areas, food outlets and restaurants, character meet-and-greets as well as Disney-first experiences.

Something that guests won’t be able to see anywhere is the Encanto musical which will debut exclusively on Disney Believe – and it’s a world first.

Other performances joining the line-up for onboard entertainment are Broadway-style shows, Tangled: The Musical and Disney Seas the Adventure.

Returning will be the fan-favourite Pirate’s Rockin’ Parlay Party which is a nighttime spectacular with a live rock band and fireworks at sea.

SAIL AWAY

Much-loved Disney cruise to launch from the UK for the first time EVER

FANTASY LIFE

I went on my first Disney cruise with champagne bars and West End-style shows

There will also be a Zootropolis-inspired entertainment hub called Gazelle where during the day it will hold trivia, games, and a family show alongside Judy Hopps and Nick Wilde.

In the evening, Gazelle will be open for adult-only entertainment which includes silent discos and variety acts.

There are some other strictly adult zones including Sea Notes, a piano lounge inspired by Ariel’s grotto.

The relaxed Wishing Well lounge is centered around its own castle courtyard where adults can relax and enjoy mocktails, cocktails, spirits, and coffees while musical performances take place.

Skygazers is a new observatory-themed pub serving up custom-made craft brews, cocktails and snacks.

Returning venues will include the Haunted Mansion Parlour, Arnaud Lallement, Quiet Cove as well as the Senses Spa, Untangled Salon, and Hook’s Barbery.

When it comes to dining, there will be a brand-new restaurant onboard the Disney believe called Oaken’s Table: A Frozen Family Feast.

While guests are eating, characters like Oaken, Anna and Kristoff will perform renditions of songs from the soundtrack.

Another option is 1923 which is onboard the sister ships which celebrates Disney animation and Worlds of Marvel.

Sweet treats can be bought from Inside Out: Joyful Sweets which has nearly 20 flavors of gelato and ice cream.

Two new cafes will be onboard, the first is Big Hero Sips which is inspired by San Fransokyo from Disney Big Hero 6.

Meanwhile, Café Kakamora is focused on Moana – and both will serve up coffee, tea and other specialty drinks.

On the upper deck will be an open-air food court called Mickey and Friends Festival of Dining where guests can choose from barbeque, cantina bowls and salads, pizza, burgers and ice cream.

Pluto’s Pita Platters is one of the new stalls serving up Mediterranean-inspired foods from kebabs to pittas.

Like on Disney’s other ships, there will be clubs for kids, tweens and teens called 2319 with dedicated space for children between 3-17.

At “it’s a Small World” Nursery families can use babysitting services for little ones between six months to three years old.

The ship will have classic staterooms with most having ocean views and 450 are interconnecting which is suitable for larger families.

There will be four royal suites on Believe where guests can step into the world of fairytales – some inspired by The Little Mermaid, and Beauty and the Beast.

The Believe Tower Suite is exclusive to the ship and has been called a ‘one-of-a-kind suite for dreamers’.

It’s two-storeys, nearly 2,000-square-foot and sleeps up to eight people – it has two main bedrooms and four and a half bathrooms.

The views will be unbeatable thanks to its floor-to-ceiling windows.

The Disney Believe will offer four and five-night sailings from south Florida to the Caribbean and The Bahamas.

During its journey it will make stops at one or both of Disney Cruise Line’s island destinations, Disney Castaway Cay and Disney Lookout Cay at Lighthouse Point.

The very first sailing will be on December 18, 2027 – in the meantime, you can book Disney Wish holidays that sail from Southampton – so no long flights.

And the new Disney Believe is just one of many new additions coming to the Disney attractions.

Disneyland Paris is getting a new Lion King log flume as well as the Up-themed Wilderness Explores Sky Swings.

An entire Villains Land will open at Magic Kingdom at Disney World, with a Maleficent rollercoaster and Magic Mirror dark ride.

Two new Cars rides, as well as an Indiana Jones and Encanto ride will be part of the expansion too.

The Super Bowl is coming to Disney+.

The Walt Disney Co. announced Wednesday that ESPN’s telecast of the NFL’s marquee event on Feb. 14 at SoFi Stadium in Inglewood, Calif. will be available to Disney+ subscribers. The company also said Disney+ will carry two ESPN “Monday Night Football” games in the current season.

ESPN is producing the Super Bowl for the first time in its history. The game is airing on Disney’s broadcast network ABC which last carried the game in 2006, and on ESPN and the ESPN app.

The addition of Disney+ makes the game available to casual fans who may not have cable or subscribe to a sports TV channel. The Super Bowl is the most-watched TV event of the year, with audiences exceeding 120 million viewers in recent years.

Streaming platforms are bringing in additional advertising revenue for the networks that carry the game.

In 2025, the Fox telecast of Super Bowl LIX averaged 13.6 million viewers on Tubi, the ad-supported streaming service owned by the network’s parent company. Fox was able to sell streaming-only ads on the telecast at around $2 million for a 30-second commercial. The spots aired in the commercial breaks for local Fox TV affiliates.

Disney is offering advertisers the opportunity to buy streaming-only ads across Disney+, the ESPN app, Hulu Live and Fubo. The company has already sold out the commercial time on the ESPN and ABC telecasts with some 30-second spots going for $10 million.

As a lead-up to the game, Disney+ will carry ESPN’s “Monday Night Football” match-up between the Dallas Cowboys at Philadelphia Eagles on Oct. 26 and another contest later in the season.

Disney+ has been adding sports to its lineup, with select ESPN college football games and Formula E races now available on the platform.

It’s an annual fall tradition that Disneyland increase its prices — and stealthily in the night. Starting Tuesday, guests will pay more to experience the Happiest Place on Earth.

But the increases are relatively light. For the eighth year in a row, Disneyland did not raise the cost of the lowest-priced ticket, which is $104. And its highest-priced ticket, which is $224, also did not change. The increases were felt primarily on mid-level tiers for single-day, single-park tickets, and were limited to $5 apiece.

Other prices also remain unchanged. The cost of Disneyland’s popular annual pass program, the Magic Key, did not increase. The top-tiered Magic Keys have been subject to hefty yearly spikes over the last decade. Parking remains fixed at $40, and multiday tickets have not been affected.

Collectively, this is one of the smallest overall increases made by the Disneyland Resort in recent history, as last year, its highest-priced single-day ticket jumped in cost $18. At a time when leisure costs are rising and forcing Americans to stay home, it comes as somewhat of a relief that Disneyland is not asking its fans to pony up substantially more cash to get through the gates.

While the Walt Disney Co. provided no official statement on the increases, Disneyland Resort officials noted in an email that it is aware guests are more closely watching their wallets in 2026. Thomas Mazloum, chairman of Disney Experiences, in a comment given to CNN, said, “Our goal is to put guests at the center of our decision making, and that starts by listening to them. That matters more now when families are watching every dollar, and we see it in the choices they make every day — in how they plan, in how far ahead.”

It’s also an indication that, at least for the time being, the Disneyland Resort has pushed its prices as far as they can go. Disneyland is blessed with an in-demand product, but every commodity has its limits.

In May, the Walt Disney Co. reported a 1% decline in attendance at its U.S.-based parks compared with the prior year, which the company attributed to “continued softness” in international visitors. In August, however, Disney bounced back, and noted, especially at Florida’s Walt Disney World, that attendance had perked up. Overall, visitation at its U.S.-based theme parks was 3% higher than in the previous year’s third quarter, the company said. This boost was largely attributed to a variety of summer deals.

As someone who is at Disneyland nearly every week, I can report that summer crowds were relatively manageable. There have been some asterisks, such as the World Cup and high heat, both likely keeping guests away, but anecdotally, Disneyland crowding hasn’t been nearly as extreme this year. I simply believe that people do not currently have the excess funds that they once had.

And Disney seems to be responding to the economic climate, especially in making it easier for its biggest fans to visit the resort. In conjunction with the price increases, Disneyland President Jill Estorino announced Tuesday that the company would be removing its no-show penalty on annual passholders. Additionally, passholders can now cancel their reservations up to 11:59 p.m. on the day of their reservations.

These are welcome changes, as previously guests were allowed three no-show penalties before their ability to make reservations was restricted, and had to cancel the night before. But plans change, and the reservation system restrictions, initially put in place to manage crowding during the COVID-19 pandemic, had increasingly felt like an impediment. While reservations are still required, which Disneyland has stated helps the resort plan its crowd-forecasting and staffing, the system is more lax and user-friendly than it has been.

Digging deeper into Disneyland’s pricing, there have been some small changes elsewhere. The cost of the line-skipping feature Lightning Lane, which can fluctuate based on crowding levels, now has a top price of $38, an increase of $1. And the park-hopper add-on for single-day tickets, which can also fluctuate, increased $5-$10, depending on the day. And earlier this year Disneyland did increase its prices on a number of food items.

The Disneyland Resort, to be sure, is not cheap. In the world of entertainment, it remains a luxury good on par with postseason Dodgers tickets (albeit with cheaper parking than Dodger Stadium). But I credit the Disneyland Resort for reading the cultural room. Pulling the plug on its recent steady and hefty price increases, especially on annual passes, shows the company can occasionally listen to its audience as much as it does Wall Street. Sure, a price decrease would be nice, but we don’t live in a fantasyland.

This week in SoCal theme parks

The Disneyland Resort has added new collectible pin trading vending machines.

(Todd Martens / Los Angeles Times)

• Attention Disneyland pin traders! The Disneyland Resort has added a new pin line available in select vending machines throughout the property— look for them in San Fransokyo Square and Pixar Pier in Disney California Adventure and at the Star Wars Trading Post in Downtown Disney. Each pin is $18, and one buy gets you one egg-like orb with a mystery pin. There are 15 in the set — I got Simba, as seen above — and offerings include park staples such as the Hatbox Ghost as well as classic characters such as Princess Aurora and Dumbo. Some are marked limited edition — “chasers,” in Disney pin trading speak — so be on the lookout. Thanks to Mr. Daps for the heads-up.
• A Disneyland ticket deal. With life constantly getting more expensive (see above), it’s a good time to hunt for a deal. If you’re a Costco member, reports are that there’s a pretty good one happening right now. Valid through Dec. 18, Costco is said to be selling a two-day Disneyland park hopper ticket with the line-skipping feature Lightning Lane already added in for $329.99. The offer includes a $60 dining card, and works out to a savings of a couple hundred. Disney Tourist Blog has more details on the limited deal.
• An applaudable energy project. Six Flags Magic Mountain has announced the completion of its solar carport project, the largest solar carport in California. Covering 4,315 parking spaces, the project was designed to offset 100% of the energy consumption of Magic Mountain and Hurricane Harbor (while also providing some shade and sun protection for its parked cars). The project is interconnected with the Southern California Edison grid, meaning excess energy may be exported as well as allowing the parks to draw energy from the project when needed. The carport also offers 109 electric vehicle charging stations.
• A pause at Castle Park. Riverside’s long-standing Castle Park is beginning the creation of what it says is a“reimagined experience.” As such, on Nov. 1 its Ride Park will halt operations for the foreseeable future. “We’re taking the time to plan the right rebuild and will share updates as plans take shape,” the company says in an FAQ on its site. Its mini golf and arcade areas will continue to welcome guests.

More on the noise issues around the ‘Fast & Furious’ coaster

Riders on Universal’s new Fast & Furious: Hollywood Drift.

(Ronaldo Bolanos / Los Angeles Times)

There will be no shortage of updates and news on Universal’s new Fast & Furious: Hollywood Drift coaster in the coming weeks, months and maybe even years, especially as the attraction continues todraw the ire of the park’s neighbors in Toluca Lake. Universal Studios Hollywood held a meeting with nearby residents on its studio lot last Wednesday. The session was closed to the media but was said to attract more than 350 neighbors. I spoke with a number of residents, as well as Universal, after the session, and indications are that the two sides still haven’t settled on a compromise. The issue, of course, stems from the sound of rider screams from the coaster drifting into the residential area.

Universal has promised, through the end of the year, to not begin operating the coaster before 9 a.m., and has also, in response to community feedback, installed a new sound barrier featuring an additional 1,900 square feet of sound absorbing material. The new barrier includes a sail that’s about 63 feet tall and 31 feet wide. But residents I spoke to feel it’s not yet enough. I’ve heard many stories from neighbors in recent weeks regarding the disruption caused to their lives. They range in extremes. A neighbor without air conditioning says they can no longer open their windows. A resident who offers meditation services from their home says their business is now potentially forever impacted. A teen was unable to complete a SAT prep test due to the incessant screaming. Many report insomnia from the rise in anxiety levels. There’s plenty more.

The meeting was said to grow contentious near its end. Residents provided data on how the effects of noise, specifically screams, can cause stress-related responses. Universal is said to have discussed the challenges in further mitigating the sound. County supervisor Kathryn Barger was in attendance and is calling for additional communication between the two sides. “The meeting’s dialogue made clear that the lives of surrounding residents are being impacted and disrupted,” Barger said via a statement. “I respect Universal’s decision to host this forum and listen to the concerns being raised. I encourage all stakeholders to maintain an ongoing honest dialogue.”

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

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Several years ago, DreamWorks Animation veterans Joel Crawford and Januel Mercado pitched the studio an original story centered on friendship and steeped in Filipino culture.

That draft became the animated film “Forgotten Island,” which opened in late September and counts singer H.E.R., Liza Soberano and Dave Franco among its voice cast. The movie focuses on best friends Raissa and Jo, who will soon be separated when Raissa goes to college in the U.S., and the final adventure they take to the fantastical island of Nakali.

The movie opened to a softer $13 million in the U.S. and Canada and has so far made $23.6 million at the domestic box office over two weekends. Globally, “Forgotten Island” has brought in $38.5 million on an $80-million production budget.

That opening haul is lower than the average for original animated films from a major studio, which is about $14.6 million, according to the FranchiseRe movie industry newsletter. But the studio is hoping the movie — which has garnered a strong 95% rating on Rotten Tomatoes — will pick up steam and benefit from the relative lack of animated competition at the box office until the early November debut of “The Cat in the Hat,” developed by Warner Bros. Pictures Animation.

“Forgotten Island” is a big bet for Glendale-based DreamWorks Animation, which like many studios, has largely depended on sequels to drive box office success.

Original animated stories — or original movies at all — have become rarer gambles in Hollywood these days, when sequels and reboots feel like safer options. But Crawford and Mercado knew they wanted to develop a new story together.

The pair, who wrote and directed the film, have been friends for nearly two decades after they met at DreamWorks Animation as storyboard artists. Together, they’ve worked on 2011’s “Kung Fu Panda 2,” 2013’s “The Croods” and 2022’s “Puss in Boots: The Final Wish.” The two bonded over their similar sense of humor and their love for movies, and their longtime friendship was apparent in their easy banter during a joint interview shortly after the “Forgotten Island” premiere last month.

Early on, Crawford and Mercado knew they wanted to tell a story set in the Philippines that celebrated Filipino culture. Mercado is Filipino American and Crawford’s wife is Filipino, so a movie that authentically represented Filipino culture was important to them. In the film, the island of Nakali has many creatures inspired by Filipino folklore, and the characters casually use Tagalog words alongside English.

“There’s a sophistication in terms of respecting that the audience is smart, and doing our part as filmmakers to make sure that the visual storytelling and the context gives everything the audience needs to know,” Mercado told me.

Audiences, too, are more comfortable with content in other languages these days, as I wrote last week about Neon’s Korean-language thriller “Hope.” After all, kids will sing Korean lyrics in K-pop songs, and even “Puss in Boots: The Final Wish” interspersed Spanglish into the story.

“It feels timely to update the way we tell stories, to not treat the audience like, ‘They won’t understand this,’ but really treat them with respect,” Crawford said. “It just felt right to chase authenticity and let go of expectations, especially of what an animated movie should be and has been, and really do something fresh because it’s just coming from who we are.”

In the last few years, animation has been a powerhouse at the box office. Disney and Pixar’s “Toy Story 5” and Universal Pictures, Nintendo and Illumination’s “The Super Mario Galaxy Movie” have each crossed $1 billion at the global box office, two of only five movies to do so this year. In 2024, Disney and Pixar’s “Inside Out 2” was the highest grossing movie in the U.S. and Canadian markets.

Original stories have been tougher. Pixar has recently struggled to match the theatrical success of its prior original films and the slower start for “Forgotten Island” may be a sign of similar hurdles for new stories. But culturally accurate storytelling has paid recent dividends — just look at the success of Netflix’s “KPop Demon Hunters,” which won two Oscars, broke streaming records and sold out theatrical singalongs.

“We believe that there is a platform and space for everyone’s story, for people to feel seen and to know they matter,” Mercado said. “Even when they see a story that is specifically Filipino, if we’ve done our job right, we’ve shown you that you could connect to the story, whether or not you have this experience with the Filipino community or the culture.”

With “Forgotten Island,” Mercado and Crawford also want to push the boundaries of animation beyond its perception as films just for kids. Later this year, films such as Laika’s PG-13 rated “Wildwood” and Brad Bird’s noir film “Ray Gunn” will test the audience appetite for more adult animated and original fare.

“We’re in a time of massive sequels,” Crawford said of stories today. “When you expand where you’re telling them and who is telling them, you naturally get originality. This year has been really exciting for original stories in both animation and live action. You are taking a chance on originality, but it pays off.”

Stuff We Wrote

Film shoots

Number of the week

The Tom Cruise-led “Digger” tanked at the box office last weekend with a domestic debut of $8 million, good enough for fifth place.

The Warner Bros. film was plagued by very mixed reviews from critics, as well as a challenging marketing campaign. The film stars Cruise as an aging oil tycoon whose drilling operations trigger a catastrophic climate change disaster. Worldwide, the film brought in $20 million on a production budget of $125 million.

It’s been a tough theatrical year for Warner Bros., which has seen a string of disappointments before “Digger.” Beyond the cinema, the company is now in the process of being absorbed by Paramount Skydance, with the merger set to finalize Tuesday.

What I’m watching

It’s been yet another busy week, so about the only thing I was able to watch was a few WNBA playoff games. Since the Sparks were left out of the playoff picture again, I’ve sort of adopted the Golden State Valkyries as the next best California team to root for, and what a wild game that was over the weekend against the Las Vegas Aces.

Walt Disney Co. laid off nearly 300 workers this week, the latest wave in an industry-wide consolidation that continues to reverberate throughout Southern California.

Several people close to the Burbank entertainment giant confirmed this week’s cuts, which came as Disney separately offered early retirement packages for older workers. The voluntary separation program is underway, and the number of executives who will exit later this year has not been determined, one of the knowledgeable sources said Friday.

The layoffs this week largely affected the human resources and the technology divisions — a belt-tightening that comes as Disney Chief Executive Josh D’Amaro seeks to put his imprint on the sprawling company and sharpen its focus.

D’Amaro took the reins from former CEO Bob Iger in March, and the former parks chief has begun to organize the company around a “One Disney” approach to break down corporate silos that sprouted with each large acquisition, including Disney’s 2019 takeover of much of 21st Century Fox.

Disney also has been working for the past year to make Disney+ the company’s central streaming hub. As part of that effort, executives have begun to diminish the Hulu service and brand, which sprung to life nearly 20 years ago.

Disney employees are bracing for further cuts. Many expect a significant television division restructuring early next year, which could result in hundreds of layoffs, according to the Wall Street Journal.

Disney’s legal government affairs department also will be downsized, according to a recent internal memo Disney Chief Legal Officer Horacio Gutierrez.

A Disney spokesperson declined to comment.

Disney President Dana Walden, during a Thursday appearance at Bloomberg News’ Screentime media conference in Hollywood, acknowledged the industry turmoil.

Traditional studios and TV networks have shed tens of thousands workers in recent years after the streaming bubble burst and twin labor strikes paused projects.

Production workers in Los Angeles have felt a double-whammy as other states and countries have offered generous tax subsidies that have pulled productions from L.A.

Separately, Warner Bros. Discovery workers are anxious that David Ellison’s planned takeover of their company next week will ultimately result in hundreds of layoffs as the tech scion and his team hunt for $6 billion in cost cuts that they promised investors and prospective debt holders.

The merger will leave the combined company, which will go by the name Skydance, with more than $80 billion in debt.

Walden suggested her company’s cuts would be more modest. She said restructurings were necessary as companies adapt to changing consumption patterns, which have eroded the more lucrative TV economics of yesteryear.

“There is a need to constantly evaluate how you’re structured,” Walden said. “It is extremely painful. We’ve exited colleagues who I’ve worked with for most of my career and it is, in many ways, a harsh reality.”

She described Disney’s voluntary retirement program as a “generous” program to give “long-tenured executives agency and the opportunity to make their own decisions around whether the timing was right to leave.”

“This evolution, it will never stop,” Walden added. “Technology set their sights on our business, and we must survive, and thrive and grow. And that’s what we’re going to do.”