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DISNEY WORLD has revealed the first look at its new holiday resort opening next year.

Opening on July 1, 2027, Lakeshore Lodge will have 967 rooms sitting on Bay Lake.

The resort has a range of different accommodations including Duo and Deluxe Studios, that sleep between two and four guests – each inspired by Encanto and Bambi.

There’s also Resort Studios, which sleep up to four people and are Pocahontas inspired.

The Villas then feature one, two or three bedrooms, sleeping between five and 12 people.

Each has a full kitchen and is designed around Bambi – with original concept art taken from the archives – and Fantasia.

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Or you could book into the Waterfront Lake Houses which are all detached with floor-to-ceiling windows and feature one or two bedrooms.

Each house sleeps between five and eight people and is inspired by Brother Bear as well as lighting inspired by the Northern Lights in the main bedroom.

The final accommodation available is the Presidential Suite & Club Level, which includes the two-bedroom Hidden Willow Suite.

Some Club Level rooms also include access to The Artist’s Nest concierge lounge for Magic Kingdom fireworks viewing.

Of course, the resort has plenty of dining and lounging spots as well, such as Moonglade, which sits on the waterfront and serves locally sourced dishes.

For a quick bite, guests will be able to head to Bay Lake Provisions – an all-day marketplace.

At Paint Out Point Bar & Grill, you’ll find a poolside bar serving sharing plates and drinks.

And finally is the Dandelion Terrace nighttime lounge with a two-story Fantasia art gallery which makes the ideal spot to watch the fireworks over the lake.

As for things to do at the resort, families and guests can head to The Wetlands which has a Lakeshore Lagoon with a spiral slide, Daydream River which is a lazy river and Cypress Point which is a quieter pool with a whirlpool spa.

Kids can also head to Heron Shores climbing area and Otter Springs, an interactive, Pocahontas-themed splash pad.

There’s plenty to see as well, for example in the lobby, there are floor-to-ceiling views of the wetland, as well as an illuminated fiberoptic river through the floor.

Guests will also be able to hop on a direct boat to Magic Kingdom.

Passholders will be allowed to book from October 7 and general booking will open on October 8.

The new series will see how the couple, former Made in Chelsea stars, adapt to family life, returning to work and going on new family adventures

Jamie Laing and Sophie Habboo are returning to Disney+ for a second series of their ‘Raising Chelsea’ series with new faces also joining the show.

Season one, which premiered on Disney+ in April, saw Sophie’s raw journey through pregnancy and the chaotic early days of welcoming their baby boy, Ziggy.

The new series will see how the couple, former Made in Chelsea stars, adapt to family life, returning to work and going on new family adventures.

In a joint statement, Jamie and Sophie said: “We were blown away by the response to the show and are so excited to keep sharing our journey. The experience of working with Disney+ for season one made it easy for us to say yes.

“We’ve always documented our lives over the years and continuing to do this on a bigger scale is just amazing. We hope that fans and viewers carry on enjoying our honesty as we continue to navigate raising Ziggy, together with balancing our family and professional lives. We can’t wait to bring you in more.”

Together with the return of the couple’s mums Penny Baines and Sarah Wigley, the second series will also feature Sophie’s sister Georgia Habboo, and Jamie’s best-friend, Oliver Proudlock.

It is produced by the award-winning production company behind critically acclaimed series ‘Coleen Rooney: The Real Wagatha Story’ and the EMMY nominated ‘Pamela, A Love Story.’

Sean Doyle, VP, Unscripted, Disney+ EMEA, said: “We loved Jamie and Sophie’s pregnancy story in season one and meeting baby Ziggy, and we can’t wait to follow their family in season two.”

Disney+ also announced this week that another former Made In Chelsea star will get a new documentary on their streaming platform.

Documentary makers followed Spencer Matthews at the end of 2025 as he took on his greatest challenge yet – seven full distance 140-mile triathlons across all seven continents in just 21 days.

The feature-length documentary has the working title ‘Breaking Spencer Matthews’ and Spencer said: “This challenge has become about far more than completing seven Ironman’s across all seven continents. What began as an extreme physical pursuit has evolved into a journey of self-discovery and transformation that has tested me in ways I could never have anticipated. There were moments of exhaustion, doubt, and struggle where I had to dig deeper than ever before, treading a fine line between one of the greatest adventures imaginable and life-threatening danger.

“I hope this film inspires people to question their own limits and to see that what feels impossible, physically, emotionally, or personally can often be the very thing that transforms us.”

ENDS

The Magic Castle is getting in on the theme park game.

The famed Hollywood institution is teaming up with Knott’s Berry Farm for its after-hours Halloween event, Knott’s Scary Farm, now in its 53rd year. The Magic Castle will supply the artists and show direction for a production that is expected to run nightly in the park’s recently refurbished Bird Cage Theatre.

The theme park initially reached out to the Magic Castle last year, says Payden Adams, vice president of entertainment for Knott’s Berry Farm, but the castle was in the middle of a leadership reorganization at the time. With that completed, a partnership could finally begin.

“It is just astounding what they’ve done with the Bird Cage Theatre,” says Jessica Hopkins, granddaughter of castle pioneers Bill and Irene Larsen and the castle’s chief operating officer. “Magic Castle magicians have been performing in there for decades. It just felt right.”

The magic shows will take place at the park’s recently refurbished Bird Cage Theatre.

(Kyusung Gong / For The Times)

Curating Knott’s magic show will be Rudy Coby, a resident magician at the Magic Castle. Coby performed at Knott’s about 35 years ago and credits the park in helping him get his start. He says the new show, “Occultum,” will vary by week with different performers lined up throughout the Halloween season. Knott’s Scary Farm begins Sept. 17.

And yet, says Coby, “Not every magician is for this audience.” So what’s the differentiating factor for a Halloween magic show?

“It’s a little more edgy,” Coby says. “You really have to grab their attention. It’s the TikTok generation.”

Some of the illusions Coby says he will bring to Knott’s Scary Farm would be “too intense for the Magic Castle.”

“The ideas I’ve had, with chainsaws and cutting off my limbs, I couldn’t get away with at the Magic Castle,” he says.

“But you can here,” says Hopkins.

The Magic Castle-headlined show is not the only new addition to Scary Farm in 2026. Here are two other reasons I’m looking forward to the event.

Inked: A new maze with killer vintage cartoons

Concept art for the new Knott’s Scary Farm maze, Inked.

(Knott’s Berry Farm)

One of the two new mazes coming to Knott’s Scary Farm will rely heavily on black-and-white, vintage-style animation. Inked, as it’s called, will be set in the 1930s, and was introduced at a media event with a song-and-dance production that recalled Disney’s classic Silly Symphony “The Skeleton Dance.”

The story centers on Mortimer Morbid, a deadbeat, down-on-his-luck animator whose career changes — not necessarily for the better — when it’s discovered his blood can bring his drawings to life. Of course, cartoons infused with blood don’t have the most altruistic desires.

Inked designer Daniel Miller says the maze took two years to create, largely because Knott’s conceived the animation for the walk-through in-house with a team of four. Most every room in the haunted house is expected to feature original media, as the animated creations will be represented both in their cartoon form and as costumed characters.

And it’ll be gruesome.

“We kind of geared it around the notion that they’re bloodthirsty,” Miller says of the killer ‘toons. “We see all the animators in various stages of disembowelment.”

Sheesh. Animators have it hard enough today already.

Expect the unexpected with ‘Voodoo: Bayou’s Edge’ and Unearthed

Concept art for Unearthed, a new Knott’s Scary Farm maze.

(Knott’s Berry Farm)

Knott’s Scary Farm, unlike its main SoCal competitor, doesn’t rely on known film and television properties. That means the event can generally get a little … weirder. You see that in its mazes, as noted above, as well as in its theatrical productions. Also new this year is a show titled “Voodoo: Bayou’s Edge,” which takes place on an outdoor stage. The production centers on a voodoo queen and the mysterious happenings in a cemetery. Knott’s is pitching it as a music, dance-focused show.

And while voodoo can potentially be a culturally sensitive subject to tackle in a theme park, the show comes from the mind of the respected Rovin Jay, who has long been closely involved in the park’s spectacular “Ghost Town Alive!” Expect “big dance numbers” and something “really sexy,” says Adams.

Another new maze, Unearthed, will be set in the present day but takes its cues from films such as “Raiders of the Lost Ark” and “The Mummy” as it deals with a supernatural archaeological dig. Maze designer Jon Asperin says it will have numerous interactive elements, such as effects triggered by guests pulling a lever.

“Having the ability to come up with original stories lets us tap into the nerd in all of us,” says Asperin. “We don’t feel restricted by certain IP or things that may not be appropriate. We get a chance to challenge ourselves with trying out new things that some folks won’t take a risk on.”

This week in SoCal theme parks

The Disneyland attraction Mad Tea Party as it was under construction just months before the park opened. The image is from the documentary “Disneyland Handcrafted.”

(Disney+)

• A must–see Disney history event. Nonprofit creative institution Ryman Arts, in partnership with Santa Ana’s Bowers Museum, will host a talk and cocktail reception centered around a screening of Leslie Iwerks’ documentary “Disneyland Handcrafted” on Sept. 27. It’s a charity event, and a good one, as the panel lineup is top notch. Historian and author Tim O’Day will moderate a talk that includes the film’s producer, Mark Catalena, former Imagineer-turned-historian Tom Morris and current Imagineer Emily “Emo” O’Brien, who oversees creative at Disneyland and is leading the team behind the just-announced makeover of Tomorrowland. Don’t expect any insights on the latter, of course, but do anticipate a lively talk on the evolution of Disneyland. Tickets start at $125 and are on sale now.
• Stay seated on Tiana’s — or else. Disneyland has updated signage around Tiana’s Bayou Adventure, warning guests that they will be removed from the park if they stand up while on the log-flume adventure, reported Times writer Hannah Fry. The changes come less than two months after a 13-year-old boy climbed out of a log flume and fell 50 feet.
• Exciting Disneyland construction news. Big changes are coming to Disneyland, and while many are years away, the positive sign is that the park is wasting no time in getting started. There are now indications of construction in Disneyland’s esplanade between its two parks. This will pave the way for a new parking garage, of which groundbreaking has just begun, as well an entrance experience on the eastern side of the resort. This is the first of many steps, but one that must be completed before Disney begins its wider expansion that could bring attractions such as “Avatar” to the resort.

Ride report

A photo of the Haunted Mansion’s new gingerbread house, as snapped from my ride vehicle.

(Todd Martens / Los Angeles Times)

Merry Christmas! Yes, that’s right, as the Haunted Mansion has been given a Christmas-heavy makeover, as always focused on “Tim Burton’s The Nightmare Before Christmas.” (And yes, before the debate begins, it’s clearly a Christmas movie.) While I prefer the original Haunted Mansion, there are plenty of fun and clever details in the seasonal makeover that still make it a must-experience attraction. The attic scene, for instance, is full of clever nods to Disney history, including a Rolly Crump-inspired melting candelabra man. Each year I wonder if what I’m seeing is brand new, or was always there, such as what appeared to be a tiny bride figurine.

But one change is guaranteed: Each season Disneyland’s team concocts a new gingerbread house for the ballroom diorama. This year’s edition is a giant, candy-infused music box-like creation, which gradually opens as guests glide past it and a skeleton pops out. The concoction is designed in the shape of the Haunted Mansion itself, so it’s a little mansion-within-a-mansion. And, bonus, the room smells like gingerbread.

The best thing I ate at the parks this week

The delicious pumpkin cookie from Disneyland’s Harbour Galley.

(Todd Martens / Los Angeles Times)

I love a cookie, and Disneyland’s Harbour Galley has the best one on the property this Halloween season with its pumpkin creation. They’re small-ish — three or four bites — but come in packs of 6 ($8.49) or 13 ($14.49). They’re soft, slightly chewy and addictive. I love it when I get a little brown sugar crystal in my mouthful. The pumpkin flavor isn’t overpowering. It’s closer to a ginger snap than it is a slice of pumpkin pie, meaning it has just the right balance of sugar and spice. It‘s also, it should be noted, one of the best values at the resort for a dessert item. I get a pack of 13 and have breakfast for a week.

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 Walt Disney Co. stated that it will soon reimagine Disneyland’s Tomorrowland at its fan convention D23. The move has been one fans have long clamored for.

(Todd Martens / Los Angeles Times)

The topic consuming most Disneyland fans for the next few years will be the Tomorrowland reimagining. The project is just getting started, and I’ll refrain from offering a wishlist. Let the Imagineers do their work, I say, although I consider all of it, save for the monorail and Space Mountain, on the table. Gut it. Start over. But reader Peter La Barba of Long Beach wrote in with a request that I wouldn’t disapprove of.

“Whatever they do, I hope they restore the two Mary Blair murals that were in Tomorrowland,” La Barba wrote. “I’d like to see optimism restored to Tomorrowland. I was about 3 or 4 when we went to the park in August of 1955 and I wanted to live in that future. Not the incessant war future of ‘Star Wars.’”

Hear, hear. The murals of animator/fine artist Blair were a wonder, full of children of the world in celebration mode. Flying contraptions! Communication devices! Satellites! Planets! I don’t have an image safe to use, so head over to Disney history site Yesterland for a look. The two murals lasted until the ’80s and ’90s, and replacing them was a mistake that’s only looked more shortsighted over time. As Blair’s work continues to grow in stature, who needs another “Star Wars” painting?

If you’re planning a trip to Walt Disney World Resort in Florida, one of the most affordable hotels has been revealed by an expert, having stayed at the park a staggering 36 times

A devoted Disney World Resort enthusiast has named the best budget-friendly hotel to book when visiting the beloved park, after staying there a whopping 36 times.

Hotels can be one of the most expensive parts of a holiday, even more so when it’s a trip to Walt Disney World in Florida. As one of the most popular family attractions, attracting a staggering 76.7 million visitors last year, holidaymakers can pay up to an eye-watering £4,000 per person on a trip to ‘The Most Magical Place on Earth’.

For a family of four, that could amount to £10,000 for a 10-night stay at the bucket-list destination, and for many, it’s worth it. Yet there are plenty of ways to keep those costs in check, including booking a budget-friendly hotel, without sacrificing on the experience.

Mark Patterson, who has been to Florida’s Disney World Resort a remarkable 48 times over the past six years and stayed at 36 different hotels during the trips, said there’s one particular area that offers an affordable option. “The Flamingo Crossings area is my favourite, it’s newer, and the hotels are all new, and they all have free breakfast. They offer good, reasonable prices there.”

While it’s a budget-friendly option, he did point out that, due to its location, visitors will need to drive, get a lift, or hop on a shuttle bus to reach the park each day. Nevertheless, with free breakfast thrown in, it could well be worth travelling a little further to keep the costs down.

During his own trips, Matt, who is based in Southern California, targets an average hotel price of around $100 (£74.71) to $200 (£149.42) per night to keep things affordable, while keeping a close eye out for any hidden fees. Another area he recommends is Disney Springs.

He explained: “The Disney Springs area has a range of hotels, right there within walking distance to the shopping area, and it’s where pretty much everybody goes to eat at night. It gets very busy and popular, so being able to walk to that is very handy.

“However, the bad thing about that, or something you have to trade off, is that only one of the hotels offers a free breakfast; all the others you have to pay for. So I might get a hotel for around $100 (£74.71) per night, but will then have to pay for breakfast, which is $28 (£20.92), along with paying for parking, which can be around $25 (£18.68) and a resort fee of around $40 (£29.88).

“So it can literally double the price of what I thought I was going to pay. Disney Springs area is great, but you’ve got those little hidden fees.”

In a bid to help holidaymakers save even more on their trip to Disney, Matt also recommends booking a hotel that has a kitchenette. “All the restaurants at Disney are expensive, so the hotels I like have a kitchenette with a stove and a full-size fridge, so you can buy food and cook it,” he shared.

“You can then take it into the park with you, and that can save a lot of money. Even if you just take two meals in for the family, that can save you easily $100 (£74.71) to $200 (£149.42) per day.”

Mark documents his numerous visits to Walt Disney World Resort on his website, DDadBudget, offering useful tips to fellow fans.

Do you have a travel story to share? Email webtravel@reachplc.com

The Disney theme parks are entering their fan feedback era.

This past weekend’s all-things-Disney fan event at the Anaheim Convention Center was the first with Josh D’Amaro installed as CEO. And D’Amaro’s message to fans was clear: We’ve heard you, we know what you want and we’re working on it.

That means Disneyland Park is at long last getting its Tomorrowland makeover, a top fan request for much of the last decade-plus. Walt Disney World’s Animal Kingdom is fixing its broken yeti, the star of thrilling roller coaster Expedition Everest that has been busted for about 20 years. Epcot’s fan favorite purple dragon Figment will soon be starring in a brand new attraction that resurrects his bearded creator, Dreamfinder, saving fans from suffering through its current half-hearted iteration in which “Monty Python’s” Eric Idle essentially treats the beloved character as a pest. (I ride it because I adore Figment, but I cringe throughout, and not just because at one point we’re annoyingly blasted with the smell of a skunk.)

And Disneyland Paris is yanking the marketing-driven “Star Wars” overlay Hyperspace Mountain from Space Mountain to return the coaster to its superior Jules Verne-inspired original. Disneyland officials take note: We don’t want Hyperspace Mountain here, either, but at least ours isn’t semi-permanent.

The long-broken yeti on Walt Disney World’s Expedition Everest will eventually be fixed. The above is an artist rendering of the attraction released by Disney Experiences.

(Disney)

It’s a sharp move, and may seem like a no-brainer, but following fan feedback doesn’t come without some risks. Fans, after all, rarely know best, often prioritizing nostalgia and lore over evolution. And Walt Disney Imagineering has remained one of the most respected corporate creative institutions for a reason. In short, fans, don’t let this go to your head.

But D’Amaro is also showing that he understands something not all Disney leaders have appeared to be well-versed in. And that’s the fact that the best IP of the Disney theme parks are the parks themselves.

Disneyland Park’s biggest selling point is not “Star Wars,” “Snow White and the Seven Dwarfs,” “The Princess and the Frog” or “Peter Pan.” It’s Disneyland itself, a temple dedicated to our narrative myths and communal play.

For too long Disney parks seemed to be, if not led, steered by its marketing teams. A franchise here, a franchise there. That thinking led to lesser designs such as a misguided remake of Paradise Pier into Pixar Pier at California Adventure, in which Pixar characters are basically treated as decals. It’s led me to argue in the past that Disney’s IP was squeezing the theme out of its theme parks.

Tomorrowland in its current state is a mess of ideas with a number of underutilized buildings.

(Allen J. Schaben / Los Angeles Times)

Disneyland last attempted to revamp Tomorrowland in 1998, and while the concept was on point — a retro-futuristic, Verne-inspired look of sci-fi fantasy — the company didn’t fully commit to it and the land has largely been a mess of ideas since. Space Mountain remains a symbol of optimism dedicated to the joy and unpredictability of galactic exploration. But the rest of the land, save for the monorail, one of Disneyland’s most recognizable monuments, should be considered fair game.

Tomorrowland has become such an eyesore that even Disneyland President Jill Estorino recognized its negative press at a pre-D23 media event. “Painful to read,” she said to the assembled media as she rattled off stories observing the “little tomorrow in Tomorrowland” and describing the land as “tired.” Estorino conceded it was “all true.”

That made this past weekend’s announcement even more of a surprise. The reimagining, as Disneyland is calling it, is in good hands. Imagineer Emily “Emo” O’Brien, the creative producer overseeing the Disneyland Resort, recently worked on Fantasy Springs at Tokyo Disneyland, a highly acclaimed modern take on a Fantasyland-like area home to fresh takes on “Frozen,” “Tangled” and “Peter Pan.” O’Brien has been with Imagineering for about 30 years, and one of her first projects was hand-shaping the armrests of the approximately 2,000 seats of Disney California Adventure’s Hyperion Theater. The little details at a Disney park matter.

Promotional art for a reimagined Tomorrowland released by Disney. The project, according to Imagineers, is in its infancy.

(Disney)

“I grew up in my career with this legacy,” O’Brien said. “I understand the kind of gravitas and the responsibility that I have with our team to guide us through this journey of reimagining the only Tomorrowland that Walt [Disney] actually envisioned, designed and walked in.”

A remade Tomorrowland, to be clear, is years away. No questions were answered on Tomorrowland at D23, so fans will have to wait to hear what this means for the long out-of-work PeopleMover. And as previously reported, Estorino said the reworking of the original Disneyland area will come after California Adventure opens its “Avengers” and “Coco” attractions. The former two were given a 2028 date, while “Coco” still does not have an opening window. After Tomorrowland, the resort intends to tackle “Avatar.”

The fan favorite purple dragon known as Figment at Walt Disney World’s Epcot. The attraction Journey Into Imagination With Figment has been earmarked for renovations.

(Todd Martens / Los Angeles Times)

At a Disney parks presentation Saturday evening, the Tomorrowland announcement received arguably the largest applause. But it was closely followed by the reveal of a reworking of what is currently known as Journey Into Imagination With Figment at Epcot. That ride has been a shadow of its former, glorious self since the late ’90s, even as the squeaky-voiced Figment has remained a popular mascot for the park. That’s no real surprise, but I, of course, am biased, as I have a Figment tattoo and the character was my childhood favorite.

Figment is a dreamer, his very existence the result of a dreamer. While I don’t necessarily trust the memory of my 10-year-old self, I remember Figment becoming an astronaut one moment and pretending to be a ship’s captain in the next. Visions of that ride are burned into my brain. Figment was a reminder to a video-game-obsessed kid that while you can’t do everything, you can at least envision anything.

And Imagineering appears to be doing just that at the moment. The projects, of course, will have to be conceptualized, designed and built, and there’s still time to make mistakes, such as attaching a known IP to the reimagined Imagination (don’t do it).

Concept art for the Maleficent attraction coming to Villains Land.

(Disney)

Tomorrowland has been flawed since the early 2000s and Disney can survive without touching it. Its attractions — Star Tours, Autopia, Buzz Lightyear Astro Blasters — still, after all, draw crowds. The commitment to redesign it may be a crowd-pleasing one, but it’s also a reminder, a symbol of understanding.

If something’s broke, you correct it. You don’t let it sit in a derelict state simply because the financial math doesn’t justify new guest spending or increased crowds. The Disney parks are a home away from home for many a visitor, and they should be treated as such.

D’Amaro, of course, as CEO will be evaluated on much more than simply how he leads the parks. But he and and his partner Thomas Mazloum, the chairman of Disney Experiences, came to this D23 with one message: We’re one of you. Expect the Disney die-hards to hold them to it.

One more D23 thought

An Imagineering research and development project in which Grogu and the character of Hugo are represented as robotic figures serving guests.

(Todd Martens / Los Angeles Times)

The Imagineering booth on the convention floor was full of delights and wonders, especially in its research and development section. I tend not to devote a ton of newsletter space to R&D, only because I’d rather focus on what guests can or will be seeing in the future, but the two “Star Wars” attractions shown not only deserve their props, but belong in Star Wars: Galaxy’s Edge.

One is a no-brainer, and it’s a snack stand featuring Grogu and Hugo from “The Mandalorian and Grogu.” The latter, voiced by Martin Scorsese in the film, is largely asleep and snoring in the food truck-like stand, while Grogu uses the Force to whisk orders across the counter. Fan were transfixed. And this seems like the perfect mix of corporate and creative desires, as no doubt many a Disney guest would order an extra soda if it came with a show featuring “Baby Yoda.”

An Imagineering research and development project featuring robotic Anzellan mechanics that can interact with guests.

(Todd Martens / Los Angeles Times)

The other was an Anzellan work bench. Anzellans are tiny creatures introduced in “Star Wars: The Rise of Skywalker” known for their engineering skills, and here they were seen working on droid parts. But they also interact with guests.

Get close enough, and they’ll stop what they’re doing to quizzically look at you, ask you a question or maybe even repeat what you said to them. They’re as lifelike a robotic as Disney ever created, and the 14-acre Galaxy’s Edge is never not in need of more activity. Here’s hoping these little guys find a destination in the parks soon.

This week in SoCal theme parks

The vibrant, dance-focused “Magic Happens” parade will return to Disneyland in 2027.

(Allen J. Schaben / Los Angeles Times)

• Halloween is here! While the temperature may not feel like it, the fall Halloween season has arrived, and the Disneyland Resort’s Oogie Boogie Bash begins Tuesday evening. Additionally, the resort-wide Halloween Time launches Friday. There are still tickets available for many an Oogie date, and new this year is a Haunted Mansion-inspired street festival as well as the arrival of Yzma, the villain from “The Emperor’s New Groove.” Oogie is a good time, especially if you haven’t done it before.
• Looking ahead to Disneyland in 2027. With the new Avengers Campus not opening until 2028, the Disneyland Resort in 2027 will rely heavily on entertainment to lure locals back to the park. That means the fantastic “Magic Happens” parade is returning before next summer season. While it has the requisite mix of Disney characters, it’s also notable for its use of contemporary dance. Also returning is the original “World of Color” to Disney California Adventure and a refreshed version of the fireworks show “Remember… Dreams Come True” at Disneyland Park. Both are expected in February, shortly after the holiday season concludes.
• A blow to the in-park games of Disneyland. Reports surfaced Monday that the Walt Disney Co. was killing the Play Disney Parks app, which is home to the enjoyable Star Wars: Datapad game Batuu Bounty Hounters. The app was largely designed to give fans activities while they waited in lines, and was also meant to turn Star Wars: Galaxy’s Edge into a live-in video game. The app will go offline Sept. 16, according to Disneyland officials.
• A new window on Main Street. Former Disney CEO and future Los Angeles Lakers co-owner Bob Iger has received a window on Disneyland’s Main Street, U.S.A. The honor is reserved for those who have heavily impacted the Disney parks, and Iger certainly qualifies, as his many acquisitions — Marvel, Pixar, Lucasfilm — changed the tenor of Disneyland and beyond. Look for Iger’s window above the Emporium gift shop, where he is heralded as a “new century builder.”
• Good news for Disneyland’s ‘Monsters, Inc.’ fans. With the announcement that Disney California Adventure’s “Avatar” experience won’t arrive until after Tomorrowland’s redo, the attraction Monsters, Inc. Mike & Sulley to the Rescue! will get to remain open a little longer. Previously, the attraction was supposed to close in early 2027, but Disneyland officials now say the dark ride will remain open for the foreseeable future. A closing window will be announced at a later date.

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.

A still from the Smugglers Gambit game in Fortnite.

(Image from Disney)

The Disney theme parks this past weekend deepened its connection to “Fortnite” as part of a partnership with Epic Games. The latter’s Unreal Engine already fuels Millennium Falcon: Smugglers Run, as well as a new Pirates of the Caribbean audio-animatrionic. And now guests who utilize the Disneyland app and connect it to their Epic Games account can receive in-game rewards for experiencing the Millennium Falcon attraction, including the recovery of a unique crate on the ride.

I had a chance to play the “Fortnite” experience inspired by the ride, “Smugglers Gambit,” and appreciate the way park worlds are being used to fuel connection to them at home. “Fortnite,” admittedly, is not my game of choice, but “Smuggler’s Gambit” was more robust than I expected, and I’m happy see aspects of the fictional planet of Batuu represented in the digital space. Business writer Samantha Masunaga has more on Disney’s relationship with Epic Games.

FCC faces scrutiny as Disney claims licence renewal order is tied to political motives against ABC’s coverage.

Disney has filed a lawsuit against the Federal Communications Commission (FCC) amid efforts to stop an early licence review for eight ABC-owned and -operated stations around the United States.

In the lawsuit filed in a federal court in Washington, DC, the media giant alleged the early renewal is an effort by the administration of US President Donald Trump to intimidate the company after infuriating the president.

In April, the FCC ordered the network’s stations, which include its affiliates in New York and Los Angeles, to file their licence renewals ahead of schedule despite the fact that for six of its stations, the current term isn’t even halfway finished. The station with the closest deadline is WTVD in Durham, North Carolina, but that is not until December 2028. The network says the move is part of a political “retaliatory campaign”.

“Again and again, the Administration has attacked ABC’s speech – the stories its journalists report and the viewpoints its network programs air. Over time, those attacks have escalated into express demands that ABC be stripped of its broadcast licenses because of its speech,” the 46-page complaint said.

The suit presented a wave of Truth Social posts that the president posted in 2025 threatening the network, among them one saying that the network “should lose their Licences for their unfair coverage of Republicans and/or Conservatives”.

The FCC said the April licence renewal call was a result of diversity, equity and inclusion practices at ABC’s parent company, Disney, and an investigation into the ABC network’s talk show programme The View.

In March, FCC Chairman Brendan Carr threatened broadcasters, saying stations airing “fake news” could lose their licences amid Trump’s frustration with coverage of the US-Israel war on Iran.

Not long after, Trump demanded that ABC fire late-night host Jimmy Kimmel over comments he made before the White House correspondents dinner shooting in which he called first lady Melania Trump an “expectant widow”. Trump responded to them after the shooting, characterising them “a call to violence”.

Free speech advocates have praised ABC for the lawsuit.

“It’s about time for someone to take Brendan Carr and his FCC to court over their endless campaign of intimidation and retaliation against journalism that displeases Carr’s thin-skinned boss,” Seth Stern, director of advocacy at the Freedom of the Press Foundation, told Al Jazeera.

“No matter what pretexts he asserts, Carr’s modus operandi is clear: to serve as Trump’s censorship tsar and abuse his office to repeatedly and exclusively target Trump’s perceived adversaries in the media, whether through sham proceedings or threatening letters and X posts.”

The network called for a “speedy hearing” in the complaint as well as a temporary restraining order.

News of the lawsuit sent Disney’s stock surging in morning trading by 1.1 percent.

DISNEY has confirmed all of the exciting new rides and cruises launching in the next few years.

The announcements were part of Disney’s huge annual D23 event, which talks all things Disney when it comes to films, TV shows and, of course, the theme parks.

The upcoming attraction openings include Disneyland Paris, Disney World and the Disney cruises.

From new dark rides and log flumes, to four new cruise ships and a UK-based stage show – here’s the rundown on all the top attraction announcements:

Disneyland Paris

A number of new announcements were made about Disneyland Paris and some of the park’s upcoming attractions.

Already in the works is a new Lion King-themed water attraction, with three drops including a 15.8metre plunge from Pride Rock.

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Along withDisney‘s first audio-animatronics figure of Scar, the ride will be at the centre of the first immersive world based on The Lion King.

The new land will sit next to the World of Frozen, transporting visitors to the African savanna.

Once completed, the zone will span 30,000sqm and have the log flume alongside a shop, restaurant and character experiences.

Next year, Wilderness Explorers Sky Swings will open, which will be the first attraction at Disneyland Paris inspired by the Up film.

The park will also retire the Star Wars themed Hyperspace Mountain and reimagine the attraction as Space Mountain: De la Terre à la Lune.

It first opened in 1995 based on Jules Verne’s novel “From the Earth to the Moon” before becoming Hyperspace Mountain in 2017.

The attraction is now set to revert back to its original theme, closing at the end of next year for a few months.

And last but not least, Disneyland Paris will also be getting a new daytime parade.

The parade will feature Aladdin, The Princess and the Frog, Tangled and Coco and will launch in 2028.

It will be the first new parade at the park since 2017.

Disney World, Florida

Walt Disney World in Orlando, Florida is set for several new attractions.

Excitingly, there will be a new Villains Land in Magic Kingdom, home to two major attractions including a Maleficent rollercoaster and a Magic Mirror dark ride.

The Maleficent rollercoaster will take visitors through an enchanted briar surrounding Maleficent’s mountaintop fortress, with yet-to-be-revealed “elements never attempted before.”

The other attraction – Magic Mirror – will be a dark ride with lots of Disney Villains.

Disney stated: “You’ll find the Magic Mirror where the Evil Queen keeps him in the catacombs beneath her pristine palace. After making your way to him, he’ll magically transport you into his mystical Mirror Realm to see things on the other side of the mirror. 

“There, in his ethereal realm, you’ll be transfixed by countless Disney Villains conjured in ways only the Magic Mirror can do. 

“A combination of special effects and physical set pieces will bring his Mirror Realm – and these iconic Villains – to life.”

Disney added: “ If you dare enter the forest of Villains Land, you may soon come across a Wishing Well that’s been torn asunder. 

“Under most circumstances, a Wishing Well would indicate pure and good energy at work, but something dark happened to this one.

“Once upon a time, someone made an evil wish here – a wish so evil it corrupted the stone and broke open the structure, spreading the Well’s poisoned magic throughout the forest.”

In addition to the two major attractions, there will be shops and restaurants.

Magic Kingdom will also be getting two Piston Peak rides in Frontierland, including Miss Fritter’s Daredevil Spin-Along inspired by the “Diva of Demolition” from Cars 3.

The ride will feature a “huge school-bus-sized animatronic” who hosts a stampeding bash at her “wildest demolition derby yet”.

The other attraction will be Cars Ridge Run Rally, which will be a quest to find “the wildest racer in the wheelderness”.

The ride will go through scenes of America’s national parks, as well as a climb up Piston Peak itself before riders then plummet down toward a geyser field.

Over in the new land of Tropical Americas in Animal Kingdom, there will be a new Indiana Jones Ride with audio-animatronics figures and an original storyline where  guests are transported into the world of the ancient Maya.

Called Indiana Jones and the Myth of the Jade Serpent, riders will beneath under an  ancient temple ruin before heading off on their journey.

Also in Tropical Americas will be the new El Carrusel de los Animalitos - a carousel with 22 hand-carved animals inspired by Disney and Pixar stories.

Animal Kingdom will launch a new family-friendly Encanto Ride as well, called Antonio’s Fiesta de Encanto.

When visitors enter the house, they’ll board a ride vehicle which will resemble the different pieces of furniture assembled by the power of Casita.

Inside, the space has been transformed into a rainforest with more than 50 animals and guests will travel through different rooms to see them all.

A part of Monstropolis will also open at the theme park next year, while work continues to build a “door coaster”.

The new attraction will be a show at the Glob Theatre called “Welcome to Monstropolis”, with the monsters in the show introducing visitors to Monstropolis.

There will be a new restaurant, Archie’s Scare Pig Pizza, too while next door, will be the Monsters University Alumni Club.

There will be Harryhausen’s Restaurant too, where visitors can see the spot that was a part of Mike and Celia’s most unforgettable dates.

There will even be the famous sushi chef brought to life with a new audio-animatronics figure.

Forbidden Mountain in Animal Kingdom will also be upgraded with a new Yeti audio-animatronic.

Over in EPCOT, Spaceship Earth is getting an update with the storyline of the ride reimagined.

Disney cruises

Disney Believe will be Disney Cruise Line’s newest ship but will also be the final ship in the Wish class.

It will launch in late 2027 and inside passengers with a Moana-inspired Grand Hall, Tinker Bell on its bow and Woody and Buzz Lightyear on the stern.

Attractions on board the ship will feature Disney Animation’s Encanto, Frozen, Snow White and the Seven Dwarfs, Moana and The Little Mermaid.

As for the stern, guests will spot Woody and Buzz Lightyear from Toy Story.

Disney has also announced three new ships that will begin launching in 2029 – this will increase the cruise line fleet to 13 ships in total.

After Disney Believe – part of the Wish Class – launches next year, there will Disney Cruise Line will move on to a new ship class.

As part of this new class, there will be three ships that will be bigger than the classic ships but smaller than the newer ships.

Little other details have been revealed about the ships but Disney commented that “there are amazing opportunities to visit new places and reach brand new audiences than ever before”.

New West End show

Disney also confirmed that The Greatest Showman stage musical will open at London’s Theatre Royal Drury Lane in spring 2027.

The show will replace Disney’s Hercules, which is due to end on September 5.

It will feature all the original film anthems including ‘This Is Me’, ‘Rewrite the Stars’ and ‘A Million Dreams’.

Longtime Disneyland fans are finally getting one of their top theme park wishes. The aging Tomorrowland will soon undergo a large-scale overhaul, one that will include brand new attractions.

Walt Disney Imagineering, the arm of the company devoted to theme park experiences, announced the intent to reconceptualize the original Disneyland area at its all-things-Disney fan convention D23, which kicked off Friday in Anaheim. Many details — and questions — remain, and Imagineering stressed that the project is in its infancy, but it’s one the Disneyland faithful have clamored for.

“We are going to reimagine Tomorrowland,” said newly installed Disneyland President Jill Estorino at a pre-D23 media event. “It is coming. We are finally committing to it and doing it.”

Tomorrowland has long vexed Disney designers. Park founder Walt Disney led a major overhaul before his death in 1966, and the land again went under scaffolding in the late ‘90s. The problem: Theme parks are built to last, and the future moves fast. As Disney himself once said, “Tomorrow is a heck of a thing to keep up with.”

Promotional art for a reimagined Tomorrowland released by Disney. The project, according to Imagineers, is in its infancy.

(Disney)

Today, Tomorrowland is home to a number of popular attractions — Space Mountain, Star Tours and Autopia among them — but is also littered with underutilized buildings and a dead PeopleMover track. The latter closed soon after Tomorrowland’s 1998 refresh as the Rocket Rods, one of the shortest-lived rides in Disneyland history.

The reimagined Tomorrowland, said Imagineer Emily “Emo” O’Brien, won’t ignore its history, noting the team has been researching Disney’s original thesis. “We were inspired by his vision of Tomorrowland being a vista into wondrous worlds, and we really garnered the sense of optimism that was at the core of everything he was thinking about.”

And yet the future Tomorrowland will have “new attractions for sure,” said O’Brien, as well as more open, breathable spaces for guests. “We really want to keep the heritage and the responsibility to honoring that legacy at the center, but we have to evolve it for our new generations,” O’Brien said.

Tomorrowland is home to popular attractions such as Autopia.

(Allen J. Schaben / Los Angeles Times)

The Disneyland Resort is on the verge of a major transformation over the next decade or so, of which Tomorrowland is just one project. Estorino said the reworking of the original Disneyland area will come after the completion of “Avengers” and “Coco” experiences currently under construction in Disney California Adventure, but before that park’s addition of an “Avatar” experience.

In fact, many of Disney’s North American theme parks are targeted for changes in the coming years. Here are some highlights of this year’s D23.

Rides announced for Walt Disney World’s Villains Land

Concept art for the Maleficent attraction coming to Villains Land.

(Disney)

Disney pulled back the curtain on its Villains Land — yes, that’s its official name — coming to Walt Disney World’s Magic Kingdom. And Disney is going dark, creating a mysterious, cursed environment that Imagineer Caroline May says will take inspiration from the woodlands of “Snow White and the Seven Dwarfs.” There’s a backstory, involving a wishing well that was corrupted by a stranger’s evil desires that have caused poisoned magic to envelop the forest.

But let’s talk about the rides. There are two, and Disney is thinking big. The centerpiece attraction is a roller coaster that will include an encounter with Maleficent atop her mountaintop fortress. The second is a dark ride into the catacombs of the Evil Queen’s palace, where the Magic Mirror will conjure visions of many a Disney villain.

The villains, said May, a self-described “art school emo indie Goth girl,” are also stylish. So expect the non-forest parts of the land to feel a bit refined. “The villains have high standards,” May said. “They have impeccable taste.”

Orlando’s version of Cars Land gets its close-up

A model of Piston Peak, Walt Disney World’s answer to Cars Land, was revealed at D23.

(Todd Martens / Los Angeles Times)

Walt Disney World’s answer to Anaheim’s Cars Land began with doubts from fans, largely because it was replacing the Magic Kingdom’s Rivers of America and Tom Sawyer Island, two historic park attractions. Here in SoCal, those spaces represent the soul of Disneyland, but the Magic Kingdom is a different beast and has sorely needed new attractions. What Imagineers showed at D23 should, if built to the level of detail revealed in a model, calm many nerves.

Piston Peak, as the land is to be called, looks fantastic. Imagineer Jason Grandt says the area was heavily inspired by Rocky Mountain National Park as well as the painterly vistas of plein air artists and the murals of Thomas Hart Benton. Realistic, but also vibrant, animated and colorful. It will feature transitions through lush forests, majestic red rocks and even snow capped mountains.

The showcase ride has been known. It’s a sort of high-speed run in an all-terrain vehicle around the landscape — over bridges, through tunnels and around colorful geysers. It will frame the entire land, also home to a small family attraction with dancing, spinning cars in a demolition derby setting.

Avengers Campus expansion opens at Disney California Adventure in 2028

Avengers Infinity Defense and Stark Flight Lab, the two new attractions coming to Disney California Adventure that will essentially double the size of Avengers Campus, will open in 2028, according to Imagineer Brent Strong. The new attractions will complete the land.

Infinity Defense is pitched as a centerpiece of the land, and will feature Marvel actors such as Robert Downey Jr., Jeremy Renner, Anthony Mackie and Chris Hemsworth. The ride is expected to rely heavily on 3D effects and high-definition screens, but Strong made clear that there will indeed be large-scale physical sets on the ride. It is a dark ride through the multiverse to take on a battle with King Thanos, and guests will be placed in the role of assembling the Avengers.

Stark Flight Lab was shown at D23 as sitting next to Infinity Defense. The ride is more of an amusement park-like thrill attraction, in which guests will sit in two-person pods and then attach to a mechanical arm that will lift them into the air and attempt to simulate sensations of flight.

A “Coco” boat ride for all

While Disney didn’t reveal a release window for the upcoming “Coco” boat ride at Disney California Adventure, Imagineers did note it would be a family attraction without a height requirement, which will be especially needed after the park closes its “Monsters, Inc.”-inspired ride next year to make way for “Avatar.” The ride will be set about one year after the original film.

The narrative of the attraction will center on Miguel and his great great grandfather, musician Héctor Rivera. Guests will enter a museum dedicated to Rivera and then explore the Land of the Dead via Miguel’s memories. Expect a vibrant, colorful attraction that Imagineers said will nod to classics such as Pirates of the Caribbean and Haunted Mansion in its reliance on audio-animatronics and open-to-interpretation dioramas.

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.

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 his first address to the Disney faithful as chief executive, Josh D’Amaro pledged that Walt Disney Co. would create new stories and experiences at the D23 fan event Wednesday night in Anaheim.

D’Amaro was greeted like a rock star during the Burbank media giant’s film and TV presentation as the assembled crowd of more than 12,000 Disney super fans at the Honda Center gave him a rousing round of applause and cheers. He beamed at the audience, while clasping his hands together in front of him.

“I believe that in order to lead this company, you have to understand what it actually feels like to be a fan,” he said onstage. “And, I do. ”

D’Amaro is no stranger to the D23 stage; in his past role as parks chief, he would give updates on the latest news for the experiences division.

But now, as CEO, he said the company would deepen its connection with fans by continuing to develop fresh stories and new experiences.

“We are not here waiting for the future,” he said. “We’re building it … we’re actually building it right now.”

While Disney unveiled several upcoming original stories, including an animated supernatural flick from Pixar called “Ghost Market” set for release in spring 2028 and “Clay,” a Disney Animation film coming later that year about a mentor-mentee relationship, many of its projects are related to existing franchises.

The company unveiled details about Pixar’s “Coco 2” and “Incredibles 3,” both of which got huge applause from the audience, as well as a live-action “Lilo & Stitch 2.” Fans cheered for the return of the Jonas Brothers reprising their original Disney roles in “Camp Rock 3.” Even a teaser from “The Bluey Movie” elicited screams from the largely adult audience.

Earlier in the day, Disney executives revealed additional plans about its streaming strategy during a series of panels.

The company plans to lean more on creators with its new Verts vertical video feed on Disney+, a new feature designed to increase engagement. So far, it has grown in popularity among users, said Erin Teague, executive vice president of product management at Disney Entertainment and ESPN.

“What we’re seeing is as users are engaging with their vertical video experience, they are actually engaging in the overall product experience, double the amount of time,” she said onstage. “That means that we’re meeting users where we are.”

The company also plans to invest more in local international content to help grow the Disney+ service around the world. Disney has seen its local Korean shows perform well in Asia, as well as Brazil, executives said. And shows that do well in one country can often be remade in other regions.

Over the next three years, Disney plans to roughly triple the number of local original series on Disney+.

Marvel’s new X-Men are ready for their close-up — finally. The cast of the upcoming superhero film took the stage together for the first time Friday night during the Disney Entertainment Showcase at D23.

Marvel Studios President Kevin Feige capped off his portion of the presentation by formally introducing Sadie Sink, whose role in “Spider-Man: Brand New Day” had been kept under wraps before its release, as Jean Grey. Then, along with “X-Men” director Jake Schreier, they welcomed the rest of the cast.

Joining Sink in “X-Men” are Kit Connor as Cyclops, Christopher Abbott as Professor Charles Xavier, Samara Weaving as Emma Frost, Inde Navarrette as Rogue and Maya Boyd as Storm. Adam Driver, who appeared at the event in a recorded video bit, will be playing Nathaniel Milbury, better known to fans as Mr. Sinister.

“X-Men” is expected to hit theaters May 5, 2028.

Held at the Honda Center, the Disney Entertainment Showcase is one of the marquee presentations of the three-day D23 fan event where the various arms of Walt Disney Studios — including Lucasfilm, Pixar and Disney Animation — take the stage to promote their upcoming film and television projects. New CEO Josh D’Amaro received a rock star’s welcome from the more than 12,000 Disney faithful attending this year’s showcase, which was emceed by “Zootopia 2” stars and self-proclaimed “super fans” Ke Huy Quan and Ginnifer Goodwin.

Among the stars tapped to help promote their upcoming projects were Anne Hathaway (“Princess Diaries 3”); Joe, Kevin and Nick Jonas (“Camp Rock 3”); Benjamin Bratt (“Coco 2” and “Kingdom Hearts IV”); Kathryn Hahn (“Tangled”); Robert Downey Jr., Chris Evans and Hayley Atwell (“Avengers: Doomsday”); Ryan Gosling (“Star Wars: Starfighter”); and Kristen Bell, Idina Menzel and Josh Gad (“Frozen III”).

Here are the biggest reveals and takeaways from Disney’s studios showcase.

Marvel’s television future remains unclear

As expected, Marvel Studios turned its spotlight to “VisionQuest,” the upcoming Disney+ series starring Paul Bettany (Vision) and James Spader (Ultron). Picking up after the events of “WandaVision,” the show will see Vision “beginning to ask rather more complicated questions” about his identity and humanity, according to Bettany.

After several movie announcements at San Diego Comic-Con last month, fans had been anticipating Marvel’s D23 presentation would focus on its series slate. But “VisionQuest” was the only TV show represented at the event. (Marvel’s presentation also included a new “Avengers: Doomsday” clip and a mention of the upcoming game “Marvel’s Wolverine.”)

The lack of new series announcements, along with the recent cancellation of “Wonder Man” Season 2 and reports that Marvel is cutting back on live-action Disney+ shows, has cast a shadow on the MCU’s TV future. “VisionQuest” will premiere Oct. 14.

‘Star Wars’ fans still love Hayden Christensen

Lucasfilm President Dave Filoni brought the cast and creatives of “Ahsoka” Season 2 and “Star Wars: Starfighter” for his portion of the showcase, along with new footage from both projects.

When “Ahsoka” star Rosario Dawson invited Hayden Christensen (Anakin Skywalker) and Eman Esfandi (Ezra Bridger) to join her on stage, fans had an especially warm welcome for the prequel trilogy star.

“As always, it is such an honor to get to play Anakin Skywalker,” said Christensen. “In this new season. Anakin continues to advise Ahsoka. He challenges her and pushes her to answer the most important question in her life: Are you or are you not a Jedi?”

“Star Wars: Starfighter” director Shawn Levy, left, and Ryan Gosling, who is showing the symbol of his character Kade on his jacket.

(Kevin Mazur / Getty Images for Disney)

Director Shawn Levy and Ryan Gosling were on hand to discuss “Star Wars: Starfighter,” which will be set during a time period in the galaxy far, far away that has not yet been shown before. Gosling plays Kade Auberon, a Starfighter pilot (and possible mechanic), in the standalone film that will be set some time after the sequel trilogy.

Disney is leaning on the magic of nostalgia in live-action and animation

Mira Sorvino, right, and Lisa Kudrow appeared onstage as Romy and Michele, respectively, to tease their sequel.

(Jesse Grant / Getty Images for Disney)

Much of Disney’s studio showcase focused on sequels of franchises past and present. “Romy and Michele 2” (2027) stars Lisa Kudrow and Mira Sorvino showed up in character to tease their upcoming sequel to the much-loved 1997 original, proclaiming they were now Disney princesses.

“Princess Diaries” star Anne Hathaway made an appearance to reassure fans the team was hard at work to make sure “Princess Diaries 3” was getting done right, while “Camp Rock” stars Joe, Kevin and Nick Jonas came to plug “Camp Rock 3” and its new stars. A brief first-look teaser for the live action “Tangled” (2028) concluded on a shot of Kathryn Hahn as Mother Gothel calling out to Rapunzel, right before the “Agatha All Along” star took the stage.

Even one of Disney’s oldest characters is getting a revival, thanks to filmmaker Jon Favreau. The “Mandalorian and Grogu” director shared a first look at his miniseries, “Oswald the Lucky Rabbit,” a hybrid live-action and hand-drawn 2D animated show expected to hit Disney+ in February.

On the animation side, Pixar’s Pete Doctor came armed with news about “Incredibles 3” (2028) and “Coco 2” (2029), while Disney Animation’s Jared Bush announced “Zootopia 3” before turning it over to “Frozen III” (2027).

According to Benjamin Bratt, who is returning to voice Ernesto de la Cruz, “Coco 2” is set some time in the future, where a teenage Miguel is sent back to the land of the dead for another adventure. “Frozen III,” meanwhile, will see Anna and Kristoff finally get married before the sisters meet a mysterious stranger who also wields ice magic. Olaf is also expected to find love.

The event also featured teases for “Ice Age: Boiling Point” (2027), “The Bluey Movie” (2027) and a “Kingdom Hearts” anime series.

But don’t worry, Pixar and Disney are still making original movies

Billie Doe (Hailee Steinfeld) and Beef Roger Crummchuk (Walton Goggins) in “Hexed.”

(Disney)

Fans of animated originals can rest assured that both Pixar and Disney Animation have new stories on the way. In addition to “Hexed,” a magical coming-of-age adventure about a young girl named Billie who discovers she’s a witch that will hit theaters Nov. 25, Disney Animation announced “Clay” for 2028. According to Jared Bush, “Clay” is a story about a mentor and student named Flip and Mushi.

“I believe that new stories, new characters, new worlds are vital to the future of Disney Animation,” said Bush.

Pixar, meanwhile, announced “Ghost Market” will hit theaters in 2028. Set in Hawaii, “Ghost Market” will follow a young content creator named Kyle who encounters hungry ghosts. The studio also has “Gatto,” from “Luca” director Enrico Casarosa, on deck for 2027.

Disney California Adventure is on the verge of a transformation. The 25-year-old next-door neighbor to the Disneyland Resort will be doubling the size of its Avengers Campus in the coming months.

Farther down the road will be the arrival of an “Avatar”-inspired area in the current Hollywood Land corner of the park. Walt Disney Imagineering, the arm of the company dedicated to theme park experiences, revealed a detailed model an “Avatar” water ride destined for the park at its all-things-Disney convention D23.

The miniature shows the ride snaking around the Disneyland Monorail, and reveals a landscape that will fully transform the look and tone of California Adventure. It’s green, it’s lush, it’s a little rustic and it looks as if a mini rainforest will be slotted into the park.

A model of the forthcoming “Avatar”-inspired area includes a monorail in a lush forest.

(Todd Martens / Los Angeles Times )

The “Avatar” model is just one part of expansive booth dedicated to what’s currently in development at Disney’s global parks. The centerpiece of the D23 area is no doubt a model of Piston Peak, a “Cars”-inspired land coming to Walt Disney World’s Magic Kingdom, which, in contrast to Anaheim’s Cars Land, takes on the feel of a woody town nestled next to a national park.

Elsewhere, Imagineering has revealed a look at the soon-to-be remodeled Avengers Campus, which is deep in development on two new attractions that will effectively double the size of the area. The two attractions will different drastically in style.

One is a previously announced ride featuring the Avengers in battle across the multiverse with King Thanos. At a media preview on Thursday, Disney didn’t show off much of the attraction, Avengers Infinity Defense, but expect a dark ride that will emphasize 3D screens in a battle across quickly changing locales.

A look at the expanded Avengers Campus Disney California Adventure shown at D23. Two additional rides are currently under construction.

(Todd Martens / Los Angeles Times )

The other, Stark Flight Lab, is pitched as a testing of new Avengers technology. It’s an amusement-park-like thrill ride, in which guests will sit in two-person pods and then attach to a mechanical arm that will lift them into the air and attempt to simulate sensations of flight.

“It’s going to be definitely thrilling,” said Emily “Emo” O’Brien, an Imagineer who helps lead creative direction of the Disneyland Resort.

Timetables for the completed Avengers Campus and the “Avatar” expansion were not yet detailed, although the Marvel additions are widely seen as not far off. Disney is expected to reveal more info on both projects, as well as a “Coco”-inspired boat ride coming to the park, at a Saturday evening presentation.

Concept art of an “Avatar”-inspired attraction coming to Disney California Adventure.

(20th Century / Disneyland Resort)

The addition of “Avatar” is especially notable as it veers the park, one that began with a mission to reflect our Golden State, into further realms of fantasy. Cars Land, for instance, could be read, in part, as an exploration of Southern California car culture and an ode to Route 66.

An especially noteworthy aspect of the “Avatar” model was the appearance of the ride to be visible outside of its grand show building, as guests walking through the park will be able to glimpse its boats gliding past them. A model of the ride vehicles appears to show six rows that can accommodate five or six guests per row.

The boats are flanked by cascading waterfalls, and mountains that appear to curve in on themselves. An assortment of mystical critters dot the landscape. Speculation is the attraction will be utilize an updated version of the ride system found in Shanghai Disneyland’s rousing Pirates of the Caribbean ride.

“Over its 25 years it has significantly changed, especially at the time we brought in Cars Land and reimagined Buena Vista Street,” O’Brien said of California Adventure. “I think it’s a park that stands on its own now. It’s grown up.”

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.

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 2012, on the day after Mark Walter and his partners bought the Dodgers, I sat next to Walter in a conference room. To the sports fan, Walter was virtually anonymous: a super rich guy who had made his money running investment and insurance companies.

Walter’s purchase valued the Dodgers and its related assets at a then-record $2.15 billion. That value stunned the sports world. Mark Cuban had bowed out of the bidding, believing the Dodgers were not worth even $1 billion.

I asked Walter why he believed it made business sense to pay three times as much as any major league team had sold for.

“I think you have a few moments in life where you have the opportunity to own an asset and really be a custodian of something that should be multigenerational and iconic,” he said then. “I understand it’s a lot of money. But it’s not as if you can go buy another one tomorrow. … We hope we never, ever are going to sell it.”

That was essentially the point that someone who travels within the inner circles of pro sports made to me Wednesday morning, as news broke that Walter had sold the Lakers to Bob Iger, the former Disney chief, and Joshua Kushner.

The Steinbrenner family has owned the New York Yankees for 53 years. Jerry Jones has owned the Dallas Cowboys for 37 years. The Buss family owned the Lakers for 46 years.

These trophy assets are few and far between. Walter had agreed to sell the Lakers after less than one year of ownership — and not through a comprehensive bidding process, but to an inquiring caller during the weekend?

“This has more red flags than a May Day parade,” an industry insider said, speaking on condition of anonymity so as not to jeopardize his professional relationships.

The deal, which valued the Lakers at $12.5 billion, was motivated by the spiraling price for an NBA expansion team in Las Vegas, according to ESPN’s Ramona Shelburne. After all, if Iger and Kushner might have to pay $10 billion for a startup team, why not call and see if Walter might accept a bit more for one of the marquee franchises in American sports?

Was this a blind call or was Walter looking to sell?

“It was suggested to us that maybe Mark Walter would be interested in selling his stake in the Lakers,” Iger told the California Post.

What did Dodgers president Stan Kasten have to say about that?

“I never knew that. He never said that to me,” Kasten said. “I think he was surprised by it. That’s what he has expressed to me. Mark had no plan to do this. This just came up, and he thought about it and said yes.”

Why might Walter have been interested in selling?

Mark Walter acknowledges a fan before a game against the Cubs in Chicago this month.

(Melissa Tamez / Associated Press)

Only he can say for sure, but his companies are under federal investigation for failing to disclose and properly account for billions of dollars of loans among related entities. Bloomberg reported Wednesday that Walter’s holding company is trying to raise money that could help pay off or at least pay down those loans, and the Financial Times reported that company assets could be sold or restructured.

No charges have been filed, and investigations can conclude without charges. No allegations of wrongdoing have been made against Walter.

Is there a baseball angle to this?

Among the investment firms Walter’s holding company approached about “deals to raise cash,” according to Bloomberg: the asset management firm owned by New York Mets owner Steve Cohen.

Cohen’s firm passed, according to the Financial Times.

When Walter and his partners bought the Dodgers, the runners-up: the bid team of Cohen and Los Angeles Times owner Patrick Soon-Shiong.

“No, that never came up. And Mark and I discussed it,” Kasten said. “So, no, we don’t have any reason to think that. I certainly have no reason to think that.”

What does Walter’s sale of the Lakers mean for the Dodgers?

“It means nothing for the Dodgers,” someone who speaks regularly with Walter said, speaking on condition of anonymity. “He owned them long before the Lakers and will own them long after.”

If Walter should later sell the Dodgers, what might have the greatest impact on the team?

Shohei Ohtani has an out clause in his contract if Mark Walter sells the team.

(Eric Thayer / Los Angeles Times)

Shohei Ohtani’s 10-year, $700-million contract with the Dodgers includes an unusual escape clause: If Walter is no longer the controlling owner, or if Andrew Friedman is no longer running the Dodgers’ baseball operations department, Ohtani can opt out of the contract.

Would he?

Way too soon to tell. If major league owners get their way in collective bargaining, the proposed salary cap would mean Ohtani at $70 million could eat up just about one-third of any team’s payroll. And, in his third year with the Dodgers, he has yet to complete a full season as a pitcher, and a left knee in which manager Dave Roberts says Ohtani suffers from “wear and tear” could make him less of a two-way player as the contract winds down.

On the other hand, playing salary might be less of an issue for him than for any other player in baseball. Ohtani is making more than his annual salary from sponsorships and endorsements — an estimated $125 million this year — and he famously deferred $68 million of each year’s salary so the Dodgers could spend more freely on players that could help him and the team win. After six losing years with the Angels and two World Series championships in two years with the Dodgers, a losing team might not entice Ohtani, no matter how much room it might have under a proposed cap.

Iger used to run Disney. How did Disney’s experience owning the Angels and Mighty Ducks go?

Disney chairman Michael Eisner, left, NHL commissioner Gary Bettman, NHL chairman Bruce McNall and Mighty Ducks chairman Jack Lindquist blow duck calls announcing the name of the team in 1993.

(Doug Pizac / Associated Press)

Disney dressed the Angels in uniforms derided by one player as “pinstripe pajamas,” put cheerleaders on the dugout roof and installed a loud “countdown to first pitch.” This all seemed awful at the time but, given the plagues of in-game hosts and teams sporting jerseys in colors far beyond home white and road gray, perhaps Disney was just ahead of its time. And, for the first few years of the franchise, Mighty Ducks gear was some of the hottest merchandise in American sports.

Ultimately, Disney wanted the Angels and Mighty Ducks to launch an “ESPN West” regional sports channel. When that channel collapsed, Disney no longer needed the teams and eventually sold them. The Angels were such a minimal part of Disney’s portfolio that then-chief executive Michael Eisner showed up in the clubhouse and the players had no idea who he was.

Who owned the Angels when they won their only World Series championship?

Angels players wave to fans during the World Series title parade in Anaheim in 2002.

(Jean-Marc Bouju / Associated Press)

Disney. The company hired an investment banker to sell the team in the final month before the Angels won the 2002 World Series and agreed to sell to Arte Moreno in the first month of the following season.

One more try: Why did Walter really sell the Lakers?

“I think it was opportunistic and he found something that made sense to him,” Kasten said. “Mark’s a very sensible guy. But that’s really the only way I can explain it.

“You’ll have to talk to Mark about a more in-depth explanation, and good luck.”

Times staff writer Maddie Lee contributed to this report.

The Lakers are being sold … again?

The Lakers are being sold … by the Dodgers owner who was supposed to save them?

The Lakers are being sold … to one guy who owns an underachieving women’s professional soccer team and another guy who owns a piece of the hated San Francisco Giants?

What in the name of Luka is going on here?

Los Angeles sports fans awoke Wednesday to the news that one of their two crown jewels was being sold for the second time in a year, a transaction valued at $12.5 billion and accompanied by at least that many worries.

This doesn’t feel good. This doesn’t feel right. Something stinks here, and it might just be the future of a franchise that once seemed in such good hands.

On Wednesday it was stunningly and ingloriously fumbled, and for what?

There are two main unknowns here, and both should send shivers through a Laker fan base that could be watching their team become the Portland Trail Blazers.

First, why did Mark Walter sell just 10 months after buying? Yes, he made a $2.5 billion profit, but 10 months? Who owns a major sports franchise for just 10 months?

Second, what sort of owners will Bob Iger and Josh Kushner be? Iger is known for running Disney, and Kushner is known for running with President Trump’s son-in-law, who happens to be Kushner’s brother, Jared.

So crazy. So scary.

Does all this mean the Dodgers are also for sale? Will courtside seats be converted to spinning teacups? Is President Trump going to show up for a ceremonial opening tip?

Mark Walter, chairman and controlling owner of the Dodgers, acknowledges a fan before a game in Chicago on Aug. 4.

(Melissa Tamez / Associated Press)

Lots to dig in here, starting with Walter, who brought much hope to the struggling franchise after buying it from the Buss family last summer.

In his short tenure the Lakers racked up a bunch of off-court wins. They revamped their scouting department, increased a focus on analytics and rid themselves of LeBron James without the usual noise of an ugly breakup.

Under Walters, the Lakers didn’t fire Rob Pelinka, didn’t fire JJ Redick, brought back Austin Reaves, and actually set the team up for a pretty exciting playoff run next season.

Walter was clearly building the Lakers into the image of the Dodgers, which makes it so shocking that he would so easily cast them aside.

Could this be the result of outside forces? Walter is under federal investigation for tax fraud by companies controlled by the billionaire, and perhaps he sold the Lakers as a peace offering to the feds. The fact that he sold to somebody so close to President Trump could also help his federal case.

Remember last month when Walter embarrassingly groveled at Trump’s feet during the Dodgers visit to the White House, even giving the president a championship ring? It feels like the Lakers sale to a group co-led by Kushner is an outgrowth of that pandering.

Sources told The Times’ Bill Shaikin that the Dodgers are not for sale, but if Walter was troubled enough to sell arguably America’s most glamorous sports franchise after owning it for less time than it takes for Edwin Díaz to walk to the mound, who knows if the Dodgers are really safe?

In Walter, the Lakers had a proven champion who forged a partnership with the fans and rewarded them with sustained success.

In Iger and Kushner, the Lakers have two rich guys who have never been the majority owners of a team, never run a team and never done much more than cheer for a team.

Iger, 75, an entertainment genius who ran Disney for much of the last 20 years, has failed in his previous attempts to buy a sports team. A decade ago, he was in the finals to bring an NFL team to Los Angeles, but lacked the gravitas to pull it off.

In 2024, Iger and his wife, USC journalism dean Willow Bay, bought a controlling stake in the Angel City Football Club in the National Women’s Soccer League. But the team has yet to make any sort of local splash, missing the playoffs in each of the last two seasons.

Former Disney CEO Bob Iger, in white shirt, has been a longtime basketball fan. In 2025 he sat courtside for a Clippers game at Intuit Dome.

(Allen J. Schaben / Los Angeles Times)

Kushner, meanwhile, is a 41-year-old billionaire venture capitalist who is best known for his brother’s father-in-law and his super-model wife Karlie Kloss. He owns a minority stake in not only the Giants, but the Miami Heat, which he must sell.

There is no indication whether they will be good owners, and they will clearly have to hire a seasoned NBA executive to serve as president to run the show. The identity of this person will be the first sign of their seriousness in restoring a championship culture, but there will be other signs as well, and not all could be positive.

There should be fear that these new wonders will follow the path of the most recently minted NBA owner, Portland’s Tom Dundon, who unapologetically cheapened the organization by doing everything from firing 70 business employees to bucking NBA tradition by refusing to pass out free T-shirts to the fans during playoff games. He even showed the door to both the club’s radio and TV play-by-play announcers in a dramatic cost-cutting move that could be a blueprint for other struggling teams.

Which is to say, nobody has any idea how Kushner and Iger will run things. They have no history here. They have no experience. They have no credibility. This isn’t Disney. This isn’t some hedge fund.

These are the 17-time NBA champion Lakers. This is a national monument forged on the sweat of everyone from Jerry West to Magic Johnson to Kobe Bryant.

This is a community’s heartbeat. This is a region’s touchstone.

Handle with care.

A city will be watching.

Disneyland’s yearlong, nostalgia-filled 70th anniversary celebration has come to an end. Attention now turns to preserving the resort’s legacy for the next 70 years.

We’re two years removed from the passage of DisneylandForward by the Anaheim City Council, the ambitious multibillion-dollar plan to reimagine and expand the world’s most famous theme park, and questions are now swirling on what’s to come.

Hints can likely be found by looking at what’s already been built, at least at Disney’s international parks. Documentarian Leslie Iwerks did just that with her new film “Disney Worldbuilders,” which will have its premiere this weekend at the all-things-Disney convention D23 at the Anaheim Convention Center and then stream on Disney+ starting Aug. 20.

Iwerks, the director of the recent, and terrific, “Disneyland Handcrafted,” comes from Disney royalty. Her grandfather, Ub Iwerks, was a legendary animator instrumental in the development of Mickey Mouse. Her father, Don, was a cinematic and special effects wizard who worked on numerous Disney attractions, including the Michael Jackson-starring film “Captain EO.” As a documentarian, Iwerks has explored Disney before as the director of “The Imagineering Story” and has a long career of films that touch on not just Hollywood but also politics and environmental issues.

Leslie Iwerks has dedicated a significant portion of her career to analyzing the Disney theme parks.

(Iwerks & Co. / Disney+)

If I had any concerns about the future of Disneyland, watching ‘Worldbuilders” helped ease them. That’s in part because the film makes it clear that the Disneyland template was pretty firmly set in place 70 years ago by park patriarch Walt Disney.

While it’s entirely possible for theme park spaces to jump the shark, so to speak, especially when they focus too much on marketing or re-creating familiar film and television moments (see, say, San Fransokyo Square at Disney California Adventure), “Worldbuilders” zeroes in on the parks’ enduring mission of being places of play. The film features interviews with the likes of Pixar chief Pete Docter, “Frozen” mastermind Jennifer Lee, Marvel maestro Kevin Feige and “Avatar” creator James Cameron, who collaborated with Walt Disney Imagineering to turn their cinematic universes into physical spaces for fans to interact with.

“I’m always blown away at the audacity of Walt saying, ‘I’m going to create the happiest place on Earth,’ and thinking that could actually be a business model,” Iwerks tells me.

“And what I learned about these filmmakers is that they were all inspired by the Disney parks,” she continues. “Unbeknownst to me, they had a spark going to a Disney theme park. It excited their imagination.”

“Frozen” co-director Jennifer Lee poses with a robotic Olaf at Disneyland Paris in a scene from Leslie Iwerks’ new film “Worldbuilders.”

(Roger Do Minh / Disney+ / Iwerks & Co.)

You see it in Shanghai’s “Zootopia”-inspired land, with its oversize benches that hide parking spaces for critter vehicles beneath. It’s an area full of movement, with puppets and animatronics gracing nearly every structure, aiming to capture wonder and silliness as much as it is the world of the film, which Iwerks notes was unexpectedly inspired by the original Disneyland. It’s present, too, in the “Frozen” area of Disneyland Paris, which seeks to reference and modernize the Disney fairy tale, using imagery of castles and magic not to symbolize happily ever after but familial and friendship bonds.

“All these lands allow you to explore, and allow yourself to be free, to play, to be whimsical,” Iwerks says. “They allow yourself to get out of your own ‘daily frets,’ as Walt called them. There are a lot of technologies vying for attention today, such as cellphones and gaming and lots of things, but there is something tangible about walking through a Disney park that is irreplaceable. That is that tangible sense of play that you can see, you can touch and you can smell. These are visceral memories that stay with us as human beings throughout our entire lifetime.”

Could either “Zootopia” or “Frozen” make its way to Disneyland? Neither, I believe, would be out of place, but there’s a special delicacy when adding to Walt’s original park. Even with the passage of DisneylandForward, land isn’t limitless. Expansion should be thought about not just for the next decade, but the next 50, leaving space for new stories yet untold. To place “Avatar” in Disney California Adventure is a definitive statement that the audiences of 2060 will want to hang with the Na’vi as much as those of 2030.

Thus, a wide-angle approach is best. When Pandora — the World of Avatar was built in Animal Kingdom at Florida’s Walt Disney World, it was done so with a thesis on themes of conservation and environmentalism more so than a focus on any of the film’s characters. Disney California Adventure’s own Cars Land is a love letter to Route 66 and roadside Americana as it much as it is an ode to the Disney/Pixar films.

At D23 in 2024, Disney released concept art of an “Avatar”-inspired attraction said to be coming to Disney California Adventure.

(20th Century / Disneyland Resort)

“Worldbuilders” makes it clear that as much as Disney’s parks have stayed the same, how we build themed lands has changed. Gone, for instance, are the big tent ideas of Frontierland, Adventureland and Fantasyland. Theme park designers today take a more targeted approach, bringing to life fully realized cinematic worlds such as Star Wars: Galaxy’s Edge or the aforementioned Cars Land. That’s not necessarily a negative. Galaxy’s Edge, for instance, succeeds because it’s a not a point-by-point re-creation of any locale seen in the films. Instead, it’s a place we can visit, and create our own tales.

It’s a reminder, for instance, that Disneyland, despite the prices, the crowds, the marketing or whatever hang-up one may find, endures because it allows us to, well, play. To be a little silly. And that was the lesson of Iwerks’ “Worldbuilders.”

“It’s about original thinking,” Iwerks says, when asked whether she believes it’s important to continually document the Disney theme parks. “So much of Imagineering is focused on original thinking. People can be really smart, but it doesn’t mean they’re an original thinker. One of the greatest things in the world is to create something out of nothing.”

We may arrive at a “Frozen” land wanting to see Anna, Elsa or, especially, the robotic Olaf, but we remember it because it gave us permission to imagine an alternate, more fanciful reality. Thus, it’s a treatise that it is not the intellectual property that makes Disneyland unique; it’s the belief in a more communal, playful world.

Speaking of D23 …

Theme park fans should get ready for some news this weekend.

Expect updates and details on previously announced — and well into development projects — such as Disney California Adventure’s “Coco” boat ride and two Marvel attractions, which will effectively double that park’s Avengers Campus. The centerpiece of the latter is a ride featuring many of the Avengers in battle across the multiverse with King Thanos.

The attraction, first announced in 2019, was given a name at 2024’s D23, Avengers Infinity Defense, and it will feature locations such as the Black Panther nation of Wakanda, Asgard and New York City. Early looks have it leaning heavily on visual effects interspersed with physical sets, but expect a deeper unveiling this weekend.

A recent photo of construction at Disney California Adventure’s Avengers Campus, where two attractions are under development.

(Todd Martens / Los Angeles Times)

Longer-term, fans are eager for word on what’s planned with the “Avatar” franchise, previously announced to take over part of the Hollywood-themed section of the park currently home to a “Monsters, Inc.” family dark ride. That attraction, Monsters, Inc. Mike & Sulley to the Rescue!, is slated to close in 2027 to make way for the Cameron-created franchise. There’s been some chatter, most of it online-driven and unsubstantiated, that Disney would pivot from “Avatar” to instead center “Zootopia,” but I’m not convinced. Clarity will arrive in the coming days.

I’ll refrain from diving too heavily into rumors, but expect at least one longer-term hint at a bigger swing, hopefully, for instance, the reimagined plans for what is currently the Toy Story Lot, as well as nearer-term updates on Disneyland’s post-70th entertainment. Fans, of course, will forever be hoping for Walt Disney Imagineering, the division of the company responsible for theme park experiences, to unveil that it is remaking Tomorrowland, which, while home to many a popular attraction, is also stuck with a number of underutilized buildings. While I encourage optimism and dreaming as much as any Disney parks fan, I’ll believe it when I see it.

Disneyland fans, however, may have to come to grips with the fact that some of the most exciting updates will be centered on Florida’s Walt Disney World. Imagineering is expected to at long last detail the attractions coming to the Magic Kingdom’s hotly-anticipated Villain’s Land. Also of note, a reveal of the “Encanto” attraction plotted soon for Animal Kingdom.

This week in SoCal theme parks

Key issues remain in union contract talks between the Walt Disney Co. and its parade, show and costumed characters.

(Jae C. Hong / Associated Press)

• A dispute in contract talks. Disneyland employees behind its parade, show and costumed characters have been negotiating their first union contract with the Walt Disney Co. since October 2024. The two sides remain apart on a number of key issues. Disney’s proposal to the roughly 1,700 workers represented by Actors’ Equity omits paid parental leave and cuts paid holidays from 12 to 11, according to an April 6 email reviewed by The Times. Disney says no benefits are being cut because the unit organized in 2024 and the talks are setting first-contract terms rather than modifying an existing agreement. Times Business writers Wendy Lee and Samantha Masunaga have more on the negotiations.
• New sound barriers coming to Hollywood Drift, says councilmember. Universal Studios Hollywood appears to be taking steps to address noise complaints regarding its new high-speed, outdoor roller coaster. The office of L.A. City Councilmember Adrin Nazarian stated the theme park will install two additional sound barriers to mitigate the sound of rider screams on its new ride Fast & Furious: Hollywood Drift, which have been described by nearby residents as “disturbing” and “untenable.” Nazarian’s office made the announcement Monday evening on social media. A Universal Studios Hollywood spokesperson has not yet responded to a request for comment.
• Montezooma’s is now open! Knott’s Berry Farm’s four-year overhaul of Montezooma’s Revenge into Montezooma: The Forbidden Fortress has reached its conclusion. The historic ride began welcoming guests late last week. Look for a report on the remodeled attraction here soon.
• Attendance at Disney parks is up. The Walt Disney Co. noted in its recent earnings call that attendance at its domestic parks for the three-month period that ended June 27 is up 3% over the comparable period last year. International visits remain a challenge, but the company noted that summer promotions helped fuel the increase, especially at Florida’s Walt Disney World.
• Cheap! A full year of Knott’s! At a time when it seems like everything is getting more expensive, Knott’s Berry Farm is currently running a heavy sale on 2027 season passes. Through Sept. 7, a base level pass is just $99, down from its non-sale price of $215. A “gold pass,” which also includes admission to Six Flags Magic Mountain, is currently $129, down from $240. while a “prestige pass,” which includes parking and a number of other perks, is $329, down from $399.
• Slash is back at Halloween Horror Nights. Guns ‘N Roses guitar slinger Slash is a staple at Universal Studios Hollywood’s Halloween Horror Nights, and is returning to create a soundtrack for a haunted house this year. Slash is providing music for a house titled ‘“Killceañera: Music by Slash,” an original maze that flips the script on a teenage rite of passage. Here, a 15-year-old girl seeks revenge on those who have wronged her. Halloween Horror Nights begins Sept. 3.

The best thing I ate at the parks this week

The fish and chips from Gordon Ramsay at the Carnaby at Downtown Disney.

(Todd Martens / Los Angeles Times)

I admit, Downtown Disney’s Gordon Ramsay at the Carnaby is growing on me, especially if one can get seated on the outdoor bar patio, which is far more welcoming than the pub’s indoor bar. I found the latter a little cold and unwelcoming, but the back patio is more lively, especially with pennant race baseball on its big screen TV. I finished a recent Disneyland day with the Carnaby’s fish and chips, which is essentially one giant piece of cod with fries and “mushy peas.” It’s pricey, at $33, but it’s also incredibly hefty and filling. It’s certainly the strongest fish and chips on Disneyland property, and sea salt-infused batter was so crisp and rich that it almost felt wrong to slather the fish in tartar sauce. I couldn’t quite place my finger on the flavor — I’ve read that Ramsay’s fish and chips recipe includes custard powder — but there was a burnt buttery tone that was far from dry. I’ll be back.

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.

Stay tuned to Mr. Todd’s Wild Ride this week for all the big Disney parks news from D23. Saturday evening Disney will be hosting a panel at the Honda Center to reveal new details on attractions coming to its theme parks around the world, and I’ll be there delivering breaking coverage straight to your inbox.

Also, say hi if you see me wandering the Anaheim Convention Center. I’ll have Mr. Todd’s Wild Ride stickers to share.

Video podcasts from the Jonas Brothers and the cast of “Boy Meets World” are heading to Disney+ as part of a new licensing partnership with iHeartMedia designed to capture viewers on mobile and beyond.

The agreement will bring six iHeartMedia podcasts to Disney+ and Hulu, starting with “Hey Jonas!” hosted by Kevin, Nick and Joe Jonas on both streaming services. “Pod Meets World,” hosted by the stars of the ’90s sitcom “Boy Meets World,” will also appear on Disney+ later this month.

Other podcasts coming this fall to Hulu include “Fake Doctors, Real Friends with Zach and Donald” hosted by the stars of medical comedy “Scrubs,” “Desperately Devoted” that will discuss drama “Desperate Housewives,” “StraightioLab,” that delves into straight culture and “Thanks Dad with Ego Nwodim.”

“Fans can’t get enough of the stories and talent they love, and podcasts have become one of the fastest growing ways for audiences to connect with them,” said Lauren Tempest, Head of Content Planning & Partnerships, DTC at The Walt Disney Company in a statement.

The additional iHeartMedia content adds to Disney+ and Hulu’s existing collection of 30 podcasts available to stream in the U.S.

Disney and iHeartMedia declined to comment on the financial terms of the deal.

“From iconic rewatch series and fan-favorite conversations to original storytelling, this deal gives both existing listeners and new viewers an easy way to discover and connect with some of podcasting’s most engaging voices through video,” Bob Pittman, Chairman and CEO for iHeartMedia, said in a statement.

Podcasts initially started as audio only, but over the years, have delved into showing video too. Other streamers, including Netflix and HBO Max, have video podcasts available on their platforms.

Netflix made deals with Spotify and iHeartMedia to bring popular video podcasts, including “The Bill Simmons Podcast,” “The Breakfast Club” and “My Favorite Murder” to its streaming service.

Netflix co-CEO Ted Sarandos said in an April 16 earnings presentation that people consume podcasts on Netflix during the day, at a time when the streamer historically has less engagement and they’re watching the podcasts more on mobile devices, where professional TV and film historically makes up a small percentage of mobile viewing, he said.

“It’s great that we get to meet members where they are, even when they’re enjoying other forms of entertainment,” Sarandos said.

FOR thousands of Disney fans, a holiday to Walt Disney World is the trip of a lifetime. But for some lucky British students this summer, it’s everyday life.

Instead of pulling pints at the local pub or taking on a typical summer job, they’re working behind the scenes as Disney cast members while living just minutes from the magic.

Students can apply for the placements through UK partner Yummy Jobs, spending their summer working across Walt Disney World while living at Flamingo Crossings Village.

This is Disney’s purpose-built accommodation for students, complete with swimming pools, a gym and free transport to the parks.

Alongside earning money and gaining international work experience, participants receive complimentary admission to all of Disney’s theme parks and water parks.

This means that days off can be spent riding attractions, watching fireworks and making the most of life in Orlando.

SUNNY STEALS

Sun-drenched European holidays with £1.50 pints and stays from under £9pp

PARK UP

Epic UK holiday parks with waterparks, theme parks & Spoons pubs from £3pp a night

For 20-year-old Niamh from Liverpool, the placement has been unlike anything she’d done before.

The Newcastle University student, who is studying Physiological Sciences and hopes to pursue a career in medicine, heard about the opportunity through a friend and applied through Yummy Jobs.

She said: “I’d never done anything like this before but it looked like an amazing opportunity.”

Like everyone on the programme, Niamh couldn’t choose exactly where she’d work.

She said: “The company assigns you to what they think suits you best, and the location depends on what’s needed when you arrive.

“One of the biggest surprises has been living at Flamingo Crossings. The facilities are amazing. People of all ages live here and everyone’s on different programmes.”

Despite working in the parks, Niamh still has plenty of time to enjoy them herself and has figured out the best hidden gems.

She added: “You get roughly two days off a week and sometimes have mornings or evenings free too, so it’s not too bad.”

“I’ve started to figure out which rides to rope drop in each park. Joining the queue for the big rides just before park closing is a great tip, and watching the fireworks from Tomorrowland Speedway is amazing.”

21-year-old Hannah, from Cowdenbeath in Scotland, is back in Orlando after completing a similar summer programme at Universal Studios last year.

Now entering her final year studying Law at the University of Stirling, she discovered the Disney opportunity through TikTok.

She said: “I wanted the experience of working in a world-leading holiday destination and for a company that treats employees so well.”

Hannah works in merchandise, a role that gives her the flexibility to swap shifts and even work in different Disney locations, giving her an insider’s view of more than one park.

She’s also been impressed with the accommodation too.

Hannah explained: “I’m in a four-bedroom apartment where I have my own room and share a bathroom with one other girl.

“There’s a gym, two swimming pools and projector areas showing films and sporting events. We’re close to shops and restaurants, and we get free buses to work and to the Disney parks whenever we want.”

Hannah has also bought a Universal annual pass, meaning her days off are often spent exploring Orlando’s biggest attractions.

“I love spending time in the parks, grabbing a coffee, relaxing by the pool or visiting the malls and outlet stores. My friends and I also went to the natural springs and even took a trip to Miami.”

Working behind the scenes has also given her a new appreciation of what it takes to create the Disney magic.

“It’s given me a whole new appreciation for how much work goes into creating the guest experience.”

Having spent family holidays in Florida as a child, she says returning as a Disney cast member feels surreal.

Hannah explained: “Being able to live and work here now feels incredibly nostalgic and honestly still feels a bit like a dream.”

For many students, the programme is about far more than a summer job.

Alongside gaining valuable experience for careers ranging from medicine to law, they’re making international friendships, exploring Florida and experiencing the magic of Disney from the other side of the castle.

The Walt Disney Co. said Wednesday it has sold out the commercial time for ESPN’s telecast of the 2027 Super Bowl, which airs on ABC Feb. 14.

Hugh Johnston, chief financial officer for Disney, announced the sellout on the company’s earnings call. In addition to ABC, the game from SoFi Stadium in Los Angeles will air on ESPN, and have an alternative ESPN feed hosted by Peyton and Eli Manning. The game will be streamed on the ESPN app and the NFL+ app.

ESPN, which has carried NFL games since 1987, has never produced a Super Bowl. ABC last aired the game in 2006, when the network had its own sports division.

The Super Bowl is perennially the most watched TV event of the year, bringing in a huge pot of revenue for the media company holding the rights. Fox said it took in more than $800 million across its platforms for the 2025 game that saw the Philadelphia Eagles win 40-22 over the Kansas City Chiefs.

Disney did not divulge a price for the commercial time, although reports said the company was seeking $10 million for a 30-second spot. NBC sold several commercials at that rate last year.

Johnston said Disney sold Super Bowl spots to 58 brands across 34 product categories, including financial services, candy, personal care and software. Nine of the brands are in the game for the first time.

As the rest of traditional TV has seen ratings diminish, the Super Bowl has remained resilient, setting a viewership record in 2025, with 127.7 million viewers watching on Fox and its streaming platform Tubi, according to Nielsen. Last season’s contest drew 125 million viewers on NBC, Telemundo and Peacock.

When ABC had Super Bowl XL in 2006, the Pittsburgh Steelers’ 21-10 win over the Seattle Seahawks scored 90.7 million viewers. Nielsen did not include out-of-home viewing in its data at the time.

Live sports has become attractive to advertisers as it is one of the few ways to reach a massive audience in real time.

Four years ago, Knott’s Berry Farm was faced with a decision.

Its 1978 ride Montezooma’s Revenge was the first-ever coaster built with a flywheel launch system — a large, highly visible, circular drum-like mechanism with a cable attached to it — and an important piece of the theme park’s history.

But the coaster was in need of refurbishment and they don’t make things like they used to. The flywheel design, once an advanced piece of machinery that allowed Montezooma’s to go from zero to 55 mph in less than five seconds, was no longer in vogue. Replacement parts weren’t going to be easy to come by, if possible at all.

So would they attempt to reimagine Montezooma’s Revenge, or use its footprint for another attraction?

“Nobody else really attempted a full-speed, ground-level launch until later in the ‘90s,” says Jeremy Thompson, who writes coaster analysis on his website Roller Coaster Philosophy and worked for a decade at theme park design firm Thinkwell. “It was way ahead of its time.”

It would have been a shame, roller coaster historians argue, to lose Montezooma’s Revenge. Thankfully, Knott’s Berry Farm agreed, and after four years and a $20-million investment, Montezooma’s, now rebranded as Montezooma: The Forbidden Fortress, is set to soft open in the coming days. A grand opening media event, postponed from last month, is slated for Aug. 14.

The entrance to the newly remodeled Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

“We thought quite a bit about, ‘If we take this out, what would we put in there?’” says Knott’s Berry Farm Park President Raffi Kaprelyan. “But the answer we always came back to was, ‘Why would you do that?’ This is a perfectly unique ride.”

He adds: “An iconic ride like this, you want to maintain as long as possible.”

The coaster was planned to be named Loco Motion, but it was rebranded as Montezooma’s Revenge after a popular band with the same name that would regularly perform at the park, says Nicholas Laschkewitsch, a coaster historian and documentary producer with nonprofit American Coaster Enthusiasts. At the time of its opening, it was the tallest roller coaster in the world, thanks to 148-foot spikes. It’s also the oldest looping shuttle coaster in its original location, a shuttle coaster being a ride without a complete circuit, meaning here guests are propelled out of the launch station in a linear path through a loop and then backward through the whole course.

The loop on Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

”A shuttle coaster is certainly not as novel as it once was,” says Laschkewitsch, who also works as a designer at experiential art firm Meow Wolf. “But I think it’s very much a part of the DNA of Knott’s Berry Farm. It’s most people’s first looping coaster who grew up in Southern California. They deserve a lot of credit for investing in [a type of] ride a lot of other parks have thrown out.”

Designed by coaster mastermind Anton Schwarzkopf, Laschkewitsch says there’s only one remaining Schwarzkopf-created flywheel coaster using its original launch system in existence, and it’s in Japan at Nagashima Spa Land. Schwarzkopf was also behind the Great American Revolution at Six Flags Magic Mountain, which opened in 1976 as the world’s first modern vertical looping roller coaster.

“He was a genius as far as how to bank track, and how to physically manufacture track,” Laschkewitsch says. “His rides were as smooth as glass. The fact that he was able to do this without computer technology is incredible.”

The Knott family rides Montezooma’s Revenge on its opening day in 1978.

(Knott’s Berry Farm)

So what’s changed in the refurbishment? Montezooma’s has been remade with new cars, enhanced thematic touches lightly inspired by Maya designs, and boasts both a brand new track as well as a refreshed launch system. It now blasts out of the station with electromagnetic propulsion, technology, says Thompson, that is found on virtually all modern launch coasters (see Disney California Adventure’s IncrediCoaster, which also jolts from zero to 55 mph in five seconds).

That means there will be a difference in “feel” at the launch. Thompson compares it to riding in a modern electric vehicle versus, say, a 1970s hot rod. “You’re losing something there,” he says.

Namely the instantaneous tension, says Laschkewitsch, which will now be smoothed out. “There’s just something special about how that flywheel launch really kicked you in the face,” he says.

A look at the reimaged Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

The coaster in its initial form lasted just 38 seconds. That won’t necessarily change with Montezooma: The Forbidden Fortress, but Kaprelyan says the new ride system will allow the park to offer different ride profiles. The electromagnetic track, for instance, can jolt guests forward, and then tease them by reversing course, lending a linear coaster a sense of surprise.

Those changes are coming down the road, but probably not until the ride has been open for about a year. “The ride will maybe take you up to the front a little bit, and then shoot you back up the hill, and then shoot you forward again,” Kaprelyan says. “There will be different sequences.”

And overall just a different tone. When all is working properly, the coaster will launch through a haze of fog effects. And it’s blessedly no longer associated with an unsavory name that potentially had some negative cultural implications. Understandable, and the right call says Thompson, but “it kind of loses that zany ‘70s humor.” Prepare to hear fewer potty jokes at Knott’s Berry Farm.

This week in SoCal theme parks

A dementor puppet moves through the train in “Harry Potter: A Hogwarts Express Adventure.”

(David Fouts / For The Times )

• ‘Fast & Furious’ coaster watch, 2026. The big theme park story last week was the unexpected soft launch of Universal Studios Hollywood’s Fast & Furious: Hollywood Drift. The ride is operating in “technical rehearsals,” meaning it doesn’t yet have a formal opening date. Think of it as a final testing phase. Wait times have often stretched beyond two and a half hours, with some reporting lines closer to four hours. Heads-up, though, if you’re thinking of heading to the park this week, as according to notices given to park neighbors in Toluca Lake, the coaster is not expected to be welcoming guests Tuesday through Friday.
• Take a magical train ride. The Southern California Railway Museum in Riverside County is now allowing guests to experience history with a bit of mysticism, as it has temporarily turned into Platform 9 3⁄4 to host “Harry Potter: A Hogwarts Express Adventure.” A one-hour theatrical experience, expect wands, house sorting and, instead of a drink cart, a larger-than-life demonic puppet. Like all things Potter in 2026, the event has attracted some detractors due to J.K. Rowling’s anti-trans rhetoric and political funding. The Times’ Emily Tarinelli has the details.
• Changes afoot at Knott’s Soak City. The Orange County water park is welcoming two brand new attractions next year that will be replacing the current Shore Break slide complex. Look out for Coral Craze, a saucer-like attraction that boasts five riders per slide and is designed to mimic a ski course. Joining it will be Kelp Kraze, also a five-person experience, but this one more of a raft-like slide.
• The ‘Prince of Darkness,’ resurrected. Universal Studios Hollywood has rounded out its haunted house lineup for Halloween Horror Nights with a maze dedicated to the late Ozzy Osbourne. Dubbed Ozzy Osbourne: Prince of Darkness, the haunt will focus on bringing to life imagery from Osbourne’s solo career. The park has previously created a house inspired by the work of Osbourne’s Black Sabbath. Halloween Horror Nights begins Sept. 3.
• ‘It,’ reimagined. Inglewood’s Cosm is embracing horror for its next all-encompassing, wrap-around production. The venue, which boasts a high-definition spherical screen that stretches above, below and ever-so-slightly behind viewers, will on Aug. 28 begin showing 2017’s “It,” the Andrés Muschietti film based on the novel by Stephen King. Like past Cosm screenings, the venue will create CGI imagery to complement the core film.

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.

My least favorite theme park topic to cover is price increases, as parks are already an investment to visit. Yet the Disneyland Resort keeps making affordability a story. Even more food price hikes have hit the resort, after an earlier round just a couple weeks ago. I’m sad to say they’re increasingly egregious, including, as Disney Food Blog noticed, a $3 increase to $31 on a so-so cheeseburger at Trader Sam’s Enchanted Tiki Bar. Sigh.

There’s head-scratching high prices throughout the resort, including a bump on a relatively small square of churro toffee, which now sells for nearly $10. It’s tasty, but I’m here to tell you it’s not worth it. I stopped buying the delectable when it topped $8, as it was no longer a respectable value at that price point. Instead, support a local bakery.

“Spider-Man: Brand New Day” opened to $360 million in the U.S. and Canada this weekend, pushing out 2019’s “Avengers: Endgame” to claim the biggest domestic debut in history.

“Records are made to be broken,” Sony Motion Picture Group Chairman Tom Rothman said in a statement Monday. “But we will take great pride in this one, for as long as we hold it.”

Internationally, the web-slinger picked up an additional $572 million for a worldwide total of $932 million. The film, which stars Tom Holland and Zendaya, was produced by Sony-owned Columbia Pictures, Marvel Studios and Pascal Pictures on a production budget of about $225 million.

By Monday morning, nearly everyone in the exhibition business was cheering.

The chief executives of AMC Entertainment Holdings, Regal and Cinemark Holdings all put out statements about record revenue at their chains, plus deep demand for merchandise, food and drinks. Cinema United trade group chief executive Michael O’Leary applauded the “great slate of films” that have populated theaters this year.

There’s a lot to be excited about here. Expectations for the film were high, but breaking a pre-pandemic record — previously held by an “Avengers” movie, no less — is a big deal.

“The buildup to what ‘Endgame’ was at $357 million just seemed out of reach,” Jeff Bock, senior box office analyst at entertainment data firm Exhibitor Relations, told me on Monday, referring to the previous domestic debut record. “It’s pretty gratifying to see that characters and emotions still matter in filmmaking. This movie was just really about relationships.”

That emotional core was a major focus for the filmmakers. When I spoke with producer Amy Pascal in the lead-up to the opening, she said there was no topping the multiverse storyline of 2021‘s “Spider-Man: No Way Home,” which featured the return of Tobey Maguire and Andrew Garfield. Instead, the filmmakers chose to go smaller, focusing on the internal conflict and loneliness of Holland’s Peter Parker after a spell forces his friends to forget him.

Spider-Man has always been one of the most popular superheroes. But not every Spidey film has had this level of box office success. What “Brand New Day” shows is that a strong story matters more to audiences than the name of the superhero alone — an important distinction as the genre has weathered an uneven track record in recent years. Just this summer, we saw stumbles from Amazon MGM Studios’ “Masters of the Universe” and Warner Bros. Pictures and DC Studios’ “Supergirl.”

The next test arrives in December with Walt Disney Co. and Marvel Studios’ “Avengers: Doomsday,” which “Brand New Day” teases in a post-credits scene, as well as throughout the film. “As audiences saw, it sets up exciting things to come,” Marvel Studios President and “Spider-Man” producer Kevin Feige said in a Sunday statement.

The recovery, by the numbers

Domestic box office revenue for the weekend totaled $436.5 million, according to data from Rentrak. Spider-Man accounted for 82% of it, but Christopher Nolan’s “The Odyssey” also hauled in $51 million in its third weekend, on its way to worldwide revenue of more than $912 million.

Together, the pair have combined for a unique, and telling, one-two punch. It’s the same phenomenon that drove moviegoers to A24’s “Backrooms” and Focus Features’ “Obsession.” Originality in storytelling really does matter, despite the plethora of reboots and sequels. And when moviegoers have more choices, they’re coming back, again and again, analysts say.

“These two films in particular have really turned moviegoing itself into the event,” Bock said. “The audience isn’t rejecting theatrical movies. They’re rejecting films that don’t feel essential.”

Domestic summer box office revenue to date now stands at nearly $3.6 billion, up 16.7% compared to 2025 and — importantly — only 0.7% behind the same period in 2019. Year-to-date revenue is about $6.2 billion, a 15.4% improvement from last year, though it still lags 2019 by 11.6%.

And with another blockbuster to come in December — Warner Bros. and Legendary Entertainment’s “Dune: Part Three” — analysts now predict 2026 domestic revenue is on track to reach $10 billion, a milestone that hasn’t happened since before the pandemic.

What could undo it

Here’s the catch. A major part of that recovery rests on volume: more titles, more genres, more reasons to leave the house on a given weekend. Which is exactly what a federal judge in Oakland is weighing right now.

Paramount Skydance’s nearly $111-billion acquisition of Warner Bros. Discovery has cleared the Justice Department, the European Commission and regulators in more than a dozen other countries. What it has not cleared is a coalition of 12 state attorneys general, led by California’s Rob Bonta, who sued July 13 to block the deal under the Clayton Antitrust Act.

On Friday, the parties each proposed their preferred dates for an antitrust trial over which U.S. District Judge Araceli Martínez-Olguín will preside as Paramount argues for its merger to proceed and the state attorneys general argue against it. The judge has said the states had presented compelling evidence the combined company would hold a substantial share of the wide-release theatrical distribution market — enough, she said, to presume the deal likely violates antitrust law. The Writers Guild of America has joined the states’ lawsuit.

Paramount has said the merger will benefit consumers, workers and the entertainment industry, and that the states’ claims of anticompetitive effects “are without any basis in modern market realities.”

Hollywood has seen this movie before. The last unaccounted-for variable from the pre-pandemic era is Disney’s 2019 acquisition of the entertainment assets of 21st Century Fox, which combined two studios and led to fewer theatrical releases.

Paramount Skydance chief executive David Ellison has promised the combined company will release a minimum of 30 films a year. Many in Hollywood have their doubts.

“If they’re able to execute on that promise of 30 titles a year, I think we’re going to accelerate even further,” said Daniel Loria, a senior vice president at The Box Office Co. “We’re on a great trajectory. But there are serious questions that remain on their capacity to do so, and what the impact of another slowdown in releases from a major studio would bring.”

Paramount has said it won’t close the deal before June 2027 unless the litigation resolves sooner, and is pushing for a November trial; the states want April 2027. Either way, the industry just posted its biggest opening weekend ever while the question of how many movies get made is sitting in a courtroom in Northern California.

Stuff We Wrote

Film shoots

Number of the week

The Hollywood Foreign Press Assn. has sued Jay Penske, Penske Media Corp., the Golden Globe Foundation and others over the 2023 acquisition of the Golden Globe Awards, alleging antitrust violations.

As my colleague Stacy Perman reported, the Hollywood Foreign Press Assn. is seeking at least $150 million in damages.

The group, which founded the Golden Globes, said in its lawsuit that Penske and the other named defendants “orchestrated and participated in a clandestine scheme to fraudulently acquire the Golden Globe Awards, dismantle the HFPA [Hollywood Foreign Press Assn.], and exert monopolistic control over Hollywood trades and the awards circuit thereby violating California’s antitrust and consumer protection statutes.”

A spokesperson for Penske and the Golden Globes denied the allegations, saying the suit “continues the absurdity and irrationality that the industry has come to expect from the defunct organization formerly known as the HFPA.”

What I’m watching

I had a pretty hectic week, which didn’t leave a lot of time to catch up on TV. But I did go see the L.A. Sparks game against the New York Liberty, which unfortunately ended in a loss. We’ll see what happens now that star Kelsey Plum has been traded.

A family trip to Walt Disney World Resort in Florida can be notoriously expensive, but a travel expert who’s visited almost 50 times in the last six years has a money-saving hack

An avid Disney World Resort fan has been to the popular park a whopping 48 times, and during that time, he’s uncovered nifty travel hacks that can help families save hundreds.

Those who have been to Walt Disney World Resort in Florida will know how expensive a holiday can be, and those who haven’t will have heard about its hefty price tag. From flights, hotels, theme park passes, restaurants, and all the additional extras, it can quickly add up, with trips to ‘The Most Magical Place on Earth’ costing anything from £1,500 to £4,000 per person.

For a family of four, that could amount to anything from £4,000 to more than £10,000 for a 10-night trip. It certainly doesn’t come cheap, but for many, it’s a bucketlist holiday that’s well worth forking out for, and there are ample ways to help keep the costs down.

One of the best-known ways to save some serious cash is to book the cheapest available flights and opt for budget-friendly hotels outside the resort but close enough to travel back and forth each day. Yet, there’s another nifty money-saving tip that Disney expert Mark Patterson highly recommends to anyone planning a trip.

Matt, who has been to Florida’s Disney World Resort a whopping 48 times in the last six years for work and pleasure, told the Mirror: “All the restaurants at Disney are expensive, so the hotels I like have a kitchenette with a stove and a full-size fridge, so you can buy food and cook it.

“You can then take it into the park with you, and that can save a lot of money. Even if you just take two meals in for the family, that can save you easily $100 (£74.71) to $200 (£149.42) per day.”

Booking a hotel room or resort with a kitchenette to make meals for the day isn’t the only way to save some extra cash. The travel expert who lives in Southern California advised holidaymakers to book a hotel that offers free breakfast to help avoid hidden costs that can quickly add up to hundreds.

And there’s one area he recommends for that budget-friendly hotel with a free breakfast. “The Flamingo Crossings area is my favourite, it’s newer, and the hotels are all new, and they all have free breakfast. They offer good, reasonable prices there.”

However, he noted that, due to its location, visitors have to drive, get a lift, or take a shuttle bus to the park each day. Yet, with free breakfast included, it might be well worth travelling a little further to help cut costs.

Matt certainly knows what he’s talking about, having stayed at 36 different hotels during his trips to Disney World. He also aims for an average hotel price of around $100 (£74.71) to $200 (£149.42) per night to make it more affordable, while looking out for any hidden fees.

Another area he recommends is Disney Springs. He said: “The Disney Springs area has a range of hotels, right there within walking distance to the shopping area, and it’s where pretty much everybody goes to eat at night. It gets very busy and popular, so being able to walk to that is very handy.

“However, the bad thing about that, or something you have to trade off, is that only one of the hotels offers a free breakfast; all the others you have to pay for. So I might get a hotel for around $100 (£74.71) per night, but will then have to pay for breakfast, which is $28 (£20.92), along with paying for parking, which can be around $25 (£18.68) and a resort fee of around $40 (£29.88).

“So it can literally double the price of what I thought I was going to pay. Disney Springs area is great, but you’ve got those little hidden fees.”

Mark documents his many trips to Walt Disney World Resort on his website, DDadBudget, with various pieces of advice to fellow fans.

Do you have a travel story to share? Email webtravel@reachplc.com

The Federal Communications Commission has demanded for months that ABC prove its stations deserve to stay on the air — a proceeding with no precedent in the last half-century. This week, the network delivered a sharp retort, accusing the agency of waging a campaign of political retribution.

“The retaliation against ABC is a signal to every media company in the country: accommodate the Administration’s view of what news coverage should look like or pay the price,” Disney’s attorneys wrote in the 109-page filing.

ABC has enlisted prominent elected officials, community organizations and seasoned litigators for the 1st Amendment showdown that could ultimately reach the U.S. Supreme Court.

The Burbank entertainment giant’s combative stance comes after the FCC, led by Chairman Brendan Carr, took the rare step this spring of demanding that Disney defend the broadcast licenses of its eight ABC stations — including KABC-TV Channel 7 in Los Angeles — years before the permits were set to expire.

The government’s move represents a significant threat to Disney because the loss of licenses would hobble the ABC network by forcing its largest stations off the air. Other ABC stations at risk include those in San Francisco, Fresno, Houston, Philadelphia and New York.

The FCC is expected to make a determination next month. It could require ABC to defend the stations in a hearing or before the commission.

The FCC, in a statement, defended its inquiry and hinted that it may go further.

“For decades, Americans of all stripes have been subsidizing broadcast media to the tune of many billions of dollars by giving TV stations free use of a valuable, public resource — the airwaves,” an FCC spokesperson said in a statement.

“Broadcasters are required by law to operate in the public interest — not in the narrow or partisan interests of a political party,” the spokesperson said. “The FCC is going to hold broadcasters accountable to the full extent of the law, regardless of any disinformation campaign that some of them may choose to run.”

ABC accused the FCC of overreach.

“The FCC has spent the last 18 months searching for some pretext for revoking the stations’ licenses,” ABC wrote in the filing. “The Commission has found none, because the stations easily meet the standard for license renewal.”

Disney‘s attorneys cited the unusual nature of the proceedings, linking the FCC’s action to Trump’s dislike of certain ABC network programs. The FCC launched its review in late April — one day after the president lashed out at ABC after late-night comedian Jimmy Kimmel made a joke about Trump’s health and First Lady Melania Trump.

Until this spring, the FCC had not called for an early license review in more than 50 years.

“For the first time in history, the Federal Communications Commission has ordered an entire group of local television stations … to undergo simultaneous license renewal proceedings well before their current licenses expire,” Disney’s attorneys wrote.

The network asked the FCC to dismiss its review.

“This is as clearcut an example of retaliation as one could imagine,” ABC said in the filing. Damage has been done even if the FCC stops short of revoking the licenses, the network said.

“The mere investigation and the threat of finding a violation are sufficient: ‘the value of a sword of Damocles is that it hangs — not that it drops,’” ABC wrote.

The FCC has previously said the review grew out of an inquiry it launched early last year to scrutinize Disney’s internal diversity, equity and inclusion programs to see if they violated federal anti-discrimination laws — part of an expansive Trump-led campaign against DEI initiated as soon as he returned to the White House.

This year, the FCC opened a separate inquiry over whether ABC’s “The View” should keep an exemption granted to news programs so they are not obligated to provide equal airtime for opponents of various political candidates. The FCC had given “The View” the exemption in 2002.

Carr also has criticized ABC for not televising Trump’s live prime-time speech earlier this month to vent his grievances over past elections. Carr told reporters ABC’s decision could factor into the station license review.

By calling for the early review, the FCC allowed petitioners and ordinary residents to chime in on the stations’ operations and ABC network programming.

By Wednesday night’s deadline, the FCC had received more than 153,000 public comments. An estimated 96% of respondents wrote to support their local ABC station, the company said, including L.A. County Sheriff Robert Luna, L.A. Police Chief Jim McDonnell and Riverside County Sheriff Chad Bianco.

In his letter, Luna said KABC — which has operated in Los Angeles for more than 75 years — provides residents with “timely and accurate information that has … undoubtedly saved lives.”

Lawmakers, including House Minority Leader Hakeem Jeffries (D-N.Y.), former Speaker Nancy Pelosi (D-San Francisco) and Reps. Ted Lieu (D-Torrance), Laura Friedman (D-Glendale), Maxine Waters (D-Los Angeles) and Ro Khanna (D-Fremont), have called on the FCC to drop the review, saying the agency has politicized its regulatory powers.

Disney has hired prominent attorneys Beth Wilkinson, Jennifer Tatel and Paul Clement, a former U.S. solicitor general with experience arguing before the Supreme Court. Disney’s chief legal officer, Horacio Gutierrez, is leading the team.

Several conservative groups have questioned whether ABC was fit to hold its licenses.

“ABC’s rights are important, but they are not preeminent,” Center for American Rights President Daniel Suhr wrote in his 66-page petition to the FCC to deny ABC’s local licenses, adding that the commission must instead focus on “the right of viewers of ABC stations.”

“Disney’s lawyers can wish upon a star, but they cannot make this record disappear,” Suhr said in a statement Thursday. “Disney does not own the public airwaves, and an FCC license is not a corporate entitlement. The FCC should reject Disney’s effort to avoid meaningful scrutiny, require full answers, and designate these applications for a hearing.”

The FCC doesn’t license networks, only the local stations that carry network programming.

In one public comment, an ABC critic named Lawrence Caswell agreed with Suhr’s contention: “ABC is just a grossly biased propaganda arm of the Democratic Party.”

Jeffrey C. Illes, a Chicago-area viewer who identified himself as a Republican, wrote in support of Disney’s WLS-TV station.

“I rely on their broadcast for accurate, timely, and trusted local news, breaking weather updates, and essential public safety information,” Illes wrote. “ABC 7 Chicago is a vital institution in our community.”

Stations typically file for a license renewal once every eight years. The commission then determines whether the station has “served the public interest” and has not run afoul of the “rules and regulations of the Commission.”

The commission’s lone Democrat, Anna M. Gomez, blasted the station license inquiry.

“The FCC has no authority to police the ideological balance of the airwaves, and no matter what this Commission does next, the record now makes clear that this was never a genuine search for the public interest,” Gomez said in a Thursday statement.

There are three commissioners: Gomez and two Republicans — Carr and Olivia Trusty, who joined the panel last year.

Congress restricts the FCC from any regulatory moves that trample on free speech rights for broadcasters.

A coalition of progressive groups, including the American Civil Liberties Union, urged Disney Chief Executive Josh D’Amaro to continue to defend 1st Amendment freedoms in the company’s battle with the FCC.

“When you’re standing up for yourself, you are standing up for all of us,” the group wrote. “All of our rights are in danger when the FCC is allowed to censor comedians, journalists, and critics.”

Halfway through a ride on Universal Studio Hollywood’s new coaster, I didn’t know whether to laugh or scream.

The track turned, angled so my car was completely vertical to the ground, a cliff below me. And then my ride vehicle ever so slightly started to twist, to drift as if banking around a tight curve in a video game. Straight down from me was rocky terrain, but if I looked up and beyond the tracks, I had perhaps the best view of the Valley I’ve ever seen.

Granted, it was fleeting. But I was alternately in awe and fearful of what Fast & Furious: Hollywood Drift was presenting before me. I held onto my lap bar, gripping it tighter as I lifted out of my seat, and I couldn’t help but smile at my predicament. I was in a mini, expertly re-created Toyota Supra, hanging over a bluff. I was soaring, the sensation of a car careening off a canyon, only here, my life, thankfully, wasn’t at risk. And I didn’t want it to end.

Fast & Furious: Hollywood Drift is intense, yes, but more important, it’s a delight. It’s a roller coaster not just full of thrills but of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip will leave you guessing. And it’s the smoothest coaster I’ve ever been on, a feeling that lends it a sense of approachability not typically found in rides of this speed and unpredictability.

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It is also a ride that will forever change the tone and tenor of Universal Studios Hollywood, a destination that just two decades ago was largely a behind-the-scenes showcase dedicated to movie-making magic. No more. Universal Studios Hollywood is one of the foremost theme parks in the nation, home to the Wizarding World of Harry Potter, Super Nintendo World and now one of the strongest thrill rides in Southern California, changes that haven’t always been met with approval by the park’s neighboring Toluca Lake residents.

Fast & Furious: Hollywood Drift surprise-opened to guests Monday afternoon. The ride is in technical rehearsals, a soft opening, more or less. That means it’s still in a testing phase and may not always be running. If getting on the coaster is a priority for you, it’s best to wait until Universal gives it a grand opening.

A look at Fast & Furious: Hollywood Drift careening over the park’s escalators.

(Todd Martens / Los Angeles Times)

The coaster — designed by Universal, manufactured by Intamin — has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making. Boasting 4,100 feet of track, two towering inverted loops as well as a pretzel loop and the ability to reach 72 mph through four individual launches, Fast & Furious: Hollywood Drift is full of unique attributes, including its ability to go above and under the park’s famed escalators.

But those not attuned to coaster speak need not be overwhelmed. Know only that at times you’re upside down, at times you’re on your side, some moments you’re facing the ground, others you’re glancing at the horizon, and then you may suddenly be flipped backward. And before you have time to worry about it, you’ll be rocketing forward.

The four cars, all expertly themed to storied vehicles from the film franchise in which the coaster takes its name, can rotate 360 degrees. The choreography is sudden, but not jolting and never gratuitous. I’ve gotten motion-sick on other coasters that can rotate, ones specifically in which designers have opted to move the vehicles in time to a soundtrack, but here, the movement is cleverly attuned to the track. If we spike upward at an angle, the cars twirl as if taking off in flight. A dive downward, and we may hear braking noises as the cars lock in a side-facing position. In short, the vehicles feel forever aligned with the designed course. I rode Fast & Furious: Hollywood Drift twice with no issues.

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift features expertly created mini cars.

(Todd Martens / Los Angeles Times)

And those cars! They are not small. I’m 6-foot-2 and more than 200 pounds and I had ample leg room. And I know those bigger than I am have had no issues riding this new coaster, which seats four per vehicle. Modern coasters aren’t always known for their accessibility, but Universal has created a ride that should be accommodating for many. The ampleness of the cars, coupled with the smoothness of the track, allows Fast & Furious: Hollywood Drift, I believe, to alternately appease those seeking high thrills while not freaking out those who may be more coaster cautious. The goal here is fun, not to terrify.

Universal has crafted some spectacular coasters in recent years: Florida’s Jurassic World VelociCoaster, Stardust Racers and Hiccup’s Wing Gliders, among them. Fast & Furious: Hollywood Drift is not just a worthy addition to that portfolio, but a ride that many, I bet, will declare their favorite. Universal Creative, the division of the company responsible for theme park experiences, and especially the Universal Studios Hollywood team led by Jon Corfino, have accomplished what, just 10 years ago, would have been unthinkable. A high-speed outdoor coaster, in a landlocked studio tour park? Far-fetched, at best.

But instead, it’s a reminder that theme parks are where we go to imagine the impossible.

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.

Mr. Todd’s Wild Ride typically 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.