disney

Last week, sports drama series “The Greatest” debuted on Prime Video, detailing the life of Muhammad Ali and how he grew from Cassius Clay, the Olympic champion, to one of the biggest sports and civil rights icons of all time.

The show has gotten high marks from critics and counts Michael B. Jordan and Ali’s widow, Lonnie, as executive producers. But what might not be known is the role another major sports heavyweight played in its inception.

Authentic Brands Group, which owns the likeness of Ali, was inspired by the post-NBA career and platform of Shaquille O’Neal in thinking about how to tell Ali’s story to a new generation. Authentic also owns the likeness of O’Neal, who is a significant owner of the New York-based brand management company, and saw how he leveraged his basketball fame into all manner of endorsements after his retirement, from pitching Epson printers and Carnival Cruise Line to DJing at music festivals. (O’Neal also spoke with Lonnie Ali regularly, and was instrumental in helping to make her feel comfortable with the project and production team.)

“He’s still incredibly popular, and his businesses are doing amazing. It’s really all because of his platform,” Corey Salter, chief executive of entertainment at Authentic Brands Group, told me. “So what we wanted to do with Muhammad Ali, and this was a long time in the making, is what is Muhammad’s platform? How do we make that come to life again?”

Authentic Brands Group has an extensive portfolio, ranging from clothing brands (Quiksilver, Champion and Forever 21, to name a few) and media (Sports Illustrated), to likenessess of celebrities such as O’Neal, Marilyn Monroe, David Beckham and Elvis Presley. (The company recently filed lawsuits with other Presley music rights holders against AI companies Anthropic and Suno, alleging copyright infringement. Salter said the lawsuit is ongoing and that the company will “vigorously defend” its intellectual property.)

In 2023, Authentic Brands Group launched its film, TV, audio and commercial production arm that’s focused on telling stories around the company’s intellectual property.

In many ways, the origin story of “The Greatest” exemplifies how Authentic Studios thinks about its projects and why they’ve embarked on the production business.

Though Ali died in 2016, “The Greatest” will allow him to remain in the cultural zeitgeist, Salter told me.

“We are giving platforms for our living legends and our icons,” Salter said. “It just really brings him back to people that unfortunately didn’t get to see him in his prime and what he accomplished in his lifetime.”

The genesis of the studios segment goes back to the 2022 release of Baz Luhrmann’s “Elvis.”

Years earlier, Authentic Brands had licensed the Elvis IP to Warner Bros. and built a good working relationship with the Australian film director Luhrmann. But as the team sat as guests in the mezzanine section during the film’s premiere at the Cannes Film Festival, the group realized there could be more opportunities in being directly involved in production, rather than just licensing their IP.

“If we make compelling, interesting and great content, the brand should get that lift,” said Colin Smeeton, president of Authentic Studios. “It’s just a way for us to expand the reach and scope of the brands.”

The Authentic Studios banner has four labels: O’Neal’s Jersey Legends Productions, Beckham’s Studio 99, Sports Illustrated Studios and Authentic Productions, which includes all of the other Authentic-owned brands. The studio is based in Beverly Hills and has about 35 employees. The entertainment segment of Authentic Brands Group makes up about 25% to 30% of the company’s overall business, and the studio is profitable, Smeeton said.

Among the projects that O’Neal’s production company has released are a three-part docuseries on the life and career of NBA legend Allen Iverson and a Netflix show called “Power Moves with Shaquille O’Neal,” about his and Iverson’s plans to revitalize the Reebok brand. The company also has produced commercials.

“When a project comes to me, I like to do what’s known in my office as ‘Shaq it up,’” O’Neal told me in an interview. “You’ve got to allow the writers and everybody else to have their creative process, and then I’ll make it Shaq.”

What exactly does Shaqing it up entail?

“A lot of humor has to be involved,” he said. “When you get home and you turn on the TV, I want to make you smile.”

As I’ve written, IP has become the name of the game in Hollywood. With reboots and sequels, the entertainment business is betting that people will flock to familiar stories and names. Just look at the acquisition of Warner Bros. Discovery — a major draw for bidders Skydance and Netflix was the company’s extensive portfolio of IP, which includes “Harry Potter,” “The Lord of the Rings” and DC Studios.

Expanding that thinking to brands is a logical next step. After all, the success of 2023’s “Barbie” may be the best recent example of harnessing a brand name with a compelling storyline. And, for a while, that film boosted sales of Mattel’s Barbie dolls.

Authentic Studios wants to expand into digital, build on its YouTube footprint and explore vertical storytelling. The studio is developing projects based on the brand Quiksilver’s origin story and the story of retail brand Guess.

“It’s not about doing more; it’s about making sure that the projects that we do make and do develop actually matter and make them count,” Smeeton said. “If we’re going to spend the time and energy, we want to make sure that it is going to be entertaining for the viewer and the fan, but it ultimately is going to be a good outcome for the brand as well.”

Stuff we wrote

Film shoots

Number of the week

NBC News data analyst Steve Kornacki has become a mainstay of election coverage. And that paid dividends for the network last week, when its “Kornacki Cam” drew a record 29 million views across all platforms, my colleague Stephen Battaglio reported.

Kornacki’s coverage spanned 10½ continuous hours and was woven into NBC’s election night broadcast.

Final figures showed NBC averaged 6.7 million viewers in prime time, followed by ABC (5.2 million), Fox (4.31 million), CNN (4.1 million), MS NOW (3.7 million) and CBS (2.7 million).

What I’m watching

Other than watching UCLA continue its 9-0 season with a win over Minnesota this past weekend, I caught the first episode of “The Greatest,” as part of my reporting for the newsletter. The season starts with Cassius Clay’s gold medal-winning match at the 1960 Rome Olympics. I thought the acting was strong, and the theme of fighting racism and injustice at home was especially compelling.

A FORMER Disney heartthrob has revealed he has secretly got married to a mystery woman.

A decade on from Ross Lynch, 30, finding fame on Austin & Ally, the star has announced he is now a married man.

Ross made the admission after he was spotted wearing a gold wedding band at the premiere of his new film, Hartland.

When questioned about it, and asked if this meant he was married, the actor told People: “Yes, yes I am. I’m not trying to shy away from that by any means, but I am trying to, you know, my wife’s not very fond of celebrity.

“So I am trying to be sensitive towards that and respectful to her. But everything’s going well.”

Although Ross hasn’t disclosed the name of his new wife, Reddit sleuths are convinced she is a woman called “Anna”, who he met around Christmas 2024.

Read more on Disney stars

new career

Disney star reveals she’s working as a nurse after quitting fame

FAMILIAR FACE

Stunning Freya Tidy reveals new man who played Selena Gomez’s love interest

This is because the actor revealed in an interview in January 2025, that he had “been seeing someone for around a month”.

Ross’ last known relationship was with his Chilling Adventures of Sabrina co-star Jaz Sinclair.

The pair dated from 2018 until they split in 2023.

Ross first rose to fame in the early 2010s as Austin Moon on Disney’s popular show Austin & Ally.

Later on, the actor starred as Brady in Disney‘s Teen Beach Movie franchise alongside Maia Mitchell and as Harvey Kinkle in Chilling Adventures of Sabrina.

Ross also portrayed the role of Jeffrey Dahmer in the 2017 film My Friend Dahmer.

WITH my face contorted by G-force and hands gripping white-knuckle tight to the grab rail, I wondered what on earth I’d let myself in for.

Beside me, my 12-year-old son was grinning from ear to ear as he yelled: “I told you being at the front was the best seat to be in, Mummy!”

Europa-Park has just been voted Europe’s best theme park and boy, does it live up to the title.

We were rocked, flung, hung upside-down and rattled at speed over more loop-the-loops than I could count as we gasped, laughed and threw our hands in the air.

Close to the borders of France and Switzerland in the town of Rust, it’s Germany’s answer to Walt Disney World with 20 European-themed lands and 14 rip-roaring rollercoasters.

Visiting during the festive season adds even more magic as the whole site is festooned with lights ­— more than 3,000 trees are draped with fairy lights and baubles.

WAIL OF A TIME

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

TEMPTED?

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

Add a dusting of snow (real and fake) and a Christmas market complete with mulled wine and open fires and it is the ultimate pre-Christmas break.

Navigating the park itself was very easy with the dedicated mobile app that shows where all the rides are, the waiting times and the distance from each.

For tired little legs, a monorail runs straight through the park and the on-site hotels, offering a bird’s-eye view of the action.

We made our way round the miniature countries, each carefully themed with authentic food, drinks and world-class rides.

The Christmas market in mini Germany was a standout for me due to the many stalls selling festive treats.

The boy was much more interested in the Croatian zone, where the latest high-octane ride was drawing a crowd.

Voltron Nevera is a terrifying, record-breaking coaster that catapults riders at a 105-degree angle.

Despite the winter crowds, queues rarely topped 30 minutes, and outdoor patio heaters helped keep chilly fingers warm while we waited.

If you need a breather, the hour-long circus show — featuring world-class acrobats, clowns, and a live orchestra — is a festive must-see.

Also worth a trip is the 55m-high giant wheel, Bellevue, that graces the Portuguese area each winter with enclosed, heated gondolas to keep you cosy as you enjoy panoramic views across the park.

With temperatures dipping, a turn around the Nordic fjord lake that serves as a huge outdoor ice-skating rink is a winner — as is a reviving schnapps poured from bottles frozen in ice at Bar Glaciar.

Whatever the weather, you aren’t far from the warmth of one of Europa-Park’s six 4H hotels that come with the added advantage of early park admission for guests.

We checked into Spanish-themed Hotel El Andaluz and our room came complete with terracotta tiling, a huge double bed plus bunk beds and even a matador’s hat on the coat peg.

There was plenty of storage, the usual flat-screen telly and decent fluffy towels.

The only thing missing for this English mum was a kettle for a cuppa.

But there was plenty of tea and coffee on tap every morning in the hotel’s Don Quichotte restaurant alongside a hearty breakfast buffet.

My son was particularly impressed with the pastry selection while I stuck to the cheese and amazing bread selection on offer.

The staff were all incredibly attentive and the food was constantly replenished.

I would definitely recommend filling up here as the chilly temperatures and outside walking require sustenance.

One other top tip would be to book your evening meals when you reserve your room.

Festive breaks are hugely popular, and family-friendly hotel buffets fill up fast.

In contrast, the outside heated pool was empty after dark so we enjoyed an evening swim in warm water in the chilly air watching the fireworks from our hotel. It was really magical.

We saved the best wind-down for last: a short five-minute shuttle to Rulantica, the resort’s colossal indoor water kingdom packed with wild flumes, lazy rivers and an Icelandic-style heated outdoor lagoon.

To avoid the busiest spots, we treated ourselves to a private relaxation suite, complete with its own sauna, bubbly whirlpool, sofa, and TV.

Leaving my son to conquer the waterslides, I enjoyed a blissful lie-down, soaking up the heat to my favourite playlist via the sauna’s Bluetooth speakers.

It was the ultimate warm-up — and the perfect finish to an adrenaline-packed mother-and-son escape.

IF you’ve been dreaming of a Walt Disney World, Universal or Orlando holiday, now’s the time to book for the best savings.

AttractionTickets.com have just launched their massive Black Friday sale EARLY – and the savings are wild.

Use discount code BLACKFRIDAY at AttractionTickets.com to unlock the Black Friday deals

With the BLACKFRIDAY code, a family of four could save up to £1,092* on Disney and Universal Combos and up to £1,235* on Orlando Freedom Tickets.

This includes admission to Walt Disney World Resort in Florida, Universal Orlando Resort and SeaWorld Parks.

For individual Disney tickets, a family of four could save up to £540 on their 14-Day Disney Magic Tickets.

Last year’s sale saw AttractionTickets.com knock 20 per cent off of attractions, hotels and more.

SAVE BIG

MEGA Black Friday sale to save Brits hundreds on Disney & Universal holidays

HUGE SALE

Save HUNDREDS on dream Disney & Universal holidays in huge Black Friday sale

This year, the savings are even bigger, with prices lowered by up to 40 per cent – plus an extra 20 per cent off at checkout with code BLACKFRIDAY.

This year you can save:

• Up to 25% off Disney 2027 14 Day Magic Tickets (Walt Disney World Orlando)
• 25% off Disney 14 Day Magic Tickets for selected arrival dates: 19th July – 11th September 2027 (in alignment with the school summer holidays)
• 20% off all other 2027 Orlando tickets (including Universal Orlando, Kennedy Space Centre and Discovery Cove)

• 12% off Universal Orlando Resort Hotels
• 12% off Orlando Offsite Hotels
• 12% off Orlando Villas
• 10% off California attractions (Disneyland Resort California, Universal Studios Hollywood, SeaWorld San Diego)

Every little saving helps when it comes to booking a big trip like a Florida holiday.

Thankfully, the average holidaymaker is set to save HUNDREDS on their booking in the sale.

Use discount code BLACKFRIDAY at AttractionTickets.com to unlock the Black Friday deals

AttractionTickets.com are known for housing everything you need for your Orlando holiday in one place: hotel and villa stays, theme park tickets, and even combo tickets which save you spending full price on multiple attractions.

For example, if you wanted to visit both Walt Disney World and Universal Resort on your trip, you could save by buying a combo ticket which includes entry to both parks.

The sale offers savings on 2027 holidays. The biggest savings are for breaks during the school summer holidays.

2027 is an ideal time to visit Universal Orlando Resort, with thrilling new rollercoaster Fast & Furious: Hollywood Drift set to open.

Plus Walt Disney World is expecting all kinds of new additions, too, with the Monster’s Inc land Monstropolis beginning to open in phases, and new deluxe resort Lakeshore Lodge set to open.

AttractionTickets.com even have a section of the site listing everything new to expect at these theme parks in 2027.

You’ll also be able to save on accommodation, including on-site villas and hotels.

It’s well worth staying on-site when visiting these parks, as you can get benefits such as early park access, plus avoid the lengthy commutes into the park as well as queuing at the gates every day.

Walt Disney World offer value, moderate and deluxe stays, all of which will bag you an extra hour’s entry in the park before it fully opens.

Universal also offer early park entry, with select hotels also giving you a free Universal Express Unlimited pass to skip the regular queues at top attractions.

But it’s not just Orlando holidays you can save on – there are also discounts on attractions in California.

You could bag discounted tickets to Universal Studios Hollywood and Disneyland Resort California on a dreamy trip to LA.

AttractionTickets.com are a trusted partner for these attractions, and allow you to split up your payments without any fees or interest, so you can avoid a major dent in the wallet.

To make things even easier, you can also secure your holiday with deposits from as little as £50.

Terms and conditions

Use code BLACKFRIDAY at checkout for a 25% discount off Disney 14-Day Magic Tickets with a start date of 19 July to 11 September 2027 and 20% on all other 2027 dates and Walt Disney World tickets.

Click here to see full terms and conditions.

Prices correct at the time of publication.

Walt Disney Co. is experimenting with using artificial intelligence to test out different concepts for music videos showcasing the lyrics to its songs, starting with “Go the Distance” from its 1997 animated movie, “Hercules.”

The effort is part of a deal with Bay Area AI startup OpenArt, which makes AI generated videos. Disney can input its songs into OpenArt’s platform, which will create a storyboard preview of a lyric video based on the song’s words, mood and emotional tone. Disney can make any changes during the process and fine-tune the video.

“They are very excited to bring some of the older catalogs of the music and create visual lyrics videos for those songs,” said OpenArt CEO Coco Mao, adding it’s “early exploration” for Disney to see how AI could potentially help with their creative workflow.

By working with OpenArt, “creative teams can iterate more freely, generating and evaluating multiple concepts in hours rather than weeks, enabling new fan experiences around Disney music between major releases,” Disney said in a blog post.

The commercial deal was announced as part of the Disney Accelerator Demo Day on Tuesday in Burbank. OpenArt was one of five companies in this year’s Accelerator program, which provides participants with investment capital and the opportunity to explore future collaborations with Disney leaders. This year, the entire cohort is made up of AI companies.

“We’re looking at how we can fit these companies into our existing workflows and help expedite that,” said David Min, vice president of innovation at the Walt Disney Co.

The experiment comes as Disney has challenged other AI companies over the use of its intellectual property. Disney and other studios have sued AI companies Midjourney and MiniMax, and in February, Disney sent a cease-and-desist letter to Chinese tech company ByteDance over its AI video generator Seedance 2.0.

OpenArt offers a platform that works with many different AI models, including Kling, Google Veo and Seedream. Businesses can select which AI models they wish to use for their videos. OpenArt also has a tool that helps flag potential intellectual property infringement.

Videos featuring the lyrics to Disney songs can be popular on social media and video platforms. For example, a lyric video posted six years ago featuring “Go the Distance” sung in different languages with a scene from “Hercules” generated 280,000 views on YouTube.

In general, making music videos has been a popular way that creators are using AI, as it can be more economical and allow them to test bold ideas without blowing the budget or going to multiple locations. Rather than a static image with music, a lyric video with different imagery can also help increase views on social media platforms.

“Before joining Open Art, I was in a rock band, so I was one of the artists that know the pain of not having enough money or time or resource to make lyrics videos or any kind of videos to promote your song on social media, so being able to be a part of building a tool that helps musicians and songs from big to small is very monumental,” said OpenArt executive Chloe Fang, who oversees entertainment and enterprise partnerships.

OpenArt was founded in 2022 by former Google engineers Mao and John Qiao. The company said it has nearly 100 employees and 17 million monthly active users.

Disney is considering different ways to incorporate AI into the company. For example, Disney Accelerator participant Irvine-based FieldAI is working with Disney on exploring whether robots can support parking or other operations within theme parks and San Francisco-based Physical Intelligence is looking at whether robotic systems can help with the handling and arranging of 3D glasses for cleaning between shows at Disney theme parks.

In September, Disney named Character.AI’s then-Chief Executive Karandeep Anand as its new chief technology officer. Last month, Character.AI filed for bankruptcy, and Disney offered $20 million to license some of the startup’s intellectual property. Other bidders can still top Disney’s offer.

Not all of Disney’s AI partnerships have worked out. Last year Disney announced a $1-billion investment in OpenAI and a licensing deal to bring Disney characters to OpenAI’s AI video generator Sora, but it fell apart months later after OpenAI decided to shut down Sora to focus its resources on other aspects of its business. The deal was never completed and no money changed hands.

It’s the first week of November, and that means it’s officially the holiday season, which is my favorite time to visit our local theme parks. Disneyland is first out of the gate, unveiling its full slate of holiday programming on Nov. 13. Universal Studios Hollywood and Knott’s Berry Farm will follow the weekend of Nov. 20.

For many, it’s also a season of gift giving, which can be one of the most daunting parts of this time of year. Thankfully, our theme parks are here to help — enter any of them and it’s difficult to walk more than a few feet without passing a souvenir shop, stand or stall.

To celebrate the start of the holiday season — and to coincide with the launch of The Times’ extensive gift guide — I’ve decided to dedicate this newsletter to some of my favorite items currently available at our theme parks. A word of warning, however. I’m a bit of a dork for monorails, and I like silly things, so this list does possess a slight personal bias. But like our paper’s guides to stocking stuffers or unique, made-in-L.A. items, consider it primarily a source of inspiration.

Or a reminder, perhaps, to schedule a visit to one of our theme parks this holiday season and bring home a little gift for yourself.

Disneyland

My favorite new item available at Disneyland is essentially a flip book, albeit one styled as a vintage ‘50s-style TV with brown casing that can house multiple oversize flip books. Turn it on, and it springs into action, playing scenes from either “Steamboat Willie,” “The Sorcerer’s Apprentice” or “Flowers and Trees,” all classic pieces of Disney animation. The images unfold, of course, where the screen would be, and the set also plays music from the animated works. This Disney Animation Television (pictured above) is $99, and you can find it at Disney California Adventure’s Off the Page. It is a park exclusive.

I warned I was a monorail fiend, and new this year at the Disneyland Hotel is a collection from midcentury artist Scott “Scooter” Burroughs. I know many a Disneyland fan is a mug collector, so I’m highlighting this Burroughs-designed Disneyland Hotel item, which has the hotel’s vintage logo on one side, and Mickey and Minnie carrying luggage in front of one of the hotel’s towers and monorail on the other. The teal Disneyland Hotel coffee mug (pictured above), complete with an ornate Disney “D” handle, is $24.99 and available in the hotel’s gift shop.

I’m also showcasing the $24.99 monorail salt & pepper shakers (pictured above), which despite having been available for multiple years, remains my favorite gift at the resort. Yes, they’re in the style of Walt Disney World’s current monorails. but I love the mini track holder and smile every time I use them. Available throughout the resort, including Disney Home in Downtown Disney.

A new Fantasyland sweatshirt has arrived at Disneyland.

(Todd Martens / Los Angeles Times)

The Disneyland Resort has in recent years upped its fashion game. Too often I’d spy a shirt or sweatshirt I liked, and turn it around only to find the understated design on the front was paired with a garish creation on the back. Thankfully, the park seems to be moving away from that style, and this year debuted a gorgeous, restrained yet artful Fantasyland sweatshirt featuring a flying pirate galleon from “Peter Pan.” It’s $69.99 and available at multiple shops, including the Disneyland Hotel or the Emporium on Main Street, U.S.A. I love its minimal use of colors, pairing a creamy white with a royal blue.

For the last Disney item, I’m going to pivot slightly to include a selection from Walt Disney World. As I write this newsletter I’m listening to the newly released “Epcot” vinyl (pictured above), a two-LP set that spans the history of the Florida park. As someone who visited the park yearly as a child, it’s a nostalgic joy, featuring music from “Journey into Imagination,” “Universe of Energy,” “The Land” and more, but the primary keepers for me are some of the Future World instrumentals. This is available online from the Disney Music Emporium for $32.99.

Universal Studios

I can’t resist when Universal Studios Hollywood releases items that center the park’s tram tour. So I immediately wanted this King Kong plush (pictured above) that features the giant gorilla cradling a mini tram vehicle. This, in my mind, is a nod to the attraction when it featured a large animatronic of Kong that would create the illusion of rocking the ride vehicles, so in addition to being cuddly, it has a sort of vintage coolness. This park exclusive item is $30, and can be found in the Universal Studio Store near the entrance.

I don’t think the kitchen cupboard of any Universal Studios Hollywood fan is complete without a few pieces of the park’s retro glassware (pictured above). I have the one styled after the late great E.T. Adventure ride, which opened here in 1991 but sadly left the park in 2003. The ‘80s-style graphic cups have mini ride summaries. Each one is $10, and the park also has glassware styled after the “Back to the Future” ride (RIP) and the Kong section of the tram tour. The items can be found in the Universal Studio Store.

There’s a whole lot of Yoshi’s in this colorful shirt at Universal Studios Hollywood.

(Todd Martens / Los Angeles Times)

Universal Studios Hollywood is also the go-to shop for fans of the “Harry Potter” franchise and Nintendo. I’m a bigger fan of the latter, so I’m going to focus on a couple of my favorite Nintendo items. I’ve long been eyeing this Yoshi camp shirt, but I’m not yet persuaded I can pull it off; one of these days I’m sure I’ll be break down and buy the $75 item. I love its mix of green and pinks, and dig the soft, playful vibe. Plus, everyone adores Yoshi.

Universal Studios Hollywood’s mini-”Jaws” puzzle is an ideal stocking stuffer.

(Todd Martens / Los Angeles Times)

The park also has a fair amount of Nintendo toys, including Mario, Bowser and Yoshi, but I’m a big fan of the dancing Piranha Plant, which spins and rotates when exposed to noise. It’s $37 and a little goofy, but I can’t have plants in my apartment because my cat instantly destroys them, so I’m always on the prowl for toys that double as greenery.

The Universal Studio Store has small sections dedicated to a number of the films featured in the park, and I was smitten with this mini “Jaws” puzzle, which would make an excellent stocking stuffer for fans of the Steven Spielberg classic. It’s $15, comes in an easy-to-store capsule, and features bright, cartoonish poster art.

Knott’s Berry Farm

I love all things boysenberry and at any time throughout the year you can find numerous boysenberry items around my apartment. Lately, I’ve been using the park’s boysenberry cream hand soap, which sells for $16.99. Look for it at numerous shops at the theme park, including the main store just outside the park or the hotel gift shop. It does have a powerful berry fragrance, but I don’t mind as it allows me to pretend I’m spending the night at the park. If you can’t make it to the park, Knott’s sells a $12.99 boysenberry bath bomb online.

The boysenberry, a Knott’s creation, is a delight, a sort of midpoint between a blackberry and a raspberry, although sweeter than both. That’s why I never don’t have a jar of boysenberry jam (pictured above) on hand. They’re $12.99 and available pretty much everywhere at the park but also online. The boysenberry jam is a hearty jelly, its taste reminding me of fall, as it’s not a thin, easily-spreadable jam.

Knott’s stages its annual boysenberry fest each spring, and it’s always a good time to sample dozens of boysenberry-infused foods. Typically, I prefer a more subtle touch, which is why I’ve become a big fan of the park’s boysenberry pancake mix, which sells for $7.99 and is available throughout the park and online. Each bundle is good for a number of meals, although I tend to use more than the recommended dose for thicker, larger pancakes. It’s not a heavy boysenberry flavor, so if you want to go overboard you can pair them with boysenberry syrup, which sells for $12.99 per bottle.

While I focused on boysenberry items in this list, it would be derelict of me not to mention that Knott’s Berry Farm is a prime source for all things “Peanuts.” The boysenberry, however, is such a SoCal original that I’ve been known to visit the park for the sole purpose of snaring a boysenberry pie, which I should mention is a perfect Thanksgiving dessert.

This week in SoCal theme parks

Layoffs last week hit Disney’s experiences division, which oversees its theme parks.

(AaronP / Bauer-Griffin / GC Images)

• Layoffs hit Walt Disney Imagineering. Last week The Times revealed that just under 200 people would be cut from Disney’s experiences division, which includes Disney’s theme parks, cruise line and Aulani resort and spa in Hawaii. Many of those involved, sources say, were with Walt Disney Imagineering. None of the currently announced projects for the Disneyland Resort are believed to be affected.
• Another coaster is coming to Magic Mountain. Six Flags’ Valencia park is soon going to be home to ArieForce One, which previously resided at the now-shuttered Fun Spot America near Atlanta. Six Flags purchased the coaster earlier this year, but at the time did not announce where it would be relocated. Magic Mountain hopes to open ArieForce One in 2028, according to a park spokesperson. The news was first reported by Brady MacDonald of the OC Register.
• Express access comes to Fast & Furious: Hollywood Drift. Getting on Universal’s fancy new coaster will now be a little easier, at least for those who are willing to pay to skip the line. Universal Studios Hollywood is now selling a paid line-skipping pass for $19.95 per person. This will give you an entry time to return to the attraction.
• Happy holidays! The Disneyland Resort is giving us a beer stand. Set to open in the coming days at Disney California Adventure is Bountiful Valley Brews, a new beer stall that will also sell a pepperoni pizza egg roll. In addition to local ales, Bountiful Valley will also sell a margarita and a Southern whiskey peach tea. The kiosk will be located near the entrance to Avengers Campus.
• A new immersive experience is coming to Anaheim. TeamLab, the Japan-born, tech-heavy immersive art collective, is plotting its first permanent U.S. exhibition in Anaheim. The group, stylized as teamLab, is moving into a 110,000-square-foot space at OCVibe, the 100-acre mixed-use entertainment district currently in development near the Honda Center. The teamLab spot is not estimated to open until 2030, but a press release specifies this will be a new exhibition and not a re-creation of one of the collective’s popular international exhibits.

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

—

This newsletter is free thanks to the support of L.A. Times subscribers. If you’re not yet a subscriber, explore subscription packages to unlock unlimited digital access and support award-winning local reporting.

Was this newsletter forwarded to you? Sign up here to get it in your inbox.

The latest round of belt-tightening across Hollywood has now reached the Happiest Place on Earth.

Walt Disney Co.’s theme parks division is laying off between 100 and 200 people, according to a person familiar with the matter who was not authorized to comment publicly.

The cuts to Disney’s experiences segment stem from a regular evaluation of the division’s priorities, investments and project timelines, the person said. Burbank-based Disney has more parks-related projects in progress than ever before.

Disney declined to comment.

The layoffs are limited to the experiences division, which includes Disney’s theme parks, cruise line and Aulani resort and spa in Hawaii. All affected employees will be notified by the end of the day Wednesday.

The experiences division is Disney’s economic engine. In fiscal 2025, the segment brought in $36.2 billion in revenue and more than 56% of the company’s total operating income.

Because the division is so central to Disney’s bottom line, analysts closely track attendance at its theme parks, particularly among international visitors to the U.S. Though Disney previously said it faced “international visitation headwinds” at its domestic parks, that trend has since “moderated,” executives said during the company’s most recent earnings call in August.

The news comes as other parts of Disney, including its human resources and technology teams, have been affected by layoffs. Separately, the company offered early retirement packages for older workers earlier this month. The latest round of layoffs is not related to those earlier job cuts.

Those moves are part of an effort by new Disney Chief Executive Josh D’Amaro to sharpen the company’s focus and help it respond faster to the changing entertainment industry.

Disney is far from the only entertainment company cutting costs. Hollywood is in the midst of an industry-wide consolidation that has affected wide swaths of Southern California. Workers at Skydance, the new name for the combined Paramount Skydance and Warner Bros. Discovery, are also bracing for layoffs as the company looks to cut $6 billion in costs over three years.

Times staff writer Todd Martens contributed to this report.

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

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

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

It’s Sterling Knight!

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

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

KATIE’S HEARTBREAK

Katie Price hit by ‘devastating news’ saying ‘cherish every moment’

next step?

JoJo Siwa fuels engagement rumours as she tries on diamond rings

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

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

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

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

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

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

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

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

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

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

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

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

(Bee’s Knees)

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

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

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

(Bee’s Knees)

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

With monsters, of course.

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

Details inside the van.

(Bee’s Knees)

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

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

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

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

(Bee’s Knees)

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

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

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

This week in SoCal theme parks

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

The best thing I ate at the parks this week

The short rib lasagna from the Hearthstone Lounge.

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Myung J. Chun / Los Angeles Times)

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

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

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

—

This newsletter is free thanks to the support of L.A. Times subscribers. If you’re not yet a subscriber, explore subscription packages to unlock unlimited digital access and support award-winning local reporting.

Was this newsletter forwarded to you? Sign up here to get it in your inbox.

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

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

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

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

1. Make use of Walt Disney world package deals

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

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

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

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

2. Download the Walt Disney World App

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

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

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

3. Meal planning

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

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

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

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

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

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

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

5. Don’t underestimate the size of the place

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

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

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

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

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

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

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

It’s the little engine that can’t.

The people mover that doesn’t.

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

Maybe they should have hired Disney.

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

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

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

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

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

But the ride has been bumpy.

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

It stopped two miles short.

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

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

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

Only five years behind schedule.

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

Are you catching on to a pattern here?

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

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

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

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

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

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

That’s weak.

There’s never been a firm finish line.

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

So what happened in the case of the people mover?

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

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

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

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

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

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

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

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

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

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

Paging Bob Gurr, Disney designer extraordinaire.

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

Money appears to be no object.

steve.lopez@latimes.com

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This week in SoCal theme parks

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Lawrence Meyers)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

‘Musk’ advertising controversy

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

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

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

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

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

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

Stuff We Wrote

Film shoots

Number of the week

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

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

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

What I’m watching

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

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

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

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

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

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

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

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

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

ORL YOU WANT

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

RISING UP

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Jim Gund / Getty Images)

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

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

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

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

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

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

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

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

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

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

(Mark J. Terrill / Associated Press)

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

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

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

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

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

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

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

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

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

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

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

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

(Steve Tatham)

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

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

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

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

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

Think beyond theme parks

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

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

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

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

(Genaro Molina / Los Angeles Times)

The best lessons come from observing guests

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

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

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

AI won’t replace great original ideas

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

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

But there are limits.

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

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

(Christina House / For The Times)

But the integration of smartphones remains a challenge

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

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

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

Yes, it’s possible to make a decent salary

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

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

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

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

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

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

(Christina House / Los Angeles Times)

Remember why theme parks still matter

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

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

For Tatham, it’s about the memories.

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

This week in SoCal theme parks

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

(Christina House / Los Angeles Times)

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

Ride Report

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

What is “Eggs in Space”?

(Todd Martens / Los Angeles Times)

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

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

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

—

This newsletter is free thanks to the support of L.A. Times subscribers. If you’re not yet a subscriber, explore subscription packages to unlock unlimited digital access and support award-winning local reporting.

Was this newsletter forwarded to you? Sign up here to get it in your inbox.

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

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

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

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

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

DISNEY CRUISE LINE

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

WAIL OF A TIME

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

TEMPTED?

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

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

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

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

But parents are not forgotten about.

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

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

ROYAL CARIBBEAN CRUISES

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

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

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

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

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

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

P&O CRUISES

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

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

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

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

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

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

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

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

NORWEGIAN CRUISE LINE

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

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

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

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

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

MSC CRUISES

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

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

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

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

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

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

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

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

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

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

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

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

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

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

1

2

3

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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