Universal Studios Hollywood’s Halloween Horror Nights was built on an outsize reputation. Jump scares, dudes with chainsaws, fake blood and adult drinks accentuated with gummy worms.
Some of these staples haven’t changed. Jump scares aren’t going anywhere, and at a behind-the-scenes walk-through of this year’s haunted houses, dozens of mannequins laid splayed across floors with baggies of custom-made faux blood ready to be drizzled on them before showtime.
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But a Halloween Horror Nights evolution, one that began in 2019 with the arrival of Jordan Peele’s “Us,” has been underway. Today, haunted mazes are works of mini theater, one where scares are drawn out and choreographed. A single room may feature as many as six actors, and now, for the first time, professional stunt performers. Driving this change is the content, the films that inspire the tone of Halloween Horror Nights. And this year, two of the showcase properties are Ryan Coogler’s “Sinners” and Curry Barker’s “Obsession.”
“This is a different time, and we try to live on the edge of that,” says longtime Halloween Horror Nights mastermind John Murdy, talking about modern horror films. “When we started, we were Freddy, Jason, Leatherface and Michael Myers. It was all slashers.”
A foreboding scene from the “Sinners” haunted house at Universal Studios Hollywood.
(Ronaldo Bolanos / Los Angeles Times)
“Sinners” demanded a different approach. Yes, it’s a vampire movie, but it’s so much more.
In a shift for Halloween Horror Nights, the “Sinners” maze will begin with an extended pre-show, meaning about 90 seconds of a lip-synced concert designed to re-create the film’s centerpiece performance of Miles Caton’s “I Lied to You.” Halloween Horror Nights actors will, of course, play a version of Caton’s Sammie strumming a guitar, but as the scene continues other musicians will materialize behind scrim scenes — a DJ, an electric guitarist — to heighten the film’s themes of the timelessness and spirituality of music.
“Music was such a huge part of ‘Sinners,’ so when we were sitting down to figure out what we wanted to do, we knew we had to rethink how we do stuff,” Murdy says. “It starts with storytelling.”
Murdy and the Halloween Horror Nights team wanted to attempt to re-create the thrill of that scene, when “I Lied to You” bridges cultures and conjures artists from different eras. It’s designed to be a celebratory moment before mayhem descends. Consider it an attempt to capture, if even for a moment, the complexity of “Sinners” in a walk-through attraction, one guests will ultimately spend just a few minutes in.
“What I thought Ryan did so brilliantly in ‘Sinners’ is he took vampire mythology and combined with the devil-at-the-crossroads story, the Robert Johnson story, and then brought in the Jim Crow South,” Murdy says.
A burnt vampire as part of the “Sinners” haunted house at Halloween Horror Nights.
(Ronaldo Bolanos / Los Angeles Times)
Murdy concedes, of course, Halloween Horror Nights can only glance at some of the film’s deeper meaning. Ultimately, the goal is to thrill guests. So don’t expect, for instance, a metaphor or a statement on racism, and how prejudice continues to fuel, rule and terrorize culture.
“That’s Ryan’s job in the film,” Murdy says. “Our job is to represent the film as closely as possible. We’re not trying to extrapolate on the film. This was pretty strictly an interpretation of the film. Ryan is the authority.”
‘Sinners’ brings ‘a whole new technology’ to Halloween Horror Nights
But do expect a maze that exploits the park’s movie magic history. Tapping the stunt performers behind the “WaterWorld” special effects show, “Sinners” will boast a scene in which an actor playing the vampire Remmick will descend from the ceiling to fright guests. And making the eyes of the vampires glow red was no easy feat. The film utilized specially made metallic contact lenses, which wouldn’t work at Halloween Horror Nights due to the limited amount of time performers can wear them. Instead, the park’s makeup team constructed prosthetic eyelashes that hide a rice-sized LED light that hangs in front of the performer’s eyes.
“We did a bunch of mock-ups and tests and eventually got the green light,” Murdy says. “We’re doing a whole new technology that we’ve never done before, just to pay that off.”
John Murdy, left, who leads the creative direction of Universal Studios Hollywood’s Halloween Horror Nights, poses for a photo with a young fan who goes by the name “Christian the Ghostbuster.”
(Ronaldo Bolanos / Los Angeles Times)
For those who worked on the film, Halloween Horror Nights is an opportunity to keep “Sinners” in the cultural zeitgeist, while hopefully inspiring some guests to dig a little deeper, says Sev Ohanian, a producer of the film and a founder, along with Coogler and his wife and producer, Zinzi, of Proximity Media.
“We want to make event-driven movies that bring audiences in close proximity to often overlooked subjects,” Ohanian says. “But at its core, it features subject matter that maybe a lot of folks don’t have all that much familiarity with.”
A skeleton mariachi band on the set of the Killceañera haunted house at Universal Studios Hollywood.
(Ronaldo Bolanos / Los Angeles Times)
“That’s the magic of this experience,” Ohanian continues. “Maybe somebody has never seen ‘Sinners’ and they go through this fun spectacle attraction and are exposed to really beautiful blues music and they get to see the artistry of that era of a certain group of people.”
Experimenting with narrative will continue across a number of Halloween Horror Nights houses. Killceañera, which turns a quinceañera into an event in which a teen takes revenge on her bullies, will feature an outdoor performer lip-syncing a song co-written by Murdy and Slash from a balcony. Ozzy Osbourne: Prince of Darkness will intermix the iconography of Osbourne’s solo music with religious undertones, culminating with a giant animatronic bat biting the head off of Osbourne in werewolf form.
The ‘Obsession’ approach
And then there’s “Obsession.” The film was released too late for a large-scale Halloween Horror Nights attraction, but the event will feature an actor dressed as Inde Navarrette’s Nikki walking the grounds. Murdy describes it as a “Where’s Waldo?” moment, as Nikki will be largely incognito and hidden throughout the park, her whereabouts teased nightly via Instagram. Nikki will be seeking a password, also hinted via social media, that will change nightly, from guests.
The first 100 who find Nikki and speak the correct password will be given a business card for the One Wish Willow agency from the film. I do worry slightly about this approach, as, while costumes are not allowed, Nikki could inspire some cosplay at the event, which would open non-scare actors to being approached throughout the evening. But the hope is to bring a more interactive element to Halloween Horror Nights, one that can invite a deeper interaction with character actors.
A look inside the Ozzy Osbourne-themed haunted house at Universal Studios’ Halloween Horror Nights.
(Ronaldo Bolanos / Los Angeles Times)
“We’re not going to tell you exactly where she’s going to be,” Murdy says. “Your job is try to find her and give her the password and you might get a wish in return.”
Bringing “Obsession” into the event did raise some eyebrows. While Murdy notes that Barker is supportive of the approach and collaborating with the team, it was questioned whether a character many see as a target of assault and manipulation would make an appropriate scare actor. Murdy has heard such protests.
“So is Regan in ‘The Exorcist,’” says Murdy, referring to the young victim of the classic horror story.
Audiences still, of course, want to see their favorite characters represented in real life. And Murdy wasn’t going to miss an opportunity to have one of the year’s most buzzed-about horror films at the event. “It blew me away,” he says of “Obsession.” “I was like, ‘Wow.’”
This week in SoCal theme parks
An examination of coaster intensity. On a more serious note, Magic Mountain’s X2 remains shut down while state safety officials continue an investigation involving the attraction. The ride, first opened in 2002 as X, has been the subject of controversy and at least one high-profile lawsuit stemming from a 22-year-old man’s death. Six Flags bills the ride as “a right of passage for the ultimate daredevil” that goes up to 76 mph. A CNN report recently took a look at other, more recent injuries allegedly stemming from the attraction.
What to eat at Halloween Horror Nights. The Times’ Nava Rawls has a look at new food items coming to Halloween Horror Nights this week. Are you brave enough to eat a 22-inch beef hot dog covered in cheese sauce, coleslaw, sriracha aioli, banana peppers and Hot Cheetos inspired by the video game “Fortnite”?
A Marvel legend, honored. Avengers Campus at Disney California Adventure has added a memorial honoring legendary comic artist/creator Jack Kirby. The plaque can be found at the main entrance near the land just past Carthay Circle, and sits opposite a similar plaque recognizing Stan Lee.
Event report
A scene from Oogie Boogie Bash’s Haunted Mansion-inspired street parade.
(Todd Martens / Los Angeles Times)
Disney California Adventure’s Oogie Boogie Bash has been underway since mid-August. It’s a popular event, and excellent for families with little ones, as the emphasis is on character interactions and candy rather than scares. I do, however, wish it offered a bit more variety from year to year.
New this year is a Haunted Mansion-inspired street party, which takes the place of the event’s full-scale parade, which is currently on hold due to construction of the new “Coco” attraction. It’s short, but lively, offering a couple of Mansion floats from the parade as well of dozens of dancers. The party stops at various points along the route for a mini dance presentation, and if you’re seated in one of these locales, it’s a better experience. Or else it’s just a too-mini parade. I wondered if a night-long party in the Hollywood Land section of the park would have been a better way to go, even if it meant losing one of the candy giveaway spots.
As someone who isn’t a character person, the centerpiece for me is Villains Grove, which takes over the Redwood Creek Challenge Trail with projections and effects that nod to various evil characters. Seeing ominous vines twist to life on towering trees, or watching the Cheshire Cat materialize through the woodland setting, is always a delight. But, sadly, Villains Grove hasn’t changed much since 2019, and it’s time for Disney to rethink the space. I miss, too, the days when Oogie Boogie Bash had its own spooky World of Color show. As it stands, I just wonder if there are enough attractions if you’re not interested in character hunting.
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.
Fast and Furious: Hollywood Drift will officially open on Sept. 16.
(Todd Martens / Los Angeles Times)
Fast & Furious: Hollywood Drift at last gets a proper opening date. Universal Studios’ high-speed thrill ride, which has been operating in technical rehearsals since late July, will open on Sept. 16. By giving the ride an official opening date, the theme park is announcing that the attraction is ready for daily operations.
Curious to ride? Don’t miss my rundown of everything you need to know before you head to the park. Looking for a review? I have that too. Want to know about the 10-year journey to bring the attraction to park? Read this. And if you’ve heard about some drama involving the park’s neighbors in Toluca Lake, this story will catch you up.
Universal Studios Hollywood is almost ready to properly open its new Fast & Furious: Hollywood Drift coaster. The high-speed thrill ride, which has been operating in technical rehearsals since late July, has an opening date: Sept. 16.
The coaster has essentially been in an extended testing phase. By giving the ride an official opening date, the theme park is announcing that the attraction is ready for daily operations.
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Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
Fast & Furious: Hollywood Drift, which seats riders in expertly designed mini-vehicles designed to reference real automobiles, has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making.
The ride — designed by Universal, manufactured by Intamin — has already changed the look and feel of Universal Studios, giving the park its first major outdoor thrill ride. Once known primarily as a studio tour park, Universal has been undergoing a large-scale overhaul throughout the last decade-plus, adding immersive lands such as the Wizarding World of Harry Potter and Super Nintendo World.
Now it has a coaster that feels akin to taking a joyride, complete with authentic engine and brake sounds. So if you’re thinking of taking Fast & Furious: Hollywood Drift for a spin, here’s what you need to know.
The view of Fast & Furious: Hollywood Drift from Universal Studios Hollywood’s Wizarding World of Harry Potter.
(Todd Martens / Los Angeles Times)
Is the ride included with Universal Studios admission?
Yes. A daily ticket starts at $109.95, although prices vary by day and expect to pay in the $150 range for a weekend date. Unlike Disneyland, Universal does not require reservations, but it is recommended to buy in advance.
Are express passes available?
Universal Studios will sell front-of-the-line access as an add-on to a daily ticket — but not yet. Fast & Furious: Hollywood Drift will not be included in express pass offerings at launch, according to a Universal spokesperson. That means all guests will have to wait in the same line. Express access is expected to be offered at a later date.
So, how long should I expect to wait in line?
A while. During technical rehearsals, afternoon waits routinely topped two hours, with some waiting longer than three and closer to four, although the last was rare. Expect operations to run a little smoother thanks to the soft open phase, but come prepared to be patient.
Is the ride included with Halloween Horror Nights?
The short answer is no. The longer answer: Those who spring for what Universal calls the R.I.P. Tour, however, will be able to ride. A guided experience, that ticket is $479 per person. (The fine print: Earlier this summer Universal did promise Hollywood Drift access with some tickets, but has since removed that option. The park has stated it will honor the terms of those who purchased the tickets before access was removed, and those buyers should have received instructions from Universal.)
The Fast & Furious: Hollywood Drift coaster features multiple inversions.
(Todd Martens / Los Angeles Times)
Tell me about the ride. How intense is it?
The ride reaches speeds of 72 mph, the fastest coaster in Universal’s global portfolio, while traversing 4,100 feet of track, two towering inverted loops and a pretzel loop. There are four individual launch points, and the coaster cars have the ability to rotate 360 degrees. It’s intense, but it’s also incredibly smooth, which helps it feel more approachable.
Wait, 360 degrees? Will I get motion sick?
Individual results will vary, of course, but for reference I am someone who can’t do extreme coasters — Magic Mountain’s Wonder Woman Flight of Courage is too much for me — and struggle on attractions that spin, such as Walt Disney World’s Guardians of the Galaxy: Cosmic Rewind. Yet I’ve been completely fine on multiple rides of Hollywood Drift. The spinning isn’t gratuitous, as the cars turn and drift with the flow of the track, so the movement feels aligned with direction.
Can I request a specific car?
You can! But be kind and patient with Universal staffers, who may not always be able to grant such requests due to crowding. If you have a specific concern, however, raise it with the coaster staff, and they will likely accommodate.
One of the ride vehicles of Fast & Furious: Hollywood Drift.
(Todd Martens / Los Angeles Times)
What’s the ‘easiest’ car for those who are nervous?
The middle cars, although not by much. All rotate, all experience the same speed and inversions. There are four vehicles, and the first provides the most striking views, including of the track’s drops, so the squeamish are advised to aim for the middle two cars, as it will provide a better sense of where the coaster train is heading. I’ve been told by some at Universal that the last row of the last car — each car seats four — can feel a little more riveting as it will heighten some of the speed and lift sensations. But I’ve sat in the front and the last car, and still don’t know if any differences were in my head or not.
Is there a height requirement/maximum?
Yes, you must be at least 51 inches tall to experience the coaster. There is no listed height or weight maximum, but guests are encouraged to sit in a test vehicle outside the attraction before getting in line. Riders must be seated completely inside the vehicle, which uses a pull-down lap bar, and be fitted against the headrest.
How accessible is it?
Modern roller coasters are not known for their accessibility, but Hollywood Drift is surprisingly accommodating for how intense it is. I am not small. I am 6-foot-2 and more than 210 pounds, and found Hollywood Drift to be one of the more comfortable coasters I have been on. There’s also plenty of leg room. I know a number of people significantly larger than me who have been able to ride successfully.
Where is the ride located in the park?
Across from the Wizarding World of Harry Potter. But you can’t miss it, as you need to pass it to get to the park’s lower lot, and it’s viewable from pretty much anywhere.
Well, is it worth riding? What’s your verdict?
I think it’s a blast. I rode the coaster on its first day of technical rehearsals, and as I wrote in my review, it’s full of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip leaves you guessing. Some of the park’s Toluca Lake neighbors, however, may be less enamored with it.
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.
The Magic Castle is getting in on the theme park game.
The famed Hollywood institution is teaming up with Knott’s Berry Farm for its after-hours Halloween event, Knott’s Scary Farm, now in its 53rd year. The Magic Castle will supply the artists and show direction for a production that is expected to run nightly in the park’s recently refurbished Bird Cage Theatre.
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The theme park initially reached out to the Magic Castle last year, says Payden Adams, vice president of entertainment for Knott’s Berry Farm, but the castle was in the middle of a leadership reorganization at the time. With that completed, a partnership could finally begin.
“It is just astounding what they’ve done with the Bird Cage Theatre,” says Jessica Hopkins, granddaughter of castle pioneers Bill and Irene Larsen and the castle’s chief operating officer. “Magic Castle magicians have been performing in there for decades. It just felt right.”
The magic shows will take place at the park’s recently refurbished Bird Cage Theatre.
(Kyusung Gong / For The Times)
Curating Knott’s magic show will be Rudy Coby, a resident magician at the Magic Castle. Coby performed at Knott’s about 35 years ago and credits the park in helping him get his start. He says the new show, “Occultum,” will vary by week with different performers lined up throughout the Halloween season. Knott’s Scary Farm begins Sept. 17.
And yet, says Coby, “Not every magician is for this audience.” So what’s the differentiating factor for a Halloween magic show?
“It’s a little more edgy,” Coby says. “You really have to grab their attention. It’s the TikTok generation.”
Some of the illusions Coby says he will bring to Knott’s Scary Farm would be “too intense for the Magic Castle.”
“The ideas I’ve had, with chainsaws and cutting off my limbs, I couldn’t get away with at the Magic Castle,” he says.
“But you can here,” says Hopkins.
The Magic Castle-headlined show is not the only new addition to Scary Farm in 2026. Here are two other reasons I’m looking forward to the event.
Inked: A new maze with killer vintage cartoons
Concept art for the new Knott’s Scary Farm maze, Inked.
(Knott’s Berry Farm)
One of the two new mazes coming to Knott’s Scary Farm will rely heavily on black-and-white, vintage-style animation. Inked, as it’s called, will be set in the 1930s, and was introduced at a media event with a song-and-dance production that recalled Disney’s classic Silly Symphony “The Skeleton Dance.”
The story centers on Mortimer Morbid, a deadbeat, down-on-his-luck animator whose career changes — not necessarily for the better — when it’s discovered his blood can bring his drawings to life. Of course, cartoons infused with blood don’t have the most altruistic desires.
Inked designer Daniel Miller says the maze took two years to create, largely because Knott’s conceived the animation for the walk-through in-house with a team of four. Most every room in the haunted house is expected to feature original media, as the animated creations will be represented both in their cartoon form and as costumed characters.
And it’ll be gruesome.
“We kind of geared it around the notion that they’re bloodthirsty,” Miller says of the killer ‘toons. “We see all the animators in various stages of disembowelment.”
Expect the unexpected with ‘Voodoo: Bayou’s Edge’ and Unearthed
Concept art for Unearthed, a new Knott’s Scary Farm maze.
(Knott’s Berry Farm)
Knott’s Scary Farm, unlike its main SoCal competitor, doesn’t rely on known film and television properties. That means the event can generally get a little … weirder. You see that in its mazes, as noted above, as well as in its theatrical productions. Also new this year is a show titled “Voodoo: Bayou’s Edge,” which takes place on an outdoor stage. The production centers on a voodoo queen and the mysterious happenings in a cemetery. Knott’s is pitching it as a music, dance-focused show.
And while voodoo can potentially be a culturally sensitive subject to tackle in a theme park, the show comes from the mind of the respected Rovin Jay, who has long been closely involved in the park’s spectacular “Ghost Town Alive!” Expect “big dance numbers” and something “really sexy,” says Adams.
Another new maze, Unearthed, will be set in the present day but takes its cues from films such as “Raiders of the Lost Ark” and “The Mummy” as it deals with a supernatural archaeological dig. Maze designer Jon Asperin says it will have numerous interactive elements, such as effects triggered by guests pulling a lever.
“Having the ability to come up with original stories lets us tap into the nerd in all of us,” says Asperin. “We don’t feel restricted by certain IP or things that may not be appropriate. We get a chance to challenge ourselves with trying out new things that some folks won’t take a risk on.”
This week in SoCal theme parks
The Disneyland attraction Mad Tea Party as it was under construction just months before the park opened. The image is from the documentary “Disneyland Handcrafted.”
(Disney+)
A must–see Disney history event. Nonprofit creative institution Ryman Arts, in partnership with Santa Ana’s Bowers Museum, will host a talk and cocktail reception centered around a screening of Leslie Iwerks’ documentary “Disneyland Handcrafted” on Sept. 27. It’s a charity event, and a good one, as the panel lineup is top notch. Historian and author Tim O’Day will moderate a talk that includes the film’s producer, Mark Catalena, former Imagineer-turned-historian Tom Morris and current Imagineer Emily “Emo” O’Brien, who oversees creative at Disneyland and is leading the team behind the just-announced makeover of Tomorrowland. Don’t expect any insights on the latter, of course, but do anticipate a lively talk on the evolution of Disneyland. Tickets start at $125 and are on sale now.
Exciting Disneyland construction news. Big changes are coming to Disneyland, and while many are years away, the positive sign is that the park is wasting no time in getting started. There are now indications of construction in Disneyland’s esplanade between its two parks. This will pave the way for a new parking garage, of which groundbreaking has just begun, as well an entrance experience on the eastern side of the resort. This is the first of many steps, but one that must be completed before Disney begins its wider expansion that could bring attractions such as “Avatar” to the resort.
Ride report
A photo of the Haunted Mansion’s new gingerbread house, as snapped from my ride vehicle.
(Todd Martens / Los Angeles Times)
Merry Christmas! Yes, that’s right, as the Haunted Mansion has been given a Christmas-heavy makeover, as always focused on “Tim Burton’s The Nightmare Before Christmas.” (And yes, before the debate begins, it’s clearly a Christmas movie.) While I prefer the original Haunted Mansion, there are plenty of fun and clever details in the seasonal makeover that still make it a must-experience attraction. The attic scene, for instance, is full of clever nods to Disney history, including a Rolly Crump-inspired melting candelabra man. Each year I wonder if what I’m seeing is brand new, or was always there, such as what appeared to be a tiny bride figurine.
But one change is guaranteed: Each season Disneyland’s team concocts a new gingerbread house for the ballroom diorama. This year’s edition is a giant, candy-infused music box-like creation, which gradually opens as guests glide past it and a skeleton pops out. The concoction is designed in the shape of the Haunted Mansion itself, so it’s a little mansion-within-a-mansion. And, bonus, the room smells like gingerbread.
The best thing I ate at the parks this week
The delicious pumpkin cookie from Disneyland’s Harbour Galley.
(Todd Martens / Los Angeles Times)
I love a cookie, and Disneyland’s Harbour Galley has the best one on the property this Halloween season with its pumpkin creation. They’re small-ish — three or four bites — but come in packs of 6 ($8.49) or 13 ($14.49). They’re soft, slightly chewy and addictive. I love it when I get a little brown sugar crystal in my mouthful. The pumpkin flavor isn’t overpowering. It’s closer to a ginger snap than it is a slice of pumpkin pie, meaning it has just the right balance of sugar and spice. It‘s also, it should be noted, one of the best values at the resort for a dessert item. I get a pack of 13 and have breakfast for a week.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
The Walt Disney Co. stated that it will soon reimagine Disneyland’s Tomorrowland at its fan convention D23. The move has been one fans have long clamored for.
(Todd Martens / Los Angeles Times)
The topic consuming most Disneyland fans for the next few years will be the Tomorrowland reimagining. The project is just getting started, and I’ll refrain from offering a wishlist. Let the Imagineers do their work, I say, although I consider all of it, save for the monorail and Space Mountain, on the table. Gut it. Start over. But reader Peter La Barba of Long Beach wrote in with a request that I wouldn’t disapprove of.
“Whatever they do, I hope they restore the two Mary Blair murals that were in Tomorrowland,” La Barba wrote. “I’d like to see optimism restored to Tomorrowland. I was about 3 or 4 when we went to the park in August of 1955 and I wanted to live in that future. Not the incessant war future of ‘Star Wars.’”
Hear, hear. The murals of animator/fine artist Blair were a wonder, full of children of the world in celebration mode. Flying contraptions! Communication devices! Satellites! Planets! I don’t have an image safe to use, so head over to Disney history site Yesterland for a look. The two murals lasted until the ’80s and ’90s, and replacing them was a mistake that’s only looked more shortsighted over time. As Blair’s work continues to grow in stature, who needs another “Star Wars” painting?
Almost three decades ago, Joe Timko and Randy Neece were wandering through Disneyland, saw Goofy trailing around the gardens and made the connection.
This, but for dogs?
A Disneyland-inspired wonderland for their canine counterparts is what they were thinking. Timko, who Neece describes as “the most impulsive person in the world,” had no hesitation.
“That’s what we should do!” he says.
Dogs run around at the Wonderland yard.
That offhand vision has since expanded into Canyon View Ranch, a five-acre luxury retreat tucked into the hills of Topanga that its clients refer to as Disneyland for canines. Designed by married couple Timko and Neece, who worked as a trainer and TV game show director, respectively, this dog boarding retreat is like no other. Think multiple bone-shaped pools, a chauffeured shuttle service, behavioral and weight loss programs, 35 feet of underground tunnels and dedicated lands à la Disneyland, including Adventureland for the bigger hounds and Munchkinland for the little ones and older sports.
Dogs here wake promptly at 5 a.m. for morning exercise, eat breakfast at 6, take scheduled naps at 8, enjoy a “biscuit break” at 5:30 p.m. and are finally tucked in for “lights out” at 8. Ranch activities include hurtling through agility courses, swimming beneath a massive artificial waterfall and roaming sprawling fantasy playgrounds built expressly for their entertainment.
A map of the ranch drawn by Nina Rae Vaughn, the same artist who illustrates Disneyland’s official park maps.
(Canyon View Ranch)
Dog owners say that as soon as they pull into the driveway, their pups realize exactly where they’re headed and “start going bonkers,” says Neece. When they’re let loose, they enter Canyon View Ranch with the abandon of children running down Main Street, U.S.A.
Getting to the ranch requires a journey up winding hills, past signs that read “Please Be Kind,” on roads flanked by cacti, chaparral and coastal sage scrub. It looks nothing like the city.
Today, Canyon View Ranch boards around 60 dogs at once, often with a waiting list stretching six months or longer. There is no limitation on how long they can stay, and many of the dogs I meet today have been here for several weeks, totaling thousands with the ranch’s $100 nightly rate. Dogs travel from all over to get here, from Las Vegas to Dubai. Their owners include schoolteachers and secretaries alongside some of Los Angeles’ wealthiest families.
“We could be watching over all the jewelry in their safe,” Neece says, “and it wouldn’t matter as much as their dog.”
On this Wednesday morning, Neece and Timko lead the way through the property. Neece is calmly and casually kind, like a faithful bloodhound without jowls. Timko is sprightly, a live-wire Chihuahua. The two of them live on-site in what looks like a family home straight out of a 1990s Disney film, a white colonial home with blue shutters. There are 20 staff on-site. For Neece and Timko, the job is 24 hours a day, seven days a week.
Munchinkland is for smaller and less energetic dogs at Canyon View Ranch.
Dogs follow animal care specialist John Highland.
“I have the best job in the world,” says John Highland, former veterinary technician and now one of the ranch’s animal care specialists, as the dogs stream into Adventureland.
A great many dogs run up to me, tails wagging, tongues lolling. Neece and Timko lead me eastward of Adventureland toward the dandelion-headed alpacas, Stumbelina and Sparkle. Other animals on-site include a stable full of horses and Cowboy the tortoise, who is about the size of a lawnmower and whose head protrudes from what looks like a Venus flytrap made of bone.
“They help bring the flavor of fun, and that’s exactly what we want to do here,” Neece says. “We want it to be an escape, just like Disneyland.”
Neece was raised 15 minutes away from Disneyland and developed an obsession with it early on. “I’ve read every book imaginable,” he says. “I have this really deep appreciation for Walt Disney’s vision.”
Every detail of Canyon View Ranch evokes the legendary Anaheim theme park. The property has its own illustrated map, drawn by Nina Rae Vaughn, the same artist who illustrates Disneyland’s official park maps. The dogs’ sleeping quarters are modeled after the park’s Pirates of the Caribbean ride, with its fort-like corridors made of sun-dried brick, the walls strewn with overgrown jungle vines. At Christmas, snow machines cover the grounds while lights are strung through the trees and holiday music plays all day.
The Disney vision has now come full circle. Several members of the Disney family are clients: Roy P. Disney and his wife, Sheri. His sister, Susan Disney Lord, is also a client, along with her children.
Canyon View Ranch even has what Neece describes as its own “Mickey Mouse”: Max the Tibetan terrier. A statue of him sits out front, honoring the first dog Timko and Neece owned together. “Usually, Tibetan terriers come in black and white, but we wanted Max, who came in earth tones, because he matched the furniture,” says Neece. The terrier, it turned out, was a champion, and the owner wouldn’t sell him unless the couple promised to show him. They agreed, and in 1997, Max won best of breed at the Westminster Kennel Club Dog Show. “All of this started because we made the decision to buy that dog,” says Timko.
Randy Neece, left, and Joe Timko spent years creating a “doggie Disneyland.”
Neece and Timko gaze over the canyon view from which inspired the ranch’s name. After 26 years, they’ve watched three generations of dogs come and go. “One of the things we didn’t count on when we started this was the emotional toll,” says Neece. “Yeah,” Timko adds, “every loss hurts.”
“When Max died, Joe struggled for weeks,” says Neece. “I later realized that a lot of it translated into him worrying about losing me next.”
In the late 1980s, while still working on TV sets, Neece learned he was HIV positive. “It was a death sentence then,” he says.
Larger dogs play in the Wonderland yard.
He survived, one of a comparatively small number of his generation who did. He returned to television briefly, working on two more game shows, one of which included one of his biggest paychecks. (“‘Match Game’ built Canyon View Ranch,” he laughs.)
But something had shifted. “When you go through something like that,” he says, “you really start taking inventory of your life. There’s something about that that frees you up to take a risk. I was ready to reinvent myself.”
The couple sold their house in Laurel Canyon and bought the Topanga property in the late ’90s from Melissa Sue Anderson, who had played Mary Ingalls on “Little House on the Prairie.” Slowly, year after year, they planted every tree alongside ranch foreman David Barrios, dug every tunnel, built every waterfall and themed land, until the place began to resemble the idea they’d first imagined while watching children crowd around Goofy.
Now, late in this hot August afternoon, dogs of every size race through underground tunnels and emerge from the other side even more manically happy than when they entered. The Pomeranian munchkins in Munchkinland skitter around, sniffing wagging butts. A Labrador sprays his friends with water soaked into his fur from the bone-shaped pool. If there is such a thing as the Rainbow Bridge, Canyon View Ranch must be what it looks like on the other side.
Dogs dip in a pool and follow John Highland at Canyon View Ranch.
The Disney theme parks are entering their fan feedback era.
This past weekend’s all-things-Disney fan event at the Anaheim Convention Center was the first with Josh D’Amaro installed as CEO. And D’Amaro’s message to fans was clear: We’ve heard you, we know what you want and we’re working on it.
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That means Disneyland Park is at long last getting its Tomorrowland makeover, a top fan request for much of the last decade-plus. Walt Disney World’s Animal Kingdom is fixing its broken yeti, the star of thrilling roller coaster Expedition Everest that has been busted for about 20 years. Epcot’s fan favorite purple dragon Figment will soon be starring in a brand new attraction that resurrects his bearded creator, Dreamfinder, saving fans from suffering through its current half-hearted iteration in which “Monty Python’s” Eric Idle essentially treats the beloved character as a pest. (I ride it because I adore Figment, but I cringe throughout, and not just because at one point we’re annoyingly blasted with the smell of a skunk.)
And Disneyland Paris is yanking the marketing-driven “Star Wars” overlay Hyperspace Mountain from Space Mountain to return the coaster to its superior Jules Verne-inspired original. Disneyland officials take note: We don’t want Hyperspace Mountain here, either, but at least ours isn’t semi-permanent.
The long-broken yeti on Walt Disney World’s Expedition Everest will eventually be fixed. The above is an artist rendering of the attraction released by Disney Experiences.
(Disney)
It’s a sharp move, and may seem like a no-brainer, but following fan feedback doesn’t come without some risks. Fans, after all, rarely know best, often prioritizing nostalgia and lore over evolution. And Walt Disney Imagineering has remained one of the most respected corporate creative institutions for a reason. In short, fans, don’t let this go to your head.
But D’Amaro is also showing that he understands something not all Disney leaders have appeared to be well-versed in. And that’s the fact that the best IP of the Disney theme parks are the parks themselves.
Disneyland Park’s biggest selling point is not “Star Wars,” “Snow White and the Seven Dwarfs,” “The Princess and the Frog” or “Peter Pan.” It’s Disneyland itself, a temple dedicated to our narrative myths and communal play.
For too long Disney parks seemed to be, if not led, steered by its marketing teams. A franchise here, a franchise there. That thinking led to lesser designs such as a misguided remake of Paradise Pier into Pixar Pier at California Adventure, in which Pixar characters are basically treated as decals. It’s led me to argue in the past that Disney’s IP was squeezing the theme out of its theme parks.
Tomorrowland in its current state is a mess of ideas with a number of underutilized buildings.
(Allen J. Schaben / Los Angeles Times)
Disneyland last attempted to revamp Tomorrowland in 1998, and while the concept was on point — a retro-futuristic, Verne-inspired look of sci-fi fantasy — the company didn’t fully commit to it and the land has largely been a mess of ideas since. Space Mountain remains a symbol of optimism dedicated to the joy and unpredictability of galactic exploration. But the rest of the land, save for the monorail, one of Disneyland’s most recognizable monuments, should be considered fair game.
Tomorrowland has become such an eyesore that even Disneyland President Jill Estorino recognized its negative press at a pre-D23 media event. “Painful to read,” she said to the assembled media as she rattled off stories observing the “little tomorrow in Tomorrowland” and describing the land as “tired.” Estorino conceded it was “all true.”
That made this past weekend’s announcement even more of a surprise. The reimagining, as Disneyland is calling it, is in good hands. Imagineer Emily “Emo” O’Brien, the creative producer overseeing the Disneyland Resort, recently worked on Fantasy Springs at Tokyo Disneyland, a highly acclaimed modern take on a Fantasyland-like area home to fresh takes on “Frozen,” “Tangled” and “Peter Pan.” O’Brien has been with Imagineering for about 30 years, and one of her first projects was hand-shaping the armrests of the approximately 2,000 seats of Disney California Adventure’s Hyperion Theater. The little details at a Disney park matter.
Promotional art for a reimagined Tomorrowland released by Disney. The project, according to Imagineers, is in its infancy.
(Disney)
“I grew up in my career with this legacy,” O’Brien said. “I understand the kind of gravitas and the responsibility that I have with our team to guide us through this journey of reimagining the only Tomorrowland that Walt [Disney] actually envisioned, designed and walked in.”
A remade Tomorrowland, to be clear, is years away. No questions were answered on Tomorrowland at D23, so fans will have to wait to hear what this means for the long out-of-work PeopleMover. And as previously reported, Estorino said the reworking of the original Disneyland area will come after California Adventure opens its “Avengers” and “Coco” attractions. The former two were given a 2028 date, while “Coco” still does not have an opening window. After Tomorrowland, the resort intends to tackle “Avatar.”
The fan favorite purple dragon known as Figment at Walt Disney World’s Epcot. The attraction Journey Into Imagination With Figment has been earmarked for renovations.
(Todd Martens / Los Angeles Times)
At a Disney parks presentation Saturday evening, the Tomorrowland announcement received arguably the largest applause. But it was closely followed by the reveal of a reworking of what is currently known as Journey Into Imagination With Figment at Epcot. That ride has been a shadow of its former, glorious self since the late ’90s, even as the squeaky-voiced Figment has remained a popular mascot for the park. That’s no real surprise, but I, of course, am biased, as I have a Figment tattoo and the character was my childhood favorite.
Figment is a dreamer, his very existence the result of a dreamer. While I don’t necessarily trust the memory of my 10-year-old self, I remember Figment becoming an astronaut one moment and pretending to be a ship’s captain in the next. Visions of that ride are burned into my brain. Figment was a reminder to a video-game-obsessed kid that while you can’t do everything, you can at least envision anything.
And Imagineering appears to be doing just that at the moment. The projects, of course, will have to be conceptualized, designed and built, and there’s still time to make mistakes, such as attaching a known IP to the reimagined Imagination (don’t do it).
Concept art for the Maleficent attraction coming to Villains Land.
(Disney)
Tomorrowland has been flawed since the early 2000s and Disney can survive without touching it. Its attractions — Star Tours, Autopia, Buzz Lightyear Astro Blasters — still, after all, draw crowds. The commitment to redesign it may be a crowd-pleasing one, but it’s also a reminder, a symbol of understanding.
If something’s broke, you correct it. You don’t let it sit in a derelict state simply because the financial math doesn’t justify new guest spending or increased crowds. The Disney parks are a home away from home for many a visitor, and they should be treated as such.
D’Amaro, of course, as CEO will be evaluated on much more than simply how he leads the parks. But he and and his partner Thomas Mazloum, the chairman of Disney Experiences, came to this D23 with one message: We’re one of you. Expect the Disney die-hards to hold them to it.
One more D23 thought
An Imagineering research and development project in which Grogu and the character of Hugo are represented as robotic figures serving guests.
(Todd Martens / Los Angeles Times)
The Imagineering booth on the convention floor was full of delights and wonders, especially in its research and development section. I tend not to devote a ton of newsletter space to R&D, only because I’d rather focus on what guests can or will be seeing in the future, but the two “Star Wars” attractions shown not only deserve their props, but belong in Star Wars: Galaxy’s Edge.
One is a no-brainer, and it’s a snack stand featuring Grogu and Hugo from “The Mandalorian and Grogu.” The latter, voiced by Martin Scorsese in the film, is largely asleep and snoring in the food truck-like stand, while Grogu uses the Force to whisk orders across the counter. Fan were transfixed. And this seems like the perfect mix of corporate and creative desires, as no doubt many a Disney guest would order an extra soda if it came with a show featuring “Baby Yoda.”
An Imagineering research and development project featuring robotic Anzellan mechanics that can interact with guests.
(Todd Martens / Los Angeles Times)
The other was an Anzellan work bench. Anzellans are tiny creatures introduced in “Star Wars: The Rise of Skywalker” known for their engineering skills, and here they were seen working on droid parts. But they also interact with guests.
Get close enough, and they’ll stop what they’re doing to quizzically look at you, ask you a question or maybe even repeat what you said to them. They’re as lifelike a robotic as Disney ever created, and the 14-acre Galaxy’s Edge is never not in need of more activity. Here’s hoping these little guys find a destination in the parks soon.
This week in SoCal theme parks
The vibrant, dance-focused “Magic Happens” parade will return to Disneyland in 2027.
(Allen J. Schaben / Los Angeles Times)
Halloween is here! While the temperature may not feel like it, the fall Halloween season has arrived, and the Disneyland Resort’s Oogie Boogie Bash begins Tuesday evening. Additionally, the resort-wide Halloween Time launches Friday. There are still tickets available for many an Oogie date, and new this year is a Haunted Mansion-inspired street festival as well as the arrival of Yzma, the villain from “The Emperor’s New Groove.” Oogie is a good time, especially if you haven’t done it before.
Looking ahead to Disneyland in 2027. With the new Avengers Campus not opening until 2028, the Disneyland Resort in 2027 will rely heavily on entertainment to lure locals back to the park. That means the fantastic “Magic Happens” parade is returning before next summer season. While it has the requisite mix of Disney characters, it’s also notable for its use of contemporary dance. Also returning is the original “World of Color” to Disney California Adventure and a refreshed version of the fireworks show “Remember… Dreams Come True” at Disneyland Park. Both are expected in February, shortly after the holiday season concludes.
A blow to the in-park games of Disneyland. Reports surfaced Monday that the Walt Disney Co. was killing the Play Disney Parks app, which is home to the enjoyable Star Wars: Datapad game Batuu Bounty Hounters. The app was largely designed to give fans activities while they waited in lines, and was also meant to turn Star Wars: Galaxy’s Edge into a live-in video game. The app will go offline Sept. 16, according to Disneyland officials.
A new window on Main Street. Former Disney CEO and future Los Angeles Lakers co-owner Bob Iger has received a window on Disneyland’s Main Street, U.S.A. The honor is reserved for those who have heavily impacted the Disney parks, and Iger certainly qualifies, as his many acquisitions — Marvel, Pixar, Lucasfilm — changed the tenor of Disneyland and beyond. Look for Iger’s window above the Emporium gift shop, where he is heralded as a “new century builder.”
Good news for Disneyland’s ‘Monsters, Inc.’ fans. With the announcement that Disney California Adventure’s “Avatar” experience won’t arrive until after Tomorrowland’s redo, the attraction Monsters, Inc. Mike & Sulley to the Rescue! will get to remain open a little longer. Previously, the attraction was supposed to close in early 2027, but Disneyland officials now say the dark ride will remain open for the foreseeable future. A closing window will be announced at a later date.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
A still from the Smugglers Gambit game in Fortnite.
(Image from Disney)
The Disney theme parks this past weekend deepened its connection to “Fortnite” as part of a partnership with Epic Games. The latter’s Unreal Engine already fuels Millennium Falcon: Smugglers Run, as well as a new Pirates of the Caribbean audio-animatrionic. And now guests who utilize the Disneyland app and connect it to their Epic Games account can receive in-game rewards for experiencing the Millennium Falcon attraction, including the recovery of a unique crate on the ride.
I had a chance to play the “Fortnite” experience inspired by the ride, “Smugglers Gambit,” and appreciate the way park worlds are being used to fuel connection to them at home. “Fortnite,” admittedly, is not my game of choice, but “Smuggler’s Gambit” was more robust than I expected, and I’m happy see aspects of the fictional planet of Batuu represented in the digital space. Business writer Samantha Masunaga has more on Disney’s relationship with Epic Games.
Longtime Disneyland fans are finally getting one of their top theme park wishes. The aging Tomorrowland will soon undergo a large-scale overhaul, one that will include brand new attractions.
Walt Disney Imagineering, the arm of the company devoted to theme park experiences, announced the intent to reconceptualize the original Disneyland area at its all-things-Disney fan convention D23, which kicked off Friday in Anaheim. Many details — and questions — remain, and Imagineering stressed that the project is in its infancy, but it’s one the Disneyland faithful have clamored for.
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“We are going to reimagine Tomorrowland,” said newly installed Disneyland President Jill Estorino at a pre-D23 media event. “It is coming. We are finally committing to it and doing it.”
Tomorrowland has long vexed Disney designers. Park founder Walt Disney led a major overhaul before his death in 1966, and the land again went under scaffolding in the late ‘90s. The problem: Theme parks are built to last, and the future moves fast. As Disney himself once said, “Tomorrow is a heck of a thing to keep up with.”
Promotional art for a reimagined Tomorrowland released by Disney. The project, according to Imagineers, is in its infancy.
(Disney)
Today, Tomorrowland is home to a number of popular attractions — Space Mountain, Star Tours and Autopia among them — but is also littered with underutilized buildings and a dead PeopleMover track. The latter closed soon after Tomorrowland’s 1998 refresh as the Rocket Rods, one of the shortest-lived rides in Disneyland history.
The reimagined Tomorrowland, said Imagineer Emily “Emo” O’Brien, won’t ignore its history, noting the team has been researching Disney’s original thesis. “We were inspired by his vision of Tomorrowland being a vista into wondrous worlds, and we really garnered the sense of optimism that was at the core of everything he was thinking about.”
And yet the future Tomorrowland will have “new attractions for sure,” said O’Brien, as well as more open, breathable spaces for guests. “We really want to keep the heritage and the responsibility to honoring that legacy at the center, but we have to evolve it for our new generations,” O’Brien said.
Tomorrowland is home to popular attractions such as Autopia.
(Allen J. Schaben / Los Angeles Times)
The Disneyland Resort is on the verge of a major transformation over the next decade or so, of which Tomorrowland is just one project. Estorino said the reworking of the original Disneyland area will come after the completion of “Avengers” and “Coco” experiences currently under construction in Disney California Adventure, but before that park’s addition of an “Avatar” experience.
In fact, many of Disney’s North American theme parks are targeted for changes in the coming years. Here are some highlights of this year’s D23.
Rides announced for Walt Disney World’s Villains Land
Concept art for the Maleficent attraction coming to Villains Land.
(Disney)
Disney pulled back the curtain on its Villains Land — yes, that’s its official name — coming to Walt Disney World’s Magic Kingdom. And Disney is going dark, creating a mysterious, cursed environment that Imagineer Caroline May says will take inspiration from the woodlands of “Snow White and the Seven Dwarfs.” There’s a backstory, involving a wishing well that was corrupted by a stranger’s evil desires that have caused poisoned magic to envelop the forest.
But let’s talk about the rides. There are two, and Disney is thinking big. The centerpiece attraction is a roller coaster that will include an encounter with Maleficent atop her mountaintop fortress. The second is a dark ride into the catacombs of the Evil Queen’s palace, where the Magic Mirror will conjure visions of many a Disney villain.
The villains, said May, a self-described “art school emo indie Goth girl,” are also stylish. So expect the non-forest parts of the land to feel a bit refined. “The villains have high standards,” May said. “They have impeccable taste.”
Orlando’s version of Cars Land gets its close-up
A model of Piston Peak, Walt Disney World’s answer to Cars Land, was revealed at D23.
(Todd Martens / Los Angeles Times)
Walt Disney World’s answer to Anaheim’s Cars Land began with doubts from fans, largely because it was replacing the Magic Kingdom’s Rivers of America and Tom Sawyer Island, two historic park attractions. Here in SoCal, those spaces represent the soul of Disneyland, but the Magic Kingdom is a different beast and has sorely needed new attractions. What Imagineers showed at D23 should, if built to the level of detail revealed in a model, calm many nerves.
Piston Peak, as the land is to be called, looks fantastic. Imagineer Jason Grandt says the area was heavily inspired by Rocky Mountain National Park as well as the painterly vistas of plein air artists and the murals of Thomas Hart Benton. Realistic, but also vibrant, animated and colorful. It will feature transitions through lush forests, majestic red rocks and even snow capped mountains.
The showcase ride has been known. It’s a sort of high-speed run in an all-terrain vehicle around the landscape — over bridges, through tunnels and around colorful geysers. It will frame the entire land, also home to a small family attraction with dancing, spinning cars in a demolition derby setting.
Avengers Campus expansion opens at Disney California Adventure in 2028
Avengers Infinity Defense and Stark Flight Lab, the two new attractions coming to Disney California Adventure that will essentially double the size of Avengers Campus, will open in 2028, according to Imagineer Brent Strong. The new attractions will complete the land.
Infinity Defense is pitched as a centerpiece of the land, and will feature Marvel actors such as Robert Downey Jr., Jeremy Renner, Anthony Mackie and Chris Hemsworth. The ride is expected to rely heavily on 3D effects and high-definition screens, but Strong made clear that there will indeed be large-scale physical sets on the ride. It is a dark ride through the multiverse to take on a battle with King Thanos, and guests will be placed in the role of assembling the Avengers.
Stark Flight Lab was shown at D23 as sitting next to Infinity Defense. The ride is more of an amusement park-like thrill attraction, in which guests will sit in two-person pods and then attach to a mechanical arm that will lift them into the air and attempt to simulate sensations of flight.
A “Coco” boat ride for all
While Disney didn’t reveal a release window for the upcoming “Coco” boat ride at Disney California Adventure, Imagineers did note it would be a family attraction without a height requirement, which will be especially needed after the park closes its “Monsters, Inc.”-inspired ride next year to make way for “Avatar.” The ride will be set about one year after the original film.
The narrative of the attraction will center on Miguel and his great great grandfather, musician Héctor Rivera. Guests will enter a museum dedicated to Rivera and then explore the Land of the Dead via Miguel’s memories. Expect a vibrant, colorful attraction that Imagineers said will nod to classics such as Pirates of the Caribbean and Haunted Mansion in its reliance on audio-animatronics and open-to-interpretation dioramas.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
Mr. Todd’s Wild Ride comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.
Disney California Adventure is on the verge of a transformation. The 25-year-old next-door neighbor to the Disneyland Resort will be doubling the size of its Avengers Campus in the coming months.
Farther down the road will be the arrival of an “Avatar”-inspired area in the current Hollywood Land corner of the park. Walt Disney Imagineering, the arm of the company dedicated to theme park experiences, revealed a detailed model an “Avatar” water ride destined for the park at its all-things-Disney convention D23.
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The miniature shows the ride snaking around the Disneyland Monorail, and reveals a landscape that will fully transform the look and tone of California Adventure. It’s green, it’s lush, it’s a little rustic and it looks as if a mini rainforest will be slotted into the park.
A model of the forthcoming “Avatar”-inspired area includes a monorail in a lush forest.
(Todd Martens / Los Angeles Times )
The “Avatar” model is just one part of expansive booth dedicated to what’s currently in development at Disney’s global parks. The centerpiece of the D23 area is no doubt a model of Piston Peak, a “Cars”-inspired land coming to Walt Disney World’s Magic Kingdom, which, in contrast to Anaheim’s Cars Land, takes on the feel of a woody town nestled next to a national park.
Elsewhere, Imagineering has revealed a look at the soon-to-be remodeled Avengers Campus, which is deep in development on two new attractions that will effectively double the size of the area. The two attractions will different drastically in style.
One is a previously announced ride featuring the Avengers in battle across the multiverse with King Thanos. At a media preview on Thursday, Disney didn’t show off much of the attraction, Avengers Infinity Defense, but expect a dark ride that will emphasize 3D screens in a battle across quickly changing locales.
A look at the expanded Avengers Campus Disney California Adventure shown at D23. Two additional rides are currently under construction.
(Todd Martens / Los Angeles Times )
The other, Stark Flight Lab, is pitched as a testing of new Avengers technology. It’s an amusement-park-like thrill ride, in which guests will sit in two-person pods and then attach to a mechanical arm that will lift them into the air and attempt to simulate sensations of flight.
“It’s going to be definitely thrilling,” said Emily “Emo” O’Brien, an Imagineer who helps lead creative direction of the Disneyland Resort.
Timetables for the completed Avengers Campus and the “Avatar” expansion were not yet detailed, although the Marvel additions are widely seen as not far off. Disney is expected to reveal more info on both projects, as well as a “Coco”-inspired boat ride coming to the park, at a Saturday evening presentation.
Concept art of an “Avatar”-inspired attraction coming to Disney California Adventure.
(20th Century / Disneyland Resort)
The addition of “Avatar” is especially notable as it veers the park, one that began with a mission to reflect our Golden State, into further realms of fantasy. Cars Land, for instance, could be read, in part, as an exploration of Southern California car culture and an ode to Route 66.
An especially noteworthy aspect of the “Avatar” model was the appearance of the ride to be visible outside of its grand show building, as guests walking through the park will be able to glimpse its boats gliding past them. A model of the ride vehicles appears to show six rows that can accommodate five or six guests per row.
The boats are flanked by cascading waterfalls, and mountains that appear to curve in on themselves. An assortment of mystical critters dot the landscape. Speculation is the attraction will be utilize an updated version of the ride system found in Shanghai Disneyland’s rousing Pirates of the Caribbean ride.
“Over its 25 years it has significantly changed, especially at the time we brought in Cars Land and reimagined Buena Vista Street,” O’Brien said of California Adventure. “I think it’s a park that stands on its own now. It’s grown up.”
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
Mr. Todd’s Wild Ride comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.
We’re two years removed from the passage of DisneylandForward by the Anaheim City Council, the ambitious multibillion-dollar plan to reimagine and expand the world’s most famous theme park, and questions are now swirling on what’s to come.
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Hints can likely be found by looking at what’s already been built, at least at Disney’s international parks. Documentarian Leslie Iwerks did just that with her new film “Disney Worldbuilders,” which will have its premiere this weekend at the all-things-Disney convention D23 at the Anaheim Convention Center and then stream on Disney+ starting Aug. 20.
Iwerks, the director of the recent, and terrific, “Disneyland Handcrafted,” comes from Disney royalty. Her grandfather, Ub Iwerks, was a legendary animator instrumental in the development of Mickey Mouse. Her father, Don, was a cinematic and special effects wizard who worked on numerous Disney attractions, including the Michael Jackson-starring film “Captain EO.” As a documentarian, Iwerks has explored Disney before as the director of “The Imagineering Story” and has a long career of films that touch on not just Hollywood but also politics and environmental issues.
Leslie Iwerks has dedicated a significant portion of her career to analyzing the Disney theme parks.
(Iwerks & Co. / Disney+)
If I had any concerns about the future of Disneyland, watching ‘Worldbuilders” helped ease them. That’s in part because the film makes it clear that the Disneyland template was pretty firmly set in place 70 years ago by park patriarch Walt Disney.
While it’s entirely possible for theme park spaces to jump the shark, so to speak, especially when they focus too much on marketing or re-creating familiar film and television moments (see, say, San Fransokyo Square at Disney California Adventure), “Worldbuilders” zeroes in on the parks’ enduring mission of being places of play. The film features interviews with the likes of Pixar chief Pete Docter, “Frozen” mastermind Jennifer Lee, Marvel maestro Kevin Feige and “Avatar” creator James Cameron, who collaborated with Walt Disney Imagineering to turn their cinematic universes into physical spaces for fans to interact with.
“I’m always blown away at the audacity of Walt saying, ‘I’m going to create the happiest place on Earth,’ and thinking that could actually be a business model,” Iwerks tells me.
“And what I learned about these filmmakers is that they were all inspired by the Disney parks,” she continues. “Unbeknownst to me, they had a spark going to a Disney theme park. It excited their imagination.”
“Frozen” co-director Jennifer Lee poses with a robotic Olaf at Disneyland Paris in a scene from Leslie Iwerks’ new film “Worldbuilders.”
(Roger Do Minh / Disney+ / Iwerks & Co.)
You see it in Shanghai’s “Zootopia”-inspired land, with its oversize benches that hide parking spaces for critter vehicles beneath. It’s an area full of movement, with puppets and animatronics gracing nearly every structure, aiming to capture wonder and silliness as much as it is the world of the film, which Iwerks notes was unexpectedly inspired by the original Disneyland. It’s present, too, in the “Frozen” area of Disneyland Paris, which seeks to reference and modernize the Disney fairy tale, using imagery of castles and magic not to symbolize happily ever after but familial and friendship bonds.
“All these lands allow you to explore, and allow yourself to be free, to play, to be whimsical,” Iwerks says. “They allow yourself to get out of your own ‘daily frets,’ as Walt called them. There are a lot of technologies vying for attention today, such as cellphones and gaming and lots of things, but there is something tangible about walking through a Disney park that is irreplaceable. That is that tangible sense of play that you can see, you can touch and you can smell. These are visceral memories that stay with us as human beings throughout our entire lifetime.”
Could either “Zootopia” or “Frozen” make its way to Disneyland? Neither, I believe, would be out of place, but there’s a special delicacy when adding to Walt’s original park. Even with the passage of DisneylandForward, land isn’t limitless. Expansion should be thought about not just for the next decade, but the next 50, leaving space for new stories yet untold. To place “Avatar” in Disney California Adventure is a definitive statement that the audiences of 2060 will want to hang with the Na’vi as much as those of 2030.
Thus, a wide-angle approach is best. When Pandora — the World of Avatar was built in Animal Kingdom at Florida’s Walt Disney World, it was done so with a thesis on themes of conservation and environmentalism more so than a focus on any of the film’s characters. Disney California Adventure’s own Cars Land is a love letter to Route 66 and roadside Americana as it much as it is an ode to the Disney/Pixar films.
At D23 in 2024, Disney released concept art of an “Avatar”-inspired attraction said to be coming to Disney California Adventure.
(20th Century / Disneyland Resort)
“Worldbuilders” makes it clear that as much as Disney’s parks have stayed the same, how we build themed lands has changed. Gone, for instance, are the big tent ideas of Frontierland, Adventureland and Fantasyland. Theme park designers today take a more targeted approach, bringing to life fully realized cinematic worlds such as Star Wars: Galaxy’s Edge or the aforementioned Cars Land. That’s not necessarily a negative. Galaxy’s Edge, for instance, succeeds because it’s a not a point-by-point re-creation of any locale seen in the films. Instead, it’s a place we can visit, and create our own tales.
It’s a reminder, for instance, that Disneyland, despite the prices, the crowds, the marketing or whatever hang-up one may find, endures because it allows us to, well, play. To be a little silly. And that was the lesson of Iwerks’ “Worldbuilders.”
“It’s about original thinking,” Iwerks says, when asked whether she believes it’s important to continually document the Disney theme parks. “So much of Imagineering is focused on original thinking. People can be really smart, but it doesn’t mean they’re an original thinker. One of the greatest things in the world is to create something out of nothing.”
We may arrive at a “Frozen” land wanting to see Anna, Elsa or, especially, the robotic Olaf, but we remember it because it gave us permission to imagine an alternate, more fanciful reality. Thus, it’s a treatise that it is not the intellectual property that makes Disneyland unique; it’s the belief in a more communal, playful world.
Speaking of D23 …
Theme park fans should get ready for some news this weekend.
Expect updates and details on previously announced — and well into development projects — such as Disney California Adventure’s “Coco” boat ride and two Marvel attractions, which will effectively double that park’s Avengers Campus. The centerpiece of the latter is a ride featuring many of the Avengers in battle across the multiverse with King Thanos.
The attraction, first announced in 2019, was given a name at 2024’s D23, Avengers Infinity Defense, and it will feature locations such as the Black Panther nation of Wakanda, Asgard and New York City. Early looks have it leaning heavily on visual effects interspersed with physical sets, but expect a deeper unveiling this weekend.
A recent photo of construction at Disney California Adventure’s Avengers Campus, where two attractions are under development.
(Todd Martens / Los Angeles Times)
Longer-term, fans are eager for word on what’s planned with the “Avatar” franchise, previously announced to take over part of the Hollywood-themed section of the park currently home to a “Monsters, Inc.” family dark ride. That attraction, Monsters, Inc. Mike & Sulley to the Rescue!, is slated to close in 2027 to make way for the Cameron-created franchise. There’s been some chatter, most of it online-driven and unsubstantiated, that Disney would pivot from “Avatar” to instead center “Zootopia,” but I’m not convinced. Clarity will arrive in the coming days.
I’ll refrain from diving too heavily into rumors, but expect at least one longer-term hint at a bigger swing, hopefully, for instance, the reimagined plans for what is currently the Toy Story Lot, as well as nearer-term updates on Disneyland’s post-70th entertainment. Fans, of course, will forever be hoping for Walt Disney Imagineering, the division of the company responsible for theme park experiences, to unveil that it is remaking Tomorrowland, which, while home to many a popular attraction, is also stuck with a number of underutilized buildings. While I encourage optimism and dreaming as much as any Disney parks fan, I’ll believe it when I see it.
Disneyland fans, however, may have to come to grips with the fact that some of the most exciting updates will be centered on Florida’s Walt Disney World. Imagineering is expected to at long last detail the attractions coming to the Magic Kingdom’s hotly-anticipated Villain’s Land. Also of note, a reveal of the “Encanto” attraction plotted soon for Animal Kingdom.
This week in SoCal theme parks
Key issues remain in union contract talks between the Walt Disney Co. and its parade, show and costumed characters.
(Jae C. Hong / Associated Press)
A dispute in contract talks. Disneyland employees behind its parade, show and costumed characters have been negotiating their first union contract with the Walt Disney Co. since October 2024. The two sides remain apart on a number of key issues. Disney’s proposal to the roughly 1,700 workers represented by Actors’ Equity omits paid parental leave and cuts paid holidays from 12 to 11, according to an April 6 email reviewed by The Times. Disney says no benefits are being cut because the unit organized in 2024 and the talks are setting first-contract terms rather than modifying an existing agreement. Times Business writers Wendy Lee and Samantha Masunaga have more on the negotiations.
New sound barriers coming to Hollywood Drift, says councilmember. Universal Studios Hollywood appears to be taking steps to address noise complaints regarding its new high-speed, outdoor roller coaster. The office of L.A. City Councilmember Adrin Nazarian stated the theme park will install two additional sound barriers to mitigate the sound of rider screams on its new ride Fast & Furious: Hollywood Drift, which have been described by nearby residents as “disturbing” and “untenable.” Nazarian’s office made the announcement Monday evening on social media. A Universal Studios Hollywood spokesperson has not yet responded to a request for comment.
Montezooma’s is now open! Knott’s Berry Farm’s four-year overhaul of Montezooma’s Revenge into Montezooma: The Forbidden Fortress has reached its conclusion. The historic ride began welcoming guests late last week. Look for a report on the remodeled attraction here soon.
Attendance at Disney parks is up. The Walt Disney Co. noted in its recent earnings call that attendance at its domestic parks for the three-month period that ended June 27 is up 3% over the comparable period last year. International visits remain a challenge, but the company noted that summer promotions helped fuel the increase, especially at Florida’s Walt Disney World.
Cheap! A full year of Knott’s! At a time when it seems like everything is getting more expensive, Knott’s Berry Farm is currently running a heavy sale on 2027 season passes. Through Sept. 7, a base level pass is just $99, down from its non-sale price of $215. A “gold pass,” which also includes admission to Six Flags Magic Mountain, is currently $129, down from $240. while a “prestige pass,” which includes parking and a number of other perks, is $329, down from $399.
Slash is back at Halloween Horror Nights. Guns ‘N Roses guitar slinger Slash is a staple at Universal Studios Hollywood’s Halloween Horror Nights, and is returning to create a soundtrack for a haunted house this year. Slash is providing music for a house titled ‘“Killceañera: Music by Slash,” an original maze that flips the script on a teenage rite of passage. Here, a 15-year-old girl seeks revenge on those who have wronged her. Halloween Horror Nights begins Sept. 3.
The best thing I ate at the parks this week
The fish and chips from Gordon Ramsay at the Carnaby at Downtown Disney.
(Todd Martens / Los Angeles Times)
I admit, Downtown Disney’s Gordon Ramsay at the Carnaby is growing on me, especially if one can get seated on the outdoor bar patio, which is far more welcoming than the pub’s indoor bar. I found the latter a little cold and unwelcoming, but the back patio is more lively, especially with pennant race baseball on its big screen TV. I finished a recent Disneyland day with the Carnaby’s fish and chips, which is essentially one giant piece of cod with fries and “mushy peas.” It’s pricey, at $33, but it’s also incredibly hefty and filling. It’s certainly the strongest fish and chips on Disneyland property, and sea salt-infused batter was so crisp and rich that it almost felt wrong to slather the fish in tartar sauce. I couldn’t quite place my finger on the flavor — I’ve read that Ramsay’s fish and chips recipe includes custard powder — but there was a burnt buttery tone that was far from dry. I’ll be back.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
Stay tuned to Mr. Todd’s Wild Ride this week for all the big Disney parks news from D23. Saturday evening Disney will be hosting a panel at the Honda Center to reveal new details on attractions coming to its theme parks around the world, and I’ll be there delivering breaking coverage straight to your inbox.
Also, say hi if you see me wandering the Anaheim Convention Center. I’ll have Mr. Todd’s Wild Ride stickers to share.
Four years ago, Knott’s Berry Farm was faced with a decision.
Its 1978 ride Montezooma’s Revenge was the first-ever coaster built with a flywheel launch system — a large, highly visible, circular drum-like mechanism with a cable attached to it — and an important piece of the theme park’s history.
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But the coaster was in need of refurbishment and they don’t make things like they used to. The flywheel design, once an advanced piece of machinery that allowed Montezooma’s to go from zero to 55 mph in less than five seconds, was no longer in vogue. Replacement parts weren’t going to be easy to come by, if possible at all.
So would they attempt to reimagine Montezooma’s Revenge, or use its footprint for another attraction?
“Nobody else really attempted a full-speed, ground-level launch until later in the ‘90s,” says Jeremy Thompson, who writes coaster analysis on his website Roller Coaster Philosophy and worked for a decade at theme park design firm Thinkwell. “It was way ahead of its time.”
It would have been a shame, roller coaster historians argue, to lose Montezooma’s Revenge. Thankfully, Knott’s Berry Farm agreed, and after four years and a $20-million investment, Montezooma’s, now rebranded as Montezooma: The Forbidden Fortress, is set to soft open in the coming days. A grand opening media event, postponed from last month, is slated for Aug. 14.
The entrance to the newly remodeled Montezooma: The Forbidden Fortress.
(Jess Boyer / Knott’s Berry Farm)
“We thought quite a bit about, ‘If we take this out, what would we put in there?’” says Knott’s Berry Farm Park President Raffi Kaprelyan. “But the answer we always came back to was, ‘Why would you do that?’ This is a perfectly unique ride.”
He adds: “An iconic ride like this, you want to maintain as long as possible.”
The coaster was planned to be named Loco Motion, but it was rebranded as Montezooma’s Revenge after a popular band with the same name that would regularly perform at the park, says Nicholas Laschkewitsch, a coaster historian and documentary producer with nonprofit American Coaster Enthusiasts. At the time of its opening, it was the tallest roller coaster in the world, thanks to 148-foot spikes. It’s also the oldest looping shuttle coaster in its original location, a shuttle coaster being a ride without a complete circuit, meaning here guests are propelled out of the launch station in a linear path through a loop and then backward through the whole course.
The loop on Montezooma: The Forbidden Fortress.
(Jess Boyer / Knott’s Berry Farm)
”A shuttle coaster is certainly not as novel as it once was,” says Laschkewitsch, who also works as a designer at experiential art firm Meow Wolf. “But I think it’s very much a part of the DNA of Knott’s Berry Farm. It’s most people’s first looping coaster who grew up in Southern California. They deserve a lot of credit for investing in [a type of] ride a lot of other parks have thrown out.”
Designed by coaster mastermind Anton Schwarzkopf, Laschkewitsch says there’s only one remaining Schwarzkopf-created flywheel coaster using its original launch system in existence, and it’s in Japan at Nagashima Spa Land. Schwarzkopf was also behind the Great American Revolution at Six Flags Magic Mountain, which opened in 1976 as the world’s first modern vertical looping roller coaster.
“He was a genius as far as how to bank track, and how to physically manufacture track,” Laschkewitsch says. “His rides were as smooth as glass. The fact that he was able to do this without computer technology is incredible.”
The Knott family rides Montezooma’s Revenge on its opening day in 1978.
(Knott’s Berry Farm)
So what’s changed in the refurbishment? Montezooma’s has been remade with new cars, enhanced thematic touches lightly inspired by Maya designs, and boasts both a brand new track as well as a refreshed launch system. It now blasts out of the station with electromagnetic propulsion, technology, says Thompson, that is found on virtually all modern launch coasters (see Disney California Adventure’s IncrediCoaster, which also jolts from zero to 55 mph in five seconds).
That means there will be a difference in “feel” at the launch. Thompson compares it to riding in a modern electric vehicle versus, say, a 1970s hot rod. “You’re losing something there,” he says.
Namely the instantaneous tension, says Laschkewitsch, which will now be smoothed out. “There’s just something special about how that flywheel launch really kicked you in the face,” he says.
A look at the reimaged Montezooma: The Forbidden Fortress.
(Jess Boyer / Knott’s Berry Farm)
The coaster in its initial form lasted just 38 seconds. That won’t necessarily change with Montezooma: The Forbidden Fortress, but Kaprelyan says the new ride system will allow the park to offer different ride profiles. The electromagnetic track, for instance, can jolt guests forward, and then tease them by reversing course, lending a linear coaster a sense of surprise.
Those changes are coming down the road, but probably not until the ride has been open for about a year. “The ride will maybe take you up to the front a little bit, and then shoot you back up the hill, and then shoot you forward again,” Kaprelyan says. “There will be different sequences.”
And overall just a different tone. When all is working properly, the coaster will launch through a haze of fog effects. And it’s blessedly no longer associated with an unsavory name that potentially had some negative cultural implications. Understandable, and the right call says Thompson, but “it kind of loses that zany ‘70s humor.” Prepare to hear fewer potty jokes at Knott’s Berry Farm.
This week in SoCal theme parks
A dementor puppet moves through the train in “Harry Potter: A Hogwarts Express Adventure.”
(David Fouts / For The Times )
‘Fast & Furious’ coaster watch, 2026. The big theme park story last week was the unexpected soft launch of Universal Studios Hollywood’s Fast & Furious: Hollywood Drift. The ride is operating in “technical rehearsals,” meaning it doesn’t yet have a formal opening date. Think of it as a final testing phase. Wait times have often stretched beyond two and a half hours, with some reporting lines closer to four hours. Heads-up, though, if you’re thinking of heading to the park this week, as according to notices given to park neighbors in Toluca Lake, the coaster is not expected to be welcoming guests Tuesday through Friday.
Take a magical train ride. The Southern California Railway Museum in Riverside County is now allowing guests to experience history with a bit of mysticism, as it has temporarily turned into Platform 9 3⁄4 to host “Harry Potter: A Hogwarts Express Adventure.” A one-hour theatrical experience, expect wands, house sorting and, instead of a drink cart, a larger-than-life demonic puppet. Like all things Potter in 2026, the event has attracted some detractors due to J.K. Rowling’s anti-trans rhetoric and political funding. The Times’ Emily Tarinelli has the details.
Changes afoot at Knott’s Soak City. The Orange County water park is welcoming two brand new attractions next year that will be replacing the current Shore Break slide complex. Look out for Coral Craze, a saucer-like attraction that boasts five riders per slide and is designed to mimic a ski course. Joining it will be Kelp Kraze, also a five-person experience, but this one more of a raft-like slide.
The ‘Prince of Darkness,’ resurrected. Universal Studios Hollywood has rounded out its haunted house lineup for Halloween Horror Nights with a maze dedicated to the late Ozzy Osbourne. Dubbed Ozzy Osbourne: Prince of Darkness, the haunt will focus on bringing to life imagery from Osbourne’s solo career. The park has previously created a house inspired by the work of Osbourne’s Black Sabbath. Halloween Horror Nights begins Sept. 3.
‘It,’ reimagined. Inglewood’s Cosm is embracing horror for its next all-encompassing, wrap-around production. The venue, which boasts a high-definition spherical screen that stretches above, below and ever-so-slightly behind viewers, will on Aug. 28 begin showing 2017’s “It,” the Andrés Muschietti film based on the novel by Stephen King. Like past Cosm screenings, the venue will create CGI imagery to complement the core film.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
My least favorite theme park topic to cover is price increases, as parks are already an investment to visit. Yet the Disneyland Resort keeps making affordability a story. Even more food price hikes have hit the resort, after an earlier round just a couple weeks ago. I’m sad to say they’re increasingly egregious, including, as Disney Food Blog noticed, a $3 increase to $31 on a so-so cheeseburger at Trader Sam’s Enchanted Tiki Bar. Sigh.
There’s head-scratching high prices throughout the resort, including a bump on a relatively small square of churro toffee, which now sells for nearly $10. It’s tasty, but I’m here to tell you it’s not worth it. I stopped buying the delectable when it topped $8, as it was no longer a respectable value at that price point. Instead, support a local bakery.
EUROPE is sizzling through a major heatwave, but that doesn’t need to melt your getaway plans.
These waterpark hotels will ensure kids stay cool in the sun — and they are all in areas currently deemed safe from wildfires.
These waterpark hotels will ensure kids stay cool in the sun — and they are all in areas currently deemed safe from wildfiresCredit: GettyMake waves at Aqualand in CorfuCredit: Supplied
With plenty of deals still out there, Sophie Swietochowski picks some of the top waterpark resorts across the continent.
TURKEY – The Land Of Legends Kingdom Hotel and Aqualand
Slide on in at Aqualand at The Land Of Legends KingdomCredit: Jet2Holidays
Thrill-seeking teens will be bowled over by this giant theme park in Antalya, on the southern coast.
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Often labelled as the Disneyland of Turkey, it is home to a thrilling 62metre Hyper Coaster, a mega shopping district and a waterpark.
Typhoon Coaster is the highlight, hurling riders at mega speeds from 43-metres up, in to a splash basin.
There’s plenty for youngsters too, including a mini wave pool and slides, and a lazy river.
Guests staying at the onsite Kingdom Hotel get unlimited access to the parks.
GO: Four nights’ all-inclusive at the 5* The Land Of Legends Kingdom Hotel is from £972.50pp for a family of four sharing, flying from Stansted on August 26. Details at onthebeach.co.uk.
This resort, attached to the well-known Aqualand park, offers round-the-clock ice cream, pizzas, and burgers for hungry little mouths, as well as tasty Mediterranean-inspired grub for the grown-ups.
Guests get unlimited access to the waterpark where the whole family can get stuck in, thanks to the massive mishmash of rides.
Mum, Dad and the youngsters can head for the family rafting ride, down a 180metre tube, while the brave can tackle the 24metre-high free-fall slides and the open flume “kamikaze” slides.
With 15 pools and swimming areas, the kids will never get bored.
GO: Seven nights’ all-inclusive at the 4H Aqualand Resort and Waterpark is from £943pp, based on a family of four sharing and including flights from Liverpool John Lennon on August 17. See firstchoice.co.uk.
For adventurers, Tui offers a special package that combines a stay at the 4* Evenia Olympic Park with complimentary access to adjacent WaterWorld Lloret, one of Europe’s largest waterparks.
If it is too hot for the ten- minute walk, you can catch a free shuttle and then cool off straight away in the splash lagoon.
Meanwhile, older kids will want to make a beeline for X-trem Mountain, a 260metre watercoaster with steep drops, dark tubes and sharp bends.
There is also an onsite waterpark at the hotel with multi-lane racer slides, and a pirate ship.
GO: Seven nights’ all-inclusive at the Evenia Olympic Park and Waterworld Lloret is from £876.53pp based on a family of four sharing and including flights from Manchester on August 22. See tui.co.uk.
One of the best holiday destinations for waterpark fans, but don’t just take my word for it. It is frequently ranked among the best in Tripadvisor’s Travellers’ Choice Awards.
The kids’ activity pool, featuring a series of mini slides and water jets, will ensure under-12s don’t miss out, while adrenalin junkies are catered for by the Tornado King ride.
When you are not splashing around, there are five onsite restaurants as well as kids’ clubs, an escape room and cinema.
GO: Four nights’ all-inclusive at the 4* Leonardo Laura Beach & Splash Resort is from £965pp based on a family of four sharing and including flights on August 12 from East Midlands airport. To book, see thomascook.com.
A theme park less than two hours away from the UK is adding a brand-new land with two rides and five Japanese-inspired eateries.
Tivoli Gardens in Copenhagen will open the area in a few weeks’ time with “thrilling adventures for the whole family.”
Tivoli Gardens is opening up its new Japan-themed land later this monthCredit: AlamyThe new area is called Hikari and will have two new attractionsCredit: Anne-Sophie Rosenvinge/@asrosenvinge
The theme park, which opened in the 1840s and even inspired the creation of Disneyland, currently has 30 rides and will be adding a few more.
Called Hikari, the upcoming Japan-themed area is the biggest development in the park’s history and said to cost a ‘three-digit million amount’.
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It has been under construction for two years and has actually been made up of elements from Japan.
It has reclaimed doors, windows, artwork and around 60 tonnes of traditional Japanese roof tiles.
It will span across more than 2,000 square metres – the park itself is 80,000 square metres in total.
There are two new attractions, the first is Hotel Hikari where ‘nothing is quite as it seems’.
It’s essentially an immersive family funhouse with illusions, a vortex tunnel, tilted rooms and infinity mirrors.
Another new attraction is called Typhoons Eye which gives riders the feeling of weightlessness. According to Tivoli, it’s the only attraction of its kind in Scandinavia.
The zero gravity attraction is a rotating drum ride that suspends riders against the wall as the floor drops away.
The final ride in Hikari is actually one that will be familiar to previous visitors.
The Demon rollercoaster has undergone a transformationCredit: Alamy Stock Photo
Called The Demon, the rollercoaster has stood in Tivoli for years but has undergone a transformation to blend into its new home.
There aren’t just rides either, there are five new eateries in Hikari.
Yaki-Tak! will serve up Japanese street food from yakitori skewers to yakisoba noodles.
Katsu Kitchen is where visitors can pick up chicken sandwiches to popcorn-style karaage to crispy prawns.
The new attraction has taken two years to buildCredit: Tivoli GardensVisitors can grab tasty street food and treats from its eateriesCredit:
Hikari will have three attractions and five eateries
Comé Rice Kitchen will have onigiri, otherwise known as Japanese rice balls, served with the likes of spicy tuna, Teriyaki chicken and shiitake mushroom.
For sweet treats there’s Oishii Bubbles for creative drinks from fruit teas to slushies, or Kawaii Bites will have fish-shaped waffles and mochi ice cream.
Two new shops will open too; one selling Japanese-style ceramics and gifts, another will have a mix of snacks, drinks as it’s inspired by konbini, Japanese convenience shops.
The project has taken two years to build and will open later this month – no official date has been announced yet.
For anyone who wants to visit, Copenhagen is easy to get to as it’s under two hours away from the UK.
Halfway through a ride on Universal Studio Hollywood’s new coaster, I didn’t know whether to laugh or scream.
The track turned, angled so my car was completely vertical to the ground, a cliff below me. And then my ride vehicle ever so slightly started to twist, to drift as if banking around a tight curve in a video game. Straight down from me was rocky terrain, but if I looked up and beyond the tracks, I had perhaps the best view of the Valley I’ve ever seen.
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Granted, it was fleeting. But I was alternately in awe and fearful of what Fast & Furious: Hollywood Drift was presenting before me. I held onto my lap bar, gripping it tighter as I lifted out of my seat, and I couldn’t help but smile at my predicament. I was in a mini, expertly re-created Toyota Supra, hanging over a bluff. I was soaring, the sensation of a car careening off a canyon, only here, my life, thankfully, wasn’t at risk. And I didn’t want it to end.
Fast & Furious: Hollywood Drift is intense, yes, but more important, it’s a delight. It’s a roller coaster not just full of thrills but of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip will leave you guessing. And it’s the smoothest coaster I’ve ever been on, a feeling that lends it a sense of approachability not typically found in rides of this speed and unpredictability.
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It is also a ride that will forever change the tone and tenor of Universal Studios Hollywood, a destination that just two decades ago was largely a behind-the-scenes showcase dedicated to movie-making magic. No more. Universal Studios Hollywood is one of the foremost theme parks in the nation, home to the Wizarding World of Harry Potter, Super Nintendo World and now one of the strongest thrill rides in Southern California, changes that haven’t always been met with approval by the park’s neighboring Toluca Lake residents.
Fast & Furious: Hollywood Drift surprise-opened to guests Monday afternoon. The ride is in technical rehearsals, a soft opening, more or less. That means it’s still in a testing phase and may not always be running. If getting on the coaster is a priority for you, it’s best to wait until Universal gives it a grand opening.
A look at Fast & Furious: Hollywood Drift careening over the park’s escalators.
(Todd Martens / Los Angeles Times)
The coaster — designed by Universal, manufactured by Intamin — has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making. Boasting 4,100 feet of track, two towering inverted loops as well as a pretzel loop and the ability to reach 72 mph through four individual launches, Fast & Furious: Hollywood Drift is full of unique attributes, including its ability to go above and under the park’s famed escalators.
But those not attuned to coaster speak need not be overwhelmed. Know only that at times you’re upside down, at times you’re on your side, some moments you’re facing the ground, others you’re glancing at the horizon, and then you may suddenly be flipped backward. And before you have time to worry about it, you’ll be rocketing forward.
The four cars, all expertly themed to storied vehicles from the film franchise in which the coaster takes its name, can rotate 360 degrees. The choreography is sudden, but not jolting and never gratuitous. I’ve gotten motion-sick on other coasters that can rotate, ones specifically in which designers have opted to move the vehicles in time to a soundtrack, but here, the movement is cleverly attuned to the track. If we spike upward at an angle, the cars twirl as if taking off in flight. A dive downward, and we may hear braking noises as the cars lock in a side-facing position. In short, the vehicles feel forever aligned with the designed course. I rode Fast & Furious: Hollywood Drift twice with no issues.
Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift features expertly created mini cars.
(Todd Martens / Los Angeles Times)
And those cars! They are not small. I’m 6-foot-2 and more than 200 pounds and I had ample leg room. And I know those bigger than I am have had no issues riding this new coaster, which seats four per vehicle. Modern coasters aren’t always known for their accessibility, but Universal has created a ride that should be accommodating for many. The ampleness of the cars, coupled with the smoothness of the track, allows Fast & Furious: Hollywood Drift, I believe, to alternately appease those seeking high thrills while not freaking out those who may be more coaster cautious. The goal here is fun, not to terrify.
Universal has crafted some spectacular coasters in recent years: Florida’s Jurassic World VelociCoaster, Stardust Racers and Hiccup’s Wing Gliders, among them. Fast & Furious: Hollywood Drift is not just a worthy addition to that portfolio, but a ride that many, I bet, will declare their favorite. Universal Creative, the division of the company responsible for theme park experiences, and especially the Universal Studios Hollywood team led by Jon Corfino, have accomplished what, just 10 years ago, would have been unthinkable. A high-speed outdoor coaster, in a landlocked studio tour park? Far-fetched, at best.
But instead, it’s a reminder that theme parks are where we go to imagine the impossible.
Tell us your stories. Ask us your questions.
Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.
Ride on,
Todd Martens
P.S.
Mr. Todd’s Wild Ride typically comes out every Tuesday, but we occasionally publish special editions (like this one!) when we have breaking theme park news. Make sure you’ve signed up to be the first to know.
Universal Studios Hollywood surprise-opened its flashy new high-speed roller coaster Fast & Furious: Hollywood Drift on Monday. After much hype and anticipation — and even some unfounded rumors that the coaster would not hit its promised summer launch — Hollywood Drift is at last ready for its close-up.
Billed as one of the most intense roller coasters in Universal Studios’ global ride portfolio, Fast & Furious: Hollywood Drift can reach speeds of 72 mph while taking guests through multiple inversions in vehicles that can rotate 360 degrees. It is the fastest coaster that Universal Creative, the division of the company responsible for theme park experiences, has designed.
There is some fine print.
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By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
Fast & Furious: Hollywood Drift has still not announced its official grand opening. The ride is operating in what Universal is calling “technical rehearsals.” Think of this as a soft opening.
What that means: Fast & Furious: Hollywood Drift is not guaranteed to be running if you visit the park. It’s still, for all intents and purposes, in a testing phase, and can be closed down at any time. If you’re thinking about rushing to the park to be one of its first riders, proceed with caution. Until Universal gives the coaster a proper opening — and expect some sort of gala to go with it — Hollywood Drift may not be fully operational.
Technical rehearsals help ensure that when a ride does receive a formal opening, it can operate, in theory, without any issues or prolonged downtime. My advice: Visiting a theme park is an investment, and if experiencing Hollywood Drift is vital to your day at Universal Studios, it would be safest to wait until the coaster gets its date. At this point, it should be a matter of weeks, if not days.
A view of Fast & Furious: Hollywood Drift when it was still in testing mode.
(Kayla Bartkowski/Los Angeles Times)
But I certainly understand that theme park FOMO.
Hollywood Drift has long been circled as the most important theme park attraction opening in North America in 2026. The ride has been about 10 years in the making, and has many unique attributes. Not the least of which is its location, as the coaster is built on a steep hill between the park’s upper and lower lots, meaning at times it will go over and under its famed escalators.
“It wouldn’t be your first choice,” says Jon Corfino, Universal Studios Hollywood’s lead creative, of the topography. “But in a way, it makes it more dynamic that we were able to do it.”
Meanwhile, the ride has also raised eyebrows among the community surrounding Universal Studios Hollywood. The park’s neighbors in the adjacent Toluca Lake neighborhood have been none too pleased with some of the rider screams that emanated from the coaster on a day of testing earlier this summer. I talked to several residents as well as Universal and representatives from Los Angeles County for a story published last week, “Fast & Furious’ coaster screams rattle quiet neighborhood: ‘Like someone is getting murdered.” Whether those concerns fade, or how that issue is ultimately resolved, will be but one of the storylines that will follow the attraction.
Fast & Furious: Hollywood Drift on a test-run. The coaster has been the most anticipated theme park opening of 2026.
(Todd Martens / Los Angeles Times)
Yet most guests will simply be concerned with how it rides. While other coasters can rotate 360 degrees, they don’t do it at this speed and through this many twists, turns and loops. And then there’s the design. Hollywood Drift puts riders in mini cars, each one heavily detailed and with unique engine and breaking noises. Of course, the ride may simply move too fast to pay attention to all that.
“It’s a high level of intensity, absolutely, for sure,” Corfino says.
Stay tuned to Mr. Todd’s Wild Ride for detailed impressions of Fast & Furious: Hollywood Drift.
This week in SoCal theme parks
A glass slide from the Medusa portrait in Disneyland’s Haunted Mansion is going up for auction.
(Matt Roppolo / HA.com)
Bid on a piece of Disneyland history. I have mixed feelings on auctions involving Disneyland artifacts. And by mixed, I mean mostly negative, as they tend to inflate prices for the fans who care about the items most, and many of these treasures belong in a museum rather than someone’s private collection. But if you’ve ever wanted a mummy prop from Indiana Jones Adventure, or — gasp — an original glass slide from the Haunted Mansion’s changing Medusa portrait, now’s your chance. The Disney Experiences Auction — Rare and Remarkable Finds is part of next month’s all-things Disney fan convention D23, and is hosted by Heritage Auctions. The live auction is Aug. 16, but online bidding is open.
A Halloween Horror Nights original. Spooky season is now just a few weeks away, and Universal Studios Hollywood’s lineup for Halloween Horror Nights is mostly set. The latest addition to the event, which begins Sept. 3, is an exciting one, as it’s a brand new haunted house not based on any existing film or television properties. The maze, Dead, Deader, Deadest, is set in a funeral home, based on a plot involving a “miracle drug” that can restore the features of the deceased without embalming. Halloween Horror Nights mastermind John Murdy revealed on socials that it connects to past original haunted houses at the park, for those deep into Halloween Horror Nights lore.
Hope you like Kraft Mac & Cheese, Disney fans. Times Business writer Samantha Masunaga reports on a deal between the Walt Disney Co. and Kraft Heinz. As part of the agreement, more Kraft Heinz products will be available in Walt Disney Co.’s U.S.-based theme parks and on cruise ships, including Heinz, Philadelphia cream cheese and Kraft Mac & Cheese.
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.
My theme park day begins with gunfire. A jailbreak! But shortly after, I‘m attending a wedding. Next I’m on a mission, helping the local postmaster justify his uncontrollable desire to open everyone’s packages, and trying to find a way to do so without telling a lie.
This is just another Sunday morning at Knott’s Berry Farm’s “Ghost Town Alive!,” a now-10-year-old interactive show — live-action role-playing game is more accurate — that has become the best summer offering at any theme park, and not just in SoCal but in America. There’s a daily story, including three editions of a single-page newsletter that are updated every day. There’s also lots of improv. Over the years, I’ve found myself on the prowl for mysterious elixirs, playing matchmaker, collaborating on group stories in a schoolhouse, doing police work, participating in a mustache contest or flashing a press badge.
“Ghost Town Alive!” ultimately is the promise of theme parks fulfilled, that is that we can enter a fantasy world and play as cartoonish, or maybe even idealized, versions of ourselves.
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Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
It’s a rarity, an event with 46 actors — about 30 of whom appear each afternoon — who lead guests through scavenger hunts, puzzles or just conversations about life in Calico, the fictional town of Knott’s Berry Farm’s Ghost Town area. The cast ranges from those just out of college to those in their mid-70s, and no character is ever played by more than one actor. This gives Calico a sense of life, an illusion that it’s actually populated, but also allows actors to fully develop a personality and let their characters evolve.
Before creative director Andy Crocker was working on “Ghost Town Alive!,” she was visiting it as a fan. Crocker, an experiential designer who has worked on projects for companies as wide-ranging as the Los Angeles Public Library and Walt Disney Imagineering, specializes in particular on guest-to-actor interactions.
“Ghost Town Alive!” unfolds like a live-action role-playing game. But expect plenty of silliness.
(Allen J. Schaben / Los Angeles Times)
“I will never forget the first time I saw it as a guest,” Crocker tells me. “I came with my husband, and we did not bring our kid. We walked in, and I saw a little girl in a pink cowboy hat with a painted-on mustache following an outlaw off to jail. That outlaw was giving a gritty HBO performance. Wasn’t patronizing. Wasn’t talking down. He was giving her a hero moment, and I burst into tears. I didn’t know this was possible to do on this scale with such an institution. The empowerment that performer gave to that guest, I will never forget.”
To make a theme park feel personal is no easy feat. In fact, designers have long been trying to solve this problem, whether by creating interactive attractions that feel responsive to the guest, or short-lived experiments such as the late but great Star Wars: Galactic Starcruiser, colloquially known as the Star Wars hotel.
Crocker says others have asked for the “secret sauce” to “Ghost Town Alive!” They’ve tried — and are trying — but she’s not so sure the magic can be replicated. One, Knott’s is blessed with a real, 100-year-old Ghost Town. That allowed for the investment to be solely in the cast and performance rather than infrastructure. And yet actors, of course, aren’t cheap.
A single-page newspaper is printed three times a day during “Ghost Town Alive!”
(Todd Martens / Los Angeles Times)
“The amount of people that we have, that’s tough for a lot of places,” Crocker says. “They try to do it with less, and it doesn’t quite work.”
Speaking on a panel hosted by trade group the Themed Entertainment Assn., Jeff Tucker, Knott’s Berry Farm’s show writer, says one early mistake Knott’s made was thinking everyone who works in Ghost Town could partake. That meant, for instance, taping dialogue cues to cash registers in the saloon in the hopes that bartenders could become a character. The concept failed. “It’s a logistical nightmare,” he says. The lesson: Hire actors to perform. Let bartenders be bartenders and retail staff be retail staff.
Another reason Crocker tells me “Ghost Town Alive!” is so rare, and will remain so: It doesn’t rely on intellectual property, or a known franchise, which has become the lifeblood of modern theme parks. “With things that are heavy IP, it’s very tricky to control your IP and to allow for real play, guest agency, and, honestly, artist agency,” she says.
Evan Battle, center, who plays Deputy Chester Davenport, at Knott’s Berry Farm’s “Ghost Town Alive!” in 2024. The interactive theatrical experience allows guests to mingle with about 30 actors.
(Allen J. Schaben / Los Angeles Times)
That’s important, as “Ghost Town Alive!” can shift with the whims of the guest. There’s a core storyline this year. A rich, Beverly Hills-like family is revealed to be the true owners of Calico, and how the residents respond is the key narrative of the day. But there are multiple tales to uncover, including hidden factions (check out the Calico Historical Society) and who is taking who to the 4 p.m. hoedown, which ends each daily game of “Ghost Town Alive!”
But Crocker has also seen it get rather heartwarming.
“My mom came to see it,” she says. “She has some health concerns. There was a character who was in a crazy mix-’em-up and said he would not make it to the hoedown and that this would be his last day on Earth. This character and my mom ended up having this conversation about how if you know you don’t have a lot of time left, what would you do with your time? I was surprised by that pivot.”
It helps, Crocker says, that she’s noticed one commonality among the “Ghost Town Alive!” staff. They play — or were weaned on — tabletop role-playing games such as “Dungeons & Dragons,” which at their best allow for an anything-goes approach designed to follow the direction of the players rather than a strict script.
Tucker on the panel said there was one rule the crew lives by that defines the success of “Ghost Town Alive!”: “It’s not real,” he said. “We can do whatever we want.”
This week in SoCal theme parks
Not yet ready for prime time, Knott’s Berry Farm has delayed the opening of Montezooma: The Forbidden Fortress.
(Todd Martens / Los Angeles Times)
Montezooma is not yet zooming. Knott’s Berry Farm initially intended to launch its reimagined Montezooma’s Revenge, now known as Montezooma: The Forbidden Fortress, this week. Late Thursday, the park delayed its public unveiling, with a spokesperson citing additional fine-tuning that surfaced during its final days of testing. The delay is not expected to be a prolonged one. “We appreciate everyone’s understanding and look forward to welcoming media and guests in the coming days when we can showcase the attraction exactly as intended,” read a statement from the park.
A monthlong Lego celebration. Carlsbad’s Legoland likes to describe its Lego Festival, which started Monday and runs through Aug. 30, as a child’s first fest. Expect lots of characters and an assortment of play-focused areas. One is dedicated to music, another is a free-run creative zone and a third is a Lego garden designed to soothe. New this year is a game-heavy center dedicated to the Pokémon franchise, as well as a challenge-filled F1 installation.
It’s now more expensive to eat at Disneyland. Price hikes, unfortunately, are a yearly-occurrence at the Disneyland Resort, and this summer, like every summer, hundreds of food items have ever-so-slightly increased in cost. Most are in the range of a dollar or so — give or take a quarter or two — but expect to pay $7, up from $6.50, for a scoop of popcorn. I admittedly do not keep a database of Disneyland food prices, but sites like Mickey Visit or Theme Park IQ have tracked the most egregious price bumps. Looking at their data, you may want to think twice about dining at Disneyland’s Rancho del Zocalo Restaurante, where prices have been increasing even as portions over the years have been declining.
Where is Fast & Furious: Hollywood Drift? We’re now in midsummer, and Universal Studios Hollywood’s Fast & Furious: Hollywood Drift still does not have an official opening date. While sources familiar with the coaster’s operations point to routine mechanical issues that have arisen during its test and adjustment phase, one thing is certain: It’s not delayed due to noise complaints from neighbors, as rumors suggested last week. A Universal spokesperson pushed back on the notion that the coaster is delayed, stating it would still open this summer, which lasts into late September.
The best thing I ate at the parks
The hearty cottage pie from Downtown Disney’s Gordon Ramsay at the Carnaby.
(Todd Martens / Los Angeles Times)
I’ve been eagerly anticipating the opening of Gordon Ramsay at the Carnaby at the Disneyland Resort’s Downtown Disney, the latest concept in which the celebrity chef has agreed to lend his name. This one is an upscale gastropub, and while I’ll leave the full cuisine analysis to the professional food writers, as a parkgoer I do believe it fills a void in Disneyland’s shopping and entertainment district, bringing the area an adult-focused space with upscale (read: expensive) twists on old favorites like fish and chips ($33) and cottage pie ($38). And after reading breathless press release-like articles and posts from my theme park peers (“utter perfection,” proclaimed one) I couldn’t have been more excited to dine there this weekend.
Let’s start with the vibe, which I found to be rather confused. I was seated in the tiny, uncomfortable indoor bar, a place that felt like an afterthought and leaned airport terminal drinking hole, as it’s situated at the top of a stairwell and serves primarily as a thoroughfare into the dining hall. That a pub, especially one with an extensive cocktail menu (I did love my $22 cotton candy-infused Old Fashioned) would treat its introductory bar as a throwaway rather than a centerpiece of the experience was disappointing (an outdoor bar is significantly more enticing). The core dining space leans contemporary more than a traditional, wood-infused pub, feeling cafe-like with its ‘60s rock posters and framed portraits of those in mod outfits. More theme-ing would have been welcome, as I read it as slightly cold and corporate rather than homey and intimate. Instead of, say Pasadena’s Lucky Baldwins, this felt like a nice break room at a major record label.
But my dish was delightful. I had my heart set on the cottage pie, this one infused with a hearty portion of short rib. I probably should have taken leftovers, because it’s heavy, but in the best way possible. The potato-rich top felt creamy and buttery, while the meat was equally soft. The whole thing felt invitingly plush. I walked away mixed. No complaints on my entrée, and I’m eager to come back and try the fish and chips, and yes, that viral sticky toffee pudding dessert, but longing for a more welcoming atmosphere, especially at this price point.
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.
Drowned Out Productions’ “The Shoebox Museum” explores love and loss.
(Drowned Out Productions. )
There’s a show running Saturday and Sunday in Los Angeles that I believe theme park fans should make time for. “The Shoebox Museum,” at North Hollywood’s After Hours theater, is a walk-through immersive experience at its most thoughtful. It’s short, at around 30 minutes, but it stayed with me for hours after it concluded.
“The Shoebox Museum,” from Drowned Out Productions’ Jackson Mancuso, who does theme park design by day, is a mediation on heartbreak, asking what we want to leave behind, and take with us, as we explore our grief. It’s meticulously designed, as we follow light cues through byzantine rooms filled with everyday ephemera — the type of stuff that only holds meaning to those who were in love. It’s a show about how an once broken heart, even mended, still finds ways to haunt us.
A number of companies are bidding to offer services under the Channel Tunnel, and one start-up is looking to offer direct services to a variety of European cities, as well as opening up a former Eurostar route
The route would run using high-speed Siemens Velaro Novo trains(Image: Siemens)
Since its launch in 1994, Eurostar has held a near-monopoly over the Channel Tunnel route as the only high-speed rail operator that could offer services from London to European cities.
But that is set to change, with a number of rival companies now planning to offer their own services connecting with Europe, and one provider could be offering a range of new direct routes from 2030.
Gemini Trains, a start-up operator, has planned a number of new routes that would run from the capital, which would see direct trains from the UK to Germany for the first time. Its plans also include convenient links from London to Paris, with introductory fares reportedly starting at £59.
Initial planned services would include London to Paris Nord, Disneyland Paris, and Charles de Gaulle Airport. It’s also reportedly considering offering links to Brussels-Midi and Cologne, and then expanding to Frankfurt and Düsseldorf.
While Eurostar previously offered a direct route to Disneyland Paris, this was discontinued in 2023 due to the company focusing on its city destinations after the pandemic. Offering services direct to Paris’ Charles de Gaulle airport would mean travellers could also avoid having to take taxis or public transport from Gare du Nord for connections, which can take around half an hour and can be complicated during rush hour.
Gemini claims a London to Cologne route would take around four hours directly. Currently, it can take six hours with at least one change.
However, the trains would not run from St Pancras, due to pressures on capacity, and instead Gemini plans to create a hub at Stratford International, offering stops at Ebbsfleet International and Ashford International, which used to have Eurostar services. Kent locals have long campaigned for a return of its continental services since they were suspended in March 2020 due to Covid-19, only to never resume.
Gemini’s plans include leasing eight Siemens Velaro Novo trains, each one capable of carrying 550 passengers, and promising “comfortable seats, good wifi and mood lighting.” There will also be a business class available with privacy screens.
The start-up is not the only challenger to emerge against Eurostar. Virgin Trains has ordered 12 Alstom trains and secured access to Temple Mills, a depot in East London that’s the only site that can house cross-channel trains. Gemini did not manage to secure access to Temple Mills, but is looking at a potential depot in Ashford, or may base it in Belgium or Germany.
Trenitalia, the Italian rail operator, and a Spanish start-up called Evolyn, are said to be mulling over plans to offer cross-channel services.
Adrian Quine, CEO of Gemini Trains, said: “The forecast growth through the Channel Tunnel is enormous, yet only 50 per cent of the slots on the track are currently used. Eurostar, a monopoly operator, has become lackluster and very expensive. We will shake things up by offering new routes, new stations, new trains, new interiors, new cheaper fares and encouraging people to shift from plane to train.
“For too long, there has been no choice but Eurostar, which in 32 years has opened up virtually no new routes and in fact has cut some.”
However, Eurostar is reportedly fighting back against its new raft of rivals, investing £1.7 billion into 50 new double-decker trains, and plans to launch direct services to Geneva and Frankfurt, via Cologne, with an estimated start date of 2031.
Have a story you want to share? Email us at webtravel@reachplc.com
Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.
By continuing, you agree to our Terms of Service, which include arbitration and a class action waiver. You agree that we and our third-party vendors may collect and use your information, including through cookies, pixels and similar technologies, for the purposes set forth in our Privacy Policy such as personalizing your experience and ads.
So when I had the opportunity to talk to Chris Mortensen, one of the Disneyland Resort’s longest-tenured vacation planners, I wanted to know his.
Mortensen recently celebrated his 40th year with the company, and has spent more than 20 of them in his current role as director of West Coast Travel Operations. That means a significant part of his job is talking on the phone with those who want advice on how to plan their Disneyland days.
He comes from a Disney family. His wife has spent about 30 years with the resort, and one of their children is also a cast member. If anyone should know how to plan a special day at Disneyland, it’s Mortensen.
One of his key pieces of advice: Decide what’s most important to you as a guest. “Is it a thrill ride? Is it entertainment? Is it food?” Mortensen asks. “One of the things that I like to tell people is that you’re going to have a really busy day, but take time for yourself.”
Here are some of Mortensen’s other favorite park tips. We steered the conversation to Southern California locals, and those who may want a little glimpse of what makes Disneyland so special.
Get around the park by train
Here’s one hint, off the bat, that Mortensen says he gives most everyone: “Use the Disneyland Railroad as a form of transportation. Yes, it’s a great little attraction. Seeing the dinosaurs is one of my favorites. But it’s also a great way to get from one place to another. If you’re on Main Street and don’t want to walk all the way back to see ‘Bluey,’ jump on the railway. It’s a great way to get a little rest, and experience the park.”
Decompress at Disneyland’s most tranquil spot
Disneyland’s Snow White Grotto is a tranquil spot overlooked by many guests.
(Todd Martens / Los Angeles Times)
Mortensen notes that it’s impossible to see all Disneyland has to offer in a single day, but rather than stressing about rushing from attraction to attraction, prioritize those that are important to you, and then take a breather at some overlooked park elements, especially those that add to its beauty and tranquility. I couldn’t agree more, and was pleased when Mortensen singled out one of my favorite places in the park: the Snow White Grotto, which is on a path on the eastern side of Sleeping Beauty Castle.
Sculpted by Leonida Parma from Carrara marble, the initial figures have, according to Disney’s fan club D23, been since replaced by fiberglass ones built from the original molds. The eight figures are still a sight, and Disney legendary designer John Hench constructed the fountain that holds them in 1960. The character figures, in the midst of a collection of jutting rocks and log bridges surrounding a peaceful waterfall, are all the same height, so Hench used forced perspective illusions to make it seem like Snow White was towering over the dwarf sculpts.
“The Snow White wishing well — you won’t find that anywhere [else],” Mortensen says. “Bring a quarter and toss it in, experience that.”
Take time for the Sleeping Beauty Castle Walkthrough, a lesser-known attraction
Don’t sleep on the Sleeping Beauty Castle Walkthrough at Disneyland.
(Todd Martens / Los Angeles Times)
“People don’t know about it,” Mortensen says of the self-guided mini-tour that tells the tale of Princess Aurora.
Indeed, I had the Sleeping Beauty Castle Walkthrough to myself one late Sunday morning. The attraction, best experienced with patience in mind, is largely inspired by the artwork of Eyvind Earle. Earle’s approach, after all, is designed to transport us, to place us in lush, fairy-tale-like environments that contain an ever-so-slightly foreboding atmosphere.
Think of this as a mini-art gallery where illuminated dioramas spring to life and transform before us. The walk-through was updated with new effects and artwork in 2008 but dates to 1957.
It’s Disneyland. Order the iconic turkey leg.
Mortensen and I clearly have different palates. If I’m recommending a must-try Disney snack, it’s not the churro. It’s the corn dog. Mortensen, however, is voting for the turkey leg. A brave choice, I believe, as it’s a hefty item and, well, a lot of tough meat. Mortensen, however, made his case.
“It’s unique,” he says. “Yes, you can get a churro, but where else can you walk around and just literally bite out of a turkey leg? It’s about trying to create memories. Every time we have conversations with someone, it’s about, ‘What’s going to make a memory for you?’ You’re always going to remember walking around Disneyland as a 5- or 6-year-old little boy or girl with a turkey leg.”
Turn It’s a Small World into a scavenger hunt
Cinderella is one of the many Disney characters that was added to It’s a Small World in the late 2000s.
(Todd Martens / Los Angeles Times)
Mortensen had my attention when he declared It’s a Small World a must-do attraction at the park. After all, the Mary Blair-styled boat excursion is my favorite Disneyland ride.
Mortensen highlights a once controversial but now beloved late 2000s renovation that added more than two dozen Disney and Pixar characters to the attraction. When riding It’s a Small World, he says, try to spot as many as possible. Disneyland even recently placed Miguel from “Coco” in the ride. Focusing on the scavenger hunt, says Mortensen, helps turn a familiar attraction into one that feels fresh.
“There’s more to it than just riding the attraction,” he says.
Spot details in the windows of Main Street
Enjoying a horse-drawn trip around Main Street, U.S.A., is a relaxing start to a Disneyland day.
(Todd Martens / Los Angeles Times)
Disneyland’s introductory land is a joy. Often, I start my day with a ride on one of Disneyland’s horse-drawn carriages, which venture from the foot of Main Street, U.S.A., to the Sleeping Beauty Castle and back. It’s a relaxing way to settle into the theme park and take a look at the exquisite designs of the Main Street buildings, which many guests rush past on their way to one of the park’s many rides.
Mortensen wanted to call specific attention to Main Street’s windows, which celebrate those who were integral to the development of the park. Many are nods to famed Disneyland designers. Most recently, the park awarded a window to the just-retired Kim Irvine and her mother, Leota Toombs. Irvine and Toombs were longtime creatives with Walt Disney Imagineering vital to the development of the park.
“I love to point out the windows on Main Street,” Mortensen says. “If you and I were walking in, that’s what I would do. I’d grab a box of popcorn, and just point out two or three of the names. Some people you may recognize. Some people you may not.”
And I certainly won’t argue with popcorn for breakfast.
This week in SoCal theme parks
Disney legend Don Iwerks died last week at 96.
(Lori Shepler / Los Angeles Times)
A legend was lost. Don Iwerks, whose inventiveness helped transform Disney’s theme parks, died July 9 at the age of 96, reported the Walt Disney Co. For Disney and his own studio, Iwerks Entertainment, Iwerks helped develop technologies and techniques like Circle-Vision, the 360-degree camera behind “America the Beautiful” and other early Disney attractions, and the 3D effects used in attractions like Captain EO and Star Tours. He also had major contributions to the world of cinema, instrumental, particularly, in the effects sequences of “Mary Poppins.” Read more about Iwerks in The Times’ obituary by Corinne Purtill.
Fiesta Village is no more. The Inland Empire amusement park, which stood for more than 50 years, closed for good last weekend. A center for mini golf, roller skating and go-karting, Fiesta Village announced the closure last week, citing rising operation costs and declining attendance.
Montezooma’s Revenge is back. The reimagined coaster, now known as Montezooma: The Forbidden Fortress, is set to return to Knott’s Berry Farm on Monday. Shuttered for the last four years, the ride has essentially been rebuilt, now featuring enhanced Aztec theming, new trains and a modern launch system. Look for a report on the remade coaster next week.
It’s almost Halloween season. Disneyland in mid-August will launch its Oogie Boogie Bash, Universal will follow in early September with Halloween Horror Nights and Knott’s Berry Farm isn’t far behind with its Knott’s Scary Farm. The latter is the longest-running Halloween event in the Southland, and defined the maze-focused haunt formula. Tickets are now on sale for all three happenings.
Happy 71st anniversary, Disneyland! On Friday, Disneyland will turn 71. While the occasion won’t be as grand as the 70th anniversary, which has been celebrated for the past year and will essentially continue up until the start of the park’s Halloween activities, the Anaheim theme park typically recognizes the birthday with some light festivities for guests. Think, perhaps, a character cavalcade or some specialty treats.
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 initial news for those who purchased Disneyland’s specially priced $59 nighttime ticket is good. While now sold-out, Disneyland launched the promotional evenings this past Sunday, and the park didn’t appear flooded with twilight guests. Attendance was continuing a summer trend of being relatively light, and though wait times increased in the evening, nothing was headache-inducing.
At times, even showcase attraction Star Wars: Rise of the Resistance stood at about 40 minutes, with Space Mountain often showing a similar wait time. Most rides, however, were even more approachable, topping off at around 25 minutes throughout the night. Since the evening ticket only gives guests a taste of Disneyland — five hours worth — it’s a positive sign that the event’s opening night kept things manageable, providing those who bought in at a budget price a prime experience.
After 52 years of providing the Inland Empire with mini golf, roller skating and go-karting, Fiesta Village Family Fun Park is shutting down.
The Colton amusement park said in a statement Tuesday that it will remain open to the public for its final days this weekend.
“This decision has not been easy. For decades, Fiesta Village has been a place where families gathered, friendships grew and memories were made,” the company said in the statement.
Owner Michelle O’Brien said that rising operation costs and declining attendance were the main reasons behind the closure.
“It’s been a privilege to be the steward at the park. It’s devastating to have to close it, but you get to a point where there are no other options,” O’Brien said. “We’re so grateful that Fiesta Village carried a place in people’s hearts.”
The park first opened in 1974, with a mini golf course, waterslides and go-karts. O’Brien purchased it in 2002 and has operated it ever since. Under her and her husband Patrick’s ownership, the park added attractions such as the Scrambler and Tilt-a-Whirl, along with laser tag and a roller skating rink.
Since the COVID-19 pandemic, the theme park industry has struggled to fully rebound. Rising costs and a lack of tourism have made the business increasingly difficult to sustain.
Last year, California’s Great America, a Silicon Valley park operated by Six Flags Entertainment, had to cut its workforce and shorten its season. Even theme park giants such as Disneyland are seeing slight downturns in attendance. Disney previously said its U.S. theme parks saw a 1% drop in attendance compared with the prior year, which the company attributed to “continued softness” in attendance by international visitors. Disneyland’s Anaheim park also recently began offering $71 tickets to draw more local visitors.
For parks like Fiesta Village, the rising cost of essentials such as food ultimately makes survival harder, said Dennis Speigel, president of International Theme Park Services, a consulting firm. He added that competition from nearby parks is also drawing business away. As a Southern California venue, Fiesta Village sits within driving distance of destinations such as Knott’s Berry Farm and Disneyland.
“It’s hard for smaller parks to compete with the big entities that surround them. Particularly now as we continue to see this amazing growth in technology for rides and attractions,” Speigel said. “Big attractions are very expensive propositions for parks to put in, and parks like Fiesta Village can’t keep up with that.”
Given the current economic uncertainty, Speigel said, theme parks will probably see a “flat year” — meaning no major growth or decline industrywide.
After Fiesta Village’s final celebration with the public on Friday and Saturday, the park will host a private event Sunday before shutting down for good. It’s unclear what will happen to the property afterward.
“Thank you for allowing us to be part of your lives and your family traditions,” the company wrote. “We will always cherish the role Fiesta Village has played in bringing people together.”
Times staff writer Samantha Masunaga contributed to this report.
America’s semiquincentennial came and went, and the Disneyland Resort marked the occasion with a transformation of its now-classic Soarin’ ride. Gone, for now, is Soarin’ Over California and Soarin’ Around the World. In their place is Soarin’ Across America, a lightly patriotic-themed journey from coast to coast.
There are flyovers of nationalistic symbols such as the Statue of Liberty, Mount Rushmore National Monument and the Washington Monument, but the majority of its dozen locations are national parks, making Soarin’ Across America a love letter to America’s natural and diverse beauty. And it felt like a four-and-a-half-minute celebration.
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Soarin’ Across America has the strongest scene of any of the three attraction films, which envelop riders as they ascend in the sky on a hang glider simulator. That’s its opening, a shot of a rocket launch at Florida’s Kennedy Space Center. We start level with the spacecraft, and then follow its journey into the clouds. Being this close to a liftoff, and feeling the sensation of rising with it, creates an inspiring, rousing moment. As in any Soarin’ film, we are promised the great outdoors, but here we get magnificent ingenuity.
Is it the best Soarin’? I’d still rank Soarin’ Over California as No. 1, as it has a sort of goofball charm, such as tumbling skiers or a golf ball flying toward the audience. But Soarin’ Across America is a worthy successor. It takes a more patient approach, as the ride now seems to linger longer over certain locales, allowing us to take in the majesty of the Grand Canyon West or vibrancy of the Louisiana bayou without distraction. I appreciated the tonal shift, which makes it stand on its own and doesn’t try to force itself to capture the original’s whimsy.
A coastal scene from Soarin’ Across America.
(Disney Parks)
I also enjoyed the new smells. When hovering near the Hawaii coast, for instance, the tropical fragrances that wafted over guests seemed to reflect the gummy fruitiness of a mai tai. (No, that wasn’t just me longing for an afternoon break at Trader Sam’s.)
I went in with a bit of skepticism, and I’m relieved to say my fears weren’t realized. Well, fully realized. This is a divisive time in American history, and cultural works are increasingly viewed through a political lens. When announcing the attraction, Disney did so with symbolism of the American flag, a bald eagle and the Statue of Liberty, art that was admittedly bright and welcoming, but also could be read as giving it an uncomfortable, chauvinistic sheen.
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Not everyone in 2026 may be excited with a flight simulator that serves as a cheerleader for America. And I still question the inclusion of Mount Rushmore, which has a long, controversial history, and has been a fascination of President Trump’s. But aside from that scene, and some odd red, white and blue sparkler-like fireworks visible in the New York Harbor, which curiously distract from a view of the Statue of Liberty, Soarin’ Across America doesn’t lay on the jingoism. At least until the final moments, when we see an American flag in the sky above Disneyland’s Sleeping Beauty Castle.
I’ll take it. The vibe throughout is one of restraint. When we glide near a Maine lighthouse, the film seems to pause, allowing the rocky coast and long-standing structure to be the stars. A dip across the American plains takes us above a herd of bison, but by and large movement is kept to a minimum (here the scent is of grassy freshness, which I’m betting is not what a bison smells like). A train in the Ozarks, for instance, comes to us rather than the film rushing to trace its path.
Filmed primarily with helicopters and drone shots, Soarin’ Across America utilizes CGI, courtesy of Industrial Light & Magic, less than Soarin’ Around the World, and primarily on scene transitions when we appear to fly next to a bird. This is an attraction that leans more National Geographic, that is it is unobtrusive and unstaged, than past iterations of Soarin’. While some may miss more active visuals, I appreciate that each Soarin’ film takes a different approach. Long term, it will allow Soarin’ Across America to serve as a snapshot in time, of an America at a certain point in history.
Soarin’ Across America shows aerial vistas across the United States, and it’s arriving at a divisive moment in our nation’s political history.
(Disney Parks)
And that’s already true. For when the film takes us down in front of the Washington Monument, we can off in the distance ever-so-slightly glance at the Lincoln Memorial Reflecting Pool, caught before its current Trump adminstration remodeling. Depending on your point of view, it can be unintentionally uncomfortable or amusing to see a locale before it became a political lightning rod. But that’s sort of the appeal of the Soarin’ films. They’re glimpses of not just a moment in time, but of a constantly changing world.
In that sense, there’s something relatively quaint about Soarin’, especially for our fast-paced, thrill-focused world. Soarin’ was groundbreaking when it debuted in 2001, but today we have venues like Las Vegas’ Sphere and Inglewood’s Cosm, whose spherical screens are higher definition and can even create the illusion of movement. Soarin’ Across America charms — all four of my rides last week ended in audience applause — by simply being a calming, relaxed journey that stokes our sense of adventure.
This week in SoCal theme parks
Disneyland Park has now welcomed more than 1 billion guests.
(Christian Thompson / Disneyland Resort)
Disneyland: More than 1 billion served. The Disneyland Resort over the weekend welcomed its 1 billionth guest. The distinction went to 8-year-old Andres Robles, who with his family was treated to a VIP tour of the park. Disneyland has updated its population sign atop the Disneyland Railroad’s Main Street Station. To help put into context how unfathomably large 1 billion is, it’s worth noting that it took Disneyland, which in recent years has been drawing around 17 million attendees, nearly 71 years to reach that number.
The Cenobites are coming to Universal Studios Hollywood. The latest addition to this year’s Halloween Horror Nights has been revealed, and it’s a haunted house based on the “Hellraiser” franchise. Pinhead actor Doug Bradley will reprise his role for the walkthrough attraction by voicing the character’s representation in the house. Halloween Horror Nights is set to launch Sept. 3.
Don’t miss this look into Disney history. PBS SoCal will on Friday, July 17, show the documentary, “Bob Gurr: Living by Design.” It’s a revealing look into the life of a key early Disneyland designer, as Gurr created the look and feel of the Haunted Mansion “Doombuggies,” the original Autopia cars, the bobsleds of the Matterhorn and, of course, the first Disneyland Monorail. Before you watch, get to know the colorful, outspoken Disney legend.
A Disneyland deal for Anaheim residents. Good news for those who live near the Disneyland Resort. For a limited time from July 20 through Aug. 8, Anaheim residents will have access to a locals-only deal. Adult one-day tickets will start at $71, while child tickets will be $50. Park-hoppers for adults will sell for $104 while child tickets will remain $50. It’s a significant savings and a great way to see the start of the park’s Halloween season. The tickets go on sale July 16.
The best thing I ate at the parks
The al pastor pork chop at Lamplight Lounge.
(Todd Martens / Los Angeles Times)
One of Disneyland’s best dishes is currently available at Disney California Adventure’s Lamplight Lounge, its Pixar-decorated pub-like outpost. It’s a sliced al pastor pork chop served with cheese polenta, pineapple relish and a spicy red chili butter sauce ($32). The pork is soft, the polenta creamy and it carries just enough heat to give it a bit of an edge. While filling, it’s surprisingly not too heavy, and Lamplight is always a lively spot to take a break from the parks. I only wish the place had a non-hazy IPA.
Your questions answered
Disneyland’s Sleeping Beauty Castle on a crowded 2019 day.
(Jay L. Clendenin / Los Angeles Times)
Hi Todd, we went to the park [Sunday] and it was empty: walk on to Cars, walk on to Indy. Thirty minutes for Guardians. Everything else was down to about 5 [minutes] besides Tiki Room because it’s a 15 min show. Are they struggling this summer? I haven’t seen a day like that at Disney since I was a kid. — Jake from Riverside
Disneyland has been unseasonably comfortable this summer (read: less people). And the Fourth of July holiday week was kind of a breeze, with low wait times at most attractions at both parks.
But I wouldn’t says struggling, as I have seen busy days in recent weeks and Sunday was particularly unique. Mexico and England were playing a much-buzzed-about World Cup match, which no doubt kept crowds at bay. But it’s true that Disneyland this summer has, on a whole, been more pleasant, crowd-wise, than in year’s past.
Ultimately, I attribute the potentially lighter attendance to a combination of factors. One, the park has likely hit the peak price it can currently offer guests (fingers crossed this is true, as I don’t think most Disneyland fans can absorb another yearly price hike right now). Two, the aforementioned World Cup is drawing away potential attendees. And three, everything is more expensive today, forcing families to choose between, say, an afternoon at Dodger Stadium or a day at Disneyland. It’s increasingly untenable to do both.
And people are hungry for different, approachable ticket options. Last week, for instance, Disneyland unveiled a new evening ticket deal for all guests. The $59 offer allows attendees to enter either Disney California Adventure at 5 p.m. or Disneyland at 7 p.m. Available Sundays to Wednesdays through Aug. 5, all dates sold out in six days, unless Disneyland allots more tickets for the deal.
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.
Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.
(Todd Martens / Los Angeles Times)
Universal Studios Hollywood’s new Fast & Furious: Hollywood Drift is set to open soon, and while many are excited, I’m curious to hear from those who live near the theme park. Universal has emphasized how it has instituted a number of noise-mitigating factors, from placing pea gravel in the tracks to building sound walls and creating shields designed to capture rider screams.
Theme park rides, however, can still be loud. If you’re in one of the neighborhoods surrounding the park, drop a line at todd.martens@latimes.com and let me know if Universal’s efforts have been enough, or if the coaster is a disruptive presence.
Outside of this there are two waterparks – Aqua Land and Tropic Lagoon – which have a combined 70 waterslides.
Thrill seekers can head to Aqua Land as this is where the faster rides are.
For a more relaxed visit, Tropic Lagoon is better for younger guests with pools and gentle splash parks, as well as heated pools and wave pools.
Although save time for Turtle Coaster, one of the biggest waterslides in the world which has 14mph speeds and up to four passengers at a time.
There is also a more laidback beach area for younger guestsCredit: The Land of LegendsThe new waterworlds joins the main theme park and two other waterparksCredit: The Land of Legends
The waterparks are open from April to October, during the busier summer season.
But if you want to stay onsite, it is super cheap too.
Sadly, this is just out of the waterpark season in November, so if you want to be able to access the waterparks, prices jump to £1,339pp.
Stays start from £809ppCredit: The Land of Legends
Visitors all say the same with one writing on TripAdvisor it was their “best ever family holiday” another added that it was the theme and waterpark that made it “paradise for kids”.
Also at the resort is Nickelodeon Land, Adventure Land and themed hotel rooms.
Disneyland Resort is rolling out the red carpet for its closest neighbors with a limited-time $71 ticket deal exclusive to Anaheim residents.
The one-day, one-park promotion runs from July 20 through October 8, a timeframe that includes Halloween celebrations at Disneyland. Anaheim residents over age 10 can also purchase discounted one-day Park Hopper tickets during this time for $104. Children ages 3 to 9 can get either one-day, one-park tickets or one-day Park Hopper passes for $50. Park reservations are required.
Disneyland has offered deals for Anaheim residents in the past. But this promotion comes less than a week after the theme park announced a limited-time $59 evening ticket offer. Already, that deal has sold out for all dates.
Together, the two promotions highlight the importance of local visitors for Disneyland. Earlier this year, an executive said the theme park’s high volume of California attendees helped mitigate a dip in international tourism. More than 50% of the Anaheim theme park’s audience typically has been from California.
The Burbank media and entertainment company previously signaled that it would pivot its marketing and promotional efforts toward domestic visitors as it monitored the headwinds affecting international attendance.
In May, Disney executives said its U.S. theme parks had a 1% drop in attendance compared with the previous year, which the company attributed to “continued softness” in international visitors. However, during a second-quarter earnings call, Disney leaders said the park was starting to move past those headwinds.
Since its opening in 1967, Pirates of the Caribbean has stood as an anchor at Disneyland, a statement piece that has defined the direction of the park.
And that remained true last week when Walt Disney Imagineering unveiled a new audio-animatronic pirate. It’s wow-inducing. It’s also narrative-wrecking. And it fundamentally shifts the vibe of the attraction’s early scenes.
The high-tech pirate, we can bet, is just a small preview of the park’s next-gen toys. Because when changes come to Disneyland, they often hit Pirates of the Caribbean first. Over a half-century ago, the robotic figures of Pirates were a symbol of Disneyland’s technological ambitions, dazzling audiences with characterized but lifelike movements. With the ride, Disneyland made it clear that as the world advances, so, too, would the park.
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Todd Martens’ newsletter delivers news and commentary on the past, present and future of theme parks, right from the theme park capital of the world — Southern California.
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As culture shifted and the lecherous buccaneers of the ride began to look more like symbols of sexual harassment, they would be forced to undergo some welcome personality adjustments. A redheaded victim of sex trafficking would transform into one of the ride’s most striking characters, and a number of rides from the Jungle Cruise to Splash Mountain would eventually undergo similar reassessment.
For Pirates of the Caribbean, after all, is the attraction that defined the Disneyland template. Its mastery is that it is a series of larger-than-life dioramas constructed around an abstracted narrative where themes of greed, lust and intemperance take precedence over a plot with a firm beginning, middle and end. And thus it made sense for Imagineering, the outfit of the company responsible for theme park experiences, to unveil its latest tech-driven master work on the ride.
A new animated pirate on Disneyland’s Pirates of the Caribbean shifts from living to dead using projection technology.
(Todd Martens / Los Angeles Times)
Reaction, however, has been less than enthused. Disneyland’s own social media accounts are flooded with pointed critiques, but even if we consider that social media tends to lead with gripes, some of the park’s most ardent fan sites have referred to the reimagined scene as a gutting. Why so much hullabaloo over a single robot? If we allow that Disneyland is a place that generations make pilgrimages to, then Pirates of the Caribbean is its most sacred temple. Handle with care.
Where once was a foreboding skeleton frozen in time atop a treasure and swords, there is now an animated figurine built with the latest in projection technology. The latter transitions from living to dead, caught in a perpetual loop with each glimpse of the cavern’s “cursed treasure,” which it continually lifts and drops. The pirate is placed after the ride’s two dips in a gold-filled room among the winding, mysterious underground chambers that help set its tone.
Dead pirates fill the caverns of Disneyland’s Pirates of the Caribbean.
(Todd Martens / Los Angeles Times)
Since the attraction’s opening, the only living beings in this portion were a lone seagull and maybe a stray sea critter or two. It is here where the mystique of Pirates of the Caribbean is set, and guests are placed in the active role of piecing together the time-shifting narrative. Story is hinted at rather than fed to us. We hear tales of the hexed fortunes found in the caves via ghostly narration, but see only its after-effects — skeletons locked in a chess battle or standing behind the wheel of a crumbling ship.
The centerpiece treasure room, where our new pirate is found, has long been a breathtaking scene. Previously, a now decayed body sat atop a mountain of wealth, an empty, soulless figure done in by selfish pride. It was disquieting, and a bit ghoulish. Stray, soft musical notes underscored the tragedy. Further on, a trapped pirate quietly transitions from living to dead via an old theatrical mirror illusion, and the boats float into a city filled with battles and buffoonery.
Gone is the subtlety. A somber tableau is now relatively loud, as our eyes no longer take in the full set but zero in on a bright and at times lively figurine. I cannot deny that it is an impressive piece of technology. On the multiple rides that I took Monday morning, I overheard two teens describe it as “pretty cool” and watched as a young child excitedly shouted to his mom and dad that the figure’s face was changing.
The caverns of Pirates of the Caribbean set a foreboding tone.
(Todd Martens / Los Angeles Times)
Such reactions are no doubt what Imagineering is hoping for. Part of the job of stewarding a classic attraction, after all, is ensuring it maintains an appeal to future generations. But I believe two things can be true. The new pirate may captivate some audiences and it can also stylistically and tonally clash with the attraction. This is the right tech, perhaps, for a more animated experience, one such as the in-development “Coco” ride coming to Disney California Adventure. Unfortunately, in Pirates it’s misplaced. Worse, it’s distracting, as we’re immediately drawn to its movement, grunts and quick-transitioning face.
I lament losing what was there. Projected figures, even the best of them, such as this one, are still media and can still gleam with light. And while the original Pirates of the Caribbean designs by Marc Davis were exaggerated, they were brought back to reality by Blaine Gibson, who sculpted them with bold, hardened features that made them at once heightened but believable. They may have been cartoonish, but they weren’t actual cartoons, and this figure is too much of a contrast, its comic-like excess feeling less relatable, less human. And that says nothing of its snort-like laughs, which reminded me too much of the huffs and puffs of the ride’s donkeys.
It also raises more story questions than it answers. Why, for instance, aren’t the other skeletons caught in a loop? Sometimes more is said by saying less, and this feller leans silly in a portion of the ride that calls for spooky. Ultimately, it just feels unnecessary, a symptom of our often exhausting, tech-obsessed, digital-drenched age where new, needless tools are shoved in our faces daily.
Thankfully, the rest of the attraction serves as a reminder that no computer wizardry can out-class old-school theater. Theme parks should evolve with the times, but sometimes it takes artful restraint to not mess with what’s already timeless.
This week in SoCal theme parks
Disney California Adventure turns Soarin’ Over California into Soarin’ Across America. The makeover will be unveiled July 2, just in time for the Fourth of July holiday and the celebration of America’s semiquincentennial. While Soarin’ Across America is already open at Florida’s Walt Disney World and I’ve written about the patriotic re-imagining, I’ve waited to see it in the flesh and will have impressions next week.
Fireworks! If you’re looking for them this weekend, our theme parks have got you covered. Disneyland, of course, has an annual Fourth of July show with patriotic music, and the park will be running “Disney’s Celebrate America! — A Fourth of July Concert in the Sky” Friday through Sunday. If you’re heading to Knott’s, be sure to check out the park’s free-to-visit Independence Hall, a replica of the Philadelphia landmark that will be offering guided tours Friday and Saturday, while Six Flags will feature fireworks Friday through Sunday. Universal Studios Hollywood will on Friday and Saturday debut a new Fourth of July-themed fireworks show.
Shattered glass on Fast & Furious: Hollywood Drift. Fans are eagerly awaiting the opening of Universal Studios Hollywood’s new “Fast & Furious”-inspired coaster, and word spread via social media recently that a panel of glass on one of the ride’s sound barriers had shattered. Universal declined to comment, but sources familiar with the ride characterized it as an “installation error” that shouldn’t delay the public launch of the ride, which is expected by mid-summer. I reached out to California’s Division of Occupational Safety and Health’s Amusement Ride & Tramway Unit (Cal/OSHA), which monitors the state’s theme park attractions. A spokesperson said the situation was looked into but did not warrant further evaluation.
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.
Visitors tie paper tags bearing wishes onto trees in the courtyard of the Broad as part of an exhibition dedicated to Yoko Ono.
(Kayla Bartkowski / Los Angeles Times)
Theme parks often are about the power of imagination, allowing us to play pretend in heightened, alternate worlds. And I had theme parks on my mind while I traversed the Broad’s excellent current exhibit dedicated to Yoko Ono.
What, perhaps you wonder, does Ono have to do with theme parks? “Yoko Ono: Music of the Mind” documents the entirety of the artist’s career, and much of her early work centers on play. Real, philosophical play, essentially the idea that through creativity, fantasy and a bit of silliness, we can all see the world differently.
Whether it was communicating with her audience while in a bag (1964’s “Bag Piece”), an antecedent to Meow Wolf’s “Experience Tube,” or offering instructions to count stars, tally our wrinkles, drop off peas on a morning walk, attach wishes to a tree or create fictional maps of our neighborhoods, much of Ono’s career was dedicated toward building community and connections through playfulness and imagination.
It’s freeing work, and a reminder that a little frivolity via participatory art — and that’s really what theme parks and so-called immersive entertainment provide — is a necessary ingredient for happiness.
ONE of the biggest rollercoasters at Disneyland Paris is set to close until next summer.
Visitors to the theme park won’t be able to ride the East Australian Current for almost a year.
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Crush’s Coaster at Disneyland Paris will close for 10 monthsCredit: Alamy
Crush’s Coaster is found in Disney Adventure World, formerly known as Walt Disney Studios Park, and will close for renovations on September 7.
The ride first opened in 2007 and over time has become one of the most popular attractions with wait times often exceeding 60–120 minutes on busy days.
The good news is that Crush’s Coaster is closing for upgrades only and is expected to open nextsummer.
Over 10 months the rollercoaster will go through two phases of works.
The first is technical, which Disneyland Paris has said is “essential to the attraction’s operation”.
It includes the replacement of certain control systems, sensors, communication equipment and sections of track.
The second phase will involve testing what has been changed in phase one to make sure everything is working before it reopens to the public.
During the closure, the attraction will also get a makeover with a repaint and clean.
Crush’s Coaster previously closed in 2015 when it underwent a six month refurbishment.
But this closure will be the longest since it opened 19 years ago.
Crush’s Coaster will undergo technical work – and a refreshCredit: AlamyThe ride first opened in 2007 and has become a very popular attractionCredit: Alamy
