experience

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

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

It’s Thursday night, and sitting at the top of the football bleachers after a two-hour drive from Mission Viejo are JT and Kathy Reis, grandparents of Palos Verdes High twins Christian and Weston Reis.

While one fan shouts criticism at an official’s call at Mira Costa High, Grandma and Grandpa Reis calmly and confidently root for their grandsons, Christian, a running back, and Weston, a linebacker.

“That a way, Christian,” grandma blurts out after a Christian pass reception.

Grandpa is eating popcorn like he’s at a movie and sitting back in his folding chair just taking in the environment.

Weston wears No. 44 because that’s what JT wore playing high school football in Wisconsin.

“We’ve had so much fun,” JT said. “We’re so blessed.”

The Reis twins, Christian (left) and Weston, are junior linebackers for Palos Verdes and Christian plays running back, too.

(Nick Koza)

If you’re fortunate enough to spend time with grandparents at a football game, it feels like going back in time because they offer the most inspiring, educational and illuminating experience of what high school sports are supposed to be about.

They know all the secrets of their grandkids, not to mention their sons and daughters. They are fans no matter whether good or bad things are happening at a game. They are their to supply unconditional positive support — that’s in their mission statement.

Linebacker Weston Reis of Palos Verdes High gets set at his position.

(Nick Koza)

Grandma told me the twins were so identical that not until Weston lost two teeth after hitting his mouth against a car door when he was 3 could they finally figure out a way to identify a difference between the two.

If Weston smiled, they knew it wasn’t Christian.

Now the sons have different uniform numbers, 44 and 42, so it’s easy.

Their son, Matt, played soccer at Santa Margarita High and was inducted into UCLA’s sports Hall of Fame because of his goalkeeping skills. He married Nicole Odom, a South Torrance High grad and softball All-American shortstop at UCLA. Their first son was Jacob, now a backup linebacker at UCLA. Then came the twins.

Incredibly, the family survived tragedy during the 2013 Boston Marathon bombing. Nicole was running in the marathon. Everyone was there to watch and root her on — Matt, the goalkeeper for the New England Revolution, their three young boys, a brother-in-law and Nicole’s parents, John and Karen. Halfway through the race, Matt sent the twins away. He was with Jacob when they moved closer to the finish line.

Then a bomb went off. Matt gave 6-year-old Jacob to his brother-in-law to seek cover at a hotel and went searching for his father-in-law. He found him near the finish line “in a river of blood” from shrapnel that went through one leg to another. Matt applied a make-shift tourniquet out of clothing to try to stop the bleeding. It probably saved John’s life. Then Matt went looking for his wife, his shirt full of blood. He found her and explained that John was in bad shape.

John survived after many surgeries through the years. The experience remains ingrained in Matt’s memory, the blood, a coin on the ground, the sirens.

Running back Christian Reis of Palos Verdes High tries to split two defenders as he breaks into the secondary.

(Nick Koza)

They moved to Southern California after Matt’s playing career ended. He became the Galaxy goalkeeper coach and now works as the team’s academy goalkeeper director.

Having four grandparents alive to watch and provide emotional support while playing high school football has to be one of the greatest experiences any teenager can have. And if they slip a grandson $1 for every tackle and $2 for every touchdown (just kidding), even better.

“It’s so amazing,” Christian said. “We get so much family at every game. Both grandparents, but also our aunts, uncles and cousins. They’re always cheering loudly.”

Speaking to the Reis grandparents during Palos Verdes’ 34-14 win over Mira Costa provided insight into their wisdom and experiences growing up in the Midwest and being part of the California experience for more than 30 years.

“Be humble. Be a good teammate. Be a leader, not a follower,” JT said when asked what he tells Christian and Weston.

If you’re watching a high school football game this weekend in the bleachers, say hello to a grandmother or grandfather. They need to be cherished for their loyalty and focus on their grandkids, through thick and thin.

They provide unconditional love and comfort, and everyone can use that any day of the week.

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

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

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

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

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

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

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

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

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

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

This week in SoCal theme parks

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Lawrence Meyers)

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

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

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

Tourism can be a force for good when done well – and we want to hear about places and projects you’ve discovered that help conserve local ecosystems and cultures. Whether it was a volunteering holiday planting trees in Scotland, a stay at an eco-hotel that helps protect local flora and fauna, or a project breathing life back into abandoned villages, tell about us your experience for the chance to win a holiday voucher.

The best tip of the week, chosen by Tom Hall of Lonely Planet wins a £200 voucher to stay at a Coolstays property – the company has more than 3,000 worldwide. The best tips will appear in the Guardian Travel section and website.

Keep your tip to about 100 words

If you have a relevant photo, do send it in – but it’s your words we will be judging for the competition.

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

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

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

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

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

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

(Steve Tatham)

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

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

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

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

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

Think beyond theme parks

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

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

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

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

(Genaro Molina / Los Angeles Times)

The best lessons come from observing guests

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

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

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

AI won’t replace great original ideas

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

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

But there are limits.

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

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

(Christina House / For The Times)

But the integration of smartphones remains a challenge

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

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

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

Yes, it’s possible to make a decent salary

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

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

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

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

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

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

(Christina House / Los Angeles Times)

Remember why theme parks still matter

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

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

For Tatham, it’s about the memories.

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

This week in SoCal theme parks

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

(Christina House / Los Angeles Times)

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

Ride Report

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

What is “Eggs in Space”?

(Todd Martens / Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

This week in SoCal theme parks

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

(Todd Martens / Los Angeles Times)

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

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An interactive, floor-to-ceiling walk-through “Dune” attraction is coming to Los Angeles in November, and it promises spectacle, as well as a bit of mystery. Step around, and potentially inside, awe-inspiring vehicles from the film, or come face-to-face with the Bene Gesserit, a group of priestesses who possess, among other things, the ability to bend the will of others.

In one centerpiece of the exhibit, guests will be asked to take their so-called “test of humanity,” an opportunity to place one’s hand in a box and, in the lore of the “Dune” franchise, experience a none-too-pleasant sensation. It’s a battle of will, and intellect, and at “Dune: The Experience,” the hope is it will be fun.

“Dune: The Experience” is an immersive, walk-through exhibit coming to downtown Los Angeles.

(Fever / Legendary Entertainment )

“I don’t want to spoil exactly what happens when you put your hand in the box, but it is intended to be somewhat shocking, participatory and to put people on edge,” says Rob Shalhoub, a team lead at Fever, which is producing the event in partnership with Legendary Entertainment. “It really immerses you into the intensity of these films, where you’re up close and personal with these characters.”

“Dune: The Experience” is planned to launch in November in support of the theatrical release of Denis Villeneuve’s “Dune: Part Three,” which is out on Dec. 18. The event doesn’t have an opening date or an end date yet, but it is intended to tour. It will be in Los Angeles at a location in downtown’s Art’s District at least through the end of December. Expect costumes, props and life-size vehicles from the film, as well as projection-based rooms designed to immerse guests in the desert planet of Arrakis.

Tickets will go on sale Oct. 7 via the official “Dune: The Experience” web page and range in price from $30-$45.

There will be about a dozen rooms to explore, says Shalhoub, each designed for guests to spend around five minutes in. Some will feature hidden messages within ancient carvings, while others will emphasize photo opportunities with Paul Atreides’ throne, allowing guests to attempt their best Timothée Chalamet impression. “Dune: The Experience” is also built for attendees to linger, as it will feature an area with themed food and cocktails.

“It will reward your curiosity,” says Amado Trevino, director of interactive media and experiences for Legendary Entertainment. “Walls will begin to whisper throughout. You get to take Paul’s throne and see the desert come alive around you. Guests may even find out if they have what it takes to ride a sandworm.”

Different rooms are said to explore contrasting sensations, with some emphasizing touch, sound or visuals.

“We have this amazing projection room where you’re going to get to experience what it’s like in the desert in Arrakis, to really feel the scale of the desert and some of the dangers that lurk within the desert, namely sandworms,” Shalhoub says. “We’ve re-created these environments in a very interactive and immersive way.”

Adds Trevino, “There are things to see, there are things to hear, there are things to do, and there are things to feel. We’re showing beautiful artifacts from the productions, but you’re doing it from within the world of ‘Dune.’ ”

Former Walt Disney Co. Chief Executive Bob Chapek knows his reputation among Disney fans, especially Disneyland loyalists. In his new book “Behind the Castle Walls,” he defends his changes to the Disneyland experience, the vast majority of which are still felt today.

“Contrary to what some people tried to paint me as,” he writes, “I wasn’t just a maniacal, money-optimizing machine.”

When I had the chance to talk to him last week, I wanted to know if having that image bothers him.

“I’m not concerned about it,” he says, speaking via phone from his Florida home. “I don’t give that any thought at this point. But I’m very proud of the performance of the parks segment during my time. The numbers bear that out.”

Chapek, in his role as chairman of the parks division and later CEO of the company, presided over an eight-year period beginning in 2015 in which Disneyland would significantly raise prices, introduce add-on perks, and, in my opinion, create the unsettling sense that you could be having more fun if you just spent more money.

When Chapek took over the parks segment, Disneyland would begin to fully remake its annual passholder program, largely by significantly increasing its price and limiting access. (In 2015, the top priced annual pass was close to $800. Today, it’s $1,899.) Single-day tickets to the parks would also begin a period of aggressive price hikes. Today, a one-day, one-park ticket tops off at $224. It’s widely expected that Disneyland will be raising its prices again this October, as it has done nearly every year in recent history.

Additionally, benefits that Disneyland guests long took for granted as free, such as the line-skipping Fastpass program, would become a paid perk on Chapek’s watch. Access to some attractions would be grouped together as part of a package now known as a Lightning Lane. In-demand rides such as Star Wars: Rise of the Resistance would be sold separately.

Bob Chapek has defended price increases at Disneyland, noting that ambitious projects like Galaxy’s Edge require capital.

(Allen J. Schaben / Los Angeles Times)

Prices on all of the above typically increase yearly. Today, guests who spring for the front-of-the-line Lightning Lane pass as well as individual access to Rise of the Resistance can expect to pay around an extra $65 per person once having their tickets scanned.

Chapek notes he faced significant opposition at Disney in making these changes.

“To all who come to this happy place, welcome,” goes Walt Disney’s original dedication speech, which for decades was used as a guiding light that every guest who entered Main Street, U.S.A., would be treated as an equal. That meant, with limited exceptions, no special access for anyone.

This was seen as an “inviolable virtue” at Disney, but one Chapek was ready to break, as he writes in his book.

“Everyone is equal when they come through the gates no matter what walk of life they come from,” Chapek tells me. “What’s different, though — and this isn’t because we say it’s different, it’s because the guests say it’s different — it’s that guests say they want an experience that’s tailored to what they can afford.”

Maybe. I don’t have access to guest satisfaction surveys, but that sounds like something only people with a certain privilege say. No doubt guests who can afford less don’t want a worse experience.

Chapek in his book describes himself as a “disruptor,” and considers Lightning Lane-like add-ons “bespoke” experiences that appeal to guests who crave a more customizable day. While they are common at nearly every theme or amusement park, I consider them classist, creating a haves-versus-have-nots mindset as soon as guests step through the gates.

Chapek defends the move to me, pointing out that while he presided over the parks, it’s lowest price one-day, one-park ticket stayed steady at $99 (today it’s $104). While true, and while Disneyland has even sought to increase the number of days offered at its introductory price since Chapek was ousted from the company in 2022, these are often midweek tickets, necessitating that working families take a day off and force a child to skip school.

“How about demand?” says former Walt Disney Co. CEO Bob Chapek, seen here with Minnie Mouse at Hong Kong Disneyland, when defending his price hikes.

(Kin Cheung / Associated Press)

“How about demand?” Chapek says to me when I point out that I have been critical of the moves. “Do people stop coming? That would obviously be a big concern. Even with the increase in prices that were taken on the annual passes, it would temporarily soften demand, but a year later they were subscribed just like they were before. Wall Street has certain expectations that may not be consistent with the expectations of guests of a certain pass type.”

Chapek reveals in his book that there is somewhere around 1.1 million annual passholders to Disneyland, which is today known as a Magic Key. With each price increase, he writes, that number would tumble to around 1 million, but within about 12 months they would be back to a level they were at before the rise in prices.

During Chapek’s reign, the company also introduced a reservation system, which asks guests to plan in advance. The price increase, later coupled with a reservation system, is designed to cut down, in part, on spontaneous trips to the resort, forcing guests to be more intentional about their Disneyland plans. This can aid, of course, in forecasting crowds and park staffing, but is also intended to limit days in which the park can feel overcrowded.

During his five-year tenure as parks chairman, Chapek writes that profits within the segment went up 18%. And that was largely due to an increase in individual guest spending. Over the decades, certain leaders of the Walt Disney Co. have arguably more closely ingratiated themselves with fans than Chapek has, but the fact remains that Chapek fundamentally and forever altered the approachability and the affordability of a Disneyland visit.

“In order to build things like Galaxy’s Edge and Avengers Campus, that takes capital,” Chapek says. “That capital takes revenue.”

My long-term fear, however, is that this has created a slippery slope. Disneyland guests now brace for yearly price hikes each fall, and this is coupled with yearly spikes on food prices each summer. Once the company and its shareholders become accustomed to such a financial boost, an environment where individual guest spending sharply increases even when domestic park attendance is soft or steady, there’s likely no turning back. Disney has created a business that will target the highest-spending consumer year in and year out.

And thus, guest equality, what was once an “inviolable virtue,” is forever a thing of the past, no matter who is in charge.

This week in SoCal theme parks

The X2 roller coaster at Six Flags Magic Mountain.

(Myung J. Chun / Los Angeles Times)

• X2 has been retired. Six Flags has officially pulled the plug on Magic Mountain’s X2 coaster, which has been the subject of recent controversy after several lawsuits allege people were injured on the ride. Six Flags shut down X2 in July amid a state investigation into the coaster. “While X2 consistently passed a multitude of safety tests, we have decided to close the ride because we believe it’s the right thing to do. Ride safety is a cornerstone of our business, and when we see guest confidence affected, we take it seriously,” Brian Oerding, Six Flags Magic Mountain president, said in a statement. The Times’ Fedor Zarkhin has more on the news.
• Don’t miss Disneyland’s mariachi band. There are a few more opportunities to catch Mariachi Alegría de Disneyland in Rancho Del Zocalo park inside Frontierland. The performances, set for the evenings of Oct. 6, 7, 13 and 14, are part of the resort’s National Hispanic Heritage Month celebrations. Also, beginning Oct. 4 and lasting through Oct. 15, guests can meet the character of Elena of Avalor near Royal Hall next to Sleeping Beauty Castle.
• Heads up for those attending Halloween Horror Nights. If you have a visit planned to Universal Studios Hollywood’s Halloween Horror Nights and you’re interested in the park’s new Fast & Furious: Hollywood Drift coaster, there’s now an opportunity to ride it. For a cost. Universal is selling access to the coaster for $19.95 per person. Previously, the coaster was only available to those who sprung for the fancy R.I.P. Tour, which is now sold out.
• Work out in Disneyland! The Disneyland Resort has announced new fitness classes across its two parks, an early morning perk for guests staying at one of its three hotels. Among the offerings is the ability to do yoga in Star Wars: Galaxy’s Edge, agility and strength exercises in Cars Land, and a mini-boot-camp-style class in Avengers Campus. Classes range in price, but most are under $49.

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.

Me, enjoying a beverage, on the now shuttered Star Wars: Galactic Starcruiser.

(Allen J. Schaben / Los Angeles Times)

There is one area where the former CEO of the Walt Disney Co. and I are in complete agreement. Chapek and I both miss Star Wars: Galactic Starcruiser, colloquially known as the Star Wars Hotel. The ambitious, but costly, multi-day experience was one of the most creatively inspiring offerings in company history.

In “Behind the Castle Walls,” Chapek writes that he believes it was shuttered too soon. The Starcruiser closed after about a year of operation. “Was it perfect the first time? Absolutely not,” Chapek tells me. “Was it one of the most ambitious lodging experiences we have ever created? Yes.”

A place dedicated to play — and light role-play — the Starcruiser allowed guests to fully inhabit a fictional world. It was an argument that interactivity could have been the future of theme parks. “It seemed to have the plug pulled on it prematurely,” Chapek says, “and I think it was a big opportunity missed.”

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When Dodgers rookie Josue De Paula debuted a little over two weeks ago, he was the youngest player in the lineup by four years. And when veteran infielder Miguel Rojas pinch-hit for Alex Freeland in the eighth inning, the 21-year-old De Paula and 29-year-old Kyle Tucker were the only Dodgers under 30 remaining in the batting order.

“You’ve got to have both,” veteran shortstop Mookie Betts, who turns 34 next month, said in a recent conversation with the Times. “You need experience, but you also do need youth. I don’t know what the balance is, to be honest.”

The age of the Dodgers’ stars is the most persistent knock on a group that just finished a 100-win regular season and has the second-best odds to win the World Series (16.7%), according to Baseball Prospectus.

It’s the threat looming beyond every new accomplishment. Yes, the Dodgers are in the midst of a historic run. Only one other organization has strung together so many consecutive postseason berths, and that Braves team of the 1990s and early 2000s won only one World Series.

The Dodgers are aiming to become the first National League team to claim three straight championships.

But how long can this last?

The Dodgers’ lineup is the oldest in the majors, according to Baseball Reference, with an average age of 30.9 years old when weighted by at-bats and games played. Their star corner infielders, Freddie Freeman and Max Muncy, are the oldest of the everyday starters, at 37 and 36, respectively. Even two-way phenom Shohei Ohtani turned 32 in July.

“That’s a fact, we’re an older team,” manager Dave Roberts said. “With age, there’s experience. I know we’re not going to fall off a cliff, our team.”

Plenty of young players in the Dodgers’ system have been blocked by older stars over the years. But in addition to a sky-high payroll, the Dodgers are known for their player development.

Even after the trade deadline — when the Dodgers sent two MLB Top-100 prospects, outfielder Zyhir Hope (No. 25) and right-hander River Ryan (No. 68), to the Tigers as part of the trade package for left-hander Tarik Skubal — the organization’s farm system ranked No. 1 on MLB Pipeline’s rankings.

Serving as a reminder of that strength, when the Dodgers called up De Paula straight from double A, he immediately showed his bat belonged in the big-leagues.

At the same time, injuries stoked the flames of the age discussion. De Paula got his shot because Ohtani finally went on the injured list, after managing problems with his left knee and right biceps for much of the season.

Freeman pushed through knee tendinitis in September. Teoscar Hernández (left hamstring strain) and Betts (right oblique strain) both had monthlong IL stints earlier in the season but have helped carry the offense lately.

“As I’ve gotten older, I’m definitely taking a lot more care of my body,” Betts said. “I know I had an oblique [injury] earlier, but as far as just showing up every day and whatnot, I feel like we do a good job in taking care of our bodies and staying healthy for the most part.

“But I mean, people are talking like we’re the only ones in the league that’s getting hurt. You look everywhere around the league, somebody’s hurt.”

That’s true. And it also isn’t just the guys in their mid-to-late 30’s sustaining soft-tissue injuries. Dodgers catcher Dalton Rushing, 25, served back-to-back IL stints for a flexor strain in his forearm down the stretch.

The Dodgers’ roster has proven deep enough to withstand injuries, as the team posted the second-best regular-season record in the majors this year.

“We’re not going to win games the same way that Milwaukee or Tampa Bay or these younger teams are winning games,” said Rojas, 37. “We’re going to win games a different way. We’re going to win games with a lot of talent, with experience, and winning moments.”

Over the years, the Dodgers have brought in players with postseason experience. But roster continuity also has meant that 17 players on this year’s projected postseason roster also contributed to both of the Dodgers’ last two World Series-winning seasons.

So, after playing more games than any other team the past couple years, the Dodgers may be a little hobbled going into their first-round bye. Regardless, they just completed their first 100-win season since 2023.

“The experience, how smart these guys are on the field, I think those things help win moments and win battles on the edges in October,” president of baseball operations Andrew Friedman said when the Dodgers clinched the NL West title earlier this month. “It’s not as easy to navigate through a 162-game season with an older roster. But I do think that experience in those moments will definitely help and we’ll see it shine through at different points in October.”

Ever watched a TV show like Amazon Prime’s Lego Masters and wished you were the one under the studio lights, racing against a ticking clock? That is the exact magic Lego House is trying to capture with its recently opened Lego Masters Academy in Billund, Denmark – the ultimate pilgrimage site for brick fans.

I took my seven-year-old resident Lego expert to test out the 75-minute Level 2: Build Me Up session, and it delivered from start to finish. Enthusiastic Play Agents, as they call themselves, started the experience by getting the crowd excited outside the studio with an interactive live countdown. Once the doors rolled open, we all entered a vibrant space designed to mirror the TV set, complete with a central podium, upbeat music, and studio lighting.

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

The session started with an accessible warm-up follow along building session where we were shown professional building techniques. Small challenges were then added, before we were ready for the main event – building a completely original custom build, in our case our own self portrait Lego figure.

Timers flashed up on massive overhead screens as we were told to help ourselves to colour-coded, shape-sorted brick pits to grab materials for our custom builds. Here it really felt like the TV show, with everyone reaching out to grab handfuls of bricks, aware that the 15-minute timer was now ticking. After brick selecting ended, we all raced back to our building stations to get started on our builds.

A little overwhelemed by the noise, my seven year old opted out of this custom build, and instead preferred to help me finish mine and watch others at work. This wasn’t an issue at all – with the Play Agents keeping him included, making him smile by asking about his favourite LegoLand rides, and making sure he was still having fun. My mistake was not showing him any episodes of the TV show before we visited – I’d really recommend parents of younger children prep them this way.

By the time the timer went off, we had just about finished our slightly wonky multicoloured person. Unlike the competitive TV show, at the end all creations are showcased in a shared gallery, so we went up and put our creation on the podium, ready for all to admire, before coming together with new friends for a joint picture.

While the Masters Academy costs extra, on top of a Lego House ticket, the value for money is outstanding. Every participant keeps their custom build as a souvenir, and you are encouraged to jam-pack an official takeaway box with loose bricks at your station. Organisers promise the contents are worth far more than the ticket price – and the only rule is the lid has to be able to shut.

Overall we really enjoyed our session. My son threw himself into marking every countdown, glowed with pride over our creation and was delighted by his heavy tressure-like takeaway box – which came in very handy that night keeping him occupied at dinner. Whether you are a die-hard Lego fanatic or traveling as a family, it is a unique experience.

Top Tips for anyone visiting the Lego House Billund Lego Masters Experience

Pricing for the Lego Masters Experience is split by age and experience level. The Level 2 session which we did costs £15 per guest for 75 minutes. Older builders aged ten and above can opt for Level 3: aROUND the Bricks We Go, which runs for 90 minutes at £17 with a focus on advanced techniques. The 60 minute level one session is £14 and marketed at beginner builders.

Keep in mind that these require a separate add-on ticket on top of standard LEGO House general admission, which costs £29 per person, with discounts for booking online. Children under thirteen must be accompanied by a paying adult for the Lego Masters Experience.

If you are planning to go, binge watch a couple of episodes of Lego Masters show beforehand so younger kids can anticipate the studio set and timer format.

Book well in advance – ideally before picking your trip dates – as sessions are limited and often full. Make sure to select an English-language session if applicable.

Make sure to pick up your wristbands at least 15 minutes early, as studio doors lock strictly on time. Keep your wristband – this also gives you access to photos of the session.

Book the holiday

• Norwegian Air offers direct flights from London Gatwick to Billund with return fares from £120 on norwegian.com.
• Stay at the Pirate’s Inn Motel LegoLand Holiday Village, from £180 per night for two.
• LEGO House tickets start from £29 when booked in advance on legohouse.com.
• Lizzie and family enjoyed a two-day Legoland pass, starting from £57 for a 2-day pass when booked online, or £40 for a 1-day pass. You can find out more at legoland.dk/en.