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

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

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

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

(Todd Martens / Los Angeles Times )

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

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

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

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

(Todd Martens / Los Angeles Times )

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

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

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

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

(20th Century / Disneyland Resort)

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

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

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

The Repair Shop viewers learnt the tragic tale of rescue dog Pepper who helped search for survivors in the 1988 Lockerbie bombing disaster.

The Repair Shop viewers saw one man share the touching story of his late border collie rescue dog, Pepper.

During the BBC show, which first broadcast last year, experts Dominic Chinea and Suzie Fletcher spoke to a man called Neil Powell.

The man had an old dog collar and a tattered rescue jacket with him, keen to get it restored in tribute to ‘one of the best’ dogs he’d had.

Explaining more about Pepper, The Repair Shop guest shared that he qualified to become a search and rescue at 18 months and was involved with helping to find a young German boy who was missing in bad weather conditions for 36 hours.

However, one of the more poignant searches Neil and Pepper were involved with was the 1988 Lockerbie Pan Am disaster, where they were called in to try and find survivors, reports the Daily Record.

Recalling the ‘dreadful’ smell of the aviation fuel, Neil highlighted that Pepper had discovered a suitcase during their time there, which was significant as it had scorch marks on, suggesting that the plane crash had been a bomb.

During the horrific tragedy, 270 perished in the Lockerbie bombing, amongst them 11 residents of the Scottish town.

Sadly, Pepper, along with the other dogs involved, developed tumours in their noses and windpipes while in the crater searching for human remains.

Admitting they weren’t sure it was caused by the aviation fuel, Neil confessed to being heartbroken over Pepper’s death, adding, ‘it was really awful.”

While Dom issued an apology over the loss of his cherished companion as Neil emphasised how significant the jacket was to him that he wore during mountain rescues.

One touching moment during the restoration saw textile conservator Rebecca Bissonnet make an unexpected discovery, Pepper’s name on the jacket, which had been hidden for years.

Calling her find ‘really moving’, Rebecca recreted her name to make it a permanent fixture on the jacket.

Ultimately, the duo succeeded in restoring both the jacket and the collar as they mounted it to a wooden board.

When Neil returned to the barn to witness the final result, he became visibly emotional as he fought back tears, calling it ‘perfect’ before praising the ‘talented people’ in the barn.

Spotting Peppers’s name, he confessed to being ‘overwhelmed’ by the sweet gesture before sharing that the display would go up at the base of their Mountain Rescue Centre.

The Repair Shop is available to watch on BBC iPlayer

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

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

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

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

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

(Iwerks & Co. / Disney+)

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

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

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

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

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

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

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

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

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

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

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

(20th Century / Disneyland Resort)

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

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

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

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

Speaking of D23 …

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

This week in SoCal theme parks

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

(Jae C. Hong / Associated Press)

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

The best thing I ate at the parks this week

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

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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

A soap icon known for Coronation Street and a comedian join the cast as guest stars in the latest instalment of the Channel 5 drama

Benidorm is Murder is Channel 5‘s brand new detective drama.

Described as a “cosy crime” thriller, the murder mystery series comes from Death in Paradise writer Ian Jarvis and started last week on the channel.

The series has a star-studded cast list, including John Hannah, who plays burned-out ex-police officer Dennis, and newcomer Carolina Bécquer, you can find out more about the rising star here, who takes on the role of his unlikely sidekick Rosa.

Other permanent players include Ariadna Cabrol who stars as DS María Hernandez, Brian Bovell who plays Archie, Damian Schedler Cruz who takes on the role of PC Jesús Ballesteros, and Eva van der Gucht in the role of Jackie. You can see the cast list and where you recognise them from in full here.

But Benidorm is Murder also has an incredible roster of guest actors, two of whom will join for the second episode. Channel 5 has confirmed Coronation Steet star turned Loose Women Denise Welch will play Ziggy, the owner of Benidorm Palace, while comedian and actor Alistair McGowan will step into the shoes of faded 90s game-show star Vince Starky.

Denise Welch plays Ziggy

Denise plays Ziggy, owner of Benidorm Palace.

Writer and creator Ian Jarvis said of Denise in the role of Ziggy: “Denise Welch is amazing. We felt like we had TV royalty when we got Denise. She is brilliant in the role. She didn’t need much steering about this character. Ziggy is this low-rent showbiz queen, an agent in the stand-up comedy world. Denise is also just loads of fun to be around. She loves a chat. We spent a lot of time chatting about everything.”

Denise is best known for playing Natalie Barnes in the ITV soap opera Coronation Street, in which she appeared in over 400 episodes.

She also starred as Steph Haydock in Waterloo Road, and Trish Minniver in Hollyoaks. Viewers might also recognise Denise from Spender, Soldier Soldier and Down to Earth. She is also a regular panellist on the ITV chat show Loose Women.

Alistair McGowan plays Vince Starky

Alistair McGowan plays faded 90s game-show star Vince Starky. His character appears in the Laughter Lounge alongside his younger wife, Vienna.

Alistair is a comic, actor, pianist, poet, and writer. He provided voices for eight series of Spitting Image and earned a BAFTA for his BBC One television series The Big Impression, with Ronni Ancona.

He is also known for All Quiet on the Preston Front and has been a regular on Radio 4 dramas and comedies, including Elvenquest and Whatever Happened to Baby Jane Austen? He took the lead role in BBC One’s detective series Mayo, and has appeared in many stage roles over the years.

What is Die Laughing about?

A synopsis for the instalment reads: “At the Laughter Lounge, veteran comic Frank Mann is emceeing when his old friend, faded 90s game show star Vince Starky, blows in with younger wife Vienna. Vince’s comeback dates are tanking and owner Ziggy, drowning in debt, needs them to work…

“But the next morning, doorman Paco finds a dead body on the club roof. Maria begrudgingly asks Dennis to look at the scene, where he notes the head wound, scuff marks round the access door and, below, a fire extinguisher buried in a car windscreen.“As Rosa helps retrace the movements of everyone connected to the club, old grudges, financial pressures and buried secrets come bubbling to the surface. Has the killer been hiding in plain sight all along? And can Dennis convince Maria to reopen a case she’s so eager to keep closed?”

Benidorm is Murder continues on Thursday at 9pm on Channel 5.

In 2022, Joshua Cain and his partner, André Reyes, stepped into the foyer of the home on Monrovia’s South Ivy Avenue and gaped in wonder. The red and white Victorian farmhouse had belonged to their friend, the late Steve Baker, who served as the city’s longtime historian and had packed the property with thousands of antique relics over his lifetime.

André Reyes, Jeff Godbold and Joshua Cain transformed Steve Bakers home into an inn with modern comforts.

(Myung J. Chun/Los Angeles Times)

Cain rattled off a few of the treasures: “Nineteenth-century etched glass dishes stacked up to the ceiling in the dining room, dozens of antique plumbing fixtures in the backyard, and five pump organs, of which we saved two.” And then there were oil lamps. Hundreds and hundreds of oil lamps.

Baker was known to regale locals with the history of their own homes and the founding Monrovians who lived there before them. One day in 2021, the couple had left the front door of their restored 1887 Monrovia home open and Baker wandered in uninvited. Reyes found him standing in his living room, wearing his signature top hat.

“Excuse me, who are you and how can I help you?” Reyes recalled asking.

Inn guests can ride one of the Viribus bikes lined up near the Blair House porch.

(Myung J. Chun/Los Angeles Times)

Baker introduced himself and said he appreciated the thoughtful period-appropriate restoration, the work of Cain and Reyes, who are preservationists. He asked them where they procured the redwood to renovate their shingle roof and the trio spent the rest of the morning excitedly discussing restoration techniques and comparing notes.

Over the next year, Cain, Reyes and Baker grew closer as fellow members of the Monrovia Historic Preservation Group, bonding over their desire to preserve the town’s historic character, especially its Victorian homes.

When Baker died abruptly in 2022, the couple set out to honor his dream of transforming his home into a restored inn with modern comforts (read: air conditioning and electricity). With Cain’s business partner Jeff Godbold, they purchased Baker’s 1887 home (originally bought by Baker’s great-grandfather Bradford Arthur in 1888) along with the estate’s more ornate Eastlake Queen Anne Victorian-style Blair House next door, built the same year by architect Luther Reed Blair. After three years of renovation, the Arthur Blair Historic Inn opened to guests this summer. Set across three homes and with 11 guest rooms, it’s a rare place where both locals and out-of-towners can escape the demands of the city and play board games in a room filled with Victorian books or borrow one of the cheery robin’s egg-blue Viribus bikes and ride to the coffee shops, bakeries or parks around town.

The Blair House parlor.

(Myung J. Chun / Los Angeles Times)

One thing to note: There are no TVs on the premises.

“You won’t be staying in a gray and white corporate hotel doomscrolling or watching television,” Cain said.

Staying at the Arthur Blair is meant to feel like entering a time warp. “You can imagine stepping off the train in 1880s Monrovia and going and staying in this exact inn in the prettiest little town in the Old West,” Cain said.

Restoring the home was no easy task for Cain, Reyes and Godbold, who worked with along with design assistant Jorge Ochoa. While Baker had meticulously preserved the vintage collectibles in his family’s historic home, he often struggled to afford structural repairs. Time had punctured the roof with 20 holes and whenever it rained, Baker would run around placing buckets under them and emptying them when they were full, like a game of Whac-A-Mole.

The rooms feature many vintage collectibles that Steve Baker had meticulously preserved. (Myung J. Chun / Los Angeles Times)

But Cain, an interior decorator for 25 years, wasn’t daunted by the chaos that came with such an extensive project. “I’m a glass half full person and I like to take risks,” he said. “I said to myself, ‘I’ve done much more with much less.’”

The team revived original furnishings and interior and exterior walls, while constructing a new ADA-compliant Victorian carpenter gothic cottage with stylish board and batten siding, modeled after a 19th-century Sears kit house. They often used salvage materials from Cain and Baker’s collection.

For the buildings to join the National Register of Historic Places — a goal for the team — intact elements like the Arthur House’s original timber frame, Italianate cast-iron mantelpiece and redwood millwork fitted by hand over a century ago needed to be polished up. And some features that had previously been eliminated needed to be returned to the home, including original roofing, porches and even light switches.

Each of the 11 guest rooms features unique, textures and personalities. One of two rooms at the Saxony Cottage has a spiral staircase that leads to an upstairs bedroom. (Myung J. Chun / Los Angeles Times)

It would’ve been easier to create fresh builds or buy new decor and furnishings, Cain admits, but then it wouldn’t feel like the right setting to him. “We restore for a sense of time and place,” he said.

The team hit a speed bump with the Blair House’s front porch spindles, which had been removed. They located an original spindle and replicated it, including the complex crane cutouts. “I could’ve just gone online to Home Depot, cut their spindles in half and thrown them up on the porch,” Cain said. “But instead, I took the original ones to my carpenter and we had to pull the porch apart to reinstall them, and then we painted them eight different colors.”

The Arthur House and the Blair House are a study in contrasts: a simple two-story farmhouse with plain wood siding and a sturdy brick chimney, plopped right next to a flashy showpiece featuring a roofline with projecting gables. In the front gardens, yellow and red roses bloom to match the houses’ exteriors; in the back, a sunny 4-foot cocktail pool with a natural limestone border awaits guests. Each of the 11 guest rooms is different — the classic heritage king, for instance, melds lush silk vermilion drapes with dark wood paneled ceilings and striped blue wallpaper, much of which Baker saved from the 1980s, and which Reyes and Ochoa painstakingly applied.

A writing desk in the Blair House’s Luther Reed Suite.

(Myung J. Chun / Los Angeles Times)

The inn will soon open a restaurant, Viola’s Bar and Bistro (named after Baker’s grandmother), serving French cuisine with Southern tinges on the vintage servingware Baker collected. The Arthur House parlor is already open to the public for drinks and dining, and features a pump organ that guests can play.

The two parlors in the Blair House, reserved for inn guests only, are a Victorian dream, each adorned with 1880s Eastlake restored mahogany parlor sets, including settees, rockers, bustle benches and side chairs, reupholstered with colorful period appropriate fabric and trim. A highlight is a circa 1874 Haine Brothers solid rosewood square grand piano.

Now that Cain and Reyes have built it, they wonder who will come. Cain has a hunch the clientele will be as special as the place itself. “Monrovia is not a tourist haven, so guests to our inn will be destination-oriented,” Cain says. “People who come here will want the experience of letting Monrovia unfold around them as they’re experiencing the inn.”

The pool at the Arthur Blair Historic Inn.

(Myung J. Chun/Los Angeles Times)

In the future, Cain and Reyes, who also co-own Visalia’s JD Hyde Historic Inn, hope to create a nationwide alliance for high-quality inns offering historic charm, so that guests can find more of the same unique properties that connect visitors to time and place.

“It’s very deliberate to call this a restoration and not a renovation,” Reyes said. “We are preserving and restoring the past for future generations to see what happened in 1887 in Monrovia — and how and why.”

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

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

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

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

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

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

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

(Jess Boyer / Knott’s Berry Farm)

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

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

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

The loop on Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

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

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

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

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

(Knott’s Berry Farm)

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

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

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

A look at the reimaged Montezooma: The Forbidden Fortress.

(Jess Boyer / Knott’s Berry Farm)

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

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

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

This week in SoCal theme parks

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

(David Fouts / For The Times )

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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

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

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

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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.

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.

Ride on,

Todd Martens

Tom Holland is officially the first “Hot Ones” guest to really spill his guts during a spicy interview.

During a Thursday appearance on the popular talk show — where guests answer questions while eating chicken wings with increasingly spicy sauces — the actor struggled to keep his composure.

Host Sean Evans cranked up the heat with each burning question to Holland and fellow actor Jon Bernthal, his co-star in not one but two of the biggest cinematic events of the summer, “The Odyssey” and “Spider-Man: Brand New Day.” While Holland began the interview with an eloquent discussion of his two blockbuster films, Evans’ lineup of 10 hot sauces, each hotter than the one before, had the “Uncharted” star on the verge of blacking out.

After Holland bit into his chicken wing slathered with the second sauce — Hot Bergine, a roasted eggplant and tomato sauce with a 3/10 heat level — the actor described his first day on the set of Christopher Nolan’s “The Odyssey.”

“I wanted to get a bit of a jump on how Chris likes to work and just watch from afar,” he said, noting that he wasn’t filming any scenes that day, but watched his colleagues working from the beach. “I arrived at the beach, and I could not see a single crew member. You just see miles and miles of ships and extras and warriors and horses, and you’re asking yourself, ‘Where is the crew?’”

“So then they asked me to walk down this beach, and every 10 minutes you’d hear ‘Rolling!’ and I’d have to lie down and hide behind these dunes. And I kept asking myself, where are they rolling? I can’t see the crew anywhere. Then eventually I got down to where Matt [Damon] was and his men, and it really felt at that moment like we were a part of something that had never been done before.”

By sauce No. 4 — Chickpotle, a creamy chickpea sauce with smoky chipotle and ghost pepper with a 4/10 heat level — Holland and Bernthal were loosening up and trading barbs. Holland discussed how speaking in an American accent (rather than his native British) is almost like having a disguise, which makes his job as an actor easier.

“But I would love to explore some more British accents because you know, as an island, we have some of the most interesting, unique, and fun accents,” he told Evans. “I think there’s more accents in Britain than any other country.”

Bernthal, visibly uncomfortable from the heat of his own chicken wing, quipped, “Why does it always got to come to competition … I would go out on a on a limb to say there are more accents in America than there are in Britain.”

Holland said he would “drink a shot of that hottest hot sauce” to prove he’s right. After some quick fact checking, “Hot Ones” production confirmed that Holland was correct — among English-speaking countries, anyway.

By hot sauce No. 10 — The Last Dab: Thermageddon, described as a slow-building superhot sauce forged with Pepper X, Apollo, Carolina Reaper and Scorpion peppers, ranked at a heat level of 11/10 — the two actors had completely lost their composure and appeared nearly drunk on hot sauce.

Eyes red, cheeks tear-stained and foreheads pouring sweat, the two squirmed in their seats and Bernthal said he was going to be sick. Still, the “Odyssey” star appeared to have made it through without spewing any body fluids.

Then Holland got up to snap a photo with Bernthal and Evans and barfed on the floor. While the actor may have been embarrassed, Bernthal cheered and Evans crowned him the first guest to lose his lunch.

Last year, Evans told The Times that the interview format, with its squirm-inducing sauces, was a tactic to turn what might otherwise be a typical press tour interview into something raw and real.

“On ‘Hot Ones’ you have those moments of people who are struggling, who are vulnerable, who are in a borderline state of panic. You have emotions that are real, and all of these things are so hard to get to in a traditional interview setting,” he said. “The fact that we can create these moments, and then combine it with this thoughtful career-spanning interview, all of those elements working together, it just gives you a unique look at the celebrity guests … What we’re doing is knocking them off of that pedestal down to a level that everyone can relate to. It’s very human.”

The 2026 FIFA World Cup has wrapped, but some Angelenos who rented their homes to fans are still tallying up profits from a month of soccer frenzy in the city.

Driven by projections of massive tourism and a $750 first-time host incentive from Airbnb, many local property owners expected a sizable payout. While some savvy owners were able to cash in big during the tournament, others experienced only a moderate bump.

But something they all walked away with was some extra cash in their pockets and a blueprint for the LA28 Olympics.

We spoke with three L.A. Airbnb hosts to find out what they earned through their rentals during the World Cup, the luxurious renovations and amenities that helped their properties stand out and what advice they’d give others to prepare for the next global gold rush.

Wellness retreat-inspired house in Inglewood, 3 bedrooms

Lia Pilla turned one of her Airbnb properties into what she calls the Pink Palms Retreat. The Inglewood home features an infrared sauna, a large hot tub and more.

Rental host: Lia Pilla

How long have you been a host? Since 2021

Pre-World Cup rate: Ranged from $350 to $550

Price during the World Cup: During opening weekend, I got $2,730 for two nights. Of course, I have to pay a cleaning fee, but just in two nights, I’m a few hundred short of paying my mortgage, so that was really cool. For the following games, I maybe got like $400 to $500 a night. Then for the final weekend, I got like $3,400 for four nights, so it went back up.

What updates did you make, if any, to prepare? Last July, I did a full remodel of the house and turned it into what I call Pink Palms Spa Retreat. It’s all pink on the outside. It has an infrared sauna and a huge hot tub that can fit up to like 20 people. It has a large dining table with a firepit on top of the table, lush privacy trees and a custom gym.

Were you surprised with how things played out? I was expecting to make a couple hundred thousand off this World Cup, I’m not gonna lie, but I didn’t so I was like “OK. That kind of sucks.” I think L.A. got a little bit [cheated] with the teams we had. We had Team USA, which was cool, but we didn’t have any of the the big name teams like Argentina or France or Spain, so I think that’s one reason why the prices weren’t as high. I also think the political climate has made a big impact. Some people are scared to come to the U.S. or they aren’t allowed to come. But I’m happy with what I did get.

What’s one thing you’re thinking about doing with the money you made? I always invest back into the business. I want to touch up everything at all of my properties, so it continues to look like the pictures because your reviews are so important. I also have a Europe vacation planned.

Any advice for hosts preparing for the Olympics? Do your research on the market. Think “If I’m traveling to Los Angeles, what would I want?” because it’s also about the experience you create. Know what amenities people like. If you’re starting out or you’re already a host, I highly recommend having software in place for property management, cleaning and pricing.

‘Hillside hideaway’ in Woodland Hills, 2 bedrooms

Matthew Motamedi was surprised to see an influx of bookings on his Woodland Hills hideaway, which is roughly 30 miles away from SoFi Stadium.

(Kayla Bartkowski / Los Angeles Times)

Rental host: Matthew Motamedi

How long have you been a host? Since July 2025

Pre-World Cup rate: In late spring, we were charging $250-$280 per night on average.

Price during the World Cup: It was around $300, which is normal during July for us. We undercut the hotels and some of the other listings in our area by $100.

What updates did you make, if any, to prepare? We added a super crazy, comfy couch made of fake fur and people love it. That’s one of the important things about an Airbnb. There needs to be a really good hangout spot, so the couch needs to be super comfortable, and if the couch isn’t comfortable, no one wants to stay there.

Were you surprised with how things played out? Our property was so far away from SoFi Stadium (nearly 30 miles) so I thought it was going to be a non-event for us. It was supposed to be like that, but it definitely affected us because I started getting a lot of European and Spanish-speaking tenants.

What’s one thing you’re thinking about doing with the money you made? We’re definitely putting the extra money back into the property because we’re not there yet. There’s so much we want to do. During the World Cup, I was able to upgrade the AC unit, added a smart thermostat and invested in landscaping, which we want to do more of. We want to invest in the curb appeal and add more outdoor furniture. Maybe a movie room. We also want to get an auto pen so we can write handwritten cards for guests because it’s kind of hard to write perfect handwriting in different languages and in cursive. [Laughs] You can pick a font and it holds a ballpoint pen. To have that would be really cool.

Any advice for hosts preparing for the Olympics? You have to curate the experience and get more involved. If you can’t get involved, you need a co-host. Find a cousin, a sister, a brother, a friend, someone you trust with good taste to help you. Also, don’t just put up random paintings. Make it so that people want to move there. A lot of my guests are like “I wish I could live here.” You need a hotel scent and to provide laundry supplies. Ask your guests about their allergies and snack preferences then put together a snack basket. They freak out when they see that. Have a comfy couch, add plants like the fiddle-leaf fig (it looks bougie and you only have to water it once a week) and get a good cleaner. With that, you’re going to do really well.

Modern suite with luxurious amenities in Westchester, 1 bedroom, 2 guests

Sara Geissler at one of her Airbnb units.

(Jason Armond / Los Angeles Times)

Rental host: Sara Geissler

How long have you been a host? I started my [rental management] business about 10 years ago, but have been a full-time host for roughly eight years.

Pre-World Cup rate: About $195 a night.

Price during the World Cup: $234, which is about a 15% increase so a little bump. It wasn’t anything crazy.

Were you surprised with how things played out? I probably was expecting a little bit more because it was such a huge event. What I was a little surprised by though was how long the stays were. I was thinking that people were going to come in for a few days, but most of my stays were for a week or longer. We were pretty booked. I think we only had a couple days in between bookings.

What updates did you make, if any, to prepare? We bought the home a year ago and we’ve been getting it ready for the last four months. I added a private hot tub and an Eight Sleep Pod, which is a really fancy mattress topper that heats and cools your mattress. I tried to go all out with my amenities. We’ve got all the fancy soaps, deluxe robes and we added a washer and dryer. I always think about what I’d want when I’m traveling. I always put Q-tips, cotton balls and makeup wipes. For the kitchen, just having all the little stuff you need there. A wine bottle opener is No. 1.

What’s one thing you’re thinking about doing with the money you made? Paying my property taxes and my mortgage. [Laughs] Honestly, we’re putting it toward our living expenses and being able to afford our house. It’s been a huge help because everything is so high.

Any advice for hosts preparing for the Olympics? Really think about what you would want and put yourself in the shoes of the traveler. I always recommend people to try out your space before they rent it out. That will help you realize things like this faucet doesn’t get hot water or I forgot to put an ice cream scoop in the kitchen. You don’t want your guest to be a guinea pig.

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.

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.

Things took a hilarious turn during one instalment of Channel 4’s Come Dine With Me as one guest pointed out a ‘stolen’ ingredient

A host on Come Dine With Me was savagely called out by one of his guests, as they believed he had stolen an unexpected item for one dish.

The much-loved Channel 4 programme, which sees four or five amateur cooks from the same local area take turns hosting a three-course dinner party in their own homes, was back for the last instalment of the week.

On Friday July 17’s episode, which is a repeat that was set in Cardiff, it was the turn of chiropractor Pete to impress his guests Angharad, Claire, Charlotte and David, with his dishes which included a lemon posset and Glamorgan sausages.

While at the dinner table, Pete also provided “edible flowers” for his guests but the host was unfortunately left red-faced when he was questioned about where he sourced the flowers.

Angharad asked of her flower: “Where did you get this from then?” Pete replied: “This I cropped from near Llandaff Cathedral.” But Angharad was not convinced by Pete’s tale.

She bluntly replied: “You stole it!” Trying to justify where he got it from, stating that he retrieved the flowers from a pathway, David chipped in that he often walked his dog in that direction.

Questioning whether the flowers were clean enough to eat, Claire said: “I hope you washed those!”

This later led to Pete’s guests discovering that he failed to make his own pastries for one of his dishes. But despite calling him out, all the guests agreed that Pete’s food and hospitality was top-notch.

The Cardiff-based episode, which was first broadcast last year, caused quite a stir.

One social media user took to Facebook at the time and wrote: “I love when guests get upset that the host didn’t make their own pastry. Who makes their own pastry? Shortcrust maybe, but I think using store-bought puff & fillo pastry is totally ok!”

Another added: “Competitors do make their own puff, shortcrust pastry but not filo, it is very fiddly I think.”

At the end of the show, the guests found who was the winner of the week and received a cool £1,000 prize.

Come Dine With Me airs weekdays at 6:30pm on Channel 4

Arrive early — or stay late — for low wait times.

Be wary of rushing straight to the most popular attractions at the park, as many others will have that identical strategy.

If you don’t mind being split up, take advantage of the single rider line, especially on a showcase attraction such as Radiator Springs Racers.

Every Disneyland regular has tips, time-saving, stress-reducing ideas to enhance your day at the park.

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.

Death in Paradise fans were left doing a double take as they instantly recognised the show’s guest star

A Widow’s Bay icon once played a huge role in Death in Paradise.

Currently, the BBC is airing repeat episodes of Death in Paradise and Wednesday night saw series 11, episode five play. In the 2022 season, Ralf Little was playing the main character of DI Neville Parker before his exit in 2024.

The repeat episode saw a young popstar found dead at a rehab clinic, where it initially looked like a tragic accident. However, Neville was convinced that there was more to her death than meets the eye…

In the episode, it saw the arrival of Neville’s sister, Izzy. However, Neville wasn’t best pleased to see his sister especially as she had kept her arrival a surprise and she soon interfered in his life.

The character of Izzy is played by actress Kate O’Flynn, who appeared as the character for three episodes. Of course, viewers will instantly recognise Kate, 40, for her iconic role of Patricia Moyer in the recent hit series Widow’s Bay.

Other roles include Fiona Lewis in Everyone Else Burns, Princess Mary in My Lady Jane and Alice in Bridget Jones’s Baby – to name just a few.

At the time of the episode airing, viewers were quick to instantly recognise Kate playing Izzy. One person said: “I recognise Izzy from somewhere!”

While another person wrote: “Where have I seen Izzy before!? @deathinparadise she looks very familiar #DeathInParadise!”

However, it looks like there will be no return of Izzy on Death in Paradise in the future due to her on-screen brother Neville’s exit. Back in 2024, Neville decided to leave Saint Marie for good after four years and explore the world.

Since then, Don Gilet has taken over the lead role as DI Mervin Wilson. Talking about joining the show in 2024, Don said: “Being offered the new lead role in Death in Paradise feels like a deeply loved and incredibly precious jewel has been placed in my hands.

“This is a big show, with a big heart and the love continually grows for it. It is my intention to never lose sight of that and to remain grateful, humbled and dedicated.

“Even during those testing times when every sinew is screaming at me to run off the set and dive into the sea, swimming pool or an ice-cold beer – whichever happens to be closer at the time!”

Death in Paradise is available to watch on BBC One and BBC iPlayer.

The Repair Shop expert was left fighting back tears after an emotional restoration on the BBC show.

The Repair Shop expert Will Kirk couldn’t hide his emotion as a guest left him feeling choked up.

The woodwork restorer, who has become a fan-favourite on the BBC programme, admitted he was ‘going to cry’ after an emotional restoration.

During Wednesday’s (July 8) episode of the BBC hit show, Will and expert shoe restorer Dean Westmoreland were joined by Barbara Dennison and granddaughter Giovanna.

The duo came into the workshop looking for the experts help to restore a pair of baby shoes holding precious memories of wartime heroism.

The shoes belonged to Barbara and her late father Norman William gave them to her. He was gifted the shoes in Holland in 1945, during the Second World War after saving a little girl.

During a heartfelt moment, Barbara explained: “He was going down the street in Holland and there was a little girl playing in the street. Some shooting started and he grabbed this little girl and jumped into a cellar.

“When the shooting finished, he took her back to her mum and dad. The family must have been really grateful because he saved her. They must have been talking and he told them that he had a little girl, then they brought him these little shoes.”

Pointing at the shoes, she added: “Shortly after that his jeep got blown up but they survived , which is a miracle in itself.”

Dean knew he had a huge task on his hand as he admitted that he was feeling “nervous”. While getting stuck into the restoration, he said: “They’re so delicate and so small that I’m a little bit nervous about handling them.

“Unfortunately, I can’t scale my hands down to get in and do all this fine micro-detail work. The lining on this one is actually, almost all of it has come away. The leather is quite stiff, it’s quite dry so I’m going to have to think about how to hydrate this leather.”

Despite the huge challenge ahead, Dean managed to restore the item and Barbara was left in tears after reuniting with her precious shoes.

Joining Dean and Will back in the workshop, Barbara was tearful as she said: “Oh that’s lovely. Look it’s all stitched on. Oh Dean, thank you.”

She continued: “You’ve done exactly what I wanted. Each crack is just a wonderful memory of my dad and all my kids.”

The moment left Will emotional as he turned to Barbara and Giovanna and admitted: “You’re going to make me cry.”

Barbara was grateful to Dean for all his hard work as she added: “I can’t thank you enough.”

You can catch up on The Repair Shop on BBC iPlayer.

My dinner course is served. It is a Campbell’s-inspired soup can, lightly angled so strands of broccoli are peeking out. I lift the can to uncover a slow-braised short rib and mashed potatoes. An American dish to represent an American artist, here Andy Warhol.

The room is overtaken with projections, scenes of bustling New York traffic paired with bachelor-pad-like guitar riffs. Shown on a wall above a dinner table is a selection of Warhol silkscreens. It’s a Friday night in West Hollywood, and I’m surrounded by a mix of out-of-towners and those celebrating an anniversary. And while this is a special occasion, we’re urged to get a little messy with our food — to use our hands, to paint with a salad, to draw on a cookie.

The main course: A tomato soup can? “7 Paintings” is an immersive event that occasionally hides dishes in artist-inspired presentations.

(Christina House / Los Angeles Times)

Play is the primary side dish at “7 Paintings,” a tech-infused dinner theater that aims to be a crash course in fine art. That selection of veggies paired with multiple mini cups of colorful dressings? Guests are encouraged to mix and match the vinaigrettes into a mess of hues, a nod to abstractionist Jackson Pollock. And yellowfin tuna with dashes of avocado and taro chips? That’s an edible tribute to Banksy, of course. What does raw fish have to do with stenciled street art? It’s bold, heavily angled and has a short shelf life? Maybe? Perhaps don’t overthink it.

Even the paper is edible.

(Christina House / Los Angeles Times)

“Have you ever eaten a painting before?” says Nadine Beshir, the Dubai-based creator of “7 Paintings.” “We try to get people out of their comfort zones and eating paper. I want to bring out the child in them.”

“7 Paintings,” held at Sunset House L.A. through the end of August, is the latest example of immersive dining to arrive in this city. These experiences often involve guest participation and are accentuated with advanced multimedia technology and sometimes theatrical elements.

Worldwide, there have been standouts. For instance, Eatrenalin at Germany’s Europa-Park, a dining room-meets-ride where participants are whisked around the space on trackless “floating chairs,” has just received a coveted Michelin star. Ibiza’s Sublimotion has similar haute ambitions, pairing 12 diners together in a room that will come alive with otherworldly projections and performers. At times, diners will win don virtual reality headgear.

But tech-driven immersive dining experiences have never quite taken off in Los Angeles as a trend. Last year, the Gallery, where fantastical cityscapes and projections surrounded downtown L.A. diners, stood just a couple months before the concept was abandoned.

“7 Paintings” pairs food with art and music. It’s “fun dining, not fine dining,” says its founder.

(Christina House / Los Angeles Times)

Bartender Luca Famulari shakes a cocktail at the immersive dining event.

(Christina House / Los Angeles Times)

“The economics of a restaurant are not the same as the economics of theater and the challenge of combining the two lies in thinking outside the box with respect to pricing and cost structure, such that the customer perceives high value from both the food and the experience,” says the Gallery co-founder Daren Ulmer.

Entrepreneurs keep aiming for that careful balance. “Le Petit Chef and Friends” is currently running at Tangier at downtown’s Hotel Figueroa, an event in which a fully animated film is projected on our plates and tables. Long-running pop-up event Fork N’ Film leans more dinner and movie, pairing dishes directly inspired by what is happening on screen. Upcoming films include “Ratatouille” and “Lilo and Stitch.”

The field comes with challenges. “The costs are very high,” says Joanna Garner, an immersive designer and former creative director with experiential art firm Meow Wolf. Garner has been experimenting herself with communal, immersive dinner events, and her next, the flirtatious “Please Open Your Mouth,” is set for July 11. (No tech there, as Garner is after a more sensual, adult-focused gathering.) Tickets for her event are $150 and a spot in the “7 Paintings” dining room runs $175, priced on par with a number of city’s most acclaimed restaurants.

There is also the reality that all public dining is in some fashion immersive, usually requiring varying combinations of engagement, communication and presentation. And then, are all these added elements distracting?

An animated Mona Lisa sits on the wall as guests enjoy their meals. Throughout the dinner, the painting provides factoids on various artists.

(Christina House / Los Angeles Times)

Throughout “7 Paintings,” for instance, an animated Mona Lisa, situated on the wall next to the main dinner table, will provide brief biographical details of each artist represented.

“Being able to nail the food, and nail the story, those are two very difficult threads to weave,” Garner says. “I do think, ultimately, people come to a dinner table to talk to the people at the table and to have intimate experiences. To have an experience where you’re constantly being taken away from the food, I’m not so sure if that’s what people are looking for.”

Food is framed as a star of “7 Paintings” but tasting it is just one component. At one point, we must uncover a cheese course in a tiny treasure chest, the code for the lock hidden in the projections (don’t stress, it’s not a hard puzzle). Beshir highlights the Pollock-inspired salad course, which is accentuated with a jazz soundtrack, as the thesis of the evening.

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1. A guest uses a silicon brush to apply sauces onto an entree, a nod to abstractionist Jackson Pollock. 2. Projections fill up the dining table during meals.

“This course is really about getting people to free their minds from preconceived ideas,” Beshir says. “Like, you have to eat with a fork and knife, or the salad comes and then the dressing. No, the dressing comes and then the salad, and it’s trying with big brushes to paint the way he did. A lot of people do not understand Abstract Expressionism, and they think it’s people just splashing colors around. But when you understand the link between the rhythm of the music and painting, you live it. We give you time to paint with your salad dressing.”

In L.A., Beshir has partnered with nightlife impresario Kim Kelly, who is plotting a “Sleep No More”-inspired walk-around theatrical show for the Sunset House venue later this year. “7 Paintings,” however, is fully seated, and purposefully a little silly. Beshir and Kelly have been evolving it during its L.A. run, recently adding a stronger painting component by giving guests their own canvas to work on throughout the evening. Each night crowns a winner.

“Everyone comes over to look at their art,” Kelly says. “It just kind of changed the whole thing, to be honest. People are now being creative throughout the entire evening. Instead of just watching and occasionally painting, you’re now painting the whole time.”

As for what, perhaps, soba noodles with edamame and mushrooms have to do with Pablo Picasso, or why Salvador Dali gets an unexpected dessert course of a white chocolate potato souffle, Beshir clarifies the goal of the evening. While the animated Mona Lisa will provide backstories on each painter, this isn’t an educational night. “It’s fun dining, not fine dining,” Beshir says.

And by the end of my night, strangers were socializing, showing off their painted cookie creations, sharing Banksy tidbits and asking for recommendations on various vinaigrette combinations. Ultimately, it’s an evening of discovery, packed with surprises like finding an entire course hidden under a canvas.

Darryl Mayes of Charlotte, N.C., left, and Taylor Smith of North Hollywood, right, uncover their course.

(Christina House / Los Angeles Times)

“We try not to have too much sophistication, like fried ants or something. I’m personally very adventurous in how I eat, but if I want to have this in 100 cities around the world, I cannot be too meticulous.”

And Beshir has big goals.

“I want this be your movie and dinner thing,” Beshir says. “I want people to be waiting for our next show, and to be able to afford to come every couple months.”

And to come home not with leftovers, but perhaps a painting of their own.

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.

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.

NEW YORK — Manhattan was sweltering at 100 degrees and preparing to mark 250 years since the United States declared independence from Great Britain.

But on Friday, the city seemed transfixed by what might be the closest the country gets to a royal wedding: The nuptials of pop superstar Taylor Swift and Kansas City Chiefs tight end Travis Kelce.

Madison Square Garden and its surrounding streets — 31st and 33rd streets toward 6th and 8th avenues — were blocked off as guests arrived for the event. Fans craned their necks for any views they could get from the street.

The world-famous arena is reportedly set to transform into a “massive castle,” surrounded by a garden fit for pop culture’s royal couple, both 36. While the complete event details and guest list have been kept a secret, the Associated Press reportedly obtained a city permit showing Friday’s supposed wedding event is set to start at 5 p.m. Eastern time and could last until 4 a.m.

Secrecy surrounding the event is so tight that the reported venue has been cordoned off with privacy tents, tarps and barricades. But neither those measures nor Friday’s sizzling temperatures stopped fans from gathering in hopes of sneaking a peak at their longtime idol and sending Swift their well wishes.

“I heard we won’t be able to see her either way because the spot that they picked is going to be covered,” said Sarah Shrestha, 21, an Anaheim resident visiting friends in Manhattan.

Madison Square Garden was a good venue for the couple’s nuptials because “in interviews, [Swift] said she wanted to be able to invite everybody to the wedding so it’s still a good venue for that,” she added.

Ellie Kitschke, 13, and her mother, Mymy Nguyen, 38, were visiting New York City from Adelaide, Australia.

Ellie said she thought it was a weird choice for the venue.

“It’s like a stadium. I get that no one can come inside but I think it’s a bit much blocking up the roads,” added Ellie, who attended the Eras tour in Sydney with her mom.

The two said they also thought it was odd Swift didn’t choose a venue or date that included her lucky number, 13, saying it “didn’t add up.”

“If she does get married, we wish her well,” Nguyen said. “We’d love to see her.”

Emma Rasco, 19, was also surprised by the choice in wedding venue.

“When I heard it, I was like, that’s definitely a choice,” Rasco said. “It’s a little unconventional and very forward-facing.”

Swift and Kelce announced their engagement in August after two years of dating, to much fanfare. “Your English teacher and your gym teacher are getting married,” Swift wrote in the caption of her Instagram post.

While the Swift camp didn’t release a guest list, various news organizations staked out local hotels and began counting bold-face names headed to the event. The New York Times obtained a schedule for the wedding, which included a cocktail hour followed by a 5 p.m. wedding and reception. The event was set to end at 2 a.m.

The couple were first linked in July 2023, when Kelce mentioned his desire to meet the pop superstar on his podcast, “New Heights,” and made their relationship public that September. Their coupling instantly captured the attention and hearts of fans around the world, and Swift’s presence at Chiefs games was even credited with bolstering female interest in NFL football.

Kelly, 36, is a longtime Swift fan who said she grew up listening to her music. She came from her apartment on the Upper West Side to 33rd Street to see if she could catch a glimpse of Swift entering the stadium.

“I feel like I was the same peer group growing up with her, and am just so happy that she had her happy ending,” she said. “I want to see what a Royal American wedding looks like.”

Kelly said she admires Swift and Kelce for donating to charity. The couple donated a combined $26 million to 20 local and national charities ahead of their presumed nuptials, Swift’s publicist told Business Insider.

“They really are a positive influence,” she added.

Kelly said Madison Square Garden made sense as a venue for the privacy and security of guests.

“It’s not an ideal wedding venue but they’re both creative and have their own stages in a way,” she added.

By mid-afteroon Friday, dozens of fans clustered near MSG as black SUVs and vans with tinted windows, presumably filled with wedding attendees, turned the corner toward the stadium.

New York Police Department sources told The Times that streets will be blocked off all Friday and should return to normal by Saturday morning.

Back in October, Swift told TV host Graham Norton that she was casting a wide net with the guest list, joking that she would invite “anyone I’ve ever talked to.”

“I shouldn’t have said any of that,” she added.

Pulling off an event of this magnitude — which many described as America’s “royal wedding” — required considerable preparation, with a particular emphasis on privacy. Guests were reportedly required to sign nondisclosure agreements before receiving any event details (although the NDAs were said not to have included any penalties for violating the terms).

While the Swift camp didn’t release a guest list, various news organizations staked out local hotels and Madison Square Garden and began counting bold-face names headed to the event. The New York Times obtained a schedule for the wedding, which included a cocktail hour followed by a 5 p.m. wedding and reception. The event was set to end at 2 a.m.

The couple were also linked to wedding planner Mark Seed, who previously orchestrated the 2023 wedding of Jack Antonoff and Margaret Qualley and the 2019 wedding of Jennifer Lawrence and Cooke Maroney. Seed is known for his elaborate event builds and notable discretion.

On the Tuesday before the event, workers were photographed installing a red carpet outside of MSG, which one individual allegedly said was for “a wedding,” according to Page Six. It was quickly removed that same day.

Lin reported from New York; Garcia and Eloise Rollins-Fife from Los Angeles.

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.

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.

There is, of course, a series of stages most Disneyland fans go through with any major changes, and it’s usually one of shock or confusion followed by acceptance and eventually new nostalgia. And Disneyland’s recent attraction updates have by and large been winners, as evidenced by the lovely Tiana’s Bayou Adventure, the exploratory Adventureland Treehouse and the bewitching Snow White’s Enchanted Wish.

This one, however, is more complicated.

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.
• Plan your perfect theme park day. The L.A. Times has unveiled a new feature. Now you can save must-try spots from our local guides and build your own personalized list. Or perhaps you’d like to browse my mega-project “Every Southern California theme park ride, ranked” and create an itinerary for your next 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.

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.

The Bear fans might be wondering who Tom Skilling is in real life as the Chicago meteorologist makes a surprise appearance in the final season

The latest guest star is Chicago royalty with an unexpected family connection.

**Warning – this article contains minor spoilers for The Bear Season 5.**

UK fans of The Bear tuning in may well be seeking some background on the fifth season’s thrilling new guest star.

Jeremy Allen White, Ebon Moss-Bachrach and Ayo Edebiri headline the smash-hit FX and Disney+ series centred on a chaotic Chicago restaurant whose lofty ambitions are more than matched by the mayhem unfolding in its kitchen.

Season 5 picks up immediately after the moment Carmen ‘Carmy’ Berzatto (played by White) announced he was walking away from the restaurant business for good, breaking the news to Sydney (Edebiri), Richie (Moss-Bachrach) and his sister Natalie, known as ‘Sugar’ (Abby Elliott), reports Wales Online.

With their finances in dire straits, a fierce storm raging outside and a packed dining room to cater for, the Bear team face one final night to demonstrate they’ve got what it takes to land that much-coveted Michelin star.

Adding to the pressure, a local celebrity has secured a table for their most crucial evening yet, as meteorologist Tom Skilling has made a reservation. But just who is he?

Who is Tom Skilling?

Tom Skilling, 74, is a former weather presenter who served as WGN-TV Chicago’s chief meteorologist from 1978 until his retirement in 2024.

Though he was born in Pittsburgh, Pennsylvania, Skilling grew up in Westfield, New Jersey before his family relocated to the Chicago suburb of Aurora, Illinois, where he completed his secondary education. At just 14 years old, he started working for WKKD and WKKD-FM where he spotted that their weather reports were incorrect as they relied on forecasts for Chicago instead of Aurora.

He struck a deal with the station to deliver his own reports which, if accurate, would earn him his own weather programme.

They proved correct and he started presenting Aurora forecasts three times weekly. He subsequently secured a position at Aurora’s WLXT-TV aged only 18.

Skilling went on to work at WKOW-TV and WTSO radio while studying at the University of Wisconsin in Madison, before securing his first major television role in 1975 for WITI-TV in Milwaukee, where his forecasts were accompanied by a sock puppet named Albert the Alley Cat.

Following a return to Chicago, he became WGN-TV’s chief meteorologist in 1978, where he stayed until his retirement in 2024. He is believed to have become the highest-paid weather broadcaster in the United States and also maintained a popular column in the Chicago Tribute, Ask Tom, until 2022.

Skilling has never married and remarkably little is known about his private life. However, he is the brother of disgraced Enron CEO Jeffrey Skilling.

The energy giant, Enron Corporation, declared bankruptcy in 2001 after fraudulent practices were exposed. This resulted in the collapse of the company’s accounting firm, Arthur Andersen, which was amongst the five largest firms globally, and is regarded as one of the biggest bankruptcy reorganisations in American history.

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Disney+ has brought back its popular deal that lets new and returning customers join its Standard with Ads plan for £1.99 per month for four months.

This means members can stream hit shows like Andor, The Bear and Alien: Earth, plus countless titles from Star Wars and Marvel, for a fraction of the usual price.

Jeffrey Skilling, who served as CEO at the time, faced 35 criminal charges linked to the scandal, encompassing conspiracy, insider trading and securities fraud.

He received a $45 million (£34 million) fine and a 24-year prison sentence. Following numerous appeals, he ultimately served 12 years behind bars before being released in 2019.

The Bear Season 5 is available to stream on Disney+.

The One Show presenters Alex Jones and Roman Kemp addressed an expletive on the programme.

The One Show presenter Roman Kemp issued an apology after a guest swore live on air.

The programme returned on Thursday, June 25, with Roman joining Alex Jones on the sofa.

They welcomed guests Kate Humble, Ben Fogle and Martin Clunes to the show, before it was thrown into chaos.

The Doc Martin star had been talking about the US version of the beloved programme emerging, starring Josh Charles in the leading role.

As a preview clip of it aired, Martin was asked about Josh’s spin on playing the grumpy doctor.

He replied: “He’s completely done his own thing, much nicer than me, less awkward and abrasive… he’s warm and better-looking.”

Martin then responded to a moment he just saw from the preview, adding: “I was just looking at that bit… they wouldn’t let me call the dog the son of a b***h, which I thought was funny.”

As the studio erupted into laughter, Roman rushed to apologise, saying: “I have to apologise quickly.”

Alex jokingly chastised Martin, adding: “You’ve been on a hundred times!”

Martin then turned to Ben, arguing: “He’s a vet… it’s a female dog!”

Continuing about the programme, Martin went on to address the future of the show, saying: “They’re going again, they’re doing another series.”

The Good Wife actor Josh will be starring in Best Medicine, with Sky previously teasing: “A US remake of UK television favourite Doc Martin, Best Medicine is a heartwarming new comedy-drama about a physician who moves to a small coastal town in the hopes of a quiet life.

“Dr Martin Best packs up his surgical career in Boston, Massachusetts and heads to start a new life as a physician in the coastal fishing town of Port Wenn in Maine. His aunt, a local lobster merchant, is nearby, and his new private practice is perfect for a simple life. Or so he thinks.

“Soon he’s introduced to Port Wenn’s community, filled with quirky but loving characters with no end of ailments for him to figure out and diagnose. However, as someone who is quite introverted and likes to keep himself to himself, he struggles with the adjustment.

“He’s also got a huge blood phobia – which doesn’t help his abilities as a doctor who may need to tend to wounds from time to time.

“But behind his brusque attitude and no-nonsense approach to a bedside manner, Dr Martin hides his own personal pain that he is hiding from the world which explains why he is the way he is. Will this little town bring him out of his shell?”

The One Show airs weeknights from 7pm on BBC One and iPlayer.

The first appearance by Vice President JD Vance on ABC’s “The View” delivered the most-watched edition of the talk show since November 2024.

The June 16 program averaged 3.3 million viewers, according to Nielsen data. The figure was well above the average of 2.6 million viewers for “The View” in the 2025-26 season.

Vance appeared on the liberal-leaning program to promote his new book on his decision to become a Catholic. While the co-hosts mostly questioned him on the Trump administration’s policies on immigration and race, the discussion was cordial.

The panel of co-hosts — Whoopi Goldberg, Joy Behar, Ana Navarro, Sunny Hostin and Alyssa Farah Griffin — did not ask Vance to address the program’s ongoing tension with the Federal Communications Commission.

FCC Chairman Brendan Carr has questioned whether “The View” should have the status of news programs, which are exempt from giving equal time to the opponents of political candidates who appear as guests.

ABC has asked the FCC to rule on the status of “The View,” which received an exemption from the rarely enforced equal time provision in 2002. ABC has maintained that “The View” books politicians based on newsworthiness and not partisanship.

The FCC is currently taking comments from the public on the matter. ABC is running on-air spots urging viewers to support the program.

“‘The View’ has welcomed your favorite guests and covered the issues you care about for nearly 30 years,” the spot says. “Now the FCC wants to control who is allowed to appear on the show.”

The National Republican Senatorial Committee and the National Republican Congressional Committee submitted comments Monday, asserting that “The View” takes advantage of its exemption and favors Democratic candidates and permits “only rare appearances by Republican-aligned figures.”

ABC has told the FCC that “The View” has invited politicians from both sides of the aisle to appear on “The View,” including Health Secretary Robert F. Kennedy, Jr., Secretary of State Marco Rubio and entrepreneur Elon Musk. They have declined the invitation as did Vance before his appearance last week.

The letter from the GOP committees also cited the ideological leanings of the co-hosts, saying they are “not selected for their journalistic talent or excellence in commentary, but for their partisan tilt.”

Over the last two decades, “The View” has used five liberal hosts and filled one seat designated for a conservative voice. The right-leaning co-host role has had the most turnover.

“The View” has been the most-watched daytime program for the last nine years. As a live, topical program, it has remained an important media platform while the rest of the talk show genre has largely faded due to diminishing audiences.

Carr’s targeting of “The View” is part of his ongoing criticism of broadcast platforms that annoy President Trump, who has urged that TV station licenses be pulled when he’s been unhappy with coverage.