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A guest on The Repair Shop: Beyond The Barn opened up about the tragic death of their son.

A guest on The Repair Shop has opened up about their heartbreak after the tragic death of their son. The BBC programme returned to screens on Wednesday, September 2, with the first episode of Beyond the Barn.

The series follows experts restoring precious items from guests across the country, while also discovering what happened after the special items were restored.

The items included in tonight’s episode were a replica of Doctor Who’s robot dog K-9, a cowboy hat worn by musician John Cambridge, who played alongside David Bowie, and a leather case used by a cook who catered for Winston Churchill during World War II.

Luthier Julyan Wallis, who repairs instruments and guitars, also set to work on restoring a ukulele, after the owner’s parents brought it in following his tragic death in a motorcycle accident.

Couple Colin and Trish were looking for Julyan’s expertise to return the music to their precious instrument. Showing the broken ukulele, with its strings torn out of place, Trish explained: “This is our son’s ukulele. He was killed in November 2022 in a motorcycle accident.”

“Awful, I’m really sorry to hear that,” host Will Kirk replied. Trish went on: “Cameron had lots of musical instruments, he loved music.” Colin continued: “He grew up in a very musical house, his brother played guitar and Cameron wanted to play guitar too.”

They shared how their son played guitar, bass guitar, double bass, banjo and accordion. “He was a teacher in Thailand,” Trish went on. “When he went off to Thailand he took the ukulele and a chess set, and nothing else.”

Paying tribute, Colin called Cameron “outstanding”, as Trish shared: “He loved people, he was a caring person. He hated to see anybody sad, down, music was part of the way he tried to make people happy.”

Will replied: “This must have meant quite something to him.” Trish and Colin wanted to restore Cameron’s most-prized possession so that she could one day play it herself.

Cameron’s ukulele had been broken after a friend sat on it, with Colin sharing: “We heard a crunch. But Cameron, being the type of person he was, he didn’t want the friend to be upset so he threw it over his shoulder and denied that it was there. It landed in some bushes near the house, I think he knew it was beyond repair so he left it there. And I think it rested there for about six months.”

When Trish and Colin travelled to Thailand to bring Cameron’s body home, they couldn’t find the ukulele at first. “There were lots of tears,” they recalled. Trish explained how they found the ukulele when her sunglasses “flew off”, with Colin saying: “It was almost as if Cameron was saying, don’t forget my ukulele.”

Trish broke down in tears as she reflected on the moment she saw the broken instrument. She said: “For me it was, Cameron’s gone and that’s gone too, because it’s smashed.” She added: “Cameron touched this, he touched the strings, he held it close to him, almost hugging it. I’ll be able to do the same, it will feel like I’ve got a little bit of Cameron back.”

The Repair Shop: Beyond the Barn is available to watch in BBC iPlayer.

Universal Studios Hollywood’s Halloween Horror Nights was built on an outsize reputation. Jump scares, dudes with chainsaws, fake blood and adult drinks accentuated with gummy worms.

Some of these staples haven’t changed. Jump scares aren’t going anywhere, and at a behind-the-scenes walk-through of this year’s haunted houses, dozens of mannequins laid splayed across floors with baggies of custom-made faux blood ready to be drizzled on them before showtime.

But a Halloween Horror Nights evolution, one that began in 2019 with the arrival of Jordan Peele’s “Us,” has been underway. Today, haunted mazes are works of mini theater, one where scares are drawn out and choreographed. A single room may feature as many as six actors, and now, for the first time, professional stunt performers. Driving this change is the content, the films that inspire the tone of Halloween Horror Nights. And this year, two of the showcase properties are Ryan Coogler’s “Sinners” and Curry Barker’s “Obsession.”

Halloween Horror Nights, which opens Thursday, has gone prestige.

“This is a different time, and we try to live on the edge of that,” says longtime Halloween Horror Nights mastermind John Murdy, talking about modern horror films. “When we started, we were Freddy, Jason, Leatherface and Michael Myers. It was all slashers.”

A foreboding scene from the “Sinners” haunted house at Universal Studios Hollywood.

(Ronaldo Bolanos / Los Angeles Times)

“Sinners” demanded a different approach. Yes, it’s a vampire movie, but it’s so much more.

In a shift for Halloween Horror Nights, the “Sinners” maze will begin with an extended pre-show, meaning about 90 seconds of a lip-synced concert designed to re-create the film’s centerpiece performance of Miles Caton’s “I Lied to You.” Halloween Horror Nights actors will, of course, play a version of Caton’s Sammie strumming a guitar, but as the scene continues other musicians will materialize behind scrim scenes — a DJ, an electric guitarist — to heighten the film’s themes of the timelessness and spirituality of music.

“Music was such a huge part of ‘Sinners,’ so when we were sitting down to figure out what we wanted to do, we knew we had to rethink how we do stuff,” Murdy says. “It starts with storytelling.”

Murdy and the Halloween Horror Nights team wanted to attempt to re-create the thrill of that scene, when “I Lied to You” bridges cultures and conjures artists from different eras. It’s designed to be a celebratory moment before mayhem descends. Consider it an attempt to capture, if even for a moment, the complexity of “Sinners” in a walk-through attraction, one guests will ultimately spend just a few minutes in.

“What I thought Ryan did so brilliantly in ‘Sinners’ is he took vampire mythology and combined with the devil-at-the-crossroads story, the Robert Johnson story, and then brought in the Jim Crow South,” Murdy says.

A burnt vampire as part of the “Sinners” haunted house at Halloween Horror Nights.

(Ronaldo Bolanos / Los Angeles Times)

Murdy concedes, of course, Halloween Horror Nights can only glance at some of the film’s deeper meaning. Ultimately, the goal is to thrill guests. So don’t expect, for instance, a metaphor or a statement on racism, and how prejudice continues to fuel, rule and terrorize culture.

“That’s Ryan’s job in the film,” Murdy says. “Our job is to represent the film as closely as possible. We’re not trying to extrapolate on the film. This was pretty strictly an interpretation of the film. Ryan is the authority.”

‘Sinners’ brings ‘a whole new technology’ to Halloween Horror Nights

But do expect a maze that exploits the park’s movie magic history. Tapping the stunt performers behind the “WaterWorld” special effects show, “Sinners” will boast a scene in which an actor playing the vampire Remmick will descend from the ceiling to fright guests. And making the eyes of the vampires glow red was no easy feat. The film utilized specially made metallic contact lenses, which wouldn’t work at Halloween Horror Nights due to the limited amount of time performers can wear them. Instead, the park’s makeup team constructed prosthetic eyelashes that hide a rice-sized LED light that hangs in front of the performer’s eyes.

“We did a bunch of mock-ups and tests and eventually got the green light,” Murdy says. “We’re doing a whole new technology that we’ve never done before, just to pay that off.”

John Murdy, left, who leads the creative direction of Universal Studios Hollywood’s Halloween Horror Nights, poses for a photo with a young fan who goes by the name “Christian the Ghostbuster.”

(Ronaldo Bolanos / Los Angeles Times)

For those who worked on the film, Halloween Horror Nights is an opportunity to keep “Sinners” in the cultural zeitgeist, while hopefully inspiring some guests to dig a little deeper, says Sev Ohanian, a producer of the film and a founder, along with Coogler and his wife and producer, Zinzi, of Proximity Media.

“We want to make event-driven movies that bring audiences in close proximity to often overlooked subjects,” Ohanian says. “But at its core, it features subject matter that maybe a lot of folks don’t have all that much familiarity with.”

A skeleton mariachi band on the set of the Killceañera haunted house at Universal Studios Hollywood.

(Ronaldo Bolanos / Los Angeles Times)

“That’s the magic of this experience,” Ohanian continues. “Maybe somebody has never seen ‘Sinners’ and they go through this fun spectacle attraction and are exposed to really beautiful blues music and they get to see the artistry of that era of a certain group of people.”

Experimenting with narrative will continue across a number of Halloween Horror Nights houses. Killceañera, which turns a quinceañera into an event in which a teen takes revenge on her bullies, will feature an outdoor performer lip-syncing a song co-written by Murdy and Slash from a balcony. Ozzy Osbourne: Prince of Darkness will intermix the iconography of Osbourne’s solo music with religious undertones, culminating with a giant animatronic bat biting the head off of Osbourne in werewolf form.

The ‘Obsession’ approach

And then there’s “Obsession.” The film was released too late for a large-scale Halloween Horror Nights attraction, but the event will feature an actor dressed as Inde Navarrette’s Nikki walking the grounds. Murdy describes it as a “Where’s Waldo?” moment, as Nikki will be largely incognito and hidden throughout the park, her whereabouts teased nightly via Instagram. Nikki will be seeking a password, also hinted via social media, that will change nightly, from guests.

The first 100 who find Nikki and speak the correct password will be given a business card for the One Wish Willow agency from the film. I do worry slightly about this approach, as, while costumes are not allowed, Nikki could inspire some cosplay at the event, which would open non-scare actors to being approached throughout the evening. But the hope is to bring a more interactive element to Halloween Horror Nights, one that can invite a deeper interaction with character actors.

A look inside the Ozzy Osbourne-themed haunted house at Universal Studios’ Halloween Horror Nights.

(Ronaldo Bolanos / Los Angeles Times)

“We’re not going to tell you exactly where she’s going to be,” Murdy says. “Your job is try to find her and give her the password and you might get a wish in return.”

Bringing “Obsession” into the event did raise some eyebrows. While Murdy notes that Barker is supportive of the approach and collaborating with the team, it was questioned whether a character many see as a target of assault and manipulation would make an appropriate scare actor. Murdy has heard such protests.

“So is Regan in ‘The Exorcist,’” says Murdy, referring to the young victim of the classic horror story.

Audiences still, of course, want to see their favorite characters represented in real life. And Murdy wasn’t going to miss an opportunity to have one of the year’s most buzzed-about horror films at the event. “It blew me away,” he says of “Obsession.” “I was like, ‘Wow.’”

This week in SoCal theme parks

• An examination of coaster intensity. On a more serious note, Magic Mountain’s X2 remains shut down while state safety officials continue an investigation involving the attraction. The ride, first opened in 2002 as X, has been the subject of controversy and at least one high-profile lawsuit stemming from a 22-year-old man’s death. Six Flags bills the ride as “a right of passage for the ultimate daredevil” that goes up to 76 mph. A CNN report recently took a look at other, more recent injuries allegedly stemming from the attraction.
• What to eat at Halloween Horror Nights. The Times’ Nava Rawls has a look at new food items coming to Halloween Horror Nights this week. Are you brave enough to eat a 22-inch beef hot dog covered in cheese sauce, coleslaw, sriracha aioli, banana peppers and Hot Cheetos inspired by the video game “Fortnite”?
• A Marvel legend, honored. Avengers Campus at Disney California Adventure has added a memorial honoring legendary comic artist/creator Jack Kirby. The plaque can be found at the main entrance near the land just past Carthay Circle, and sits opposite a similar plaque recognizing Stan Lee.

Event report

A scene from Oogie Boogie Bash’s Haunted Mansion-inspired street parade.

(Todd Martens / Los Angeles Times)

Disney California Adventure’s Oogie Boogie Bash has been underway since mid-August. It’s a popular event, and excellent for families with little ones, as the emphasis is on character interactions and candy rather than scares. I do, however, wish it offered a bit more variety from year to year.

New this year is a Haunted Mansion-inspired street party, which takes the place of the event’s full-scale parade, which is currently on hold due to construction of the new “Coco” attraction. It’s short, but lively, offering a couple of Mansion floats from the parade as well of dozens of dancers. The party stops at various points along the route for a mini dance presentation, and if you’re seated in one of these locales, it’s a better experience. Or else it’s just a too-mini parade. I wondered if a night-long party in the Hollywood Land section of the park would have been a better way to go, even if it meant losing one of the candy giveaway spots.

As someone who isn’t a character person, the centerpiece for me is Villains Grove, which takes over the Redwood Creek Challenge Trail with projections and effects that nod to various evil characters. Seeing ominous vines twist to life on towering trees, or watching the Cheshire Cat materialize through the woodland setting, is always a delight. But, sadly, Villains Grove hasn’t changed much since 2019, and it’s time for Disney to rethink the space. I miss, too, the days when Oogie Boogie Bash had its own spooky World of Color show. As it stands, I just wonder if there are enough attractions if you’re not interested in character hunting.

Tickets remain available for a handful of September dates.

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.

Fast and Furious: Hollywood Drift will officially open on Sept. 16.

(Todd Martens / Los Angeles Times)

Fast & Furious: Hollywood Drift at last gets a proper opening date. Universal Studios’ high-speed thrill ride, which has been operating in technical rehearsals since late July, will open on Sept. 16. By giving the ride an official opening date, the theme park is announcing that the attraction is ready for daily operations.

Curious to ride? Don’t miss my rundown of everything you need to know before you head to the park. Looking for a review? I have that too. Want to know about the 10-year journey to bring the attraction to park? Read this. And if you’ve heard about some drama involving the park’s neighbors in Toluca Lake, this story will catch you up.

Universal Studios Hollywood is almost ready to properly open its new Fast & Furious: Hollywood Drift coaster. The high-speed thrill ride, which has been operating in technical rehearsals since late July, has an opening date: Sept. 16.

The coaster has essentially been in an extended testing phase. By giving the ride an official opening date, the theme park is announcing that the attraction is ready for daily operations.

Fast & Furious: Hollywood Drift, which seats riders in expertly designed mini-vehicles designed to reference real automobiles, has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making.

The ride — designed by Universal, manufactured by Intamin — has already changed the look and feel of Universal Studios, giving the park its first major outdoor thrill ride. Once known primarily as a studio tour park, Universal has been undergoing a large-scale overhaul throughout the last decade-plus, adding immersive lands such as the Wizarding World of Harry Potter and Super Nintendo World.

Now it has a coaster that feels akin to taking a joyride, complete with authentic engine and brake sounds. So if you’re thinking of taking Fast & Furious: Hollywood Drift for a spin, here’s what you need to know.

The view of Fast & Furious: Hollywood Drift from Universal Studios Hollywood’s Wizarding World of Harry Potter.

(Todd Martens / Los Angeles Times)

Is the ride included with Universal Studios admission?

Yes. A daily ticket starts at $109.95, although prices vary by day and expect to pay in the $150 range for a weekend date. Unlike Disneyland, Universal does not require reservations, but it is recommended to buy in advance.

Are express passes available?

Universal Studios will sell front-of-the-line access as an add-on to a daily ticket — but not yet. Fast & Furious: Hollywood Drift will not be included in express pass offerings at launch, according to a Universal spokesperson. That means all guests will have to wait in the same line. Express access is expected to be offered at a later date.

So, how long should I expect to wait in line?

A while. During technical rehearsals, afternoon waits routinely topped two hours, with some waiting longer than three and closer to four, although the last was rare. Expect operations to run a little smoother thanks to the soft open phase, but come prepared to be patient.

Is the ride included with Halloween Horror Nights?

The short answer is no. The longer answer: Those who spring for what Universal calls the R.I.P. Tour, however, will be able to ride. A guided experience, that ticket is $479 per person. (The fine print: Earlier this summer Universal did promise Hollywood Drift access with some tickets, but has since removed that option. The park has stated it will honor the terms of those who purchased the tickets before access was removed, and those buyers should have received instructions from Universal.)

The Fast & Furious: Hollywood Drift coaster features multiple inversions.

(Todd Martens / Los Angeles Times)

Tell me about the ride. How intense is it?

The ride reaches speeds of 72 mph, the fastest coaster in Universal’s global portfolio, while traversing 4,100 feet of track, two towering inverted loops and a pretzel loop. There are four individual launch points, and the coaster cars have the ability to rotate 360 degrees. It’s intense, but it’s also incredibly smooth, which helps it feel more approachable.

Wait, 360 degrees? Will I get motion sick?

Individual results will vary, of course, but for reference I am someone who can’t do extreme coasters — Magic Mountain’s Wonder Woman Flight of Courage is too much for me — and struggle on attractions that spin, such as Walt Disney World’s Guardians of the Galaxy: Cosmic Rewind. Yet I’ve been completely fine on multiple rides of Hollywood Drift. The spinning isn’t gratuitous, as the cars turn and drift with the flow of the track, so the movement feels aligned with direction.

Can I request a specific car?

You can! But be kind and patient with Universal staffers, who may not always be able to grant such requests due to crowding. If you have a specific concern, however, raise it with the coaster staff, and they will likely accommodate.

One of the ride vehicles of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

What’s the ‘easiest’ car for those who are nervous?

The middle cars, although not by much. All rotate, all experience the same speed and inversions. There are four vehicles, and the first provides the most striking views, including of the track’s drops, so the squeamish are advised to aim for the middle two cars, as it will provide a better sense of where the coaster train is heading. I’ve been told by some at Universal that the last row of the last car — each car seats four — can feel a little more riveting as it will heighten some of the speed and lift sensations. But I’ve sat in the front and the last car, and still don’t know if any differences were in my head or not.

Is there a height requirement/maximum?

Yes, you must be at least 51 inches tall to experience the coaster. There is no listed height or weight maximum, but guests are encouraged to sit in a test vehicle outside the attraction before getting in line. Riders must be seated completely inside the vehicle, which uses a pull-down lap bar, and be fitted against the headrest.

How accessible is it?

Modern roller coasters are not known for their accessibility, but Hollywood Drift is surprisingly accommodating for how intense it is. I am not small. I am 6-foot-2 and more than 210 pounds, and found Hollywood Drift to be one of the more comfortable coasters I have been on. There’s also plenty of leg room. I know a number of people significantly larger than me who have been able to ride successfully.

Where is the ride located in the park?

Across from the Wizarding World of Harry Potter. But you can’t miss it, as you need to pass it to get to the park’s lower lot, and it’s viewable from pretty much anywhere.

Well, is it worth riding? What’s your verdict?

I think it’s a blast. I rode the coaster on its first day of technical rehearsals, and as I wrote in my review, it’s full of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip leaves you guessing. Some of the park’s Toluca Lake neighbors, however, may be less enamored with it.

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

Dolly Parton’s death has left the music, film and television worlds reeling, with stars and luminaries across those industries and more paying tribute to the beloved entertainer’s life and legacy.

Parton, the accomplished country music star who became a national treasure and pop culture icon, died Tuesday at age 80, her nephew Bryan Seaver announced. The singer-actor-philanthropist died after a series of health issues that led her to postpone several performing commitments last year, including a residency in Vegas. She revealed in May that her “immune system and digestive system got all out of whack” in recent years.

The entertainer, an authentic and bright personality whose appearance was made even brighter with bedazzled and fringed ensembles, leaves behind a legacy that includes classics “Jolene” and “I Will Always Love You” (later popularized by powerhouse singer Whitney Houston) that influenced modern country music acts. Her career also included acting, most notably roles in “Steel Magnolias,” “Hannah Montana” and “9 to 5.”

Lily Tomlin, Parton’s co-star on the 1980 comedy “9 to 5,” uploaded a picture of the two to her Instagram profile with the caption: “No words…” along with a broken heart emoji.

Jane Fonda, who also starred in the workplace comedy, posted on Instagram that she was “devastated.”

“I never knew anyone like her. She was simultaneously a naughty, playful southern gal from the hollows of Tennessee and a deep, soulful thinker who could see through people right down to their true selves,” the “Monster-in-Law” star wrote in the caption. “She was the voluptuous embodiment of empathy.”

Country singer and actor Reba McEntire dedicated a heartfelt tribute to Parton on her Instagram account.

“There will never ever be another you. We will remember and cherish every memory and every note you ever played and sang,” she wrote.

The carousel on the post featured various images of the two, who first crossed paths at the Grand Ole Opry’s Opry100 celebration in 1977. Throughout their decades-long friendship, the pair were frequent collaborators; Parton was a guest on McEntire‘s 2001 self-titled sitcom. In 2021, the country stars finally joined forces for their first duet, an acoustic rendition of “Does He Love You” for McEntire’s “Revived Remixed Revisited.”

In an email to The Times, country singer Billy Ray Cyrus recalled the legacy Parton left behind.

“Like every little boy, I grew up loving Dolly Parton. She was a part of our lives, on our TVs, right in our living rooms,” Cyrus wrote.

The two stars developed a close friendship after Cyrus opened for her on tour following his 1992 hit “Achy Breaky Heart.”

“I’ll never forget walking into her dressing room to apologize for all the tabloid stories which claimed I was having an affair with her,” Cyrus added. “In true Dolly fashion, she just looked at me, winked and said, ‘Honey, this trash sells records!’”

Pop starlet Sabrina Carpenter — who reimagined her hit song “Please Please Please” as a country-pop song alongside Parton last year — shared still images of the two in their music video to Instagram.

“I will cherish our laughter and conversations and I will keep your wisdom, your playful outlook on life, and perfect sense of humor in my pocket for the rainy days,” Carpenter wrote in the caption.

Singer-songwriter Sheryl Crow, who shared the stage with Parton in 2025 for a Stand Up to Cancer benefit concert, wrote on her Instagram story: “There is a hole in the universe. There was and will never be anyone like @dollyparton.”

“Dolly Parton had a way of making everyone feel seen,” wrote Kelly Clarkson in an Instagram post, who just yesterday shared a cover that she had done of Parton’s “9 to 5” for the Season 1 premiere of “The Kelly Clarkson Show.”

“I will miss her heart and her voice as I am sure millions will. What an incredible gift and talent she was and still is with an amazing catalogue of art she has left behind for all of us,” the “American Idol” star added to her post.

The late singer later appeared on Season 4 of Clarkson’s talk show, for an impromptu duet of her 1974 song “I Will Always Love You,” a clip that was uploaded to the TV show’s Instagram account hours before Parton’s death was officially announced.

Actors Reese Witherspoon, Sarah Jessica Parker and Drew Barrymore also expressed sorrow for the loss of Parton on their Instagram accounts.

Grammy-winning singer Kacey Musgraves reacted on X (formerly Twitter) to Parton’s death, writing, “the world feels a lot less sparkly all of a sudden.”

The Muppets celebrated Parton on Threads, writing “there will never be another quite like Dolly Parton” and posted photos of the musician sharing the screen with Miss Piggy and Kermit the Frog.

The account for the puppet troupe continued: “She was the ultimate singer, songwriter, actress, performer, and philanthropist. She filled the world with light and we are so grateful for every second we got to spend with her onstage and off.”

Carole King shared on Threads that she was heartbroken by the news. Parton “was an exemplary human being,” she wrote.

The Grand Ole Opry said on Instagram that Parton’s death “will be deeply felt for generations to come” and said the legendary musician “taught us to lead with kindness, generosity, and compassion.”

“One of the most extraordinary musical experiences of my life was recording with her,” said Linda Ronstadt on Instagram. Ronstadt recorded two albums with Parton and Emmylou Harris, 1987’s “Trio” and 1999’s “Trio II.” “The world is a poorer place without her.”

Country music star Maren Morris, the Academy of Country Music, and the Country Music Hall of Fame and Museum also paid tribute to Parton for her contributions to music, entertainment and beyond.

Paul McCartney recalled on Instagram first meeting the star at Grand Ole Opry ahead of her solo career.

“She was so bubbly and full of life it is difficult to take in the news that she passed,” said the Beatles singer, who collaborated with Parton on her rendition of “Let It Be” for her 2023 album, “Rockstar.”

In a post uploaded to Instagram, actor Jamie Lee Curtis upheld Dolly’s bravery, writing that “she was more than they thought she was.”

“The Mandalorian” actor Pedro Pascal posted an image of Parton to his Instagram with a caption that read: “One of one [broken heart]. We must make more.”

“Some people are so extraordinary, their existence feels almost impossible. Dolly was one of those people,” wrote Khloé Kardashian on her Instagram story about the country star, who last year was a guest on her podcast, “Khloé in Wonderland.”

“A once-in-a-lifetime soul. A woman whose light, heart, talent and humanity changed this world forever,” the 42-year-old Kardashian wrote. “To have admired her was a gift.”

United States politicians also chimed in to pay their respects.

President Trump celebrated Parton “one of the greatest Country singers, and far beyond, EVER” on a post to Truth Social and said “this is a true loss for millions of people.” He also announced that he would lower the American flag across the country for a week beginning Tuesday evening.

“Rest in Peace, Dolly!” he continued, “the World loves you.”

On X, former President Obama also underscored Parton’s altruistic legacy, including her donation to Vanderbilt University for coronavirus research in 2020.

“Born in a one-room cabin, she earned 11 Grammys and an Emmy, built a business empire, helped millions of kids learn to read, and — as if that wasn’t enough — helped accelerate the research that led to the Moderna COVID vaccine,” wrote Obama.

In a post on Threads, Vice President Kamala Harris called Parton a “true American icon,” highlighting her work through Imagination Library, a global book-gifting program that sends free books to children ages 5 and under.

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

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

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

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

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

(Kyusung Gong / For The Times)

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

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

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

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

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

“But you can here,” says Hopkins.

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

Inked: A new maze with killer vintage cartoons

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

(Knott’s Berry Farm)

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

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

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

And it’ll be gruesome.

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

Sheesh. Animators have it hard enough today already.

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

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

(Knott’s Berry Farm)

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

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

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

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

This week in SoCal theme parks

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

(Disney+)

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

Ride report

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

(Todd Martens / Los Angeles Times)

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

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

The best thing I ate at the parks this week

The delicious pumpkin cookie from Disneyland’s Harbour Galley.

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Todd Martens / Los Angeles Times)

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

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

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

WASHINGTON — The Supreme Court is weighing President Trump’s claim that his new White House ballroom is urgently needed to protect him, his staff and guests from attacks by drones, terrorists and snipers.

On Friday, with a lower-court order about to go into effect halting construction on the controversial project, Chief Justice John G. Roberts decided that the court needed more time. He issued a temporary order pausing the case and allowing construction to continue while the justices decide on a pending legal challenge.

Last week, Trump’s lawyers described the East Wing ballroom as an “integrated military complex” that is “vitally required by national security.” They argued that a judge’s order blocking further construction threatened the safety of the president and must be overturned. They also said the project is nearly two-thirds completed.

At issue is whether the president acting on his own may build a huge new ballroom complex that is expected to dwarf the historic Executive Mansion.

It is a confrontation over the boundaries of executive power at a moment when Trump has repeatedly tested the ability of courts, Congress and independent institutions to constrain his agenda.

Trump bulldozed the historic East Wing before the courts had resolved whether the administration had the authority to proceed, leaving opponents to argue the project could become effectively irreversible before judicial review was complete.

The National Trust for Historic Preservation sued in December and argued that the president had overstepped his authority.

U.S. District Judge Richard Leon agreed and ordered a stop to the above-ground construction — that is, on the ballroom. He said the work on the underground bunker may proceed.

The U.S. court of appeals affirmed his order by a 2-1 vote on Aug. 7 but put the decision on hold until Friday. Roberts’ order did not explain the reason for the delay, or how soon the court might rule.

In a fast-track appeal to the Supreme Court, Trump administration lawyers sought to refocus the case as one about national security and the president’s safety.

“Given the current unprecedented levels of danger … every day the President does not have access to the vital security features of the military complex presents unacceptable risk,” Solicitor Gen. D. John Sauer said Wednesday in his final brief to the court.

Construction continues on the White House East Wing ballroom on Aug. 20.

(Andrew Harnik / Getty Images)

The Constitution and federal law say new buildings may not be erected on public property in the District of Columbia “without the express authority of Congress.”

But acting on his own, Trump ordered the East Wing of the White House torn down in October and work began on a new and much larger building to replace it.

He said the new ballroom could provide safe and secure seating for 1,000 dinner guests. He did not ask Congress to weigh in or approve the massive project.

In defense, Trump administration lawyers pointed to an annual appropriation from Congress that funds “the care, maintenance, repair, alteration, refurnishing” and other such improvements at the White House.

They also said private donations would pay most of the $400-million cost of the new ballroom. One estimate placed the cost of the ballroom and the bunker at $600 million, with taxpayers covering half, the Washington Post reported.

The president, his family and White House employees would have secure underground space, Sauer said, while a “totally secure ballroom space” would provide a new level of protection for guests and foreign dignitaries.

Otherwise, they would be seated outside in tents on the lawn, Trump said, which was neither appealing nor safe.

President Trump speaks to the media as the construction of a new helipad on the South Lawn of the White House continues on Aug. 19.

(Alex Wong / Getty Images)

His solicitor general also argued it was too late to stop the project.

“A 250-person crew is working 20 hours a day, seven days a week to keep the project ahead of schedule and under budget,” he wrote on Aug. 13. “Today, the project is 65% complete in its entirety, and moving quickly toward total completion.”

Trump’s signature construction project has fueled accusations from his political opponents that he is abusing his power to build a lavish space for entertaining guests as ordinary Americans struggle with affordability.

In April, Republicans in Congress sought to put federal money behind the project, despite Trump’s earlier insistence that private donors would pay for the ballroom.

The effort never became law, faced with bipartisan opposition to a bill that would tie them to the unpopular project, leaving the administration to proceed with a privately financed effort whose legal authority was already being challenged in court.

The Society for the Rule of Law and a group of former White House lawyers warned the court against accepting Trump’s broad claims of power.

“Under the executive’s view, the President could bulldoze the entire White House and replace it with a new building of his own design, including a skyscraper. No other President has asserted such transformative power,” they wrote in a friend-of-the-court brief.

“The invocation of national security is not a magic incantation that suspends the rule of law,” they added.

The biggest hurdle facing the challengers may be the issue of standing.

The court’s conservatives are often skeptical of lawsuits if it is not clear the plaintiffs have or will suffer a distinct injury that goes beyond their opposition to a government policy.

In this case, the National Trust said its historians and preservationists will be disturbed to walk by the White House grounds if there is a massive new structure that is not in keeping with the historic Executive Mansion.

Construction continues on the East Wing ballroom at the White House on Aug. 10, 2026, in Washington, D.C.

(Andrew Harnik / Getty Images)

“The subjective displeasure of an offended observer does not amount to a concrete injury,” Sauer said.

The D.C. Circuit judges were also split on the threshold issue of standing.

Judges Patricia Millett, an Obama appointee, and Bradley Garcia, a Biden appointee, ruled the suit may proceed because the plaintiffs suffered injuries to their “aesthetic, cultural and historical interests.”

Judge Neomi Rao, a Trump appointee, dissented and said the preservationists walking by the White House would not suffer the kind of concrete injury that gives them standing.

The Disney theme parks are entering their fan feedback era.

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

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

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

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

(Disney)

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

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

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

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

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

(Allen J. Schaben / Los Angeles Times)

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

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

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

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

(Disney)

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

Concept art for the Maleficent attraction coming to Villains Land.

(Disney)

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

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

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

One more D23 thought

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

(Todd Martens / Los Angeles Times)

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

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

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

(Todd Martens / Los Angeles Times)

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

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

This week in SoCal theme parks

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

(Allen J. Schaben / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

A still from the Smugglers Gambit game in Fortnite.

(Image from Disney)

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

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

ARIANA Grande left fans stunned after bringing out a special guest for a ‘mesmerising’ duet on the second night of her London tour shows.

The singer and actress, 33, is performing at The O2 for the UK leg of her Eternal Sunshine Tour.

On the second night, Ariana had a big surprise for the audience as Wicked co-star Cynthia Erivo joined her on stage.

The pair portray Glinda and Elphaba respectively in the smash-hit musical films.

An onlooker told The Sun: “The crowd absolutely lost their minds when Cynthia came on stage for the Wicked reunion.

“Cynthia and Ariana couldn’t stop beaming as they were reunited to sing For Good.

Read more on Ariana Grande

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GRANDE FINALE

Ariana admits she’s ‘overwhelmed’ on stage as she kicks off O2 residency

“It was almost the end of the concert and everyone was shocked.”

They then went onto sing another song Called Get Happy/Happy Days Are Here Again

It comes after Ariana revealed she felt “overwhelmed” with emotion on stage as she thanked her fans for their support.

At the opening night of the UK leg of her Eternal Sunshine Tour, the American singer said: “London, I love you so much.

“As you know, London is my final stop on this tour.

“And I just wanted to say I’m going to savour every last second of these last ten shows with you guys. As this is one of my favourite places in the world.”

When the doors to the emergency room in “The Pitt” swing open and a new patient arrives, we, like the doctors, are on high alert, wondering what the acclaimed medical drama is about to throw at us.

We know two things: The actors will be superb. And it’s best not to become too attached to the characters they’re playing.

Five of those actors earned Emmy nominations for Season 2 guest turns on “The Pitt” last month, a long-overdue return to the time when the guest categories regularly rewarded working actors doing exemplary work.

Even better: Two of the five “Pitt” nominees self-submitted their performances after HBO Max, looking to streamline its submissions in the guest categories, did not put them forward.

If you watched the second season of the show, you could probably name the actors who made the Emmys’ guest list: Tina Ivlev, heartbreaking as the sexual assault survivor; Brittany Allen, poignant as the dying mom; Tal Anderson, combative and funny as Dr. King’s neurodivergent sister, who craves independence from her protective sibling; Ernest Harden Jr., devastating as the doomed Louie; and Jeff Kober, who, playing Dr. Robby’s motorcycle mechanic, has some of the most affecting scenes in the season.

HBO Max entered Ivlev, Harden and Anderson, leaving Allen and Kober to pony up the $225 to submit themselves, joining the ranks of 84 entrants for guest actor and 51 for guest actress. (To be eligible to compete in guest, actors must appear in less than 50% of a show’s eligible episodes.) Eight other actors appearing on “The Pitt” also self-submitted.

“The three actors that HBO put forward delivered beautiful, human work that resonated deeply with audiences, and they were in a tough position having so many actors who had all delivered great performances,” Allen told me over a call from her Pasadena home.

“Though at first there was a moment of disappointment, I quickly moved on from that,” Allen continues. “I didn’t take it personally because as an actor, you get good at not taking things personally.”

Kober, calling from the Valley, signs off on that sentiment. He won a daytime Emmy in 2022 for “General Hospital” after he submitted himself.

“I guess that’s how the Emmys work for me,” he says, laughing. “I don’t know any other way.”

There is precedent for self-submission success at the Emmys. Three “Game of Thrones” cast members — Gwendoline Christie, Alfie Allen and Carice van Houten — entered themselves in 2019 and were nominated. Kelly Jenrette did the same in 2018 for “The Handmaid’s Tale” and earned a nod.

For Allen, it came down to believing in herself and the work she did on “The Pitt.” As her seven-episode arc aired, strangers often stopped her at her local Trader Joe’s and at the park with her 3-year-old son to tell her how moved they were by her performance and her character Roxie’s decision to accept that her life was coming to an end and say goodbye.

But, good as it was and seen as it was, that work didn’t translate into landing an agent. Having recently turned 40, Allen figured she had nothing to lose, having reached an age where she wasn’t “as worried about being perceived as the quiet little girl who doesn’t ruffle any feathers.”

In a challenging industry, that approach has resonated deeply with her peers.

“I’ve had similar moments in the past where I’ve had a memorable role on a high-profile show and I’ve thought, ‘Maybe this will make it a little easier moving forward’ and it hasn’t,” Allen says. “So if ever there was a time to go, ‘I’m going to try to put my name out there in a way that might make me a little more bankable,’ this is it.”

Kober, 72, has had ups and downs over the course of his 40-year acting career and like Duke, the grounded mentor he played on “The Pitt,” he possesses a calm acuity when talking about the profession.

“Acting is the most profoundly spiritual career a person could have because you don’t get into it unless you need approval, and then when you get that approval, you find it doesn’t do a thing for you,” Kober says. “Then you’ve got to find a way to do something with this thing you love that isn’t about getting approval. It’s only when you’re not working for that when you know the work matters.”

With his shoulder-length hair, goatee and go-with-the-flow manner, Kober gives off distinct vibes of another Jeff — Jeff “The Dude” Lebowski.

“I have heard that comparison made,” Kober says, smiling.

Both Kober and Allen express deep appreciation for “The Pitt” as a workplace where actors can come in and do the kind of work that they aspire to do, work that resonates with audiences and reminds them why they entered the profession in the first place.

“I love being on set,” Allen says, “so going to Warner Bros. every morning as the sun rose and watching that miniature city come to life and having the privilege of working in an environment that is so ripe for accessing truth and play and shared humanity was a gift. When Roxie came along, I saw it as the epitome of what I want to offer as an actor and as a person in this life.”

Because of her character’s fate, Allen will not be returning to “The Pitt.” The fate of Duke, diagnosed with a life-threatening ascending aortic aneurysm, is ambiguous. Dr. Robby encourages him to follow up with further tests, which Duke agrees to do if Robby promises to return from his sabbatical and let him take his Triumph Bonneville for a ride.

So … Duke’s coming back, right?

“One would think,” Kober says, hopeful. But then, he jokes that maybe there will be a line next season where someone in the ER says, “Did you hear about Duke? What a shame.”

“Or he could come back in Season 4, who knows,” Kober adds, noting he has heard nothing from the show’s producers. “One thing I’ve learned over the years as an actor is the importance of letting go. That’s the life of an actor.”

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

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

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

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

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

(Disney)

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

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

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

Tomorrowland is home to popular attractions such as Autopia.

(Allen J. Schaben / Los Angeles Times)

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

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

Rides announced for Walt Disney World’s Villains Land

Concept art for the Maleficent attraction coming to Villains Land.

(Disney)

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

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

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

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

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

(Todd Martens / Los Angeles Times)

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

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

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

Avengers Campus expansion opens at Disney California Adventure in 2028

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

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

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

A “Coco” boat ride for all

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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