guest

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

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

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

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

So when I had the opportunity to talk to Chris Mortensen, one of the Disneyland Resort’s longest-tenured vacation planners, I wanted to know his.

Mortensen recently celebrated his 40th year with the company, and has spent more than 20 of them in his current role as director of West Coast Travel Operations. That means a significant part of his job is talking on the phone with those who want advice on how to plan their Disneyland days.

He comes from a Disney family. His wife has spent about 30 years with the resort, and one of their children is also a cast member. If anyone should know how to plan a special day at Disneyland, it’s Mortensen.

One of his key pieces of advice: Decide what’s most important to you as a guest. “Is it a thrill ride? Is it entertainment? Is it food?” Mortensen asks. “One of the things that I like to tell people is that you’re going to have a really busy day, but take time for yourself.”

Here are some of Mortensen’s other favorite park tips. We steered the conversation to Southern California locals, and those who may want a little glimpse of what makes Disneyland so special.

Get around the park by train

Here’s one hint, off the bat, that Mortensen says he gives most everyone: “Use the Disneyland Railroad as a form of transportation. Yes, it’s a great little attraction. Seeing the dinosaurs is one of my favorites. But it’s also a great way to get from one place to another. If you’re on Main Street and don’t want to walk all the way back to see ‘Bluey,’ jump on the railway. It’s a great way to get a little rest, and experience the park.”

Decompress at Disneyland’s most tranquil spot

Disneyland’s Snow White Grotto is a tranquil spot overlooked by many guests.

(Todd Martens / Los Angeles Times)

Mortensen notes that it’s impossible to see all Disneyland has to offer in a single day, but rather than stressing about rushing from attraction to attraction, prioritize those that are important to you, and then take a breather at some overlooked park elements, especially those that add to its beauty and tranquility. I couldn’t agree more, and was pleased when Mortensen singled out one of my favorite places in the park: the Snow White Grotto, which is on a path on the eastern side of Sleeping Beauty Castle.

Sculpted by Leonida Parma from Carrara marble, the initial figures have, according to Disney’s fan club D23, been since replaced by fiberglass ones built from the original molds. The eight figures are still a sight, and Disney legendary designer John Hench constructed the fountain that holds them in 1960. The character figures, in the midst of a collection of jutting rocks and log bridges surrounding a peaceful waterfall, are all the same height, so Hench used forced perspective illusions to make it seem like Snow White was towering over the dwarf sculpts.

“The Snow White wishing well — you won’t find that anywhere [else],” Mortensen says. “Bring a quarter and toss it in, experience that.”

Take time for the Sleeping Beauty Castle Walkthrough, a lesser-known attraction

Don’t sleep on the Sleeping Beauty Castle Walkthrough at Disneyland.

(Todd Martens / Los Angeles Times)

“People don’t know about it,” Mortensen says of the self-guided mini-tour that tells the tale of Princess Aurora.

Indeed, I had the Sleeping Beauty Castle Walkthrough to myself one late Sunday morning. The attraction, best experienced with patience in mind, is largely inspired by the artwork of Eyvind Earle. Earle’s approach, after all, is designed to transport us, to place us in lush, fairy-tale-like environments that contain an ever-so-slightly foreboding atmosphere.

Think of this as a mini-art gallery where illuminated dioramas spring to life and transform before us. The walk-through was updated with new effects and artwork in 2008 but dates to 1957.

It’s Disneyland. Order the iconic turkey leg.

Mortensen and I clearly have different palates. If I’m recommending a must-try Disney snack, it’s not the churro. It’s the corn dog. Mortensen, however, is voting for the turkey leg. A brave choice, I believe, as it’s a hefty item and, well, a lot of tough meat. Mortensen, however, made his case.

“It’s unique,” he says. “Yes, you can get a churro, but where else can you walk around and just literally bite out of a turkey leg? It’s about trying to create memories. Every time we have conversations with someone, it’s about, ‘What’s going to make a memory for you?’ You’re always going to remember walking around Disneyland as a 5- or 6-year-old little boy or girl with a turkey leg.”

Turn It’s a Small World into a scavenger hunt

Cinderella is one of the many Disney characters that was added to It’s a Small World in the late 2000s.

(Todd Martens / Los Angeles Times)

Mortensen had my attention when he declared It’s a Small World a must-do attraction at the park. After all, the Mary Blair-styled boat excursion is my favorite Disneyland ride.

Mortensen highlights a once controversial but now beloved late 2000s renovation that added more than two dozen Disney and Pixar characters to the attraction. When riding It’s a Small World, he says, try to spot as many as possible. Disneyland even recently placed Miguel from “Coco” in the ride. Focusing on the scavenger hunt, says Mortensen, helps turn a familiar attraction into one that feels fresh.

“There’s more to it than just riding the attraction,” he says.

Spot details in the windows of Main Street

Enjoying a horse-drawn trip around Main Street, U.S.A., is a relaxing start to a Disneyland day.

(Todd Martens / Los Angeles Times)

Disneyland’s introductory land is a joy. Often, I start my day with a ride on one of Disneyland’s horse-drawn carriages, which venture from the foot of Main Street, U.S.A., to the Sleeping Beauty Castle and back. It’s a relaxing way to settle into the theme park and take a look at the exquisite designs of the Main Street buildings, which many guests rush past on their way to one of the park’s many rides.

Mortensen wanted to call specific attention to Main Street’s windows, which celebrate those who were integral to the development of the park. Many are nods to famed Disneyland designers. Most recently, the park awarded a window to the just-retired Kim Irvine and her mother, Leota Toombs. Irvine and Toombs were longtime creatives with Walt Disney Imagineering vital to the development of the park.

“I love to point out the windows on Main Street,” Mortensen says. “If you and I were walking in, that’s what I would do. I’d grab a box of popcorn, and just point out two or three of the names. Some people you may recognize. Some people you may not.”

And I certainly won’t argue with popcorn for breakfast.

This week in SoCal theme parks

Disney legend Don Iwerks died last week at 96.

(Lori Shepler / Los Angeles Times)

• A legend was lost. Don Iwerks, whose inventiveness helped transform Disney’s theme parks, died July 9 at the age of 96, reported the Walt Disney Co. For Disney and his own studio, Iwerks Entertainment, Iwerks helped develop technologies and techniques like Circle-Vision, the 360-degree camera behind “America the Beautiful” and other early Disney attractions, and the 3D effects used in attractions like Captain EO and Star Tours. He also had major contributions to the world of cinema, instrumental, particularly, in the effects sequences of “Mary Poppins.” Read more about Iwerks in The Times’ obituary by Corinne Purtill.
• Fiesta Village is no more. The Inland Empire amusement park, which stood for more than 50 years, closed for good last weekend. A center for mini golf, roller skating and go-karting, Fiesta Village announced the closure last week, citing rising operation costs and declining attendance.
• Montezooma’s Revenge is back. The reimagined coaster, now known as Montezooma: The Forbidden Fortress, is set to return to Knott’s Berry Farm on Monday. Shuttered for the last four years, the ride has essentially been rebuilt, now featuring enhanced Aztec theming, new trains and a modern launch system. Look for a report on the remade coaster next week.
• It’s almost Halloween season. Disneyland in mid-August will launch its Oogie Boogie Bash, Universal will follow in early September with Halloween Horror Nights and Knott’s Berry Farm isn’t far behind with its Knott’s Scary Farm. The latter is the longest-running Halloween event in the Southland, and defined the maze-focused haunt formula. Tickets are now on sale for all three happenings.
• Happy 71st anniversary, Disneyland! On Friday, Disneyland will turn 71. While the occasion won’t be as grand as the 70th anniversary, which has been celebrated for the past year and will essentially continue up until the start of the park’s Halloween activities, the Anaheim theme park typically recognizes the birthday with some light festivities for guests. Think, perhaps, a character cavalcade or some specialty treats.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

The initial news for those who purchased Disneyland’s specially priced $59 nighttime ticket is good. While now sold-out, Disneyland launched the promotional evenings this past Sunday, and the park didn’t appear flooded with twilight guests. Attendance was continuing a summer trend of being relatively light, and though wait times increased in the evening, nothing was headache-inducing.

At times, even showcase attraction Star Wars: Rise of the Resistance stood at about 40 minutes, with Space Mountain often showing a similar wait time. Most rides, however, were even more approachable, topping off at around 25 minutes throughout the night. Since the evening ticket only gives guests a taste of Disneyland — five hours worth — it’s a positive sign that the event’s opening night kept things manageable, providing those who bought in at a budget price a prime experience.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

(Christina House / Los Angeles Times)

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

Even the paper is edible.

(Christina House / Los Angeles Times)

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

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

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

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

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

(Christina House / Los Angeles Times)

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

(Christina House / Los Angeles Times)

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

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

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

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

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

(Christina House / Los Angeles Times)

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

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

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

1

2

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

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

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

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

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

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

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

(Christina House / Los Angeles Times)

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

And Beshir has big goals.

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

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

America’s semiquincentennial came and went, and the Disneyland Resort marked the occasion with a transformation of its now-classic Soarin’ ride. Gone, for now, is Soarin’ Over California and Soarin’ Around the World. In their place is Soarin’ Across America, a lightly patriotic-themed journey from coast to coast.

There are flyovers of nationalistic symbols such as the Statue of Liberty, Mount Rushmore National Monument and the Washington Monument, but the majority of its dozen locations are national parks, making Soarin’ Across America a love letter to America’s natural and diverse beauty. And it felt like a four-and-a-half-minute celebration.

Soarin’ Across America has the strongest scene of any of the three attraction films, which envelop riders as they ascend in the sky on a hang glider simulator. That’s its opening, a shot of a rocket launch at Florida’s Kennedy Space Center. We start level with the spacecraft, and then follow its journey into the clouds. Being this close to a liftoff, and feeling the sensation of rising with it, creates an inspiring, rousing moment. As in any Soarin’ film, we are promised the great outdoors, but here we get magnificent ingenuity.

Is it the best Soarin’? I’d still rank Soarin’ Over California as No. 1, as it has a sort of goofball charm, such as tumbling skiers or a golf ball flying toward the audience. But Soarin’ Across America is a worthy successor. It takes a more patient approach, as the ride now seems to linger longer over certain locales, allowing us to take in the majesty of the Grand Canyon West or vibrancy of the Louisiana bayou without distraction. I appreciated the tonal shift, which makes it stand on its own and doesn’t try to force itself to capture the original’s whimsy.

A coastal scene from Soarin’ Across America.

(Disney Parks)

I also enjoyed the new smells. When hovering near the Hawaii coast, for instance, the tropical fragrances that wafted over guests seemed to reflect the gummy fruitiness of a mai tai. (No, that wasn’t just me longing for an afternoon break at Trader Sam’s.)

I went in with a bit of skepticism, and I’m relieved to say my fears weren’t realized. Well, fully realized. This is a divisive time in American history, and cultural works are increasingly viewed through a political lens. When announcing the attraction, Disney did so with symbolism of the American flag, a bald eagle and the Statue of Liberty, art that was admittedly bright and welcoming, but also could be read as giving it an uncomfortable, chauvinistic sheen.

• Share via Close extra sharing options

Not everyone in 2026 may be excited with a flight simulator that serves as a cheerleader for America. And I still question the inclusion of Mount Rushmore, which has a long, controversial history, and has been a fascination of President Trump’s. But aside from that scene, and some odd red, white and blue sparkler-like fireworks visible in the New York Harbor, which curiously distract from a view of the Statue of Liberty, Soarin’ Across America doesn’t lay on the jingoism. At least until the final moments, when we see an American flag in the sky above Disneyland’s Sleeping Beauty Castle.

I’ll take it. The vibe throughout is one of restraint. When we glide near a Maine lighthouse, the film seems to pause, allowing the rocky coast and long-standing structure to be the stars. A dip across the American plains takes us above a herd of bison, but by and large movement is kept to a minimum (here the scent is of grassy freshness, which I’m betting is not what a bison smells like). A train in the Ozarks, for instance, comes to us rather than the film rushing to trace its path.

Filmed primarily with helicopters and drone shots, Soarin’ Across America utilizes CGI, courtesy of Industrial Light & Magic, less than Soarin’ Around the World, and primarily on scene transitions when we appear to fly next to a bird. This is an attraction that leans more National Geographic, that is it is unobtrusive and unstaged, than past iterations of Soarin’. While some may miss more active visuals, I appreciate that each Soarin’ film takes a different approach. Long term, it will allow Soarin’ Across America to serve as a snapshot in time, of an America at a certain point in history.

Soarin’ Across America shows aerial vistas across the United States, and it’s arriving at a divisive moment in our nation’s political history.

(Disney Parks)

And that’s already true. For when the film takes us down in front of the Washington Monument, we can off in the distance ever-so-slightly glance at the Lincoln Memorial Reflecting Pool, caught before its current Trump adminstration remodeling. Depending on your point of view, it can be unintentionally uncomfortable or amusing to see a locale before it became a political lightning rod. But that’s sort of the appeal of the Soarin’ films. They’re glimpses of not just a moment in time, but of a constantly changing world.

In that sense, there’s something relatively quaint about Soarin’, especially for our fast-paced, thrill-focused world. Soarin’ was groundbreaking when it debuted in 2001, but today we have venues like Las Vegas’ Sphere and Inglewood’s Cosm, whose spherical screens are higher definition and can even create the illusion of movement. Soarin’ Across America charms — all four of my rides last week ended in audience applause — by simply being a calming, relaxed journey that stokes our sense of adventure.

This week in SoCal theme parks

Disneyland Park has now welcomed more than 1 billion guests.

(Christian Thompson / Disneyland Resort)

• Disneyland: More than 1 billion served. The Disneyland Resort over the weekend welcomed its 1 billionth guest. The distinction went to 8-year-old Andres Robles, who with his family was treated to a VIP tour of the park. Disneyland has updated its population sign atop the Disneyland Railroad’s Main Street Station. To help put into context how unfathomably large 1 billion is, it’s worth noting that it took Disneyland, which in recent years has been drawing around 17 million attendees, nearly 71 years to reach that number.
• The Cenobites are coming to Universal Studios Hollywood. The latest addition to this year’s Halloween Horror Nights has been revealed, and it’s a haunted house based on the “Hellraiser” franchise. Pinhead actor Doug Bradley will reprise his role for the walkthrough attraction by voicing the character’s representation in the house. Halloween Horror Nights is set to launch Sept. 3.
• Don’t miss this look into Disney history. PBS SoCal will on Friday, July 17, show the documentary, “Bob Gurr: Living by Design.” It’s a revealing look into the life of a key early Disneyland designer, as Gurr created the look and feel of the Haunted Mansion “Doombuggies,” the original Autopia cars, the bobsleds of the Matterhorn and, of course, the first Disneyland Monorail. Before you watch, get to know the colorful, outspoken Disney legend.
• A Disneyland deal for Anaheim residents. Good news for those who live near the Disneyland Resort. For a limited time from July 20 through Aug. 8, Anaheim residents will have access to a locals-only deal. Adult one-day tickets will start at $71, while child tickets will be $50. Park-hoppers for adults will sell for $104 while child tickets will remain $50. It’s a significant savings and a great way to see the start of the park’s Halloween season. The tickets go on sale July 16.

The best thing I ate at the parks

The al pastor pork chop at Lamplight Lounge.

(Todd Martens / Los Angeles Times)

One of Disneyland’s best dishes is currently available at Disney California Adventure’s Lamplight Lounge, its Pixar-decorated pub-like outpost. It’s a sliced al pastor pork chop served with cheese polenta, pineapple relish and a spicy red chili butter sauce ($32). The pork is soft, the polenta creamy and it carries just enough heat to give it a bit of an edge. While filling, it’s surprisingly not too heavy, and Lamplight is always a lively spot to take a break from the parks. I only wish the place had a non-hazy IPA.

Your questions answered

Disneyland’s Sleeping Beauty Castle on a crowded 2019 day.

(Jay L. Clendenin / Los Angeles Times)

Hi Todd, we went to the park [Sunday] and it was empty: walk on to Cars, walk on to Indy. Thirty minutes for Guardians. Everything else was down to about 5 [minutes] besides Tiki Room because it’s a 15 min show. Are they struggling this summer? I haven’t seen a day like that at Disney since I was a kid.
— Jake from Riverside

Disneyland has been unseasonably comfortable this summer (read: less people). And the Fourth of July holiday week was kind of a breeze, with low wait times at most attractions at both parks.

But I wouldn’t says struggling, as I have seen busy days in recent weeks and Sunday was particularly unique. Mexico and England were playing a much-buzzed-about World Cup match, which no doubt kept crowds at bay. But it’s true that Disneyland this summer has, on a whole, been more pleasant, crowd-wise, than in year’s past.

Ultimately, I attribute the potentially lighter attendance to a combination of factors. One, the park has likely hit the peak price it can currently offer guests (fingers crossed this is true, as I don’t think most Disneyland fans can absorb another yearly price hike right now). Two, the aforementioned World Cup is drawing away potential attendees. And three, everything is more expensive today, forcing families to choose between, say, an afternoon at Dodger Stadium or a day at Disneyland. It’s increasingly untenable to do both.

And people are hungry for different, approachable ticket options. Last week, for instance, Disneyland unveiled a new evening ticket deal for all guests. The $59 offer allows attendees to enter either Disney California Adventure at 5 p.m. or Disneyland at 7 p.m. Available Sundays to Wednesdays through Aug. 5, all dates sold out in six days, unless Disneyland allots more tickets for the deal.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

Universal Studios Hollywood’s new Fast & Furious: Hollywood Drift is set to open soon, and while many are excited, I’m curious to hear from those who live near the theme park. Universal has emphasized how it has instituted a number of noise-mitigating factors, from placing pea gravel in the tracks to building sound walls and creating shields designed to capture rider screams.

Theme park rides, however, can still be loud. If you’re in one of the neighborhoods surrounding the park, drop a line at todd.martens@latimes.com and let me know if Universal’s efforts have been enough, or if the coaster is a disruptive presence.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Since its opening in 1967, Pirates of the Caribbean has stood as an anchor at Disneyland, a statement piece that has defined the direction of the park.

And that remained true last week when Walt Disney Imagineering unveiled a new audio-animatronic pirate. It’s wow-inducing. It’s also narrative-wrecking. And it fundamentally shifts the vibe of the attraction’s early scenes.

The high-tech pirate, we can bet, is just a small preview of the park’s next-gen toys. Because when changes come to Disneyland, they often hit Pirates of the Caribbean first. Over a half-century ago, the robotic figures of Pirates were a symbol of Disneyland’s technological ambitions, dazzling audiences with characterized but lifelike movements. With the ride, Disneyland made it clear that as the world advances, so, too, would the park.

As culture shifted and the lecherous buccaneers of the ride began to look more like symbols of sexual harassment, they would be forced to undergo some welcome personality adjustments. A redheaded victim of sex trafficking would transform into one of the ride’s most striking characters, and a number of rides from the Jungle Cruise to Splash Mountain would eventually undergo similar reassessment.

For Pirates of the Caribbean, after all, is the attraction that defined the Disneyland template. Its mastery is that it is a series of larger-than-life dioramas constructed around an abstracted narrative where themes of greed, lust and intemperance take precedence over a plot with a firm beginning, middle and end. And thus it made sense for Imagineering, the outfit of the company responsible for theme park experiences, to unveil its latest tech-driven master work on the ride.

A new animated pirate on Disneyland’s Pirates of the Caribbean shifts from living to dead using projection technology.

(Todd Martens / Los Angeles Times)

Reaction, however, has been less than enthused. Disneyland’s own social media accounts are flooded with pointed critiques, but even if we consider that social media tends to lead with gripes, some of the park’s most ardent fan sites have referred to the reimagined scene as a gutting. Why so much hullabaloo over a single robot? If we allow that Disneyland is a place that generations make pilgrimages to, then Pirates of the Caribbean is its most sacred temple. Handle with care.

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

This one, however, is more complicated.

Where once was a foreboding skeleton frozen in time atop a treasure and swords, there is now an animated figurine built with the latest in projection technology. The latter transitions from living to dead, caught in a perpetual loop with each glimpse of the cavern’s “cursed treasure,” which it continually lifts and drops. The pirate is placed after the ride’s two dips in a gold-filled room among the winding, mysterious underground chambers that help set its tone.

Dead pirates fill the caverns of Disneyland’s Pirates of the Caribbean.

(Todd Martens / Los Angeles Times)

Since the attraction’s opening, the only living beings in this portion were a lone seagull and maybe a stray sea critter or two. It is here where the mystique of Pirates of the Caribbean is set, and guests are placed in the active role of piecing together the time-shifting narrative. Story is hinted at rather than fed to us. We hear tales of the hexed fortunes found in the caves via ghostly narration, but see only its after-effects — skeletons locked in a chess battle or standing behind the wheel of a crumbling ship.

The centerpiece treasure room, where our new pirate is found, has long been a breathtaking scene. Previously, a now decayed body sat atop a mountain of wealth, an empty, soulless figure done in by selfish pride. It was disquieting, and a bit ghoulish. Stray, soft musical notes underscored the tragedy. Further on, a trapped pirate quietly transitions from living to dead via an old theatrical mirror illusion, and the boats float into a city filled with battles and buffoonery.

Gone is the subtlety. A somber tableau is now relatively loud, as our eyes no longer take in the full set but zero in on a bright and at times lively figurine. I cannot deny that it is an impressive piece of technology. On the multiple rides that I took Monday morning, I overheard two teens describe it as “pretty cool” and watched as a young child excitedly shouted to his mom and dad that the figure’s face was changing.

The caverns of Pirates of the Caribbean set a foreboding tone.

(Todd Martens / Los Angeles Times)

Such reactions are no doubt what Imagineering is hoping for. Part of the job of stewarding a classic attraction, after all, is ensuring it maintains an appeal to future generations. But I believe two things can be true. The new pirate may captivate some audiences and it can also stylistically and tonally clash with the attraction. This is the right tech, perhaps, for a more animated experience, one such as the in-development “Coco” ride coming to Disney California Adventure. Unfortunately, in Pirates it’s misplaced. Worse, it’s distracting, as we’re immediately drawn to its movement, grunts and quick-transitioning face.

I lament losing what was there. Projected figures, even the best of them, such as this one, are still media and can still gleam with light. And while the original Pirates of the Caribbean designs by Marc Davis were exaggerated, they were brought back to reality by Blaine Gibson, who sculpted them with bold, hardened features that made them at once heightened but believable. They may have been cartoonish, but they weren’t actual cartoons, and this figure is too much of a contrast, its comic-like excess feeling less relatable, less human. And that says nothing of its snort-like laughs, which reminded me too much of the huffs and puffs of the ride’s donkeys.

It also raises more story questions than it answers. Why, for instance, aren’t the other skeletons caught in a loop? Sometimes more is said by saying less, and this feller leans silly in a portion of the ride that calls for spooky. Ultimately, it just feels unnecessary, a symptom of our often exhausting, tech-obsessed, digital-drenched age where new, needless tools are shoved in our faces daily.

Thankfully, the rest of the attraction serves as a reminder that no computer wizardry can out-class old-school theater. Theme parks should evolve with the times, but sometimes it takes artful restraint to not mess with what’s already timeless.

This week in SoCal theme parks

• Disney California Adventure turns Soarin’ Over California into Soarin’ Across America. The makeover will be unveiled July 2, just in time for the Fourth of July holiday and the celebration of America’s semiquincentennial. While Soarin’ Across America is already open at Florida’s Walt Disney World and I’ve written about the patriotic re-imagining, I’ve waited to see it in the flesh and will have impressions next week.
• Fireworks! If you’re looking for them this weekend, our theme parks have got you covered. Disneyland, of course, has an annual Fourth of July show with patriotic music, and the park will be running “Disney’s Celebrate America! — A Fourth of July Concert in the Sky” Friday through Sunday. If you’re heading to Knott’s, be sure to check out the park’s free-to-visit Independence Hall, a replica of the Philadelphia landmark that will be offering guided tours Friday and Saturday, while Six Flags will feature fireworks Friday through Sunday. Universal Studios Hollywood will on Friday and Saturday debut a new Fourth of July-themed fireworks show.
• Shattered glass on Fast & Furious: Hollywood Drift. Fans are eagerly awaiting the opening of Universal Studios Hollywood’s new “Fast & Furious”-inspired coaster, and word spread via social media recently that a panel of glass on one of the ride’s sound barriers had shattered. Universal declined to comment, but sources familiar with the ride characterized it as an “installation error” that shouldn’t delay the public launch of the ride, which is expected by mid-summer. I reached out to California’s Division of Occupational Safety and Health’s Amusement Ride & Tramway Unit (Cal/OSHA), which monitors the state’s theme park attractions. A spokesperson said the situation was looked into but did not warrant further evaluation.
• Plan your perfect theme park day. The L.A. Times has unveiled a new feature. Now you can save must-try spots from our local guides and build your own personalized list. Or perhaps you’d like to browse my mega-project “Every Southern California theme park ride, ranked” and create an itinerary for your next visit.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

Visitors tie paper tags bearing wishes onto trees in the courtyard of the Broad as part of an exhibition dedicated to Yoko Ono.

(Kayla Bartkowski / Los Angeles Times)

Theme parks often are about the power of imagination, allowing us to play pretend in heightened, alternate worlds. And I had theme parks on my mind while I traversed the Broad’s excellent current exhibit dedicated to Yoko Ono.

What, perhaps you wonder, does Ono have to do with theme parks? “Yoko Ono: Music of the Mind” documents the entirety of the artist’s career, and much of her early work centers on play. Real, philosophical play, essentially the idea that through creativity, fantasy and a bit of silliness, we can all see the world differently.

Whether it was communicating with her audience while in a bag (1964’s “Bag Piece”), an antecedent to Meow Wolf’s “Experience Tube,” or offering instructions to count stars, tally our wrinkles, drop off peas on a morning walk, attach wishes to a tree or create fictional maps of our neighborhoods, much of Ono’s career was dedicated toward building community and connections through playfulness and imagination.

It’s freeing work, and a reminder that a little frivolity via participatory art — and that’s really what theme parks and so-called immersive entertainment provide — is a necessary ingredient for happiness.

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

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

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

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

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

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

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

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

Who is Tom Skilling?

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

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

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

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

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

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

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

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

Get Disney+ for £1.99 a month

This article contains affiliate links, we will receive a commission on any sales we generate from it. Learn more

£4.99

£1.99

Disney+

Get the deal here

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The biggest hotel guest faux pas have been revealed – including jumping the breakfast buffet queue and stealing from rooms.

Frowned upon acts when staying in a hotel include reserving pool chairs with towels for long periods, leaving rooms excessively messy and being loud in the hallways late at night. Other divisive acts include hanging damp laundry on the balcony, not leaving a review after staying and being rude to hotel staff.

Smoking or vaping in hotel rooms is also considered a no-no, as are putting the incorrect number of guests on the reservation and leaving alarms or phones to ring for long periods of time without turning them off. While not reading reviews when booking and not collecting or cashing in rewards points are also viewed unfavourably.

In response to a survey of 2000 people who have ever stayed in a hotel, Hotels.com, which commissioned the research, is offering holidaymakers £100 in ‘Hotels.comCash’ for future trips after staying for 10 eligible nights through its rewards programme.

Melanie Fish, travel expert and spokesperson for the global marketplace, which has also teamed up with William Hanson for a ‘Grand Etiquette Hotel’ guide, said: “Small tweaks can make a world of a difference.

“Taking the time to check reviews or making the most of rewards can turn a good trip into a great one, and help your travel budget stretch further, too.”

Researchers found the vast majority (90%) consider themselves to be considerate guests – although 39% think residents have become less respectful in recent years.

Sneaking extra guests in and constant public displays of affection around the pool are also frowned upon by hotel guests.

Those polled were also asked which nationalities they consider to be the gold standard for politeness – and which ones they think tend to be rudest.

Japanese tourists were ranked as the most considerate, followed by Sweden in second place, with U.K. respondents placing themselves third.

At the other end of the scale, Americans are regarded as the most impolite.

They ranked just beneath those from Germany, according to Hotels.com research conducted through OnePoll.

William Hanson said: “Better hotel etiquette doesn’t just benefit others, it can directly enhance your own stay.

“At the heart of my guide is the idea that small, thoughtful behaviours add up to big rewards: from a better night’s sleep and improved service to savings on future trips.”

Tokyo isn’t one city. It’s many cities, and each is its own universe.

Occasionally — at a certain subterranean bar big enough for only seven people, or a sushi counter on the fifth floor of a random office building — I feel as if I’m stepping into another time or dimension.

Finding your way to any of the millions of restaurants, cafes, bars and shops (some are micro-businesses in an alley in a village in the city) can be like figuring out a many-layered puzzle. Like Tokyo, each experience is dense.

Use these handy dining guides for all of your summer travel, near and far.

The Japanese word for hospitality is omotenashi. But its meaning goes far beyond just customer service. Even the translations “wholehearted, selfless hospitality” or “flawless care” don’t cover all of the philosophies that make up omotenashi: magokoro (“true heart” or “sincere feeling”), ichigo ichie (“one time, one meeting”) and kuuki wo yomu (“reading the air”). The last refers to the intuitive ability to anticipate guests’ needs before they ask — an idea rooted in tea ceremony, which is rooted in Buddhism. It’s hard to grasp that level of selflessness.

Here are some of our favorite places to lose yourself in Tokyo. — Betty Hallock

THE biggest hotel guest faux pas have been revealed – including jumping the breakfast buffet queue, washing undergarments in kettles and stealing from rooms.

Other frowned upon acts include reserving pool chairs with towels for long periods, leaving rooms excessively messy and being loud in the hallways late at night.

Smoking or vaping in hotel rooms is also considered a no-no, as are putting the incorrect number of guests on the reservation and leaving alarms or phones to ring without turning them off.

While not reading reviews when booking and not collecting or cashing in rewards points are also viewed unfavourably.

In response, Hotels.com, which commissioned the research, is offering holidaymakers £100 in ‘Hotels.comCash’ for future trips after staying for 10 eligible nights through its rewards programme.

Melanie Fish, travel expert and spokesperson for the global marketplace, which has also teamed up with William Hanson for a ‘Grand Etiquette Hotel’ guide, said: “Small tweaks can make a world of a difference.

DIP IN

Best UK holiday resorts with waterparks – rapids and wave pools with 85p kids entry

TAKE OFF

Futuristic new £23.6billion airport to have 260million passengers & ‘no queues’

“Taking the time to check reviews or making the most of rewards can turn a good trip into a great one, and help your travel budget stretch further, too.”

Researchers found the vast majority (90 per cent) consider themselves to be considerate guests – although 39 per cent think residents have become less respectful in recent years.

Other divisive acts include hanging damp laundry on the balcony, not leaving a review after staying and being rude to staff.

Sneaking extra guests in and constant public displays of affection around the pool are also frowned upon by hotel guests.

Those polled were also asked which nationalities they consider to be the gold standard for politeness – and which ones they perceive to be rudest.

Japanese tourists came top for being the most considerate, followed by Sweden in second place, with U.K. respondents placing themselves third.

At the other end of the scale, Americans are regarded as the most impolite, just beneath those from Germany, according to Hotels.com research conducted through OnePoll.

William Hanson said: “Better hotel etiquette doesn’t just benefit others, it can directly enhance your own stay.

“At the heart of my guide is the idea that small, thoughtful behaviours add up to big rewards: from a better night’s sleep and improved service to savings on future trips.”

When the creators behind Universal Studios Hollywood’s soon-to-open “Fast & Furious” coaster discusses the attraction, they speak of it not only as the most grown-up, intense ride at the park, but also as one of the most extreme coasters in Universal‘s global portfolio. That means, in theory, a ride as vaunted as its Florida coasters Jurassic World VelociCoaster and Stardust Racers.

For riders, some of the perception of danger will come from the coaster’s location. Fast & Furious: Hollywood Drift is set on a hill between the park’s upper and lower lots. It will careen over, under and around guest escalators, and take attendees on a journey that includes multiple inversions and speeds of 72 mph, making it the fastest coaster at any Universal park. A particularly unique facet is the ability for its cars, each meticulously designed after a real vehicle, to rotate 360 degrees.

Plenty of coasters have the capacity to spin, but Universal has been hyping the high-speed “drift” sensation of its cars. Each ride vehicle will have distinct programming along the coaster’s 4,100 feet of track, and the hope is to create the feel of a stunt car just barely maintaining its control.

I like a coaster, but I’m also, I’ll admit, a tad squeamish. Hollywood Drift is expected to open by mid-summer, and at the time of writing, only Universal stakeholders had been on the attraction. Jon Corfino, the park’s lead creative executive, was one of those riders, so as he gave me a tour of the coaster, I pressed him to describe what the experience is like. Here’s what I learned.

So Fast & Furious: Hollywood Drift is intense. But just how intense is it?

A loop on Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The late, great theme dark designer Eddie Sotto once devised a simple formula for what makes a good coaster: Fear minus death equals fun. I wanted to ask Corfino just how scared I would be. Answer: Pretty frightened. Probably.

“It’s a high level of intensity, absolutely, for sure,” Corfino says.

And yet Corfino tried to calm my nerves. Hollywood Drift, he explained, is designed to feel relatively slick — polished, if you will.

“I’ve ridden coasters that I would say are high intensity, but they’re very aggressive,” he says. “They’re very rough. But if you look at what we tried to achieve here, it’s that you’re in a [car] vehicle. It’s very smooth. It’s not something that would be not natural for a car, if that makes sense.”

Well, except for the whole going upside down part. Based on Corfino’s assessment, we can expect some white knuckles, as Hollywood Drift will lift riders off their seats at multiple points.

“You definitely feel you’re coming out a couple times, and not the least of it is when you’re upside down,” Corfino says. The coaster will utilize a lap restraint that extends from the top.

“You’ll be holding on,” he says. “When you’re upside down, you’re holding on.”

What about the drops?

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift is set to open this summer.

(Todd Martens / Los Angeles Times)

Corfino didn’t pinpoint the exact steepness of the drops on Hollywood Drift, but riders will encounter one immediately after launch. When exiting the show building, designed to look like a warehouse garage, Hollywood Drift will take a sudden dip off a cliff. The sharp drop is one of many.

Riders will encounter, for instance, a so-called “bunny hop,” which is typically a series of small hills that provide airtime. But Hollywood Drift will play with riders’ expectations through its terrain. Those mid-ride hills are “actually pretty darn steep,” Corfino says. And then before the ride ends, riders will go up, over and under Universal Studios’ most recognizable feature (except perhaps Stuart the Minion): its escalators.

“When you go up over the loop, that’s very steep. You’re coming straight down over the stairway and then underneath the stairway,” Corfino says.

How real are the cars?

The minicars of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and Toyota Supra — all come complete with working taillights. And each has its own distinct sound effects, engine and brake noises that match their real cars. Guests will hear brakes each time the vehicle drifts or turns.

The minicars aren’t complete tiny re-creations. The odometers in the coaster cars, for instance, are for show only.

“The truth is I was really laboring,” Corfino says of the accuracy of the coaster cars. “They all have realistic sound effects, and when you hit the bottom, the big launch, I wanted to hear the NOS kick in. But you’re going so fast, at 72 mph, and with the wind, you’re not hearing anything. Quite frankly, your vision is even kind of shaky because you’re going so fast.”

That sort of attention to detail is what separates a Universal or Disney coaster from so much of the industry — even if riders will be clutching their restraints too hard to notice the discrepancies in each car’s engine roar.

I’m eager to get on the ride. I will, however, pretend I didn’t hear Corfino say that thing about “shaky” eyesight.

This week in SoCal theme parks

Dataland is now open in downtown Los Angeles. Theme park fans should give it a look.

(Carlin Stiehl / For The Times)

• “Stranger Things” lives at Halloween Horror Nights. Universal Studios Hollywood’s trickle of announcing haunted houses for its Halloween event continues. After unveiling a “Sinners” house earlier this year, Universal has added “Stranger Things” to the roster. “Stranger Things” is no outsider to the festivities, but this house will be themed specifically to the show’s fifth and final season. Expect, of course, some Demogorgons and other nasty creatures. Halloween Horror Nights is set to launch on Sept. 3.
• Theme park fans, pay attention to this new museum. Now open in downtown Los Angeles is Dataland, which was described by this outlet as a “25,000-square-foot immersive, environmental, generative, multisensory AI arts museum.” While there’s much to discuss and debate regarding the center’s use of AI, Dataland’s inaugural exhibition, “Machine Dreams: Rainforest,” is the kind of all-encompassing, wrap-around display theme parks are known for (I’d argue Dataland is, in fact, more indebted to theme parks than the world of fine arts, but that’s another column). No doubt those in the immersive space are paying close attention as to how Dataland is received.
• “Toy Story 5” has arrived, in theaters and at the Disneyland Resort. Fans of the “Toy Story” franchise will want to make their way to Disneyland’s Pixar Place Hotel, where a second-floor exhibit features drawings and sculptures from the new film. And for hotel guests, coming July 2 is the “Disney Poolside Splash Bash,” a pool party with music, trivia and appearances from Jessie, Bo Peep and Woody. If you’ve seen the movie, I encourage you to check out Amy Nicholson’s review of the work. She found, perhaps, that the toys have overstayed their welcome.
• Bag checks and metal detectors arrive at CityWalk. Universal Studio’s theme park adjacent shopping and dining area is home to a couple should-be cultural institutions: the Los Angeles outpost of Jimmy Buffett’s Margaritaville and one of the finer Imax theaters in the nation. Now getting to either comes with an extra hurdle, as Universal has placed CityWalk within the theme park’s security zone. Prepare for bag checks, metal detectors and extra time if you’re heading to a sold-out screening of Christopher Nolan’s “The Odyssey.” The local film community, as reported by The Wrap, is having a fit.

What I’m thinking about

A media image distributed by Adobe and Walt Disney Imagineering is designed to show how AI software can be used in the design process.

(Adobe / Walt Disney Imagineering)

Generating attention this week was an announcement from Adobe and Walt Disney Imagineering, the creative arm of the company responsible for theme park designs, regarding a new AI partnership. AI is a term I generally believe is rightfully viewed with skepticism, especially when it comes to creative work. As a writer, I view utilizing AI to help craft a story as strictly forbidden; journalism, after all, is a storytelling art. But I’m not above tools that can help accelerate tedious aspects of the process, such as using AI to help transcribe an interview.

So places in which Adobe’s Firefly Foundry could, say, transform drawn 2D renderings into potential 3D models seem not entirely troublesome, especially for an industry in which one of the most time-consuming aspects is the build. And yet there were components of the announcement, as well as the press materials distributed with it, that made me cringe. The generation of on-demand, on-brand assets, for instance — one of the promised abilities of the software — is a job for an artist, not a computer.

And Adobe and WDI proved my point. Accompanying the press release was an image of Disneyland’s Haunted Mansion ride vehicles, the Doombuggies, as re-imagined by the program. A perfect, coffin-like design from Bob Gurr was now bedazzled with garish, grotesque imagery that had little similarity with anything in the Haunted Mansion. That the two companies viewed something this amateurish as a prime example of what the software could achieve should raise an eyebrow.

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.

Changes are coming to Disneyland’s classic Autopia ride.

(Allen J. Schaben / Los Angeles Times)

Disneyland’s classic Autopia attraction is facing a deadline. The Disneyland Resort has already stated that the gas-powered minicars of Autopia would be on the way out in early 2027. Disneyland officials confirmed just a few weeks ago that the park has an agreement with the California Air Resources Board to retire the current engines next year. No closing or reopening date has been announced, and no details on the new cars have yet been released.

But, thanks to new reporting from environmental reporter (and former Times staffer) Sammy Roth, it’s been revealed that the theme park faces a strict deadline to begin making the switch. In a recent edition of Roth’s Climate Covered Goggles, the writer noted that due to an agreement with the board, Autopia in its current form must shut down by Feb. 1, 2027.

While that doesn’t shed any clarity on when the ride may reopen with refreshed vehicles, it at least provides a timeline as to how long it will likely exist in its current form.

When Jon Corfino was among the first to test ride Universal Studios Hollywood’s new high-speed “Fast & Furious”-inspired coaster, it was the culmination of a convoluted decade-plus journey filled with uncertainty. For before any track was laid, before the ride was even associated with “Fast & Furious” or any film franchise, Corfino, the park’s lead creative executive, didn’t know whether a coaster could even exist.

Universal Studios Hollywood is landlocked, constructed around a working film studio, meaning space is at a premium. And then there’s the problem of noise. Coasters, historically, are loud, and film productions necessitate a quiet environment. The theme park is also nestled against a neighborhood full of homes and apartments.

To make it work at all, the coaster would need to stand on a relatively steep hill, winding over, under and around escalators between the park’s upper and lower lot. It extends significantly beyond guest-accessible areas, visible even from nearby Ventura Boulevard. “It wouldn’t be your first choice,” Corfino says of the topography. “But in a way, it makes it more dynamic that we were able to do it.”

He continues, “Everything we do is a bit of invention.”

When discussion on the project first began a decade or so ago, Universal Studios Hollywood was far from a thrills park. While the Wizarding World of Harry Potter was nearing completion and would open in 2016 — a full-scale re-creation of a fictional world that would alter the tenor of the park — the vast majority of Universal rides were designed to place guests inside the world of stories they had already seen on the screen. Or to let them “ride the movies,” as Steven Spielberg once coined. The park’s portfolio was also dotted with stunt and animal shows.

Fast & Furious: Hollywood Drift will reach speeds of 72 mph and take riders through multiple inversions.

(Todd Martens / Los Angeles Times)

Universal was once heavily dedicated to pulling the curtain back on how movies were made. A coaster simply didn’t fit the vibe.

“It was never a thought,” Corfino says of his earliest days at Universal back in the 1990s. “It was a different ethos. We were going to take you behind the scenes and show you stuff. But during the epic transformation of bringing in ‘Potter,’ and immersing you in different environments, it became more of a reality.”

And so began the process of looking for a franchise to associate with the coaster, one that would still make sense with Universal’s inside-the-movies mindset. At the time, there already was a “Fast & Furious” segment on Universal’s behind-the-scenes tram tour (now shuttered, a replacement is expected to be unveiled in 2027).

“You go through a lot of ‘what ifs,’” Corfino says. “I can say, one of the earlier ‘what ifs’ was ‘what if this,’ in terms of brand. We already had one [‘Fast & Furious’ attraction] on the backlot, but we didn’t know what else we were going to be doing, so you go through a lot of different ideas. But it was early on that we said, ‘This brand speaks to it.’”

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

(Todd Martens / Los Angeles Times)

Fast & Furious, the street racing mega-franchise that’s celebrating its 25th anniversary this year, works in part because Universal could theme the coaster around cinematic stunts. Before guests board the ride, they will walk through a twisting queue area that will focus on prop cars with installations designed to show how movie magic is brought to life. Guests will be prodded to scan QR codes to further go behind-the-scenes, that is if they’re not distracted watching the coaster, which will launch directly above them and then go on a journey through multiple inversions on the side of a hill.

And then there was another problem: Would it be too loud? Before land was moved, Universal placed speakers on the old special effects and stunt buildings to see how noise traveled down the hill. “We did recordings all over the place and really established a baseline on which to design,” Corfino says.

Ultimately, the tracks would be complemented with multiple sound walls and shields, the latter clear structures designed to block coaster rumbles and audience screams. And because the cars can rotate 360 degrees, Universal can in theory direct rider yells away from the studio below and the neighborhood nearby. What’s more, the actual track has been filled with pea gravel, designed to minimize nose from any reverberations.

“It’s incredibly quiet,” Corfino says. “We were able to do that by putting materials inside portions of the track to deaden the sound. I’m not sure we would have needed it, but it was important to do the right thing. It’s pea gravel and rocks. It’s quieter than I ever thought it was going to be.”

VP of Universal Creative Jon Corfino, who led the creative development of the Fast & Furious coaster, photographed in 2019.

(Brian van der Brug / Los Angeles Times)

A 72-mph coaster with 360-degree rotation and multiple loops and inversions that’s relatively muffled? Perhaps. I can only say that as I watched test cars speed by me last week from an upper lot lookout, the soundtrack from the Jurassic World water ride below was certainly louder.

An opening date for the coaster has not yet been set, but it’s soon. The other week the Universal website briefly posted June 26 as a launch date, and while that was once a targeted day, it will not be the coaster’s grand opening, which is now expected after the Fourth of July holiday (the coaster will be open intermittently for tech rehearsals for some time before its official date).

But Corfino is willing to make one promise. “Given the physical realities of putting this on the side of a hill,” he says, “this is the best view in Hollywood.”

That is, if you’ll be brave enough to keep your eyes open to take it all in.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

This week in SoCal theme parks

• Los Angeles loves a parade. Head to the Los Angeles County Museum of Art on Saturday evening for the Art Parade, which is designed to showcase L.A.’s thriving creative community with a colorful procession down Museum Row. Of particular note: Experiential art firm Meow Wolf, which is in development on its first-ever Los Angeles installation, will be participating. Meow Wolf’s L.A. exhibit, influenced equally be sci-fi and cinema, is on target for a winter opening.
• Disneyland history is Los Angeles history. The Autry Museum of the American West has a new exhibit, “Life, Liberty and Los Angeles.” As part of the show, which highlights how SoCal reflected and contradicted our nation’s founding ideals, guests will come across a 1967 Autopia vehicle from Disneyland. Now perhaps a bit quaint, the ride once exemplified our region’s dreams of an open freeway. Autopia is due next year to be remade with electrical vehicles.
• Plan a tour of Walt Disney’s former Los Feliz home. Disney and his family in the 1930s lived in a storybook mansion. Keepers of the house have announced that it will be open on a few select Saturdays this summer for tours. Though a private residence, tours are led by Disney expert Dusty Sage, who oversees the Micechat website and fan community. I’ve been inside, and can report the house is full of unique design quirks as well as a number of only-in-SoCal historic tales.
• A lively night at Downtown Disney. Head to Downtown Disney on Friday at 5 p.m. for Yardfest 2026, an evening to honor the music and traditions of historically Black colleges and universities. Expect performances from the Texas Southern University Ocean of Soul Marching Band near the area’s live stage, which itself has a unique design paying homage to famed Black architects, as well as specialty food offerings and Mickey Mouse in his drum major outfit.

Ride report

Knott’s Berry Farm has a new show inside the Calico Saloon dubbed “Spirits and Shenanigans.” The production is part of the park’s summer offerings.

(Todd Martens / Los Angeles Times)

Today’s report is on a show. It’s summer season at Knott’s Berry Farm, which means a new storyline for its popular Ghost Town Alive!, a heavily improvised, actor-led experience that unfolds like a live-action role playing game. New this year is a hootin’ and hollerin’ good time of a show in “Spirits and Shenanigans,” which takes place in the Calico Saloon inside the park’s historic Ghost Town.

At 25-minutes, the production centers on the fictional husband-and-wife bar proprietors, who sing of leaving Illinois to open the spot, as well as its boot-tapping, can-can dancing staffers. Just ever-so-slightly risque with a bit of a patriotic feel, it’s a fast-moving ode to drinking holes and the sense of local community they provide. Expect tap dancing as well as numbers that will turn the entire stage into a drum kit. So if you’re heading to Knott’s this summer, “belly up to the bar,” as they sing, and grab a Boysenberry IPA and one of the few inside seats for this lively, can’t-miss production.

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

BBC expert Steve Fletcher was given the task of restoring a sentimental item on the latest episode of The Repair Shop.

Emotions were at an all-time high during The Repair Shop as BBC’s Steve Fletcher and Dominic Chinea welcomed Robin into the workshop.

The guest had a large globe with him, which he explained was a ‘world clock’ and was built by his great-grandfather.

He commented: “It’s based on a grandfather clock mechanism. The idea is that the clock makes the globe rotate once every 24 hours. Then, using the numbers on the ring around the equator, you can see what the time is anywhere in the world.”

The BBC stars were blown away as they both called it ‘amazing’ before Robin confessed that he’s never known it to work in his lifetime.

Curious, horologist Steve asked if his great-grandfather was a clock-maker, as the guest explained that he wasn’t, he had been a mechanical engineer, but made the item in his spare time in the 1930s after retirement.

He added: “There’s a little newspaper cutting in here, according to the newspaper it’s supposed to chime every half hour. It took him five years to perfect.”

Sadly, Robin shared that his great-grandfather died when he was one year old, but he has memories of the item in his grandad’s dining room.

When asked what he wanted them to do with the unusual clock, Robin stated the idea would be to get it working, which is something his own father had wanted to do but never was able to.

He added: “If he’d have seen it working, I think it would have really been special to him if I could get it working now, in his memory, but also, grandfather and great-grandfather before that. Just to keep the family legacy going, as it were.

In the end, after the item was worked on by both Steve and Jonathan Wright, it was time for Robin to return to see the final restoration.

When the globe was revealed, which the experts managed to get working once again, Robin was blown away. He commented: “Wow! Well, it looks gorgeous, it really does look gorgeous. I’m… I am stunned, I really am stunned. Thank you. That’s a lovely sound, isn’t it?”

When Steve turned the clock strike on, Robin laughed as he struggled to hold back his emotions. He added: “Wow, that is so sweet. Sorry. I’d have loved my dad to have seen it and heard it. He’d have been thrilled. It’s really, it is emotional.

“Extremely emotional, but it’s magical, fabulous. We shall treasure it until it’s time to hand it on to the next generation.”

Steve added: “It’s been a real great challenge, so thank you very much for bringing it in.

The Repair Shop is available to watch on BBC iPlayer.

Actor Anthony Head died last week at the age of 72 after complications due to pneumonia.

Last week, the world was shocked and saddened to hear the news that actor Anthony Head had died.

The star was best known for his roles as Giles in Buffy the Vampire Slayer and Rupert Mannion in the comedy series Ted Lasso.

On Wednesday’s episode of The One Show (June 10), BBC presenters Angellica Bell and JB Gill spoke about his death to actor Colin Morgan.

The 40-year-old starred alongside Anthony during his time on the children’s fantasy show Merlin, which ran from 2008 to 2012.

Anthony played King Uther Pendragon in the series, while Colin played the title character in the beloved show

Addressing the news of his death last week, host Angellica said to Colin: “Your big break was in the BBC series Merlin alongside the late Anthony Head, and you must have some fond memories of working with him?”

He said: “Yeah, I was so shocked and heartbroken to hear about his loss last week. He was such a pinnacle of a role model to me and all the young cast of Merlin.

“I have such incredible memories of working with him. Right now, my thoughts go out to his daughters, Daisy and Emily.”

JB added: “Yeah, condolences to his family as well.”

The news of his death was confirmed by his daughter in a statement which was released on Friday, June 5.

The said: “It is with heavy hearts that we announce the death of our extraordinary father, Anthony Head.

“He passed away peacefully of complications due to pneumonia, surrounded by his family. It has been, and forever will be, an honour and a privilege to be his daughters, and to have witnessed first-hand the impact both he and his work have had on so many.”

Since the announcement of his death, tributes have been flooding in from his former co-stars, including Matt Lucas, Charisma Carpenter and Sarah Michelle Gellar.

Alongside a photo of them all years ago, the actress wrote on Instagram: “Tell Giles I figured it out and I’m ok” Well I don’t have it figured out and I’m not ok. But I know I’m the lucky one because I knew you. Thank you to Daisy and Emily who not only shared their dad with me, but with the world.

The One Show is available to watch weeknights on BBC One from 7pm

A Welsh couple appeared on A Place in the Sun and broke down in tears after buying a Costa del Sol holiday home to honour their late family member.

A Place in the Sun presenter was moved to tears while discussing a heartbreaking family loss.

During a repeat episode broadcast on Wednesday, June 10, a Welsh couple were searching for a holiday home on the Costa del Sol, enlisting the assistance of host Jean Johansson.

Former body builder Darren and his wife Joanne, had a particularly poignant motivation behind their decision to purchase a property in Spain, wanting somewhere perfect for their three children and wider family.

They also decided to find somewhere following the sad death of Joanne’s brother Matt, with one of their final conversations being him encouraging them to “live the dream”.

Joanne emotionally told Jean: “My brother sadly passed away ten years ago and one of our last conversations was that I had to make sure that we have as much fun as possible and live the dream with our children,” reports Wales Online.

“Because he loved the beach and being abroad so much we thought this would be the perfect way to honour his memory.”

After viewing several properties, with a budget of £205,000, the couple submitted an offer of £170,000 on one apartment they were keen to add to.

At that moment, Joanne shared: “I do feel emotional, I just know this is what my brother would want and I am sure he is just looking down now with a big smile on his face.”

While their initial offer was turned down, their second bid of £178,000 was accepted, leaving Joanne overcome with emotion.

Breaking down, she shared: “This is for you, Matt!”

Expressing her gratitude to Jean, she continued: “We can now live the dream in my brother’s memory.

“The family can come here and think about him, my mum and dad just feel so close to Matt when we are at the beach and they can come here anytime they want now!”

Visibly moved, Jean responded: “I am so happy, I’ve never been happier for a couple.”

Raising a toast, Joanne said: “To Matthew and the family, and to living the dream!”

Jean added to the camera: “That was an emotional end to an exciting search, Darren and Joanne have the dream property for them and the whole family, and I know they are going to have loads of amazing holidays here in Malaga.”

Speaking after the episode originally aired in May 2024, Joanne told A Place In The Sun that they were “definitely living the dream”.

She said they get very emotional when they walk through the door, as the home is so linked to her brother, who loved the beach, but tragically died of cancer at the age of 27.

“We’ve taken out all the children and showed them the places we visited on the TV show, such as Lake Vinuela,” Joanne said.

“It already feels like home and I’d say we are definitely living the dream.”

A Place in The Sun is available to watch on Channel 4.

Six Flags Magic Mountain wants to change its narrative.

Known as a destination for thrill seekers, the coaster-heavy amusement park is putting the emphasis on its animated characters.

Now open is a revamped, kids-focused area in Looney Tunes Land, a remake of the former Bugs Bunny World and Whistlestop Park. All told, it’s a 5-acre space with nine rides, including two kiddie coasters, as well as still-to-come play areas, a live show and an in-development augmented reality experience.

I last walked through the area about two summers ago, and it was in a derelict state. I’m happy to report it’s more welcoming, prettier and dotted with plant life and landscaping.

Gone is the vintage Magic Flyer, once Magic Mountain’s oldest coaster (the park’s eldest thrill seeker is now Gold Rusher). Also among the casualties: Tweety’s Escape, a steel swing that placed children in birdcages that had begun to look like mini jails. It was a grim-appearing ride.

The remaining attractions have all received some much-needed TLC. Some even have added mini storylines. What was Whistlestop Train, for instance, is now Taz’s Tasmanian Train Tours. It follows a narrative in which the ride’s titular character has escaped the zoo and is eluding capture, generally causing havoc on the countryside. It’s a calm, slow-moving ride through a small green space, and we see failed attempts to trap Taz, such as an overgrown mice contraption. The ride concludes with a mechanical not-so-hidden Taz, but not before glimpsing a statue of Tasmanian She-Devil in full kiss mode.

A look into the Bugs Bunny-focused area of Magic Mountain’s new Looney Tunes Land.

(Myung J. Chun / Los Angeles Times)

The reimagining comes two years after Six Flags Entertainment Corp. and the Cedar Fair Entertainment Co. completed a merger, which in SoCal brought Magic Mountain and Knott’s Berry Farm under the same ownership. Six Flags’ corporate creative producer Clayton Lawrence says post-merger, the company pinpointed upping the family appeal at Magic Mountain as among its first orders of business.

That meant last summer devoting resources to improving the Hurricane Harbor water park, which Lawrence says specifically attracts families and grandparents. This year, attention was turned to the primary park in Looney Tunes Land.

“We really thought about what this park needs,” Lawrence says. “What will the parents need? How do we slow the guests down a little bit? This park has so many thrills in it — so many coasters — that we wanted to create a place that was nice to take a break from all the action and also develop areas where grandparents and parents could watch little ones burn off energy.”

It’s safe to say that Magic Mountain’s core audience is likely always going to be thrill seekers. And that fan base will be served next year with the planned opening of a new coaster that will overlook the Looney Tunes area.

The kiddie coaster the Road Runner Express at Six Flags Magic Mountain.

(Myung J. Chun / Los Angeles Times)

Magic Mountain attracted 3.3 million visitors in 2024, according to data released by the Themed Entertainment Assn. While Lawrence was not able to break down which percentage of that number included those traveling with children 12 and under, it’s safe to say that a greater family appeal is viewed as one of the ways to boost a SoCal audience.

“There’s a lot of people who grew up coming up here, or their first ride was inside Bugs Bunny World,” Lawrence says. “A lot of families have a daredevil teen who can go on the rides, but they also have a little one. This is about the multi-demo family.”

Looney Tunes Land is broken into four mini areas — Taz-Mania, Road Runner Ridge, Bugs Bunny Play Park and Camp Duck Amok. While there are no major distinctions between the spaces, there are slight differences. Taz’s footprints, for instance, are found in the gravel-colored pavement of Taz-Mania, and in the Daffy Duck locale the flooring looks a bit like rockwork. A small outback-like trail in Taz-Mania will soon be home to an augmented reality game, and a much-needed green space in the Bugs Bunny spot will later this summer be populated with tunnels and little climbing structures.

Asqwer Turki, 13, poses for a picture with Wile E. Coyote at the new Looney Tunes Land at Magic Mountain.

(Myung J. Chun / Los Angeles Times)

There are fun additions to spot on the refreshed rides. The Canyon Cruiser beginner’s coaster, for example, nods to classic Looney Tunes cartoons, specifically prank-filled episodes featuring Daffy Duck, Bugs Bunny and Elmer Fudd. The children’s theater has been remade into Bunny Bowl, and given giant carrots that call the attention of guests.

Such light thematic touches, said Magic Mountain President Brian Oerding, have been missing from parts of the park. They’re vital, he says, in lengthening a guest’s day.

“We’ve learned that softening the hardscape creates a better environment, a better experience, and that means you’re going to want to hang out more,” Oerding says. “Some folks will walk by black asphalt and not think anything about it, but when you look into Looney Tunes Land, and you look at the softness of the pavement and the additional landscaping, we’ve created a happier space. Mom and Dad are happier, and that means they’ll hang out longer.”

Mountain Park President Brian Oerding officially opens the new Looney Tunes Land at Magic Mountain.

(Myung J. Chun / Los Angeles Times)

Looney Tunes Land has also given Magic Mountain some much-needed in-park entertainment, as the area has been lacking a live show for a number of years. “Vacation Mayhem” comes in at just under 15 minutes and features Bugs, Daffy, Porky Pig and Sylvester imagining their perfect getaway spots in song.

Things go wrong, of course, and Bugs even explores some vices by gambling in Las Vegas, which was an odd choice I thought for a kids show, but Looney Tunes did always have a bit of an edge. Nevertheless, the musical numbers, ranging from reworkings of “The Gold Diggers’ Song (We’re in the Money)” to “Hello Muddah, Hello Fadduh (A Letter From Camp)” keep it zipping along.

“If we don’t believe that entertainment and character shows are important, we’re missing it,” Oerding says. “Yes, the rides are cool, but we haven’t done an actual entertainment show in here in a long time.”

And Lawrence says Looney Tunes is essentially a model for the entire park. No, that doesn’t necessarily mean more kiddie rides in the coming years, only that Six Flags is looking at other places where the park can use some beautification.

“This is what we want to do for the rest of the park,” Lawrence says. “Disciplined design. Nice hardscape.”

And here’s hoping for some more plants and an additional fountain or two.

This week in SoCal theme parks

Alexis Rosales of Bell gets drenched by Luke Brodowski, performing as Fluke Mayfield at Knott’s Berry Farm’s Ghost Town Alive! in 2024.

(Allen J. Schaben / Los Angeles Times)

• It’s the most wonderful time of the year. Knott’s Berry Farm begins its summer season on Friday, and that means the return of Ghost Town Alive! This interactive live show, now a decade old, is unlike anything at any other SoCal park, and in my mind it’s the best summer entertainment available. This hybrid live-action role-playing game and work of interactive theater enables guests to live out mini-Wild West adventures while interacting with more than two dozen actors. Players follow a loose story centered on the drama in the fictional town of Calico, in the park’s Ghost Town area. It’s silly, it’s wacky and there’s even a daily newspaper. Ghost Town Alive! runs on select days, and I’ll see you there Friday.
• World Cup, Lego Style! Carlsbad’s Legoland is celebrating the arrival of the World Cup with a host of limited-time activities and Lego creations. The park, for instance, has built a 30-foot-long re-creation of SoFi Stadium, and elsewhere has created brick versions of a host of soccer stars. There are interactive events as well, such as accuracy challenges and games that have attendees trying to score goals off of Lego minifigures. Legoland’s FIFIA World Cup Experience 2026 launches Thursday and runs through July 19.
• Oogie Boogie Bash tickets drop — and a Haunted Mansion street parade? The Disneyland Resort’s popular after-hours event Oogie Boogie Bash returns Aug. 18, and tickets for Magic Key passholders go on sale June 16 (the general public sale is June 18). New this year to the Disney California Adventure experience is what the resort is calling “Madame Leota’s Swinging Wake.” Though not a full-scale parade, expect Haunted Mansion characters — the concept art shows floats of the attraction’s “stretching room” portraits — as well as ghostly dancers. But with something new, something must depart. “Madame Leota’s Swinging Wake” is replacing the “Frightfully Fun Parade.” Ticket prices vary by day, starting at $139. October dates, for instance, top off at $199.
• “Harry Potter” will hover above Dodger Stadium. A theme park-like drone show is arriving Saturday at Dodger Stadium. More than 1,200 drones will soar over the park as part of a “Harry Potter”-inspired production, which will also feature music, trivia and an appearance from the film’s Bonnie Wright (Ginny Weasley). Expect re-creations of “Potter” iconography such as Hogwarts Castle, magical creatures, the Sorting Hat and more. The hourlong show begins at 9 p.m. and Butterbeer will be on hand. Tickets start at $52.90 for adults.

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.

Last week I put out a call for Disneyland fans to share their Carousel of Progress memories. The theater attraction, centered around a rotating auditorium, debuted at the 1964 World’s Fair before making its way to Disneyland in 1967. It was moved to Florida’s Walt Disney World in 1975. The Walt Disney Co. announced recently that the Florida version would be undergoing a top-to-bottom overhaul, but its dedication to technological optimism throughout the decades would remain.

I’m thoroughly enjoying the remembrances. Many cited it as a favorite. “My father was a musician, and it became a family tradition that we’d sit in the back row and sing ‘[There’s] a Great Big Beautiful Tomorrow’ loudly at the top of our lungs from the very beginning of the ride, which I’m sure newcomers thought was weird and probably annoying,” wrote one reader. Another noted, “The mid-60s were exciting years to be a kid, as the future seemed so promising and exciting; the [Carousel of Progress] plugged right into that enthusiasm.”

Many shared similar sentiments. “The animated activities of the characters and their dialogue embraced the ‘Happiest Place on Earth” theme that was prevalent throughout Disneyland in those earlier days,” said one fan. A few, however, called out that the attraction was sponsored by General Electric, making it feel a bit like an advertisement. As one reader summarized: “It was incredibly clunky product placement, even to a kid’s ears.”