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Disneyland is going to “Fortnite.”

Launching Thursday, “Disneyland Game Rush” is a new island that will bring some of the Happiest Place on Earth’s most popular rides into the “Fortnite” sandbox for the first time. A part of Disneyland’s 70th anniversary celebration, the limited-time experience includes mini-games inspired by attractions such as Star Wars: Rise of the Resistance, Web Slingers: A Spider-Man Adventure, Space Mountain, Indiana Jones Adventure, Matterhorn Bobsleds, Guardians of the Galaxy — Mission: Breakout! and Haunted Mansion.

The in-game island will also feature a replica of the 70th anniversary sculpture inspired by Sleeping Beauty Castle as well as glimpses of the theme park’s familiar landmarks including the Incredicoaster and Pixar Pal-a-Round across the virtual skyline. Players who complete the island’s mini-games will collect keys that can be used to unlock Disneyland 70th-themed island-exclusive cosmetics so players will be able to show their Disney spirit.

“Fortnite” players can access the island by searching for Disneyland Game Rush or using island code 4617-4819-8826.

“Disneyland Game Rush” marks the latest Disney-affiliated “Fortnite” crossover since Walt Disney Co. acquired a stake in Epic Games in 2024. Earlier this year “Fortnite” launched “Galactic Battle,” which was billed as its biggest Star Wars-themed tie-in, as well as a “Simpsons”-themed battle royale mini-season that kicked off earlier this month.

Still to come is Disney and Epic Games’ interconnected “games and entertainment universe,” which will include brands such as Star Wars, Marvel, Pixar and Avatar. This “new persistent universe” was announced last year.

When Xavier “X” Atencio was plucked by Walt Disney in 1965 to be one of his early theme park designers, he was slotted on a number of projects that placed him out of his comfort zone.

Atencio, for instance, never would have envisioned himself a songwriter.

One of Atencio’s first major projects with Walt Disney Imagineering — WED Enterprises (for Walter Elias Disney), as it was known at the time — was Pirates of the Caribbean. In the mid-’60s when Atencio joined the Pirates team, the attraction was well underway, with the likes of fellow animators-turned-theme park designers Marc Davis and Claude Coats crafting many of its exaggerated characters and enveloping environments. Atencio’s job? Make it all make sense by giving it a cohesive story. While Atencio had once dreamed of being a journalist, his work as an animator had led him astray of a writer’s path.

Atencio would not only figure it out but end up as the draftman of one of Disneyland’s most recognizable songs, “Yo Ho (A Pirate’s Life for Me).” In the process, he was key in creating the template for the modern theme park dark ride, a term often applied to slow-moving indoor attractions. Such career twists and turns are detailed in a new book about Atencio, who died in 2017. “Xavier ‘X’ Atencio: The Legacy of an Artist, Imagineer, and Disney Legend” (Disney Editions), written by three of his family members, follows Atencio’s unexpected trajectory, starting from his roots in animation (his resume includes “Fantasia,” the Oscar-winning short “Toot, Whistle, Plunk and Boom” and even stop-motion work in “Mary Poppins”).

For Pirates of the Caribbean, Atencio is said to have received little direction from Disney, only that the park’s patriarch was unhappy with previous stabs at a narration and dialogue, finding them leaning a bit stodgy. So he knew, essentially, what not to do. Atencio, according to the book, immersed himself in films like Disney’s own “Treasure Island” and pop-cultural interpretations of pirates, striving for something that felt borderline caricature rather than ripped from the history books.

Xavier “X” Atencio got his start in animation. Here, he is seen drawing dinosaurs for a sequence in “Fantasia.”

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Indeed, Atencio’s words — some of those quoted in the book, such as “Avast there! Ye come seeking adventure and salty old pirates, aye?” — have become shorthand for how to speak like a pirate. The first scene written for the attraction was the mid-point auction sequence, a section of the ride that was changed in 2017 due to its outdated cultural implications. In the original, a proud redheaded pirate is the lead prisoner in a bridal auction, but today the “wench” has graduated to pirate status of her own and is helping to auction off stolen goods.

At first, Atencio thought he had over-written the scene, noticing that dialogue overlapped with one another. In a now-famous theme park moment, and one retold in the book, Atencio apologized to Disney, who shrugged off Atencio’s insecurity.

“Hey, X, when you go to a cocktail party, you pick up a little conversation here, another conversation there,” Disney told the animator. “Each time people will go through, they’ll find something new.”

This was the green light that Atencio, Davis and Coats needed to continue developing their attraction as one that would be a tableau of scenes rather than a strict plot.

Tying it all together, Atencio thought, should be a song. Not a songwriter himself, of course, Atencio sketched out a few lyrics and a simple melody. As the authors write, he turned to the thesaurus and made lists of traditional “pirating” words. He presented it to Disney and, to Atencio’s surprise, the company founder promptly gave him the sign off.

“Yo Ho (A Pirate’s Life for Me),” Atencio would relay, was a challenge as the ride doesn’t have a typical beginning and ending, meaning the tune needed to work with whatever pirate vignette we were sailing by. Ultimately, the song, with music by George Bruns, underlines the ride’s humorous feel, allowing the looting, the pillaging and the chasing of women, another scene that has been altered over the years, to be delivered with a playful bent.

The song “altered the trajectory” of Atencio’s career. While Atencio was not considered a musical person — “No, not at all,” says his daughter Tori Atencio McCullough, one of the book’s co-authors — the biography reveals how music became a signature aspect of his work. The short “Toot, Whistle, Plunk and Boom,” for instance, is a humorous tale about the discovery of music. And elsewhere in Atencio’s career he worked on the band-focused opening animations for “Mickey Mouse Club.”

“That one has a pretty cool kind of modern instrument medley in the middle,” Kelsey McCullough, Atencio’s granddaughter and another one of the book’s authors, says of “Mickey Mouse Club.” “It was interesting, because when we lined everything up, it was like, ‘Of course he felt like the ride needed a song.’ Everything he had been doing up to that point had a song in it. Once we looked it at from that perspective, it was sort of unsurprising to us. He was doing a lot around music.”

Xavier “X” Atencio contributed concepts to Disneyland’s Haunted Mansion, including its famous one-eyed cat.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Atencio would go on to write lyrics for the Country Bear Jamboree and the Haunted Mansion. While the Haunted Mansion vacillates between spooky and lighthearted imagery, it’s Atencio’s “Grim Grinning Ghosts” that telegraphs the ride’s tone and makes it clear it’s a celebratory attraction, one in which many of those in the afterlife prefer to live it up rather than haunt.

Despite his newfound music career, Atencio never gave up drawing and contributing concepts to Disney theme park attractions. Two of my favorites are captured in the book — his abstract flights through molecular lights for the defunct Adventure Thru Inner Space and his one-eyed black cat for the Haunted Mansion. The latter has become a fabled Mansion character over the years. Atencio’s fiendish feline would have followed guests throughout the ride, a creature said to despise living humans and with predatory, possessive instincts.

In Atencio’s concept art, the cat featured elongated, vampire-like fangs and a piercing red eye. In a nod to Edgar Allan Poe’s story “The Black Cat,” it had just one eyeball, which sat in its socket with all the subtlety of a fire alarm. Discarded eventually — a raven essentially fills a similar role — the cat today has been resurrected for the Mansion, most notably in a revised attic scene where the kitty is spotted near a mournful bride.

Xavier “X” Atencio retired from Disney in 1984 after four-plus decades with the company. He drew his own retirement announcement.

(Reprinted from “Xavier ‘X’ Atencio: The Legacy of An Artist, Imagineer, and Disney Legend” / Disney Enterprises Inc. / Disney Editions)

Co-author Bobbie Lucas, a relative of Atencio’s colloquially referred to by the family as his “grandchild-in-law,” was asked what ties all of Atencio’s work together.

“No matter the different style or no matter the era, there’s such a sense of life and humanity,” Lucas says. “There’s a sense of play.”

Play is a fitting way to describe Atencio’s contributions to two of Disneyland’s most beloved attractions, where pirates and ghosts are captured at their most frivolous and jovial.

“I like that,” Lucas adds. “I like someone who will put their heart on their sleeve and show you that in their art.”

THE Eurostar is getting a major upgrade with up to 50 new double-decker trains.

Eurostar has revealed a €2billion (£1.7billion) investment in double-decker trains that would become the first ever to operate through the Channel Tunnel and on the UK network.

So far, the operator has confirmed it will have 30 double-decker trains, but could add a further 20 in the future.

The new fleet, built by the Alstom Group, will be called Eurostar Celestia.

The trains will each measure 200 metres long, and will be used across the five countries Eurostar currently operates in – the United Kingdom, France, Belgium, the Netherlands, and Germany.

They are also set to be used for new destinations such as Geneva in Switzerland and Frankfurt in Germany.

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On board each train, there will be around 540 seats – a 20 per cent increase compared to the number of seats on the Eurostar’s current trains.

Though if running in a 400 metre formation, as trains do currently through the Channel Tunnel, then there will be around 1,080 seats per service.

According to the operator, Eurostar Celestia will also have a “bespoke design to capture the unique, premium experience Eurostar customers expect”.

The name of the new fleet was decided by Eurostar staff and is derived from the Latin word ‘caelestis’, which means ‘heavenly’.

“It evokes the stars and the essence of travel, perfectly capturing the spirit of a company that links a constellation of cities across Europe,” Eurostar added.

The decision follows Eurostar’s aim of handling 30million passengers each year in the future.

The first trains are expected to join Eurostar’s fleet in January 2031, with services launching in May 2031.

The operator plans to launch six trains initially, which will run alongside Eurostar’s current fleet of 17 e320s.

In total, the fleet will grow to 67 trains – 30 per cent more than runs today.

The entire fleet would also be maintained at the Temple Mills depot in London, which would undergo an €80million (£69.6million) redevelopment to create space for the new trains.

In addition, 350 new jobs would be created at the depot.

The trains will be an all-electric fleet too, making them more sustainable.

Gwendoline Cazenave, CEO, Eurostar said: “We’re particularly proud to bring double-decker trains to the UK for the very first time.

“Customers can expect a very special new train with Eurostar Celestia, which will offer exceptional comfort, a unique Eurostar experience and new surprises to be revealed.

“This is a golden age for international sustainable travel – and Eurostar is leading the race.”

Henri Poupart-Lafarge, CEO of Alstom, said: “This new-generation train, designed to meet the demands of international very high-speed traffic, embodies our vision of sustainable and competitive European mobility.”

The announcement comes as the Office of Rail and Road is set to meet on October 31 to make a decision on whether space should be created for a competitor operator at Temple Mills, such as Virgin or Gemini.

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Recently, Virgin also announced that if it were to get approval to run cross-channel services, it would launch routes from two huge cities in the north.

And in other train news, the UK capital is set to welcome new £700million train line linking west and north of the city.

Thrill-seeker Orson Bourne visited a theme park in Italy, but later outlined several complaints and branded it the ‘worst’ he’d visited – but people don’t agree with his assessment

A thrill-seeker has expressed his frustration by admitting he “felt so disappointed” after visiting one of the most popular theme parks in Europe. Orson Bourne travelled to Italy and headed to Gardaland – a park in Verona owned by Merlin Entertainments, which also operates Alton Towers, Legoland and dozens of other resorts and attractions.

The resort boasts numerous rides and ‘lands’ dedicated to a variety of well-known franchises, including Jumanji, Peppa Pig and Peter Pan – but Orson was clearly unimpressed as he revealed in a review shared to TikTok. “Gardaland takes the biscuit, it’s the worst theme park I’ve ever been to,” he said in a video.

Orson he had to “penetrate a wall of Italian policing” prior to entry, such is the high level of security enforced by Gardaland’s owners.

He continued to complain, claiming that ropes had “cut off” half of the park on his arrival owing to their later opening times.

Orson’s first port of call was the Jumanji ride, however, he was clearly less than impressed. “All it was was screens, pitch-black corridors and emergency exit signs,” he said.

Next was the rollercoaster, Sharman, which again didn’t live up to it’s billing, according to Orson. “I spent 20 minutes queuing up, but found it actually opens at 12 – not 11, or at 10 when the park actually opened.”

Orson moved on to the newly remodelled Dragon Empire only to discover the China-themed area was also closed until 12pm.

Like its UK cousin, Alton Towers, meanwhile, Gardaland is also home to an Oblivion ride, which sees guests plummet vertically through a black hole underground. “Only a 40-minute queue to get into the queue – where you have to then queue for another 80 minutes,” Orson alleged, pointing that the park’s app only stated a 60-minute waiting time.

He added that whilst it is longer than the Oblivion back home, the Italian ride “lacked any forces”.

Orson gave another coaster – Blue Tornado – “a miss” due to its 120-minute waiting time, before slating the park’s policy on drinks – alleging staff prevented him from refilling his bottle with water. “Coffee machines at other kiosks we broken so I gave up and bought a Coke instead,” he added.

Hoping to cool off on a water ride, Orson was again put off by a “two-hour queue” on the Fuga da Atlantide log flume, before his second attempt to ride Sharman proved futile as the ride broke down an hour after he joined the queue.

Orson continued, moving on to the ‘wing coaster’, Raptor. “I waited 20 minutes in the single-rider line and it’s advertised at 80 [minutes],” he said. “It’s only one train though. It’s diabolical… one train for your main coaster.”

He closed: “I hate to be a grouch, but I think I’m going to leave. The park’s getting busier and it’s open until nine and I’m just not having fun, so what’s the point?”

Orson couldn’t resist riding steel rollercoaster, Mammut on his way out though – something that left him pleasantly surprised. “Credit where it’s due,” he praised. “A fantastic family coaster, though not so fantastic with the operations – I was told ‘no single riders’, but luckily I was able to squeeze on.”

He summed the day up in a caption: “Never has a park been so disappointing. Jumanji was so high on my bucket list for dark rides but the ride just wasn’t in a good state, it felt old and uncared for, 0 immersion and broke done frequently. As did most of the park, Its a shame as the park has the infrastructure to be an amazing place. I struggle to find a positive.”

Writing in response, however, others detailed their positive Gardaland experiences. “Love Gardaland, I live close by and go there each summer with the ticket from 6pm,” one person said. “Last time I did 11 rides (Shaman twice, Raptor, Oblivion, Jungle Rapids, Prezzemolo Magic House). I think parks in US are better, but for Italy it’s fine.”

Another praised: “You were just unlucky to go on a crowded day. I’ve always gone in October during the week and the longest I’ve waited for any attraction has been ten minutes. I love Gardaland, but you have to go when you know that children are at school and many are working.”

And a third TikTok user added: “I went to Gardaland multiple times. You went on a busy day without express so that explains the queues. In my later visits the operation were awesome and they were running all trains and everything was good. Raptor is pretty forceful in my opinion.”

One individual who agreed with Orson, hit out: “Happens when there is no alternative. There are only 2-3 big theme parks in the whole country with actual coasters, all of them are always so busy at the point that it isn’t possible to have fun.”

A Gardaland spokesperson said: “We truly value all feedback from our guests, as it helps us improve and offer the best possible experience at Gardaland Resort. We appreciate that this visitor’s experience did not meet his expectations, and we’re always committed to learning from such feedback to continue enhancing our guests’ enjoyment. Every season, we welcome millions of visitors who share very positive experiences, and we always strive to ensure that each guest leaves with great memories.

“Gardaland Resort welcomes around 3 million visitors every year and, in over 50 years of operation, has hosted more than 100 million people from all over the world. Our daily commitment is to offer memorable experiences to families and visitors of all ages, thanks to the quality of our attractions, food and beverage offerings, and the many dedicated services available.

“We understand that the guest’s visit took place during Gardaland Oktoberfest, one of our most popular seasonal events which – together with Gardaland Magic Halloween (currently underway) and Gardaland Magic Winter – has been attracting thousands of visitors for over 20 years, consistently receiving extremely positive feedback. As is the case in all major theme parks, waiting times can vary depending on attendance levels and attraction opening hours. An unfortunate single occurrence does not represent the experience that thousands of families enjoy at Gardaland every day, and we would be delighted to welcome this guest back to rediscover the magic of the Park.

“Confident that we will continue to offer magical and memorable experiences for all our guests, we remain available should the visitor wish to provide us with further details, so that we may look into this further.”

The island was named the sunniest place in the UK by the Met Office – and it gets more sunshine than parts of Italy during the winter months

You don’t need to jet off to far-flung destinations for a dose of winter sun – there’s a UK island that boasts more sunshine than parts of Italy.

The Isle of Wight has been crowned the sunniest spot in the UK by the Met Office, outshining even Milan and Geneva during the winter months.

According to research from Isle Escapes, the island enjoys an average of 78 hours of sunshine per month between November and February.

That’s a staggering 12 percent more than Milan’s 70 average hours, 15 percent more than Geneva’s 68 hours, and 20 percent more than Paris’ 65 average winter sunshine hours.

This balmy climate could be due to the warming effect of the Solent – the strait that separates the Isle of Wight from mainland England, reports the Express.

The island benefits from its own micro-climate, which means it typically avoids extreme weather conditions like heavy snowfall and thunderstorms during the winter season.

Not only is it the sunniest place in the UK, but this is particularly noticeable during the winter, when the Isle of Wight basks in 42 percent more sunshine hours than the rest of the country.

If you’re keen to soak up some of this sun for yourself, the Isle of Wight offers a fantastic island getaway without straying too far from home.

Located just off the coast of Hampshire, the island is renowned as Britain’s dinosaur capital, with the remains of over 20 species discovered on the island.

The Isle of Wight is a top-notch destination for cycling enthusiasts, boasting numerous tracks and paths that crisscross the island.

For those up to the challenge, you can cycle around the island in a day – a well-signposted route of approximately 105km.

While mostly flat, there are some inclines that will give your thighs a workout, and it can get breezy, so be prepared.

If you’re after a more laid-back holiday, the Isle of Wight has plenty to offer. There’s a host of family-friendly attractions, including the Monkey Haven animal sanctuary, home to meerkats, gibbons, and even snakes, all cared for by keepers who love to chat about their work.

History buffs can visit Osborne – Queen Victoria’s country retreat and family home, now open for tours. After her first visit to Osborne, Queen Victoria wrote: ‘It is impossible to imagine a prettier spot’, and she wasn’t wrong.

A trip to Osborne offers something for everyone. Inside the house, you’ll get a glimpse into Royal life as you explore private apartments and grand reception rooms filled with beautiful furnishings and artworks from the Royal Collection.

And if the sun is out (which it likely will be), you can stroll through flower-filled gardens and relax on the beach where the Royal children learnt to swim.

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If you’re yearning for a trip to the Isle of Wight, it’s easy to reach from mainland UK. Daily flights depart from Heathrow and Gatwick, or you can opt to fly to Bournemouth or Southampton before hopping on one of the 150 ferry connections to the island which take as little as 45 minutes.

Since the Isle of Wight is part of the UK, there’s no need for your passport – just pack your bag and perhaps a sunhat.

MAFS UK decsended into chaos once again tonight, as one groom broke down in tears after his wife told him he was ‘too negative’ during a camel ride in Morocco

Another honeymoon spiralled into disaster during tonight’s episode of Married At First Sight, as Julia-Ruth and Divarni headed off to Morocco.

The couple tied the knot during last night’s E4 episode, and they instantly bonded, with Divarni even going as far as to say it was “love at first sight”. However, tonight things took a huge U-turn with Divarni left in tears after a ‘disastrous’ camel ride date.

Things started to change the morning after the wedding, when Julia said that she’d woken up with a different thought, and despite being a sexual person, the desire wasn’t there for her.

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Things took an awkward turn when they arrived at their destination, and began talking about their first impressions of each other after walking down the aisle.

“I think there was an expectation around height,” Julia-Ruth told her new husband. “I have dated taller guys,” she said, before crying to the cameras, telling them she “didn’t want to be mean to him”.

Divarni was left shocked, telling cameras he was hurt by the admission. However, they didn’t let it put a halt to the honeymoon, as Julia-Ruth seemed bored in her husband’s company.

Things got too much during their camel ride, as Julia-Ruth asked Divarni what his greatest fear was – but the answer isn’t what she was expecting.

“Growing up, I was always alone,” he said. “I think knowing that I could probably be alone for the rest of my life, that would be the worst.”

Speaking to the cameras, Julia-Ruth said: “That’s not what I meant at all. With Divarni it’s quite hard to see the fun, light-hearted side. It’s just too deep, he doesn’t see any positives, it’s just too much.”

She then went on to tell her groom that he “focuses on the negatives” which will make him attract it. “The camel ride was a disaster,” she told cameras. “I can’t lift us both up.”

Later at dinner, the pair talked it out, with Julia-Ruth saying she needed positivity and fun. “I don’t want you to feel that you can’t open up to me because that’s not what the case is. There just needs to be a balance and a time and place for things.”

Divarni responded that it wasn’t his intentions to “be Mr Negative” – while his bride responded: “The last thing I want to do is have a talk about traumas and then, like, get into bed with you,” as they slept in separate rooms.

Opening up once again to the cameras, Divarni said: “The thing that hurt me the most is sleeping in separate rooms, but if she needs her space, I’lll give her space.”

He was then seen with his head in his hands as he sat on the floor in tears, but can they come back from this?

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“The Wizard of Oz” is certainly the right movie to face the great and powerful ambitions of Sphere, the most expensive entertainment venue in Las Vegas history. Since 1939, the treasured classic has hailed the awe of gazing into a glowing globe, whether it’s glinting atop a fortune teller’s table, transporting the meddlesome Glinda the Good Witch or spying on a teenage girl and her companions like a sinister security camera.

Special effects are central both to “Oz’s” appeal and its plot: The big reveal is that technicians, not wizards, pull the levers that make an audience gasp. For Sphere — officially, there’s no “the” — those tools include three football fields of bright 16K LED screens that curve around its domed interior, with another 10 on the outside that light up Vegas day and night with rotating animations. (I saw blue gingham, scarlet sequins and thatches of burlap and straw.) Sphere cost an estimated $2.3 billion to build and must have an electricity bill scarier than the Wicked Witch. You can make out Dorothy’s slippers from an airplane.

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With no heel clicks needed, I was whisked to “The Wizard of Oz’s” Sphere premiere in a red sedan by a Lyft driver named — no fooling — Ruby, who said she was grateful that the Backstreet Boys’ recent stint at the arena “made Vegas busy for a minute.” There’s a lot of financial pressure on “Oz’s” girl from Kansas. Adapting the film to Sphere’s stunning dimensions took about $100 million. Although the arena seats 17,600 when full, “Oz” showings only offer a slice of the middle section, roughly a third of its capacity. A trimmed 70-minute edit of the movie is playing two to three times a day, nearly every day, through the end of March 2026, with a ticket price that currently starts at $114.

Eighty-six years ago, when a kiddie fare cost 15 cents, my then-6-year-old grandmother watched the theater blink from sepia to vivid color splendor. That innovation gets credited to Hollywood, but the idea of contrasting lush and luminous Oz against soul-drainingly monochrome Kansas is actually right there on Page 1 of L. Frank Baum’s book, published in May 1900, a self-proclaimed effort to write a “modernized” fairy tale that swaps Old World elves for American scarecrows. “When Dorothy stood in the doorway and looked around, she could see nothing but the great gray prairie on every side,” Baum wrote, adding that her house and her weary aunt and uncle and everything else were gray too, “to the edge of the sky in all directions.”

That’s exactly what Sphere was designed to do: stretch to the edge in all dimensions. It exists neither to save film nor supplant it, but to augment a rectangular screen with new digital and (controversially) generative-AI-supplied imagery, timed props and seats that vibrate whenever the Wicked Witch cackles.

Despite my queasiness about cutting “Oz” by half an hour, the experiment is a romp. I was immersed in — or, more accurately, surrounded by — scenes from one of my favorite movies, a pivotal blockbuster whose artistic influence extends from David Lynch to Elton John to Salman Rushdie. Even more giggle-inducing, I was pelted with scented foam apples and dive-bombed by half a dozen drone-piloted flying monkeys.

“The Wizard of Oz” has always braved new technology. An early adopter of Technicolor, it boasted a lighting budget nearly double that of its rival, “Gone With the Wind,” yet the latter gobbled nearly every Academy Award and poached “Oz’s” director, Victor Fleming, who swapped projects halfway through and won an Oscar for his vision of Sherman’s March instead of the Yellow Brick Road. In the 1950s, when the rest of Hollywood was terrified of television, “Oz” agreed to be the first theatrical movie to screen in full on a prime-time network. TV transformed the prestige money-loser into a hit. Sphere has turned “Oz” into a flash point in the industry’s fundamental fight over the use of AI. Artists and audiences alike fear a future in which, behind the curtain, there might not be a man at all.

I like my art made by human beings. But I’m no nostalgist. “Oz” was a book, a musical, a silent short and a cartoon before MGM made the variant we adore. It should be a playground for invention.

Entering Sphere, the escalators are tinted sepia and the soundscape hums with birdsong and lowing cattle. The implication is that we’ve not yet been whirled over the rainbow. Preshow, the view from one’s seat is of being in a massive old opera house with dusky green drapes flanked by rows of orchestra seats. None of the proscenium is actually there, nor are the musicians heard running scales and rehearsing “Follow the Yellow Brick Road.”

The simulation of human handicraft — of stagehands and horn players hiding in the wings — is unnerving. But it gets you thinking about the actual, contemporary people who are behind that curtain. Visual artists who labored on the Sphere project have justly grumbled that their sweat has gotten publicly dismissed as AI. An actual symphony orchestra rerecorded “Oz’s” mono score on the very same MGM stage used in 1939, allegedly with some of the same instruments. It sounds fantastic, and it’s so loyal to every jaunty warble that audiences might not notice.

A few scenes have been lopped off entirely. The Cowardly Lion no longer trills about becoming king of the forest. The majority of the shots have been micro-trimmed to be snappier, a pace that wouldn’t suit stoners’ penchant for synchronizing the movie to Pink Floyd’s dreamy, woozy “The Dark Side of the Moon.” Occasionally, the camera’s placement appears to have been adjusted to allow the visuals to expand to fill the space. Inside Dorothy’s Kansan house, a once-shadowed frying pan on the wall now dangles front and center, as does a digitally added “Home Sweet Home” needlepoint nailed to the threshold. (The plotting has become so brisk that we might otherwise miss the message that there’s no place like it.)

The tweaks can be subtle and lovely. Dorothy belts “Over the Rainbow” underneath newly actualized bluebirds and an impressively ominous sky. When the tornado happens, the tech changes hit us like a cyclone. We’re pulled through the window and into the eye of the storm, where a cow spirals around like it wants to outdo the scene-stealing bovine from “Twister.” A great, giddy blast of air from the 750-horsepower fans blew my bangs straight off my forehead. I kept one eye on the screen while trying to catch a flurry of tissue-paper leaves. The wow factor is so staggering that you might not spot that Sphere’s founder and chief executive, James Dolan, and Warner Bros. president and CEO David Zaslav have superimposed their faces on the two sailors twirling past in a rowboat — an apropos in-joke for people concerned the moguls have been swept away by their own bluster.

“Anyone can blow wind into your face,” Dolan said to the premiere audience before the film began. “Not everyone can make you feel like you’re in a tornado.” Wearing the Wizard’s green top hat and suit and with his microphone dropping out inauspiciously, Dolan never introduced himself, but he did compliment the other creators of the event, who also wore costumes. (I overheard that some of them thought Dolan was kidding about dressing in character until they found themselves spending four hours getting groomed to look lionesque.)

Just a week earlier, in trial runs, perfumes were piped into the air so people could get a whiff of the Emerald City. (Gauging by the souvenir candles in Sphere’s gift shop, it is chocolate mint.) They’ve currently been scaled back out of concerns that it all might get too overwhelming. Having figured out how to do sight, sound, feel and smell, Dolan conceded that only one sense remains: “We still haven’t figured out taste.”

Taste is definitely still a concern. Oddly, Sphere’s “Oz” loses a dram of its spellcraft once audiences touch down in Munchkinland. Seeing the newly added tops of Oz’s trees makes the fantastical place look smaller.

The margins of “The Wizard of Oz” have been expanded by generative AI to fit the enormous venue.

(Rich Fury / Sphere Entertainment)

You feel for the design teams. They’ve been challenged to magnify a 4-foot matte painting of the arched hallway into the Wizard’s throne room — initially done in pastels on black cardboard — into a 240-foot-tall tableau. One of the 1939 film’s production designers, Jack Martin Smith, said that his instructions were to make Oz “ethereal” and “subdued.” Descriptions of the cornfield’s hand-painted muslin background make it sound like a proto-Rothko. Now, you can see every kernel. The razor-sharp mountains on the horizon don’t inspire your imagination — they make you think of Machu Picchu.

More troublesome are the Munchkins and the citizens of Emerald City. Tidied into high definition, they often appear restless. As Dorothy pleads for the Wizard not to fly away without her, we’re distracted by hundreds of waving extras who visibly don’t give a hoot what happens to the girl. Worse, they occasionally seem to glitch. If that’s the best AI can do in 2025, then Sphere isn’t a resounding endorsement.

By contrast, Judy Garland’s performance, delivered at just age 16, feels monumental. Her big brown eyes dominate the screen. When the heartbroken girl sobs that the Wicked Witch has chased away her beloved Toto, I found myself annoyed by a flying monkey on the left side of the frame who simply looked bored.

The field of poppies is dazzling; the additional deer, ants and rodents skittering across the golden sidewalk are simply strange. Overall, you’re so caught up observing the experience itself that the emotions of the story don’t register as anything more than theme-ride hydraulics. Still, it’s nice to have a sweeping view of the first film’s prosthetic makeup: the Cowardly Lion’s upturned nostrils, the Scarecrow’s baggy jowls, the real horses painted purple and red with Jell-O. (Due to pace tightening, we only see two ponies, not all six).

I recoiled when the Wizard’s disembodied head loomed above. Who decided to make him look like a cheesy martian? Flipping through sketches from 1939 afterward, I realized that he always looked that bad. His gaunt cheekbones just weren’t as obvious before. Nevertheless, be sure to look to the right when Toto reveals Oz’s control booth. In a clever touch, Sphere lets us continue to see the monstrous green face, now neutered and ridiculous, mouth along as the panicked geek apologizes for being a humbug.

Can Sphere win big on its risky gamble that there’s no place like dome? It’s not the first Las Vegas attraction to bet on our love for the MGM extravaganza. “The Wizard of Oz” has been tangled up with Las Vegas’ fortunes for more than half a century, ever since real estate investor Kirk Kerkorian purchased MGM Studios in 1969 and, one year later, auctioned Dorothy’s slippers to help fund the construction of the first MGM Grand Hotel and Casino. The second MGM Grand, the one that opened in 1993, was branded for “The Wizard of Oz” — that’s why it’s green like Emerald City — and during the first year, visitors could walk through an animatronic forest of lions, tigers and gamblers.

The Strip was once a magical place where innocents like Dorothy flocked to get into trouble, often in encounters with sleight-of-hand hucksters like Professor Marvel. Hopes are high that tourists will come back to be transported to Oz, even at a ticket price that costs a chunk of the family farm. The hurdle is that although audiences have become begrudgingly accustomed to spending more than $100 to see their favorite bands, they’re still seeing an actual band and not a shortened version of a movie that’s popular in part because everyone grew up watching it on TV for free.

But on opening night at least, the crowd was treating the cinema like a concert. Many folks were in some sort of costume, including me. (I couldn’t resist wearing a pair of red shoes.) When I complimented a man’s blue gingham suit, he handed me a handmade beaded, Taylor Swift-style bracelet that read: Toto Too.

If fans like him turn this techno-incarnation of “Oz” into a hit, Sphere has said it would consider following it up with a similar presentation of “Gone With the Wind.” Imagine the smell of the burning of Atlanta. Much better than the air of burning money.

THE family of a fairground worker who died after being “hit in the head by a ride” have paid tribute.

Corrie Lee Stavers, 28, tragically died in the accident at the Spanish City Summer Fair in Whitley Bay, Tyne and Wear, on Saturday afternoon.

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The dad-of-one suffered fatal injuries after a ride hit his head while he was trying to retrieve his jacket, his family said.

Speaking to MailOnline, Corrie’s dad Lee Stavers, 50, paid tribute to his son as an “amazing father”.

He explained that Corrie’s son Lennie had been “left without a father”, saying: “He absolutely doted on that child. He was an absolutely wonderful father to him.”

Lee said he believed Corrie enjoyed his work, saying he was “happy” in pictures at fairground sites.

Describing his late son, Lee said: “He was just a very kind, loving lad. He would do anything for anybody, if anybody asked him to do anything, he would just do it regardless.

“He was always one of them lads who just wanted to please. He just wanted to be loved. He was a brilliant father.”

The 50-year-old also explained how the police had spoken to them about the “absolute tragedy”, saying they understood Corrie had been operating the ride when he was hit.

They believe he may have gone to grab his jacket or another item but had then been hit by the ride.

Lee, who does not use social media, tragically revealed that he only found out about his son’s death after a colleague told him to urgently contact his family. 

A GoFundMe page has also been setup in honour of “our beloved Corrie” by his family.

The fundraiser states: “It’s with broken hearts that we share the devastating news that our beloved Corrie has passed away.

“He was tragically taken from us in an accident while working on a fairground ride. None of us were prepared for this, and the pain of losing him so suddenly is impossible to put into words.

“Our lives will never be the same without him, but his memory will live on in our hearts forever.

“We love you endlessly Corrie, and we miss you more than words can ever say. Your with your mam now. Rest in peace Corrie.”

The family added that any donations would be “highly appreciated”, since the family were “not financially ready for this”.

They continued: “Any donation towards giving our beloved Corrie the send off he deserves our family will be ever so grateful.

“We know he was a much loved young lad,any donations left over after the funeral costs will be put in a trust fund for Corrie’s five-year-old son Lennie-Lee.”

Lee revealed that Corrie used to be a very keen boxer but had been forced to stop after suffering a nose injury.

Almost £3,000 of the £4,000 target has already been raised, at time of writing.

Northumbria Police is working alongside the Health & Safety Executive (HSE) to investigate the tragedy.

‘If anyone mysteriously vanishes, I can be Poirot,” said the passenger from India, twirling his moustache. It felt as though the spirit of Agatha Christie’s most famous character – best known for solving the Murder on the Orient Express – was lingering in the breeze at Palermo’s sublime botanical garden, which had been transformed into a makeshift waiting room for the 40 or so travellers about to board an Italian replica of the fabled train.

Sipping espresso and sampling cannoli, the classic Sicilian pastry, the curiosity and suspicion for which Poirot is famous was palpable as the passengers subtly sized each other up. But the only mystery waiting to be unravelled over the next couple of days was whether their Rome-bound journey on La Dolce Vita Orient Express would live up to their dreamy expectations.

British cyclist Finlay Pickering took a 200km taxi ride and arrived without his luggage following a flight delay to accept a late call-up for his first Vuelta a Espana.

The 22-year-old was called upon to replace injured Bahrain Victorious team-mate Damiano Caruso less than 24 hours before the start of Saturday’s opening stage.

Pickering, only able to take the call after being late to head out on a training ride, travelled in a taxi from Andorra to Toulouse before flying to Turin.

A delay meant he arrived at the race with only the contents of his hand luggage – although fortunately that included his shoes.

It was far from ideal preparation for the Yorkshireman’s first stage at a Grand Tour race, but he managed to finish stage one in 153rd place.

“It was actually really lucky. I had a problem with a pair of training wheels and they were in a bike shop so I was a bit late going out training,” Pickering explained.

“I was on the way to pick them up when I got a call from management saying: How quickly can I be in an airport?

“The first flight was delayed, so I didn’t get my suitcase. But at least I managed to pack two pairs of shoes [in my hand luggage] so I can start.

“I’ve got a set of boxers, a set of socks, and the team are really good at looking after me, so no stress.”

He added, speaking before starting the Vuelta: “I’m pretty ready. I’m a bike rider and this is a bike race, after all – even if it’s a pretty big one.”

Belgium’s Jasper Philipsen won the first red jersey of this year’s Vuelta a Espana after taking victory on the opening stage in a sprint finish.

The Snaefell Mountain Railway on the Isle of Man is the only electric mountain railway in the British Isles and is steeped in history, culture and pure imagination

The only electric mountain railway in the whole of the British Isles is rich in history, culture and sheer wonder.

The Snaefell Mountain Railway climbs from Laxey to the peak of Snaefell – the highest mountain on the Isle of Man – standing a staggering 2,036ft above sea level, serving as the enchanting gateway to seven mythical kingdoms.

Constructed in 1895, the service typically runs from March to November and takes about 30 minutes for a one-way trip.

Travelling along a five-mile track, it uses electricity from overhead wires at approximately 550 volts to operate, remaining faithful to its original Victorian-era infrastructure, ferrying passengers who come from all corners of the globe to catch a glimpse of this world wonder.

Upon reaching Snafell, or ‘Snow Mountain’ as it’s often called, visitors will make their way into five wooden electric railcars. Each of them are numbered from one to six, though you’ll soon notice that number three is mysteriously absent, reports the Express.

It appears it was destroyed in an incident where the car derailed back in 2016. Whatever remained of it has been gathered and is reportedly due to be rebuilt at some stage, so stay tuned.

The main station on the line is the interchange with the Manx Electric Railway at Laxey. The only stopping place is Bungalow, the halfway point where the line crosses the A18 Mountain Road, notorious for the perilous and deadly Isle of Man TT race.

A stone’s throw away, visitors can find the Manx Museum in Douglas, a treasure trove housed in an ex-hospital with exhibits featuring Viking silver, Celtic crosses and the Tynwald – the world’s oldest continuous parliamentary body.

The museum’s creation aimed to revamp the Isle of Man’s image following tough times in the mid-19th century.

Sir Henry Brougham Loch, the lieutenant governor, played a pivotal role by initially promoting Douglas as a spa destination, triggering a seaside holiday surge.

An impressive 1,500 hotels were established to accommodate roughly 350,000 summer tourists. Yet, Loch recognised most visitors lingered only in the capital, prompting the construction of a railway network that would transport them across the island.

Andrew Scarffe, technical support officer at Manx Heritage Railways, told the BBC about the impact of the railway: “When the railway opened, it was like science fiction. Droves of people came over on the ferry just to see its electric technology and innovation.”

Scarffe shared a little-known fact: “What’s rarely spoken of is we were 130 years ahead of the rest of the world with green travel. We began generating our own power back in the 1890s to run the railway, and the electric tram cars are still doing what they were built to be doing.

“Slow travel by electric train? It all started here.”

In its heyday, the railway service boasted a million passengers annually. However, this grand Isle of Man tradition has seen a decrease in recent years, though an estimated 200,000 people still board the train each year, soaking up the immense historical splendour this small island has to offer.

A JOCKEY banned from racing for his role in the ‘biggest race-fixing storm ever’ was beaten by a 40-1 outsider on his first ride back in 14 years.

Greg Fairley beat William Buick to the Champion Apprentice title in 2007 and looked all set for superstardom in the saddle.

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He would go onto Group 1 glory and massive prize money earnings of £2.8million on the track over a few short years, banging in 381 winners in Britain alone.

But his career looked done and dusted in 2011 when he was hit with a colossal ban for two of the most serious rules breaches.

He was found guilty of riding a horse to lose – ‘failing to obtain the best possible placing’ – and passing on inside information for reward.

A total of 11 people were sanctioned by the BHA for what at the time was called the ‘largest race-fixing ring ever exposed in British racing history’.

Fairley and fellow jockey Paul Doe were warned off for a dozen years, while two owners were banned for 14 for betting on their horses to lose, ‘corrupting’ jockeys in the process.

Fairley last rode 14 years ago but, having served his time and been regranted a licence by the BHA, he made his comeback at Ayr on Monday.

Scottish trainer Iain Jardine gave Fairley, who in his own words ran away’ back home to Scotland to run a tree surgery business before the BHA announced his ban, the ride on 4-1 Superior Council.

The six-year-old gelding, who had finished first and second on his two most recent starts, had been backed into as short as 3-1 before drifting slightly before the off.

But despite jumping well from the stalls he found little in the 6f race and finished eighth pf 16.

Former Amo Racing jockey Kevin Stott was on the winner – two-time Grand National champ Lucinda Russell’s 40-1 South Road.

In a statement written before his return, Fairley addressed his past ban and said it’s all now behind him as he focuses on winning again.

Fairley wrote: “Fifteen years ago I chose a path that was wrong and paid a justifiably significant price for my poor decisions.

“I’m incredibly grateful to the licencing committee of the BHA for giving me a second chance.

“I would also like to thank Sandy Thomson, Iain Jardine and Charlie and Mark Johnston who have all been very supportive.”

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Remember to gamble responsibly

A responsible gambler is someone who:

• Establishes time and monetary limits before playing
• Only gambles with money they can afford to lose
• Never chases their losses
• Doesn’t gamble if they’re upset, angry or depressed
• Gamcare – www.gamcare.org.uk
• Gamble Aware – www.gambleaware.org

Find our detailed guide on responsible gambling practices here.

PUNTERS are convinced they know who Ryan Moore will ride in the Epsom Oaks – after an intriguing price crash came seemingly out of nowhere.

Aidan O’Brien has three in the Friday Classic ahead of Thursday’s declarations.

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But just who Moore would choose out of Giselle, Whirl and Minnie Hauk looked anyone’s guess.

Bookies thought they had some inkling as they made Minnie Hauk, who was 8-1 just 48 hours ago, the outsider of the Ballydoyle trio.

But the Cheshire Oaks winner’s price has been smashed into as short as 7-2 following a tidal wave of support.

Punters think her odds crashing – and Giselle and Whirl’s going the opposite way – are a sign Moore has chosen who he will partner, with one proclaiming: “That’s Ryan Moore’s ride.”

Paddy Power’s Paul Binfield said: “The front two in the Oaks market have both been strong today, but particularly Cheshire Oaks heroine Minnie Hauk.

“That support would indicate that punters are pretty sure that of Aidan O’Brien’s three possible protagonists, Ryan Moore has chosen to partner this very talented Frankel filly.”

Whoever Moore rides will have to go some to beat Charlie Appleby’s red-hot Oaks favourite Desert Flower, though.

The 1000 Guineas winner has been obliterated into just 6-5 with some firms.

Legendary jockey Kieran Fallon, who rides out at trainer Charlie Appleby’s Moulton Paddocks yard, said she was a cut above.

And punters think so too, with Desert Flower looking like she could be the shortest-price winner since O’Brien’s 11-10 Love in 2020.

Epsom Oaks odds via Paddy Power

5-4 Desert Flower
7-2 Minnie Hauk
7-1 Giselle, Whirl
10-1 Elwateen, Revoir
20-1 Quilin Queen, Wemighttakedlongway
50-1 Go Go Boots

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Remember to gamble responsibly

A responsible gambler is someone who:

• Establishes time and monetary limits before playing
• Only gambles with money they can afford to lose
• Never chases their losses
• Doesn’t gamble if they’re upset, angry or depressed
• Gamcare – www.gamcare.org.uk
• Gamble Aware – www.gambleaware.org

Find our detailed guide on responsible gambling practices here.

SACRAMENTO — When the top Democratic candidates for governor took the stage at a labor forum last week, the digs at Gov. Gavin Newsom were subtle. The message, however, was clear. Newsom’s home stretch as California governor may be a bumpy ride.

Newsom hopes to end his time as governor in an air of accomplishment and acclaim, which would elevate his political legacy and prospects in a potential presidential run. But the Democrats running to replace him have a much different agenda.

“Lots of voters think things are not going well in California right now. So if you’re running for governor, you have to run as a change candidate. You have to run as ‘I’m going to shake things up,’ ” said political scientist Eric Schickler, co-director of the Institute of Governmental Studies (IGS) at UC Berkeley. “In doing that, you’re at least implicitly criticizing the current governor, right?”

Not only must Newsom swim against that tide until his final term as governor ends in less than two years, he’s being buffeted by the perception that he’s moving rightward to broaden his national appeal in preparation for the 2028 presidential race.

A new IGS poll, co-sponsored by the L.A. Times, earlier this month found that California registered voters by a more than two-to-one margin believe Newsom is more focused on boosting his presidential ambitions than on fixing the problems in his own state.

Newsom faced criticism for showcasing conservative activists on his podcast, “This is Gavin Newsom,” especially when he agreed with Trump loyalist Charlie Kirk that it was “unfair” for trans athletes to compete in women’s sports.

But he also pushed back against Kirk and others during the interviews. He said from the outset that he intended to engage with people on the opposite side of the political spectrum, but that did not blunt the criticism he received. Assemblymember Christopher M. Ward (D-San Diego), the chair of the California Legislative LGBTQ Caucus, said he was “profoundly sickened and frustrated” by Newsom’s remarks about trans athletes.

The Democratic governor took heat last week from progressives for his proposed budget cuts to close a $12-billion deficit, including cuts to free healthcare for eligible undocumented immigrants. Sociologist G. Cristina Mora, also co-director of Berkeley’s IGS, said it’s not surprising “knives are going to be out” during tough budget times, but there’s more to Newsom’s current predicament.

“The big problem for Newsom is that most people see him as focused outside of California at a dire time,” Mora said. “So all his moves that he’s making, whether this is truly him being more educated and coming to the middle, are seen through that lens.”

Not-so-friendly fire

Though Newsom’s name was not uttered when seven of the Democratic candidates for California governor took the stage last week in Sacramento, his presence was certainly felt.

The event was held by the California Federation of Labor Unions and the State Building and Construction Trades Council of California, so there was ample praise for California workers and plenty of epithets hurled at President Trump.

And a healthy dose of dissatisfaction about the tough economic times facing many Californians. Notably, Newsom had just a couple of weeks before he celebrated California’s rank as the fourth-largest economy in the world; for years he has boasted of the state’s innovative and thriving economy.

Former Los Angeles Mayor Antonio Villaraigosa didn’t appear that impressed, saying California also has the highest cost of living in the nation.

“We love to say we’re the fourth-largest economy in the United States, what we don’t say is we have the highest effective poverty rate,” Villaraigosa said to a hotel ballroom packed with union leaders. “So let’s deal with the issues that are facing us here in California.”

Former Controller Betty Yee offered a similar assessment.

“In California, we are the fourth-largest economy in the world, but when you peel that back, how’s that working for everybody?” she asked.

Six of the seven Democratic candidates said they would support providing state unemployment benefits to striking workers. Villaraigosa was the sole candidate who expressed reservations. Newsom vetoed a bill in 2023 that would have provided such coverage, saying it would make the state’s unemployment trust fund “vulnerable to insolvency.”

Every candidate present vowed to support regulating how employers use artificial intelligence in the workplace, technology that labor leaders fear, if unchecked, would put people out of work. Newsom has signed legislation restricting aspects of AI, but he has also said he wants to preserve California’s role at the forefront of technology.

Afterward, Lorena Gonzalez, president of the California Labor Federation, complained that labor leaders “can’t even get a conversation out of Gavin Newsom” about regulating AI.

Barbs from labor aren’t a new experience for Newsom. Union leaders have at times clashed with the ambitious governor over legislation he opposed that supported pro-union labor agreements with developers and regulating Big Tech.

Gubernatorial candidates taking direct or indirect shots at the incumbent, even those who belong to the same party, also is nothing new. During a candidate debate in 2018, Newsom took a subtle jab at then-Gov. Jerry Brown for the state’s response to the homelessness crisis.

“What lacks is leadership in this state,” Newsom said.

To this day, Newsom says he is the only California governor to launch a major state effort to address the crisis.

Knives out during tough budget times

Newsom also faces the difficult task of having to wrestle with an additional $12-billion state budget shortfall next year, a deficit caused mostly by state overspending Newsom says is being exacerbated by falling tax revenues due to Trump’s on-again-off-again federal tariff policies.

The governor’s proposed cuts drew criticism from some of his most progressive allies and again stirred up rumblings that he was trying to recast himself as a moderate.

To save money, Newsom proposed scaling back his policy to provide free healthcare coverage to all low-income undocumented immigrants. The governor’s budget also proposes to siphon off $1.3 billion in funding from Proposition 35, a measure voters approved in November that dedicated the revenue from a tax on managed care organizations to primarily pay for increases to Medi-Cal provider rates.

Jodi Hicks, president and CEO of Planned Parenthood Affiliates of California, called the governor’s proposed budget cuts “cruel.”

Sen. Lena Gonzalez (D-Long Beach), co-chair of the Latino Legislative Caucus, said members would oppose Newsom’s Medi-Cal cuts, and rallies against Newsom’s proposal are planned at the Capitol this week.

During his budget news conference on Wednesday, Newsom also took aim at California’s cities and counties, blasting them for not doing enough to address the state’s homelessness crisis. Newsom also renewed his call for cities and counties to ban homeless encampments.

“It is not the state of California that remains the biggest impediment,” Newsom said. “The obstacle remains at the local level.”

Carolyn Coleman, executive director of the League of California Cities, returned fire, saying Newsom’s proposed budget “failed to invest” adequately in efforts by cities to not only alleviate homelessness, but also improve public safety and address climate change.

The Onion, the satirical website that delights in needling politicians in faux news stories, didn’t miss the opportunity to send a zinger Newsom’s way at the end of last week.

Under the headline “Gavin Newsom Sits Down For Podcast With Serial Killer Who Targets Homeless,” the fake article mocks both the governor’s podcast and efforts to address homelessness and purports that Newsom asked the killer what Democrats could learn from his tactics.

What else you should be reading

The must-read: For Kamala Harris, it’s not just whether to run for California governor. It’s why
The deep dive: Europe’s free-speech problem
The L.A. Times Special: When the deportation of an illegal immigrant united L.A. to bring him back

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The UK’s favourite amusement park has had a big new addition to its line-up this week, as one of its iconic attractions was officially unveiled with a new look – and a brand new name

It’s been a bumper year for UK theme parks, with Universal Studios announcing its arrival and major new attractions popping up at Alton Towers and Thorpe Park. Closer to Greater Manchester, Blackpool’s Pleasure Beach Resort has also been making waves, particularly this week with the grand reveal of its revamped and rebranded Launch Pad.

I was among the first to test the ride on Wednesday morning (May 7), just hours before it officially opened its doors to the public, writes the Manchester Evening News’s Adam Maidment. It’s a heart-pounding adrenaline rush as riders are catapulted 210ft into the air at a blistering 80mph.

READ MORE: ‘Gorgeous’ £9 body spray perfume ‘just as good if not better than Sol de Janeiro’

A word of advice – keep breakfast light before hopping on. If you’re a regular at Pleasure Beach Resort, you might already be acquainted with Launch Pad, albeit under a different guise.

Since its debut in 1997, it’s gone through several name changes – starting life as Playstation: The Ride and later becoming known as Tango Ice Blast and then simply Ice Blast.

But 28 years after its initial unveiling, bosses told me on opening day that it’s been given a ‘new lease of life’. In fact, it’s undergone such a transformation that it’s best considered a brand new ride.

There’s a fresh theme, vibrant new colours, a catchy new soundtrack and even a new cylinder. Diving into the mechanics without getting bogged down in jargon, the thrill of the ride is largely due to the pressure cylinder operating at a whopping 105 PSI, exerting a force of 105 pounds.

Karl Murphy, Pleasure Beach Resort’s engineering director, has previously remarked: “We’ve increased the force, which means the acceleration is greater.”

As someone who’d never experienced the ride’s earlier incarnations, I was essentially going in blind, save for the anticipation of being catapulted skywards. Its longstanding popularity hinted at an extraordinary experience awaiting.

The ride’s space theme is a perfect match, easily conjuring images of being aboard a rocket about to blast off. A brief countdown from mission control and suddenly, it’s lift-off time.

The immediate surge of speed is electrifying, prompting involuntary shouts of excitement (or terror). The sensation of the G-force is palpable, offering a taste of astronaut life without leaving Earth.

And if you manage to regain your composure while suspended 210ft high, do take a moment to appreciate Blackpool’s beauty on a clear day – the sandy stretches, the iconic Tower, and the expansive views are truly breathtaking.

The new attraction may be brief, but it is so engaging that you’ll likely fancy multiple rides if the queues are manageable.

Beyond Launch Pad, visitors can enjoy other attractions such as Valhalla, previously crowned the best water ride in Europe, and the legendary The Big One roller coaster which, at 213 feet tall, has endured admirably for 31 years.

Pleasure Beach Resort recently refreshed Valhalla two years ago – a move that has seen it reclaim its title as the best water ride in Europe – and is maintaining its momentum by updating classic attractions, with River Caves next in line.

At the Launch Pad debut gathering, Pleasure Beach Resort CEO Amanda Thompson OBE underscored the significance of these revitalisations: “Re-imaginings like this one are fantastic for our industry. Not only do they create a new and incredibly powerful ride experience, they’re sustainable, and they allow us to re-invent beloved attractions for generations to come.”

Even to newcomers who missed the ride’s earlier versions, the care and investment poured into reimagining Launch Pad is evident; the attraction has been reborn with abundant new features that almost render it a brand-new experience.

Pleasure Beach Resort is certainly pulling out all the stops to maintain its standing as one of the top theme parks in the UK, and perhaps even further afield.

They’re also gearing up to unveil a brand-new Gyro Swing next year, with a hefty price tag of £8.72m, set to be the largest of its kind on these shores.

You’d do well to add Launch Pad to your itinerary for your next jaunt to Pleasure Beach Resort – it’s sure to sweep away the cobwebs.