second-great ride

It’s the first week of November, and that means it’s officially the holiday season, which is my favorite time to visit our local theme parks. Disneyland is first out of the gate, unveiling its full slate of holiday programming on Nov. 13. Universal Studios Hollywood and Knott’s Berry Farm will follow the weekend of Nov. 20.

For many, it’s also a season of gift giving, which can be one of the most daunting parts of this time of year. Thankfully, our theme parks are here to help — enter any of them and it’s difficult to walk more than a few feet without passing a souvenir shop, stand or stall.

To celebrate the start of the holiday season — and to coincide with the launch of The Times’ extensive gift guide — I’ve decided to dedicate this newsletter to some of my favorite items currently available at our theme parks. A word of warning, however. I’m a bit of a dork for monorails, and I like silly things, so this list does possess a slight personal bias. But like our paper’s guides to stocking stuffers or unique, made-in-L.A. items, consider it primarily a source of inspiration.

Or a reminder, perhaps, to schedule a visit to one of our theme parks this holiday season and bring home a little gift for yourself.

Disneyland

My favorite new item available at Disneyland is essentially a flip book, albeit one styled as a vintage ‘50s-style TV with brown casing that can house multiple oversize flip books. Turn it on, and it springs into action, playing scenes from either “Steamboat Willie,” “The Sorcerer’s Apprentice” or “Flowers and Trees,” all classic pieces of Disney animation. The images unfold, of course, where the screen would be, and the set also plays music from the animated works. This Disney Animation Television (pictured above) is $99, and you can find it at Disney California Adventure’s Off the Page. It is a park exclusive.

I warned I was a monorail fiend, and new this year at the Disneyland Hotel is a collection from midcentury artist Scott “Scooter” Burroughs. I know many a Disneyland fan is a mug collector, so I’m highlighting this Burroughs-designed Disneyland Hotel item, which has the hotel’s vintage logo on one side, and Mickey and Minnie carrying luggage in front of one of the hotel’s towers and monorail on the other. The teal Disneyland Hotel coffee mug (pictured above), complete with an ornate Disney “D” handle, is $24.99 and available in the hotel’s gift shop.

I’m also showcasing the $24.99 monorail salt & pepper shakers (pictured above), which despite having been available for multiple years, remains my favorite gift at the resort. Yes, they’re in the style of Walt Disney World’s current monorails. but I love the mini track holder and smile every time I use them. Available throughout the resort, including Disney Home in Downtown Disney.

A new Fantasyland sweatshirt has arrived at Disneyland.

(Todd Martens / Los Angeles Times)

The Disneyland Resort has in recent years upped its fashion game. Too often I’d spy a shirt or sweatshirt I liked, and turn it around only to find the understated design on the front was paired with a garish creation on the back. Thankfully, the park seems to be moving away from that style, and this year debuted a gorgeous, restrained yet artful Fantasyland sweatshirt featuring a flying pirate galleon from “Peter Pan.” It’s $69.99 and available at multiple shops, including the Disneyland Hotel or the Emporium on Main Street, U.S.A. I love its minimal use of colors, pairing a creamy white with a royal blue.

For the last Disney item, I’m going to pivot slightly to include a selection from Walt Disney World. As I write this newsletter I’m listening to the newly released “Epcot” vinyl (pictured above), a two-LP set that spans the history of the Florida park. As someone who visited the park yearly as a child, it’s a nostalgic joy, featuring music from “Journey into Imagination,” “Universe of Energy,” “The Land” and more, but the primary keepers for me are some of the Future World instrumentals. This is available online from the Disney Music Emporium for $32.99.

Universal Studios

I can’t resist when Universal Studios Hollywood releases items that center the park’s tram tour. So I immediately wanted this King Kong plush (pictured above) that features the giant gorilla cradling a mini tram vehicle. This, in my mind, is a nod to the attraction when it featured a large animatronic of Kong that would create the illusion of rocking the ride vehicles, so in addition to being cuddly, it has a sort of vintage coolness. This park exclusive item is $30, and can be found in the Universal Studio Store near the entrance.

I don’t think the kitchen cupboard of any Universal Studios Hollywood fan is complete without a few pieces of the park’s retro glassware (pictured above). I have the one styled after the late great E.T. Adventure ride, which opened here in 1991 but sadly left the park in 2003. The ‘80s-style graphic cups have mini ride summaries. Each one is $10, and the park also has glassware styled after the “Back to the Future” ride (RIP) and the Kong section of the tram tour. The items can be found in the Universal Studio Store.

There’s a whole lot of Yoshi’s in this colorful shirt at Universal Studios Hollywood.

(Todd Martens / Los Angeles Times)

Universal Studios Hollywood is also the go-to shop for fans of the “Harry Potter” franchise and Nintendo. I’m a bigger fan of the latter, so I’m going to focus on a couple of my favorite Nintendo items. I’ve long been eyeing this Yoshi camp shirt, but I’m not yet persuaded I can pull it off; one of these days I’m sure I’ll be break down and buy the $75 item. I love its mix of green and pinks, and dig the soft, playful vibe. Plus, everyone adores Yoshi.

Universal Studios Hollywood’s mini-”Jaws” puzzle is an ideal stocking stuffer.

(Todd Martens / Los Angeles Times)

The park also has a fair amount of Nintendo toys, including Mario, Bowser and Yoshi, but I’m a big fan of the dancing Piranha Plant, which spins and rotates when exposed to noise. It’s $37 and a little goofy, but I can’t have plants in my apartment because my cat instantly destroys them, so I’m always on the prowl for toys that double as greenery.

The Universal Studio Store has small sections dedicated to a number of the films featured in the park, and I was smitten with this mini “Jaws” puzzle, which would make an excellent stocking stuffer for fans of the Steven Spielberg classic. It’s $15, comes in an easy-to-store capsule, and features bright, cartoonish poster art.

Knott’s Berry Farm

I love all things boysenberry and at any time throughout the year you can find numerous boysenberry items around my apartment. Lately, I’ve been using the park’s boysenberry cream hand soap, which sells for $16.99. Look for it at numerous shops at the theme park, including the main store just outside the park or the hotel gift shop. It does have a powerful berry fragrance, but I don’t mind as it allows me to pretend I’m spending the night at the park. If you can’t make it to the park, Knott’s sells a $12.99 boysenberry bath bomb online.

The boysenberry, a Knott’s creation, is a delight, a sort of midpoint between a blackberry and a raspberry, although sweeter than both. That’s why I never don’t have a jar of boysenberry jam (pictured above) on hand. They’re $12.99 and available pretty much everywhere at the park but also online. The boysenberry jam is a hearty jelly, its taste reminding me of fall, as it’s not a thin, easily-spreadable jam.

Knott’s stages its annual boysenberry fest each spring, and it’s always a good time to sample dozens of boysenberry-infused foods. Typically, I prefer a more subtle touch, which is why I’ve become a big fan of the park’s boysenberry pancake mix, which sells for $7.99 and is available throughout the park and online. Each bundle is good for a number of meals, although I tend to use more than the recommended dose for thicker, larger pancakes. It’s not a heavy boysenberry flavor, so if you want to go overboard you can pair them with boysenberry syrup, which sells for $12.99 per bottle.

While I focused on boysenberry items in this list, it would be derelict of me not to mention that Knott’s Berry Farm is a prime source for all things “Peanuts.” The boysenberry, however, is such a SoCal original that I’ve been known to visit the park for the sole purpose of snaring a boysenberry pie, which I should mention is a perfect Thanksgiving dessert.

This week in SoCal theme parks

Layoffs last week hit Disney’s experiences division, which oversees its theme parks.

(AaronP / Bauer-Griffin / GC Images)

• Layoffs hit Walt Disney Imagineering. Last week The Times revealed that just under 200 people would be cut from Disney’s experiences division, which includes Disney’s theme parks, cruise line and Aulani resort and spa in Hawaii. Many of those involved, sources say, were with Walt Disney Imagineering. None of the currently announced projects for the Disneyland Resort are believed to be affected.
• Another coaster is coming to Magic Mountain. Six Flags’ Valencia park is soon going to be home to ArieForce One, which previously resided at the now-shuttered Fun Spot America near Atlanta. Six Flags purchased the coaster earlier this year, but at the time did not announce where it would be relocated. Magic Mountain hopes to open ArieForce One in 2028, according to a park spokesperson. The news was first reported by Brady MacDonald of the OC Register.
• Express access comes to Fast & Furious: Hollywood Drift. Getting on Universal’s fancy new coaster will now be a little easier, at least for those who are willing to pay to skip the line. Universal Studios Hollywood is now selling a paid line-skipping pass for $19.95 per person. This will give you an entry time to return to the attraction.
• Happy holidays! The Disneyland Resort is giving us a beer stand. Set to open in the coming days at Disney California Adventure is Bountiful Valley Brews, a new beer stall that will also sell a pepperoni pizza egg roll. In addition to local ales, Bountiful Valley will also sell a margarita and a Southern whiskey peach tea. The kiosk will be located near the entrance to Avengers Campus.
• A new immersive experience is coming to Anaheim. TeamLab, the Japan-born, tech-heavy immersive art collective, is plotting its first permanent U.S. exhibition in Anaheim. The group, stylized as teamLab, is moving into a 110,000-square-foot space at OCVibe, the 100-acre mixed-use entertainment district currently in development near the Honda Center. The teamLab spot is not estimated to open until 2030, but a press release specifies this will be a new exhibition and not a re-creation of one of the collective’s popular international exhibits.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

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“Night Watch” has an easy hook, starting with its setting. The immersive monster show is staged inside an ominous white van.

Yes, a real van. It’s creepy, and pulls equal inspiration from immersive theater, video games, escape rooms and environmental design. At a little over 30 minutes or so, it’s refreshingly approachable, a bite-sized slice of interactive, participatory theater that lingered with me long after I saw it. And not just because there were moments that startled me. “Night Watch,” like any good monster story, has metaphors on its mind.

“Night Watch” is the creation of Sara Biel and KJ Knies, a husband-and-wife creative team with day jobs working for a themed entertainment design firm. On their own, however, they go by Bee’s Knees. There’s buzz around “Night Watch.” Its initial October dates sold out nearly instantly, but the couple is extending the run at least into mid-November. Additional tickets will go on sale Wednesday at 9 p.m., and those interested are advised to join the waitlist.

The couple’s experience in theme park design is evident in “Night Watch,” as its small cargo van is ripe for exploration, with TVs, monitors, filing cabinets and more outfitted with vintage tech and lore-building corporate paraphernalia. Before the show properly began, I started frantically combing through folders and flipping through notebooks.

KJ Knies and Sara Biel are the creators of “Night Watch,” an immersive horror story set in a van.

(Bee’s Knees)

Yet I soon learned my goal here was not so much to find clues, like in a typical escape room, but to build a personality profile. Participants are assigned the role of an overnight security guard to monitor a mysterious tech firm. You’re unaware, at least at the start, of what kind of business the company is in, but “Night Watch” wants you to get to know the person who held the job before you. The van is outfitted with posters of national parks, hinting at someone who was longing for a life with more freedom and travel than a working-class career provides.

“Night Watch,” off the bat, wants us to grapple with how personal dreams can clash — or become lost — with the corporate world. It feels personal, and that’s no accident, says Biel, as the show was informed by the couple’s own talks about their future.

Throughout “Night Watch,” attendees are tasked with examining security footage.

(Bee’s Knees)

“I moved to L.A. to become a writer. KJ moved to L.A. to become a filmmaker,” Biel says. “Now we’re on this different corporate path. Is this the path that we should be on or should we have listened to our gut and went a more artistic direction? I feel like all of our friends are going through this. You move to this city to do one thing, and you fall into a different path. That’s not bad. I’m of the opinion that you follow the doors that open as you go, but that’s what we were grappling with and what we wanted to bring into this show.”

With monsters, of course.

I completed “Night Watch” solo, but the show can accommodate up to four people (tickets for two start at $90). You’ll interact with an actor who plays your co-worker during the production, primarily via a two-way radio. At times, you’ll monitor the action outside of the van. Other moments have you digging into the digital files of the previous security guard, who is said to have mysteriously left his job. But mostly you’ll just talk with your unseen co-worker, who might push you into philosophical discussions about your hopes for a better life. This creates an inherent tension in “Night Watch.” You might know on one level that this is a monster story, and yet like me, find yourself opening up about personal details, trying to manifest a better day for yourself.

Details inside the van.

(Bee’s Knees)

With “Night Watch’s” emphasis on security footage and old computer logs, Knies says he was influenced by full-motion video games, citing the work of Sam Barlow and his voyeuristic crime game “Her Story.” It isn’t hard to see the show as a thinly veiled statement about our current tech-obsessed era, with each day bringing with it seemingly fresh announcements about some new site, social media add-on, gadget or AI tool that promises to improve our lives (but rarely, if ever, does). There’s a moment when you start to wonder if the business you’re providing security for is actually one of the “good guys.”

The project’s story, says Knies, began with a simple sketch from Biel: “The first idea that Sara pitched me was a monster sucking souls and pooping gold.” It spiraled from there, and the last half of “Night Watch” comes quick as we unravel its multiple mysteries. And that’s where the frights, heightened by the intimacy of the van, come in.

“We really wanted to play with having a confined space that we could manipulate to our advantage,” Biel says. “We wanted to play with the effects of moving the van and shaking the van and closing off your viewpoint.”

The confined venue — a dimly lit storage van — helps participants narrow in on the mission.

(Bee’s Knees)

The van has other benefits, too, especially in L.A. where it’s hard to find a unique venue for a limited-run show. “The cheapest and easiest places you can get are white walls with tile floor, but then you’re going to spend so much money decking that out to make it feel like a lived-in space,” Knies says.

“Night Watch” is currently staged outside of Hatch Escapes, home to some of the city’s finest escape rooms, in Arlington Heights. Biel says the two are talking to Hatch about hosting the show there long-term, but there is one hitch. The van is a rental, and at some point it will need to be returned.

“Don’t tell Enterprise that we painted on their walls,” Knies says.

This week in SoCal theme parks

An audio-animatronic Indiana Jones figure hangs above guests on Disneyland’s Indiana Jones Adventure.

(Myung J. Chun / Los Angeles Times)

• Indiana Jones is adventuring again. Disneyland’s popular Indiana Jones Adventure reopened after a six-week refurbishment on Friday with a number of changes. Most of them will be invisible to guests, but Disneyland engineers worked behind-the-scenes to make the attraction more reliable and found ways to increase its capacity. They also added some spiders. Read all the details here from my walk-through of the attraction last week.
• A bookstore for us immersive, theme park geeks. Coming next year to Los Angeles, near the corner of Melrose and Fairfax avenues, is Genres Book Society, boasting a design led by former Walt Disney Imagineer Ann Morrow Johnson. Genres is part bookshop, part speakeasy and part immersive venue. There’s a dragon, a secret bar and a tree with glowing books. Read more about this bookshop dreamed up by Clare Grant and Karissa Marston here.
• Nikki, meet Nikki. One of my highlights of this year’s Halloween Horror Nights at Universal Studios Hollywood was interacting with a scare actor playing the role of Nikki from the film “Obsession.” The other week, the actor who initiated the role in the movie, Inde Navarrette, visited the horror event and had her own dalliance with one of the park’s Nikki performers.
• Still need Halloween plans? The doors of downtown’s Clifton’s, a venue some say inspired Walt Disney (although this isn’t really confirmed by any official sources), will be open for an immersive theater dinner show. Expect roving actors, multiple storylines to follow and an otherworldly wedding that may or may not involve monsters. The current operators of the historic space have big plans for programming similar such events throughout the holiday season. “The Dark Wedding” runs Friday through Sunday, and tickets start at $65.

A farewell to Halloween season (but mostly just to Cars Land’s zombie car)

A mostly deceased “zombie car” struggles to come to life at Cars Land in Disney California Adventure.

(Todd Martens / Los Angeles Times)

The first Oogie Boogie Bash at Disney California Adventure was held this year on Aug. 18, which means Halloween season is coming to a close after a 2½-month celebration. Our local theme parks will be wrapping up Halloween festivities this weekend, and it was a good one. Universal Studios Hollywood shined with a “Sinners”-inspired maze, but the star of the event was its dedication to Ozzy Osbourne. And Knott’s Berry Farm was wise to partner with the Magic Castle.

But in terms of pure decor, the Disneyland Resort has everyone beat, and I wanted to take a moment to salute my favorite Halloween adornment. I was initially nervous, as when the resort debuted its Halloween look in August the zombie automobile in Cars Land was missing. I make a beeline to it each season because it’s such a demented tale that I want to make sure it hasn’t left the park. This mostly dead skeleton car sits outside Radiator Springs Curios, owned by the character of Lizzie. Lizzie is a widow, lovesick at the loss of her husband Stanley.

The shop was under refurbishment earlier in the season, hence the reason for the zombie car’s late arrival, but I was relieved when it finally materialized a couple weeks ago, its body trying to emerge from the ground from under a tree. It’s a morbid story. Lizzie, see, has created a “ghoul-ant” (coolant, get it?) in the hopes of bringing dead cars back to life. She wants to use it on Stanley, but not until its perfected. It’s not. This mostly lifeless car struggles every few seconds to get its engine going. Occasionally, it musters enough strength to get the radio powered on. But it’s mostly just trapped in a near-dead state.

This zombie car is nothing more than the result of a failed experiment, and the implication is there will be more, as Lizzie will not stop until she’s reunited with Stanley. It’s more than a little sick, but also a statement about the way a lost love can forever haunt us. In that sense, it’s perfect, and I adore it. See you, hopefully, next year, zombie car.

The best thing I ate at the parks this week

The short rib lasagna from the Hearthstone Lounge.

(Todd Martens / Los Angeles Times)

With the heat briefly lifting a little bit ago, it was time to revisit my favorite dish at the Disneyland Resort. It’s heavy, hence the reason I was eager to tackle it when things cooled down. I’ve ordered the short rib lasagna from the Grand Californian’s Hearthstone Lounge three or four times over the past year, and I’m now convinced it’s among the best items on the menu at any restaurant at the resort, including the high-end fine dining establishment Napa Rose. It’s that good. And yes, it’s pricey at $42, but it’s a large portion and could easily be split. In fact, I wish I had done the latter, but I was at the park solo and had to immediately end my night after feasting on this decadent dish because I was simply too full to continue exploring. The tender short rib easily peels apart with a fork, and it’s plentiful. A trio of cheeses, and a heavily creamy Bechamel sauce, coupled with a buttery Mascarpone, make this the perfect winter dish. I’ll be at Disneyland on Thanksgiving, and am half thinking of making this my holiday meal rather than turkey.

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.

Morning crowds at Disneyland just after park opening, known as “rope drop.”

(Myung J. Chun / Los Angeles Times)

Late breaking theme park news arrived Tuesday morning courtesy of trade group the Themed Entertainment Assn., which released its 2025 global attendance report. The news for the theme park sector is … mixed? Here in SoCal, attendance at Disneyland Park and Disney California Adventure increased ever-so-slightly, at 0.4% each. Disneyland drew 17.4 million in 2025, making it once again the second most-visited park in the world, behind only Walt Disney World’s Magic Kingdom. Just over 10 million visitors took in California Adventure.

Universal Studios Hollywood fared less great, suffering an attendance dip of 8%. The report attributes the downtown to our devastating wildfires early in the year, as well as a decline in international tourism to the region. It’s worth noting that the park in 2023 opened Super Nintendo World, and it’s newness may have worn off a bit for local visits last year. Overall, the park drew 8 million guests.

Also suffering declines in attendance were Knott’s Berry Farm and Six Flags’ Magic Mountain, each dipping about 4%. Knott’s drew 4.3 million attendees while the Valencia park brought in 3.2 million visitors.

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

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

(Myung J. Chun / Los Angeles Times)

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

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

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

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

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

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

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

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

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

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

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

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

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

This week in SoCal theme parks

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Lawrence Meyers)

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

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

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

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

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

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

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

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

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

(Steve Tatham)

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

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

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

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

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

Think beyond theme parks

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

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

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

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

(Genaro Molina / Los Angeles Times)

The best lessons come from observing guests

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

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

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

AI won’t replace great original ideas

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

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

But there are limits.

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

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

(Christina House / For The Times)

But the integration of smartphones remains a challenge

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

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

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

Yes, it’s possible to make a decent salary

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

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

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

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

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

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

(Christina House / Los Angeles Times)

Remember why theme parks still matter

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

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

For Tatham, it’s about the memories.

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

This week in SoCal theme parks

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

(Christina House / Los Angeles Times)

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

Ride Report

The dinosaurs on the Disneyland Railroad.

(Todd Martens / Los Angeles Times)

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

What is “Eggs in Space”?

(Todd Martens / Los Angeles Times)

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

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

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

—

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

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

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

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

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

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

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

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

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

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

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

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

This week in SoCal theme parks

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

(Todd Martens / Los Angeles Times)

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

—

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