terror

Ten years ago, Walt Disney Imagineering announced what was widely perceived by the public as a risky — and ill-advised — project: Disney California Adventure’s Twilight Zone Tower of Terror would be remade into a ride featuring Marvel’s “Guardians of the Galaxy.” And it would open in just a few months, ahead of the 2017 summer tourist season.

Fans, to say the least, were not happy. They saw the makeover as a marketing move, done solely because a new movie in the franchise was being released. They were also skeptical of the tight timeline.

Retired Imagineer Joe Rohde, who led the project, heard the complaints.

“They look at the schedule and go, ‘You can’t do anything in that amount of time. There’s nothing you can do that is worth doing in this short amount of time, so we think this is going to be bad,’ ” says Rohde, whom I chatted with at the recent Disney fan convention D23.

Rohde‘s new book, “Floating Mountains: The Art of Imagining the Impossible,” is out this week and in it, he demystifies the creative process, heavily touching on his four-decade career at Imagineering as a jumping-off point on how to stay inspired and find art in the everyday. In a revealing chapter on what became Guardians of the Galaxy — Mission: Breakout!, Rohde writes about creating art out of a series of limitations.

Famed retired Disney Imagineer Joe Rohde, whose book “Floating Mountains: The Art of Imagining the Impossible” demystifies the creative process.

(Jay L. Clendenin / Los Angeles Times)

He notes that the new “Guardians of the Galaxy” film was not the reason for changing the drop tower ride — rather, the motivating factor was giving the Disneyland Resort something new to promote for 2017 and to begin to bring Marvel into the parks.

When assigned the project, Rohde initially pitched a Dr. Strange-inspired attraction, believing the hotel facade of Tower of Terror could quickly and easily translate to a mysterious sanctum. Execs, however, rejected the concept, arguing Dr. Strange wasn’t popular enough. They told Rohde and the team to focus on Spider-Man.

Now it was Rohde’s turn to say no. “Spider-Man needs room to swing,” Rohde writes in his book. “We only go up and down. There’s nowhere for Spider-Man to be!”

Bringing Marvel superheroes into a theme park, Rohde tells me, is something of a challenge.

“Marvel is a character brand,” Rohde says. “When we watch these movies or read the comics, our primary investment is in the psychology of the character. Spider-Man is a great example of this. Spider-Man’s life is a constant emotional crisis of one kind or another. It’s almost more of a soap opera format.

Guardians of the Galaxy — Mission: Breakout! is today the dominating structure of Avengers Campus at Disney California Adventure.

(Allen J. Schaben / Los Angeles Times)

“So, you have an art form — the Marvel Cinematic Universe and the Marvel Comic Universe — in which settings are disposable and are disposed of in order to drive character development. That works great in a film, but when it comes to place-making, it is difficult to lock yourself on the experiences of places, which is part of what makes theme parks theme parks. All through your day in a theme park the primary actor you engage with is the architecture and the landscape.”

With Spider-Man out, “Guardians of the Galaxy” was the compromise everyone could agree on. Only now the clock was ticking. Rohde notes that the team had to stop viewing the Tower of Terror as a hotel, and instead look at it as something of a blank page — an empty canvas that just happened to be in the shape of a blocky silhouette that jolts guests 190 feet in the air. Remove the hotel signage, and suddenly the mass resembled many things: “a grain silo, a fortress, a bank, a storage facility, possibly a prison,” Rohde writes.

Arguably, the facade for Mission Breakout! represents a bit of each of those. In “Floating Mountains,” Rohde says he began reimagining the building by taking inspiration from Marvel comic artist Jack Kirby, but he has also spoken of finding influence in architect Renzo Piano, who worked on France’s Centre Pompidou. The end result is a retro sci-fi building with high-tech-like pipes drawing one’s attention.

The chapter documents a frantic race against time. The star of the ride is an audio-animatronic of the Rocket Raccoon character, but it wasn’t always clear the figure could be finished by the deadline. And instead of using just one ride profile like the Tower of Terror, Mission Breakout! aimed for four, but Rohde writes the team had two as a fall-back plan (ultimately, they prevailed with their original intent).

Rohde notes that to get it done, a concession was made: limited reviews but a fixed, unchangeable budget with a strict deadline. And the team had to make a decision and commit. Little tinkering.

Guardians of the Galaxy — Mission: Breakout! is now considered one of the most popular attractions at Disneyland.

(Jason Armond / Los Angeles Times)

“You have to allocate a certain percentage of time and energy to prepare for a review, and that can be two weeks of energy,” Rohde says. “In this case, the most crucial thing about this project was its opening day. If you back out of that opening day just with production time, it becomes clear there’s no time to change. There’s no time to ask someone if they like it or don’t like it. So we have to decide we’re going to do it, and we’re going to do it for this much money, and you can look at it once before we start, and once before we build.”

Guardians of the Galaxy — Mission Breakout! opened on time, and with enough budget left over to create an “after dark” version during the Halloween season, which is currently running. And those fans who initially viewed the project with skepticism? Many were quiet after opening day, as Mission Breakout! is considered one of the Disneyland Resort’s most popular attractions.

Aside from replacing the former tension with chaotic elevator maneuvering, the makeover was a success because it’s not a rehash of a scene from the film. Rather than rely heavily on plot, it focuses on one frantic moment — a prison breakout — to create a zany, screwball comedy feel. In short, it’s a singular work of art, one that stands apart from its cinematic counterparts.

And that’s key to the appeal of “Floating Mountains,” as throughout Rohde makes the case that theme parks — often derided as commercial entities — are indeed vital spaces. He speaks of art as living on a spectrum. On one end, “art for art’s sake,” and on the other, “utterly commercial enterprises with no purpose other than to harvest value out of an intellectual property.”

“Theme parks,” says Rohde, “rocket somewhere in the middle of this.”

“I do believe that their social impact alone should argue for the fact that, no matter what you think of high art, of low art, something is going on here that people find very affecting,” he says of theme parks. “I think it is an art form.”

This week in SoCal theme parks

Inside Kingswell skate shop is a wall documenting the building’s history as the first L.A. outpost of what would become the Walt Disney Co.

(Todd Martens / Los Angeles Times)

• A Disney history celebration. Walt Disney launched his animation career in Kansas City, Mo., in 1920. But when his Laugh-O-gram Studio failed after only about two years, he decided to move west. Here in Los Angeles, Walt and his brother Roy would in 1923 rent a small studio space on Kingswell Avenue in Los Feliz, near where he was staying with his uncle. They called their operation the Disney Bros. Studio, and it was officially the formation of what would become the Walt Disney Co. In September 2024, a small strip on the corner of Kingswell and Vermont avenues was designated the Disney Bros. Cartoon Studio Square. This Sunday, the space will host a mini-block party from noon to 5 p.m., with photo ops, events and skating demonstrations courtesy of the Kingswell skate shop,
• Welcome the Lucas Museum. The long-awaited Lucas Museum of Narrative Art has arrived in L.A. and is welcoming members for previews. The space officially opens Sept. 22, and its emphasis on pop culture and “Star Wars” likely means there’s many an overlap with the Disney fan community. The Times has a bevy of coverage, including an architecture review as well as an analysis of its collection and how it deviates from typical art gallery fare.
• Meow Wolf taps dozens of L.A. artists for new venue. Meow Wolf is getting closer to unveiling its Los Angeles locale. When doors open — the company is targeting late 2026 — expect a walk-around, floor-to-ceiling experience that pays homage to the art of cinema with a sci-fi, psychedelic-like bent. And to bring that vision to life, the Santa Fe, N.M.-based experiential art collective will be working with nearly 40 L.A. artists across multiple mediums. Meow Wolf last week unveiled its roster of artists with ties to the L.A. region.
• A new Magic Mountain coaster is on the way. Six Flags Magic Mountain, garnering headlines tied to the safety of its X2 coaster, is looking ahead to 2027 and teasing a Thursday announcement for its next big thrill ride. The park last week posted a video to social media hinting at more info to come this week on what is expected to be a glider coaster with bike-like seating.

Ride report

An actor performing as Ozzy Osbourne during a haunted house at Universal Studios Hollywood’s Halloween Horror Nights.

(Scott Strazzante / For The Times)

This week’s ride report is actually a haunted house report. Of the eight spooky mazes at Universal Studios Hollywood this year, there were two clear standouts for me: the “Sinners” maze, which I documented last week, and Ozzy Osbourne: Prince of Darkness. This walk-through attraction, which Halloween Horror Nights mastermind John Murdy has described as something of a passion project, is a filled with cartoonishly sinister imagery in an homage to the recently deceased heavy metal legend.

Murdy says he didn’t have any hesitation about crating a haunted house based on Osbourne’s solo career so soon after he died last summer. “It hit everybody really hard,” the lifelong Osbourne fan says of the artist’s death. “It hit his fan community really hard. We needed to do something for the fans to celebrate this guy’s legacy.”

A giant animatronic bat in a haunted house inspired by the music of Ozzy Osbourne.

(Scott Strazzante / For The Times)

In an unique twist, nearly every scare actor is performing as some embodiment of Osbourne. The attraction is also filled with little nods to Osbourne’s life and legacy, including pictures donated from the family and a toy cow as a nod to an early job of Osbourne’s in a slaughterhouse. Murdy estimates the house features about 20 songs from Osbourne’s solo career, bookended by “Crazy Train” and “See You on the Other Side.” A train, of course, figures heavily into the maze, and an early ride scene appears to take us straight to hell.

It gets demented, but in a silly way that feels all-in-good-fun rather than anything frightening. Case in point: A centerpiece of the attraction is a giant animatronic bat, which is holding the severed head of Osbourne, only here the musician is depicted as a werewolf. Osbourne, says Murdy, was also heavily religious, so the walk-through culminates with the artist on a church-like throne. But it’s no ordinary cathedral, as jetting our from under Osbourne’s chair is a blue dragon, a nod to the tattoo the singer had on his chest.

It’s a love letter to Osbourne, and Murdy’s appreciation of the artist runs deep. He notes that as a seventh- or eight-grader in the early ‘80s, he wrote a term paper defending the artist. “I didn’t like the fact that people were condemning things when they hadn’t even bothered to read the lyrics and know what they are about,” Murdy says. “Take ‘Crazy Train.’ It’s about the Cold War. It’s about a fear that society is going off the rails. At an early age I was already going, ‘Don’t trust things that you hear at face value.’ ”

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.

I can admit when I was largely wrong. Last week I expressed concerns about the way Halloween Horror Nights was adding the character of Nikki from “Obsession,” worrying a hyped incognito approach could open up the actor — or regular paying guests — to being uncomfortably approached by attendees. But while Nikki is not easy to find, she’s far from anonymous, all bloodied up and holding a brick. Plus, she’s accompanied by multiple handlers who keep folks from crowding the performer’s space.

There is a game-like aspect to this. Those who speak a password, released via social media, receive a fake business card, which does mean many a guest is standing there shouting a password at the actor. This is slightly awkward, and where I still have some reservations.

An actor as Nikki from “Obsession” interacting with guests during Halloween Horror Nights at Universal Studios Hollywood.

(Scott Strazzante / For The Times)

But many who find Nikki may discover it’s a highlight of the night. I’m not someone who seeks out characters at theme parks, largely because they’re there more for photos than to completely interact. Nikki is different. Nikki is in full immersive theater mode, responding entirely in character and pushing guests to talk about their devotion — to her, to another, to anything. In my minute with the actor, she aggressively quizzed me on my nonexistent love life, forcefully walking toward me so I had to gently stumble backward, which she lightly mocked.

Despite the unnerving tone of the actor’s questions, I was charmed. More of this type of interacting and play is always welcome. Now, I just wonder why she was so consumed with the health and age of my cat.

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

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

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

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

The ‘Obsession’ approach

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

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

This week in SoCal theme parks

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

Event report

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

(Todd Martens / Los Angeles Times)

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

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

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

Tickets remain available for a handful of September dates.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Todd Martens / Los Angeles Times)

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

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

The US move would be a major sanctions relief for Syria, aiming to boost post-war reconstruction.

Syrian President Ahmed al-Sharaa hailed the United States’ removal of his country from the “state sponsors of terrorism” list, a major sanctions relief step for a country aiming to boost post-war reconstruction.

“Today, Syria shakes off a dark stain and tears away a painful chapter of its past to embark on a path of development, reconstruction and rebuilding,” al-Sharaa said in a speech.

Washington’s decision on Monday rescinded a decades-old designation that came with severe economic restrictions, marking another step in warming ties between the countries following the 2024 ouster of longtime Syrian ruler Bashar al-Assad.

Al-Sharaa expressed his “many thanks to the President of the United States of America, Donald Trump, and to all the friendly and supportive nations that stood by us”.

US Treasury Secretary Scott Bessent said in a statement that Monday’s move “will help foster additional investment in Syria to promote political and economic stability”.

But the Treasury stressed that its removal of restrictions on Syria “does not change Treasury’s posture with regards to countering global terrorism and our commitment to hold bad actors in Syria accountable”.

The US listed Syria as a “state sponsor of terrorism” in 1979, accusing the country, then under the rule of Hafez al-Assad, Bashar’s father, of supporting Palestinian fighter groups and other armed movements in neighbouring Lebanon.

Monday’s move gave Syria “a path to prosperity”, according to US Secretary of State Marco Rubio. The action “eliminates the final major barriers for private sector investment in Syria and promotes Syria’s economic recovery and reintegration into the global economy,” he said in a statement.

The World Bank estimates post-war reconstruction to cost more than $216bn.

Several countries welcomed the US move. Turkiye, a key backer of Syria’s new authorities, said the decision will “lend momentum to efforts to strengthen Syria’s ties with the international community and to establish lasting security and stability in the country”.

“At this stage, we call on the international community to unite its efforts toward the goal of a prosperous Syria and to fulfill its responsibilities to bring an end to aggressive actions that jeopardize this vision,” Ankara said.

Qatar and Jordan also welcomed the US decision, saying the move would support stability and recovery efforts in the country.

Qatar’s Ministry of Foreign Affairs said in a statement that the step “supports the path of a political settlement in line with international legitimacy resolutions and the aspirations of the Syrian people”.

Jordan’s Foreign Ministry also welcomed the US decision, calling it “an important step” towards supporting Syria’s reconstruction, recovery and development.

Welcoming the move, Saudi Arabia wished Syria “further security, stability, and prosperity, and continued progress in its reconstruction and development efforts” in a way that would benefit the “aspirations of its people”.

Ukraine’s Foreign Minister Andrii Sybiha said in a post on X that Ukraine had consistently supported Syria’s new government and people since the ouster of the Assad regime in their efforts to achieve recovery, peace and development.

In another sign of Syria’s growing international reintegration, Damascus also moved to expand its diplomatic outreach on Monday by launching an English-language social media account for its foreign media department.

Syrian Airlines will also begin operating regular direct flights from Damascus to Denmark’s capital, Copenhagen, and Austria’s capital, Vienna, on September 21, Syria’s civil aviation authority announced.

Omar al-Hosary, head of Syria’s General Authority of Civil Aviation and Air Transport, told the SANA news agency that the new routes are part of continuing efforts to expand the national carrier’s international network and strengthen air links between Syria and Europe.