theme

REMEMBER those big rectangular pre-digital VHS tapes?  

Well, Shooter Jennings, son of late country music great Waylon, has held on to a few of them. 

Now I’ll explain why they’re so precious to him.  

They contain episodes of a TV show almost as popular as Dallas in the early Eighties — The Dukes Of Hazzard. 

As the opening credits roll, you see “The General Lee”, a souped-up 1969 orange Dodge Charger, careering into view.  

Inside are outlaw cousins Bo and Luke Duke, on the run from crooked officials, Boss Hogg and Sheriff Rosco P Coltrane. 

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You hear the rollicking theme tune, Good Ol’ Boys, being sung in commanding, if tongue-in-cheek fashion by — you might have guessed — Waylon Jennings. 

He also serves as the show’s laidback narrator, The Balladeer, and one of his pearls of wisdom is about poster girl Daisy Duke, remembered for her skimpy denim shorts. 

“She drives like [stock car racer] Richard Petty, shoots like Annie Oakley, and knows the words to all of Dolly Parton’s songs.” 

But he doesn’t appear on screen until season seven when, after demands from fans, he is presented as an old friend of the Dukes in an ­episode titled Welcome, Waylon Jennings. 

‘A massive cultural moment’ 

“Just last night, my wife and I were watching some episodes,” Shooter tells me via Zoom from America’s West Coast as we discuss a fabulous new project involving his father’s previously unreleased music. 

“It made me think what a massive cultural moment the show was,” he continues. “Just how perfect my father’s voice was for it. 

“I think he loved doing those shows and it wasn’t a lot of work for him. He’d be on the road and just stop by a studio and do the voiceovers. 

“There’s real humility about them. He seems to be making fun of himself the whole time. It’s really funny to hear.”  

Waylon is remembered as a ­pioneer of the “Outlaw” country scene, a singer who wrestled the Nashville music-making machine and won control over his recorded output. 

Hellraiser, maverick and bearer of a rich baritone, he was an obvious choice to join fellow renegades Johnny Cash, Willie Nelson and Kris Kristofferson in Eighties supergroup The Highwaymen. 

Born in Littlefield, Texas, in 1937, he was consumed by music at an early age and, in 1958, came under the wing of Buddy Holly, who arranged his first recording ­session. 

The stuff of legend, Waylon gave up his seat on the flight that killed Holly, The Big Bopper and Ritchie Valens on February 3, 1959 — “the day the music died”. 

Shooter says: “If my dad had got on the plane, the music world would be quite different. I often think what it must have been like for him to have survived that. 

“Throughout his life, Buddy was huge to him and he used to talk about him all the time. 

“A lot of his spirit and energy came from rock and roll, from Buddy, who gave him little lessons in songwriting. 

“But he also loved country music, the beauty and sentiment of it, and his voice was just so ­vulnerable and awesome.” 

From the mid-Sixties onwards, Waylon would become a fixture at the top of the country charts but his best work appeared after he gained creative control from RCA Records in 1973.  

He delivered a string of fine unvarnished albums including Lonesome, On’ry And Mean, Honky Tonk Heroes, Dreaming My Dreams and Are You Ready For The Country. 

In 1979, he and fourth wife Jessi Colter, a fellow “Outlaw” country singer, had their only child together, Waylon Albright “Shooter” Jennings. 

The Albright comes from Richie Albright, Waylon Snr’s right- hand man and drummer in The Waylors. 

And the main reason I’m talking to Shooter is because he has unearthed a goldmine of un­released Waylon recordings, taped between 1973 and 1984. 

This has resulted in the appearance of Songbird, the first of three albums culled from the material and lovingly restored by him with the help of surviving members of his dad’s band, along with younger musicians and backing singers. 

‘Passion and soul alive today’ 

“It’s been surreal,” says Shooter, a singer in his own right and in-demand producer. “Everything has lined up for me to have this purpose. 

“This project has given me an entirely new chapter in my relationship with my father and working on this music has brought a whole new understanding about how, when and why my dad made music.  

“The hard work is there on the tapes and the passion and the soul within is as alive today as it was the day it was recorded.” 

I guess the reason The Dukes Of Hazzard cropped up in our chat is because much of the Songbird album’s music was recorded around the same time as the show aired. 

Then I just kept finding these hidden albums,” he says. “It didn’t feel like stuff that was not meant to be released and there were songs I never knew he’d attempted.

Shooter Jennings

Shooter became aware of Waylon’s buried treasure in 2008, “about six years after he died” aged 64 from complications of diabetes.  

But the project only began in earnest last summer when he started sorting through hundreds of high-resolution multitrack transfers of his father’s personal studio recordings.  

What Shooter discovered blew his mind.  

Listening to his dad performing with his ace band became “a wild adventure”. When Shooter heard their cover of Fleetwood Mac’s Rumours track Songbird, written by Christine McVie, he realised he was on to something “really exciting”. 

“Then I just kept finding these hidden albums,” he says. “It didn’t feel like stuff that was not meant to be released and there were songs I never knew he’d attempted.” 

Shooter says that much of the material was “professional cuts with a lot of attention to detail, much more than sketches”. 

“My mom told me that my dad always said that every song he recorded should be good enough to be a single when it was done. He had a great work ethic.” 

Shooter settled on Songbird as the opening track and album title because he realised that Waylon “was a kind of songbird”. 

“I wanted to hit home how good a song interpreter he was and how he could make a song his own,” he says. “And I wanted to bring him back with an emotional song, one that’s going to make you cry. 

“Every time I play it for anyone, they tear up at the bit which goes, ‘And I feel that when I’m with you, it’s all right’. 

“It’s such a beautiful take that people are shocked they haven’t heard it before.” 

In order to take Songbird to even greater heights, Shooter enlisted contemporary country singers Ashley Monroe and Elizabeth Cook to provide backing vocals. 

‘Obsessed with Hank Williams’ 

“They’re the funniest people, like a duo, and they’re hill­billies like me,” he says. 

“Elizabeth and I have been really good friends for 15 years plus and she brought Ashley to my studio around the time I was going through this. 

“And they were so moved by Songbird. I realised their airy, birdlike voices could elevate it to some fantasy realm. 

“So I asked them to come back and do some background vocals and they really killed it.” 

Also adding finishing flourishes to the album’s ten tracks are some surviving Waylors including guitarist Gordon Payne, bassist Jerry Bridges, keyboardist Barny Robertson, and backing vocalist Carter Robertson. 

The second song The Cowboy (Small Texas Town) is credited to Johnny Rodriguez but Shooter suspects his father had a hand in writing it. 

These telling lines back up that theory: “My long shaggy hair, and the clothes that I wear/Ain’t fit for no big fancy ball.” 

The song fits with Waylon’s image of staying true to his humble origins — a quality Shooter sees in today’s stars such as Charley Crockett, Tyler Childers and Benjamin Tod. 

He credits his father with blazing a trail for these independent spirits thanks to his battle with RCA Records. “My dad really opened it up. And even though Nashville got their grip back on it for a little while, they’ve been blown apart now.

“They’re just scrambling to find anyone who’s like one of these guys.” 

I ask Shooter what Waylon used to tell him about growing up in Littlefield, Texas. 

“He would tell me how poor they were, for sure, that they had dirt floors, that his mom would put him in places the rats wouldn’t get to.”  

When Waylon became famous, the town would hold a Waylon Jennings Day and their favourite son “would go back there and do a show”. 

Shooter adds: “I loved my dad’s family, his brothers and his mom. I got to know all of them and his brother James is still around and runs this little gas station there.” 

Unbeknown to the residents of Littlefield in 2025, Shooter decided to put up billboards around town featuring lyrics to some of the Songbird songs.

He and Johnny [Cash] came from the exact same background. They both picked cotton. They both listened to Hank Williams on the radio and both journeyed to Mecca [Nashville] to make music.

Shooter Jennings

“I didn’t even tell them. But when we put out that song, The Cowboy, I really wanted to put the focus on Littlefield.” 

We’ve heard about Buddy Holly but I’m keen to find out from Shooter who else was his father’s music hero. He instantly mentions country music’s first superstar — Hank Williams, who lived fast and died young. 

“My father was obsessed with Hank Williams. He was similar in a way because of the vision he had for his songs.” 

As for Waylon’s reputation as a hellraiser, Shooter has this to say: “It’s funny, he didn’t drink. People always get that wrong. 

“He only did the uppers but we had an empty alcohol cabinet in our house because he just didn’t get any.” 

And what does Waylon’s recently remarried widow Jessi Colter, Shooter’s mother, think of the Songbird project? 

“She has helped us,” he replies. “I had to borrow money from her to do it because I didn’t want to get a label involved. 

“She was also a great emotional support to me, even if she wasn’t emotionally tied up in the project.” 

Hearing Waylon sing “didn’t make her sad but she loved it. She’d say something like, ‘They sound like they were having a good time that day.’ ”  

Before we go our separate ways, Shooter opens up about Waylon’s famous friends, notably his Highwaymen buddies Johnny Cash, Kris Kristofferson and Willie Nelson, still touring and making records at 94.

Waylon and Cash shared an apartment in Nashville in the mid-Sixties and had a strong, if sometimes tempestuous bond. 

“They loved each other,” says Shooter. “Just like anybody else, they would have little bicker fights and not talk for a couple of weeks here or there.  

“But he had a great relationship with Johnny and June [Carter Cash].  

“He and Johnny came from the exact same background. They both picked cotton. They both listened to Hank Williams on the radio and both journeyed to Mecca [Nashville] to make music.” 

Shooter continues: “And I loved Cash. We used to go to his house when I was little. He was always very nice to me.” 

He also remembers hanging out with Nelson’s daughters Amy and Paula. “We were all around the same age and together on the road during the Waylon and Willie tours.  

“And then The Highwaymen happened and I was around Kristofferson’s kids because they lived in Tennessee. 

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“Life’s weird, man,” decides Shooter. “I got dealt a really good hand being born to who I was. So I don’t take it lightly.” 

Hence a son’s labour of love to bring Waylon’s music to a whole new audience. 

WAYLON JENNINGS 

Songbird 

★★★★☆

THEME park fans heading to Universal’s Orlando resorts should take note as some attractions will be closed depending on when they plan to head to the tourist hotspot.

Some rides will be off-limits for a short period of time, while others will be out of action for longer.

Popular attractions set to be impacted include Revenge of the Mummy, and Jurassic Park River Adventure.

On Revenge of the Mummy, thrillseekers are plunged into darkness.

The ride will be closed between January 15 and 21, according to Inside the Magic. 

The Hogwarts Express will fall silent between February 9-26 next year.

Universal’s Jurassic Park River Adventure sees riders plunge 85 feet in a thrilling drop.

But the ride will be closed from January 5, 2026 until November 20, as per the Orlando Informer.

Universal’s Volcano Bay water park will close temporarily from October 26, 2026. 

It’s likely the attraction will reopen by the end of March 2027. 

When visiting Volcano Bay, thrillseekers can enjoy a five-person attraction, Puihi of the Maku Puihi Round Raft Rides.

Or, those wanting a more relaxing experience can enjoy the winding river.

Volcano Bay is also home to shops, bars and restaurants.

Earlier this year, Universal’s Epic Universe opened, sparking an influx of tourists.

The park opened its doors on May 21 and is home to five themed lands.

Guests can immerse themselves in the Super Nintendo World and enjoy Mario Kart-themed attractions.

Epic Universe is home to the Wizarding World of Harry Potter and Dark Universe.

Harry Potter fans can enjoy a Butterbeer when visiting the Wizarding World.

Guests can immerse themselves in the Viking-themed village, which is inspired by How to Train Your Dragon.

THE UK will be getting a brand new theme park in 2026 – but it won’t have your typical thrill rides.

Kynren – An Epic Tale of England, is the UK’s largest live action outdoor theatre production and next year it will launch Kynren – The Storied Lands, a new daytime historical theme park.

Set to open in summer 2026 in County Durham, the theme park will immerse visitors in multiple live shows and experiences that “span millennia”.

Phase One of Kynren – The Storied Lands will reveal The Lost Feather and four other live-action shows and immersive experiences, including Fina, a Medieval horse show, a viking show and a Victorian Adventure with characters from the past.

There will also be The Legend of the Wear which will transform a lake into a stage, where the Lambton Worm myth will be brought to life with water stunts and special effects.

In the future, the theme park will have even more shows, as well as educational content and themed experiences inspired by Robin Hood, Excalibur and the Tudors.

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As a whole, the attractions will form the UK’s first live-action historical theme park.

Anna Warnecke, CEO of Kynren – The Storied Lands, said: “2026 is going to be an unforgettable year.

“Not only will our award-winning night show return, but we’ll also open Kynren – The Storied Lands a unique new experience that brings history, heritage and myth to life on a scale not seen anywhere else in the UK.”

The news follows the announcement that Kynren – An Epic Tale of England is set to return next summer, with tickets now on sale.

Located in Bishop Auckland, the show involves more than 1,000 cast and crew members and mass choreography, combat, horsemanship, stunts and fireworks – all on a seven-and-a-half acre stage.

The show takes spectators on a journey of 2,000 years of history from Boudicca’s rebellion to Viking invasions, Norman conquests, Tudor drama and even Queen Victoria’s Diamond Jubilee.

The show lasts 90 minutes, beginning at sunset and ending when the stars are out.

It will run every Saturday evening between July 18 and September 12, 2026.

Tickets cost from £30 per adult and £20 per child.

Children under the age of three, are free.

If visitors book their tickets now, they will also unlock an ‘Insider Pass’, which gives them priority access for tickets to the new Kynren – The Storied Lands when it opens next summer.

Travel writer Catherine Lofthouse, who visited this year’s show, said: “If you’ve never heard of Kynren in Bishop Auckland, Durham, you’re not alone.

“Over an hour and a half, scenes that tell the tale of our homeland, history and heritage come to life across the 7.5-acre outdoor stage.

“The 1,000 professionally trained volunteers might be amateurs, but this incredible cast put on one of the best shows I’ve seen, one that really has to be seen to be believed.

“My boys aged 12 and 10 were absolutely enthralled by the evening’s entertainment from start to finish.

“The whole event is epic – from Viking ships rising from the water to the recreation of a magnificent stained glass window in the spray of a fountain.

“Battle scenes, stunts, celebrations, historic moments, lines from Shakespeare – it’s sometimes difficult to know where to look at there’s so much to take in from one moment to the next.

“It was such a high-quality performance, I’d say it rivaled a live Disney show too.”

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In other theme park news, the UK’s best value theme park has been named.

Plus, the UK theme parks with the best Black Friday discounts – from extra park tickets to free waterpark entry.

BLACK Friday is just around the corner, with deals from food and gifts to holidays and flights.

So we’ve rounded up all of the Black Friday deals at some of the UK’s top theme parks, including free park tickets and cheap annual passes.

This year, Black Friday is on November 28, although many brands offer deals in the weeks before.

Here are some of the theme park deals in the UK – although be quick as you have to book this month.

Alton Towers

The UK’s biggest theme park is letting kids both stay and swim for free in a Black Friday deal.

This means that there are Free Child Places for any overnight stays.

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And the packages also include free entry to Alton Towers‘ waterpark.

A free buffet breakfast and nine holes at crazy gold are also included.

The Black Friday deal is valid when booked for stays between January 23 and March 12 next year.

You need to book by December 1, when the deal will expire.

Legoland

You can get a free day at the park in Legoland‘s Black Friday deal, with a complimentary second day.

Starting from £69pp, it means you don’t have to rush your first day and can make the most of your return.

The deal applies for 2026 short breaks, with the deal ending on December 1, 2025.

Thorpe Park

Thorpe Park is offering free Fasttrack passes for holidays in 2026 in this year’s Black Friday.

The deal includes six Coasters Fasttrack passes when you stay in the on-site Thorpe Shark Cabins.

The six big rollercoasters included are the new Hyperia, as well as Colossus, Nemesis Inferno, SAW – The Ride, Stealth and The Swarm.

The package deal also includes two-day park entry, buffet breakfast, free parking and first hour Fastrack on the second day.

The deal is for all stays from March 27 to June 20 next year ,although the deal ends on December 2, 2025.

Paultons Park

You can get a second free day at Paultons Park in this year’s Black Friday sale.

This even includes trips booked this year, such as this month or for Christmas.

The packages include an overnight stay at a hotel, as well as the second free day pass alongside breakfast and parking.

There are also savings up to £40 on Paultons Park breaks.

The deal expires on December 2.

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Drayton Manor

Drayton Manor is yet to reveal any Black Friday deals.

Chessington World of Adventures

Chessington World of Adventures is yet to reveal any Black Friday deals.

After going global for its second volume, “Star Wars: Visions” Volume 3 brings the anthology series back to its roots with a new slate of shorts all created by Japanese anime studios.

Each season of the Disney+ series, which launched in 2021, has infused fresh creative energy into the galaxy far, far away by giving international animation houses the freedom to explore ideas about the Force, the factions of the Galactic War and brand new planets and cultures outside of the constraints of the long-running franchise’s canon.

And while Volume 3, which premiered last week, revisits some characters that were introduced in Volume 1, it also shows how anime is a medium with range. From the gritty installment that explores the complexity of the dark sides of the Force through a battle between former Sith and Jedi (“The Duel: Payback”) to a more heartwarming story about a pair of resourceful orphans who decide to become family (“Yuko’s Treasure”), there are different types of anime for everyone.

Anée-san in “The Duel: Payback,” one of the shorts in “Star Wars: Visions” Volume 3.

(Lucasfilm Ltd.)

With movies like “Demon Slayer: Kimetsu no Yaiba Infinity Castle” and “Chainsaw Man — The Movie: Reze Arc” making waves at the box office, anime’s growing popularity is undeniable and its availability on major streamers has also made anime series and movies more accessible than ever. So for those whose curiosity about the medium has been piqued by “Star Wars: Visions,” here are some titles to check out based on the themes and stories of the nine shorts that comprise Volume 3.

Stunning fights (with some moral ambiguity)

Sagiri in an episode of “Hell’s Paradise.”

(©Yuji Kaku/Shueisha, Twin Engine, Mappa / Crunchyroll)

Let’s be honest: Lightsaber duels are awesome. So it’s no surprise that a number of shorts in “Star Wars: Visions” Volume 3 leaned into stories involving Jedi and/or the Sith, including “The Duel: Payback,” “The Lost Ones” and “The Bird of Paradise.”

For those who are looking for anime featuring stylish and stunning sword-fighting scenes, the ever popular “Demon Slayer” (Netflix, Disney+/Hulu, Crunchyroll), featuring a secret organization fighting to protect humans from demons, is an obvious choice. Another show featuring stylish combat between skilled warriors and supernatural monsters is “Hell’s Paradise” (Netflix, Disney+/Hulu, Crunchyroll). The series follows a ninja who is recruited by an executioner to join a party of death row inmates on a quest to find the elixir of life on a mythical island populated with mysterious deadly threats. The successful convict will be pardoned for all of their past crimes. The premise may remind some of the supervillain team-up “The Suicide Squad,” but the fighting scenes — and the island’s inhabitants — stand alone.

Master and apprentice dynamics

Frieren, left, and Fern from “Frieren: Beyond Journey’s End.”

(Crunchyroll)

Speaking of Jedi, “The Lost Ones” and “The Bird of Paradise” also touch on the relationship between a Jedi master and their padawan apprentice. If a story involving a lineage of student-teacher dynamics that’s about friendship, human connection, memory, mortality and legacy sounds intriguing, consider checking out “Frieren: Beyond Journey’s End” (Netflix, Disney+/Hulu, Crunchyroll). The fantasy series follows an elven mage, her young human apprentice and others they pick up along their years-long journey to visit the spirits of old friends. The show is part travelogue, part adventure quest with monsters, magic battles and dungeon exploration.

Lovable scoundrels

Kazuki, left, Miri and Rei in an episode of “Buddy Daddies.”

(©KRM’s Home / Buddy Daddies Committee / Crunchyroll)

The world of “Star Wars” is full of scoundrels that fans can’t help but love for their swagger and independent moral code, and “Visions” installments “The Smuggler” and “The Bounty Hunters” add to that legacy.

Well-known classics like “Cowboy Bebop” (Crunchyroll) and “Lupin the Third” (Tubi, Crunchyroll) and the long-running “One Piece” (Netflix, Disney+/Hulu, Crunchyroll) are good starting points for those first dipping their toes into anime and are interested in the adventures of a ragtag group of bounty hunters, thieves and/or pirates. For those looking for something new, consider “Buddy Daddies” (Crunchyroll), which follows a pair of assassin roommates who form a makeshift family after taking in a 4-year-old they encounter while out on a job. Think of it like “The Mandalorian,” if Mando had a recluse gamer co-parent and Grogu was a picky eater.

Political space wars and mech suits

Suletta Mercury in an episode of “Mobile Suit Gundam: The Witch from Mercury.”

(©Sotsu, Sunrise, MBS / Crunchyroll)

Some film and TV shows set in the galaxy far, far away are more political than others, but aspects of the conflict involving the Galactic Empire, Rebel forces and stray Jedi are touched on in a few of the shorts in “Visions” Volume 3 like “The Lost Ones,” “The Smuggler,” “Black” and “The Song of Four Wings,” with the latter featuring a young protagonist that dons a snazzy flying mech suit.

The mecha franchise “Gundam” is best known for its giant robots, but it’s a sprawling space opera that touches on political themes including the horrors of corruption, inequity and war. A recent standout is newcomer-friendly “Mobile Suit Gundam: The Witch From Mercury” (Crunchyroll). The show follows a shy new transfer student at a corporate military school where recruits train and settle disputes in giant mech suit combat. The series uses school drama and a budding teen romance as a backdrop to touch on themes such as class strife and prejudice, corporate greed and personal vengeance.

Emotionally resonant robots

Atom in an episode of “Pluto.”

(Netflix)

From the Skywalkers’ fussy protocol droid C-3PO to Hera Syndulla’s cranky astromech Chopper, lovable androids are a “Star Wars” signature. “Visions” Volume 3 installments “The Ninth Jedi: Child of Hope” and “Yuko’s Treasure” each introduce loyal droids that tug viewers’ heartstrings.

The title androids in “Astro Boy” (also known as Atom) and “Doraemon” are kid-friendly household names in Japan akin to Mickey Mouse and Snoopy, but a more mature option is “Pluto” (Netflix). The gritty, sci-fi murder mystery series is based on a reimagining of a story arc from the “Astro Boy” manga, and is set in a world where humans live alongside robots — though the dynamic is a bit different than in “Star Wars.” The story follows a robot detective who is investigating a string of robot and human killings, and, like many sci-fi stories about androids and artificial intelligence, touches on themes like what makes humans human.

A scene from “Yuko’s Treasure,” one of the shorts in “Star Wars: Visions” Volume 3.

(Lucasfilm Ltd.)

Rambunctious kids

Plenty of “Star Wars” media is made with younger audiences in mind, but not many are about the adventures of children in the galaxy far, far away. “Vision” Volume 3’s “Yuko’s Treasure” puts a couple of orphan kids in the forefront — along with an adorable bear-like droid.

There’s no shortage of anime series about the (mis)adventures of rambunctious kids and one of the more heartwarming involves a “fake” family. “Spy x Family” (Disney+/Hulu, Crunchyroll) follows a secret agent working to maintain the fragile peace between neighboring nations and the faux happy family he constructed for his latest undercover mission. Unbeknownst to him, his adopted daughter is secretly a telepath and his fake wife is an assassin. As one might expect, a telepathic first grader with a wild imagination who lives with a spy and an assassin can get caught up in plenty of shenanigans. Bonus: The family also adopts a cute massive dog.

Kotaro in an episode of “Kotaro Lives Alone.”

(Netflix)

On the opposite end of the spectrum is “Kotaro Lives Alone” (Netflix), a more grounded show with just as outlandish a premise. The series follows a 4-year-old who moves into a rundown apartment complex alone — for reasons that are eventually revealed as his neighbors get to know him. The boy is unusually self-reliant and mature but also childish and understandably vulnerable. As viewers might assume, there are not many happy circumstances that could possibly lead to a 4-year-old child living on his own, but there’s more warmth than tragedy.

Musical, visual spectacle

One of the standouts in “Star Wars: Visions” Volume 3 is “Black,” a jazz-fueled, mind-bending fever dream of a Stormtrooper during a battle. The bold, music-driven 13-minute short is a visual spectacle that challenges viewers and there’s not much else out there that compares. Though it has a more structured narrative, the anime film “Inu-Oh” (Netflix) is a psychedelic rock opera that might scratch the same itch. Set in 14th century Japan, the film follows two young artists who forge a friendship because they are both outcasts — the musician is blind, and the dancer was born with monstrous deformities — and their dazzling performances drive the story.

TWISTING the handles of his personal periscope around, my son Billy lets out an excited gasp.

Through the lens he’s able to catch a glimpse of the rollercoasters and colourful rides that await him at Chessington World of Adventures, right on the doorstep of our hotel.

I’m staying in one of the theme park’s new Paw Patrol-themed rooms, offered up just in time for half term.

Part of Chessington’s Safari Resort hotel, the five new pup-tastic bedrooms offer a glimpse of what’s to come when a new Paw Patrol-themed land opens next spring.

Nothing has been spared on making these spaces as immersive as possible.

Funky bunk beds have been disguised as the famous Paw Patroller truck featured in the show, with a driver’s seat at the front and a steering wheel that little ones can play with.

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A yellow periscope in the main room, that fans will recognise as a replica of that from the Paw Patrol Lookout Tower, is surrounded by coloured bean bags which kids can plonk themselves on when spying on the theme park.

And if the view from the periscope isn’t enough to impress them, the bedroom window one will be.

Rooms overlook the park’s Wanyama Reserve, and one afternoon we were treated to the sight of two giraffes munching away on their leafy dinner.

I was grateful for some tranquillity to balance out the “wow” of the all-singing, all-dancing bedroom.

The decor here is bold and bright, with huge murals of the pups showing their wacky adventures.

Rooms sleep up to two adults, in a plump double bed, and three children.

They also come with a special Paw Patrol parking outside.

Even when you’re dining at one of the two restaurants, you’re likely to bump into your little ones’ favourite character.

As Billy tucked into his junior Wanyama burger (£7) at dinner, he clocked Skye giving some of her fans a high-five and a cuddle across the room.

If you don’t get to meet your hero at the hotel, Paw Patrol guests can nab fast-track entry to daily meet-and-greets with Chase, Skye and Rubble in the park.

A night’s stay comes with a huge buffet breakfast – which has everything from a full English to pancakes and pastries and is available from 7am to 10am.

Access to the hotel’s Savannah Splash Pool means children can burn off any extra energy.

After an action-packed day here, adults will be just as grateful for the ultra-comfy beds as the kids are.

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Paw Patrol stays start from £155 for a family of four, including bed and breakfast. Stays include early ride access, a Pup Pass (meet-and-greet fast track pass) and a Reserve & Ride one-shot pass.

Guests staying before the Paw Patrol-themed land opens will have a chance to be one of the first to ride the new rollercoaster in 2026.

ABU DHABI has been named the happiest city in the world by Time Out.

Scoring a near perfect mark, 99 per cent of locals agreed that Abu Dhabi makes them happy, with 96 per cent saying that people in the city seem positive.

In addition, 93 per cent said that they feel happier in the city than anywhere else.

The city was ranked against five statements: My city makes me happy; I feel happier in my city than other places I’ve visited or lived; The people in my city seem happy; I find joy in the everyday experiences my city offers; The sense of happiness in my city has grown a lot recently.

The city gained top marks for walkability as well, and has been named one of the best cities for culture and green space and nature.

If you are heading to the city, then explore Yas Island – a purpose built island with theme parks and a waterworld.

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The island is home to a number of theme parks including Ferrari World Yas Island and Warner Bros World Yas Island.

Ferrari World is the first Ferrari-branded theme park, which is also home to Formula Rossa – the world’s fastest rollercoaster.

Then at Warner Bros. World, visitors can explore one of the world’s largest indoor theme parks, with six immersive lands.

Across each land, visitors will find rides, shows and attractions themed on classic Warner Bros. characters such as Superman.

For those who prefer to splash about in the water, head to Yas Waterworld Yas Island – a massive water park with over 40 rides, slides and attractions.

For something more thrilling, head to Clymb, which boasts the world’s largest indoor skydiving flight chamber and the region’s tallest indoor climbing wall.

The island also hosts the Formula 1 Abu Dhabi Grand Prix at the Yas Marina Circuit.

Visitors can wander along Yas Bay Waterfront as well, where they can find a number of cafes, restaurants and bars.

Yas Beach is good for relaxing too, with golden sands and crystal waters in addition to different water spots such as kayaking.

And for a bit of retail therapy, make sure to visit Yas Mall, which is one of the city’s biggest shopping centres.

Elsewhere in Abu Dhabi visitors can head to other cultural destinations such as the Sheikh Zayed Grand Mosque and the Louvre Abu Dhabi – a large museum with art from different cultures.

There is also Qasr Al Hosn – the oldest stone building in Abu Dhabi.

If you prefer to see nature, then explore the Jubail Mangrove Park via its boardwalks or kayak.

The desert is another place to see, where you can take part in a number of activities such as dune bashing (venturing across the dunes in buggies), camel riding and sandboarding.

When it comes to food, a mid-range three-course meal at a restaurant will set you back £50.91 for two people.

One top spot (but that costs a bit more) is Café del Mar, which is located near the beach and often hosts pool parties and Ladies’ Days.

Options include a truffles wagyu beef burger, with cheese, beef prosciutto, truffle and mushroom sauce and fries for £35.65.

Alternatively you could share a salt-baked sea bass, with tomato vinaigrette and fries for £29.54 per person.

Alcohol in Abu Dhabi isn’t cheap either with a beer costing around £8.15.

When it comes to places to stay you won’t be short for choice, with the city also being home to some famous hotels such as the Emirates Palace, which costs hundreds per night.

Though more affordable options include the Royal M Hotel by Gewan Abu Dhabi for around £130 per night.

Direct flights in November, from London to Abu Dhabi cost from £474 or £513 from Manchester.

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Abu Dhabi is the ideal alternative to Dubai, with new British Airways flights and affordable holiday packages.

Plus, Disney is also planning to open a brand new theme park and resort on Yas Island.

A day out at a theme park isn’t just a summer activity. Many parks will be open for Christmas-themed fun, and you’ll find fun, festive activities to suit all ages

Looking for a festive day out for all the family? Many theme parks will be opening their doors for the Christmas season with a range of activities for all the family. In addition to themed days out, some parks will also be offering special short breaks, with extras such as Santa visits and evening entertainment and even the chance to enjoy a festive-themed sleepover at the on-park hotels. Here’s a round-up of some of the most popular theme parks in the UK and what they’ll be offering this November and December.

Alton Towers – Magical Days Out

From £18 per person

In the run up to Christmas and the New Year, Alton Towers offers Magical Days Out starting at just £18 per person. While it’s a cheaper way to visit the park, it’s worth noting that only CBeebies Land and Mutiny Bay are open, plus a couple of the bigger rides, so you don’t expect all the usual thrill rides to be available.

However, the park is set to be decked out in festive decorations, and visitors can enjoy Christmas-themed shows such as Hey Duggee Live: The Christmas Badge!, which is bound to be a hit with the younger members of the family.

Families can also book a Santa Sleepover at one of the park’s on-site hotels, starting at £91 per person. This includes a one-day theme park ticket, a visit to Santa’s grotto, a traditional pantomime, and a festive dinner and entertainment for the whole family. Booking the Santa Sleepover also gives you access to the on-site waterpark and crazy golf.

Find out more on Alton Towers’ official website.

Gulliver’s – Christmas and Land of Lights

From £27 per person

Three of Gulliver’s theme parks will be offering Christmas events: Rotherham, Milton Keynes, and Warrington, with a selection of Christmas rides and attractions open during this time. What’s available over the festive period varies by park, and some of the activities on offer include festive breakfasts, Santa’s grottos, Christmas shows, Elf workshops, and more, with a variety of packages available.

Each park will also have a Land of Lights attraction – a spectacular light trail that opens during the winter. Tickets for this attraction are sold separately and start at £13.75 per person.

For more information and dates visit Gulliver’s website.

Drayton Manor – Christmas Wonderland

From £20 per person

Drayton Manor say they’ve unwrapped their “biggest and most magical Christmas plans ever”. The Midland-based park, which is best-known for being the home of Thomas Land, will open on selected dates from November 22 to December 31 with most of the park’s rides open.

There will also be a range of themed attractions for family days out. Fans of Elf on the Shelf can enjoy Elftoria, with the cheeky creatures taking over the park and adding a mischievous touch to your day. Children can even take part in pranking workshops and enjoy a live elf show.

Kids can visit the Castle Grotto, which will include a story-time experience with Mrs Claus and a visit to the man in red, while Thomas Land will be decked out in seasonal decorations and have festive family shows. In the evening, families can board the Twinkling Express, a gentle journey surrounded by Christmas light trails.

Find out more about Christmas at Drayton Manor here.

Paultons Park – Celebration of Christmas

From £20 per person

Paultons, perhaps most famous for being the home of Peppa Pig World, will be turning their park into a Christmas wonderland. On selected dates through December, visitors can visit Peppa and friends in their festive clothing, enjoy Santa’s Christmas Wish show, or enjoy festive-themed menus in the park’s cafes.

If you prefer thrill rides, the Tornado Springs are will be also be open as well as selected rides in Lost Kingdom and Critter Creek.

Book or find out more about Christmas at Paultons here.

Chessington – Christmas Village

From £32 per person

Chessington’s Christmas village ticket will include a selection of the park’s rides, as well as access to the zoo and SEA LIFE centre. Visitors will be able to enjoy a Christmassy silent disco, wander through a snowy trail, and see the elves making toys in their workshop. Of course, there’s also a visit to Santa to give him your Christmas list.

Visitors can stay for longer by booking the on-site Safari or Azteca Resort Hotel, and there’s even a range of VIP experiences that can be added onto your package to create unique Christmas memories. Book an elf wake up call, with a small pre-Christmas gift for the kids, or take part in a reindeer encounter and see Santa’s helpers up close.

But the fun doesn’t stop once January comes round. Chessington now offer a themed Christmas Room, which will be a permanent fixture in their hotel year-round. No matter when you visit, you’ll be able to enjoy a decorated tree, Christmas crackers, hot chocolate, and even a decorated Christmas parking space. It’s perfect for the Christmas obsessive in your life.

Find out more about Christmas at Chessington and book tickets here.

Ten nightmares – one night – Kelly Williams’ favourites in a gauntlet of unforgettable hell at Universal’s Halloween Horror Nights 2025 where she screamed herself hoarse

I’d been anxiously counting down the days until the opening of Universal Orlando’s Halloween Horror Nights and finally, it had arrived.

The air in the park felt electric – thick with fog, echoing with screams and a primal promise that tonight, my nightmares would come alive.

Suddenly, I didn’t feel so brave as my heart jumped into my throat at the sound of chainsaws buzzing in the distance. Before I’d even reached the 10 haunted houses, I found myself in a hunting ground of bloodthirsty zombies as panicked victims urged me to run.

But there was no turning back…

Five Nights at Freddy’s

I started with a childhood-unravelled – the eerie animatronics of Freddy, Bonnie, Chica, and Foxy lurking at every turn of Freddy Fazbear’s Pizza. Jim Henson’s Creature Shop creations looked terrifyingly real, and when Freddy reached forward with his blazing eyes, I jolted.

The flickering cameras, the dim corridors, it was like stepping into a haunted bedtime story that always ends badly. And just as I thought I was safe, a flicker of a poster caught my eye near the exit. The design didn’t quite fit—newer, sharper, like it was whispering about horrors still to come in a sequel I wasn’t ready for.

El Artista: A Spanish Haunting

19th-century Spain never looked so menacing at this original concept house. I wandered into a country manor alive with bloody paintings, possessed by tortured spirits, where artist Sergio Navarro’s vision turned against him and dragged me into madness.

Figures chanted in candlelight, and I was swallowed by pitch-black hallways so disorienting I had to grope along the walls, certain something was right behind me (it was). The Gothic atmosphere and haunting visuals were beautiful yet utterly terrifying.

WWE Presents: The Horrors of The Wyatt Sicks

If every other house had been pure terror, this one was theatrical dread, despite the fact that my WWE knowledge is limited, to say the least. Entering, I passed through a twisted lantern-lit stage into a tunnel filled with the distorted faces of 27 WWE icons, including Bray Wyatt tributes.

The surreal realm of Uncle Howdy, Mercy the Buzzard, Abby the Witch – it was like a haunted wrestling dreamscape laced with sorrow and nightmares. I felt both unnerved and strangely reverent. This house was surprisingly one of my favourites.

Hatchet and Chains: Demon Bounty Hunters

This was raw, fiery chaos – an Old West torn apart by lava demons melting everything in sight. I dodged demonic assaults and swampy lava flows as bounty hunters hunted the chaos, while heat and horror raged around me.

Try as I might, I couldn’t look away, even though behind every corner was a scare actor waiting to spring. My heart jumped into my throat, and I laughed nervously, realising this was just the beginning.

Dolls: Let’s Play Dead

Suddenly, I was doll-sized, trapped in a nightmarish toy world as burnt, stitched, malformed dolls limped from shadows. A twisted little girl named Lyla giggled as I ran, chased by cursed playthings. The scenes were harrowing, and strangely childlike – a grotesque playroom with a dark twist.

Dolls had been tortured in a way that made Sid from Toy Story look like Willy Wonka. Pure nightmare fuel.

Grave of Flesh

I barely had time to steady my breath before I was dropped into my own funeral. In tight, cavernous tunnels, flesh-eating creatures pursued me relentlessly. The narrative is that flesh-eating zombies feast on our corpses when we die and drag our souls into a relentless world of horror.

Panic, claustrophobia, the feeling of being buried alive – it was hell incarnate, and I crawled out trembling.

Gálkn: Monsters of the North

Finally, a Norse-myth horror – ice, fjords, and ancient beasts stirring deep beneath a northern village. I raced through fjord fiends and a monstrous resurrection that felt like stepping into a brutal saga where survival was never guaranteed.

My voice was hoarse from screaming and laughing hysterically at the same time. My group huddled tighter together, knowing the scares came harder when we split apart.

Fallout

Next, I plunged into a decaying Vault 33 that opened into the blasted wasteland of post-apocalyptic Los Angeles. Rad-roaches scuttled by while Lucy’s voice echoed in my head.

Raiders, The Ghoul, even Maximus in his T-60 power armour – every element pulled me deeper into survival terrain, like a living nightmare in the world of Fallout.

Jason Universe

Here’s where I felt my heart really start pounding. Walking through the haunted woods, past the creaking lodge and into the decaying cabins of Camp Crystal Lake – Jason stands silent, relentless, a gauntlet of killers from the Friday the 13th films from 1 to 8.

It pulled me through scenes that felt cinematic, each room ratcheting up the dread, with Jason’s mum even making an appearance.

It wasn’t just nostalgia; it was a matter of being hunted. I bolted out, breathless and, somehow, triumphant that I’d survived what felt like endless corridors of hell – even though I wasn’t sure I wanted to.

Terrifier

Terrifier pushed horror into the realm of the visceral with an intense sensory overload. Art the Clown’s gruesome funhouse assaulted my senses with blood-soaked corridors and a hacksaw kill recreated in sickening detail.

Nauseating smells – faeces, bleach, salted flesh – clung to everything. With 35 bodies and six gallons of “blood” this is Universal’s first “unrated” house. I wanted to look away, but the narrow corridors kept pushing me deeper.

Victims can choose to take the ‘dry path’ or the ‘blood bath’ at the end of the maze. I chose the latter so the finale drenched me in warm, iron-scented water as I staggered out, sticky, unsettled with adrenaline crackling in my veins.

By the time I stumbled out of the last maze, I thought I’d finally be able to breathe. But instead of relief, I was plunged into more horror.

Neon lights from food stalls flickered, barely cutting through the haze. That’s when the sound hit me first—wet dragging footsteps, a low snarl, and then the unmistakable rattle of chains. Zombies appeared from nowhere, their skin mottled, their eyes glazed with hunger.

One carried a dismembered leg on a plate as he shuffled toward me. Another creature, something less human – its body twisted and barnacle-covered like it had risen straight from the depths – lurched over my shoulder.

Everywhere I turned, more figures emerged: a beautifully terrifying woman with teeth sharpened to jagged points, a gruesome gargoyle, and frantic villages begging me to turn back.

I forced myself forward, weaving between the monsters, my pulse hammering as one leaned close enough for me to feel its breath down my neck. And then – just as suddenly as it began – the creatures melted back into the fog, swallowed whole by shadows.

I found myself shaking, my skin damp with sweat and mist, and I realised Halloween Horror Nights didn’t let you escape when you left a house. No, they followed me to my bed that evening, where I relived the horrors all over again.

But in that moment, standing there under the Florida sky, with the distant shrieks of other brave souls echoing around me, I realised I’d done it. Ten houses. Ten nightmares survived. My nerves were fried, my legs ached, but I couldn’t stop grinning.

Halloween Horror Nights wasn’t just about the scares – it was about being fully alive in the middle of the madness.

Book it

Virgin Atlantic Holidays offers seven nights on a room-only basis at the Loews Sapphire Falls Resort in Orlando, starting at £1,719pp, including Virgin Atlantic flights from Heathrow and a ticket to Halloween Horror Nights. Find out more and book at virginholidays.co.uk.

The park, home to Peppa Pig World, is opening a new land in 2026 with thrill rides and a themed restaurant. Paulton’s Valgard zone is sure to be a hit when it welcomes in the public

Paultons Park, a theme park known for being the home of toddler favourite Peppa Pig World, is set to expand with a new land as part of a whopping £12 million development.

The new addition, Valgard – Realm of the Vikings, is designed for older children and teenagers and is scheduled to open in spring 2026. The Viking-themed land will feature two new adrenaline-pumping rides: the inverting rollercoaster Drakon, and Vild Swing, which will whirl riders 12 metres into the air in a first-of-its-kind ride in the UK.

A sneak peek video on the park’s official YouTube page offers thrill-seekers a taste of what to expect from Drakon, promising plenty of twists and turns. An existing ride, Cobra, is also set for a revamp and will be rebranded as Raven to align with the Viking theme.

The park also plans to add a themed restaurant and a playground for younger guests to Valgard. Further expansion of Valgard is planned for 2027, including a new water ride, although details are currently being kept confidential, according to the Express.

James Mancey, deputy managing director at Paultons Park, expressed his excitement about the project, stating: “We are thrilled to share our plans for our largest and boldest investment to date. As an independent, family-owned theme park, we’re incredibly proud of the investments we make to deliver the very best guest experience. We’ve opened two brand-new rides in the last two years and with the build of Valgard firmly underway, we’re excited to open a further three, bigger-and-better-than-ever-before rides, between now and summer 2027.

“Valgard promises an immersive, atmospheric, and action-packed experience for families and has been specifically designed to grow with our fans. The introduction of inversions and a vertical lift hill on Drakon certainly up the adrenaline levels at Paultons Park, but staying true to our roots, we haven’t forgotten about the little ones and there is something for all of the family in our new Viking village.”

The fresh Viking-themed area will join the park’s existing six themed worlds, including Tornado Springs with its American setting, and Lost Kingdom which focuses on dinosaurs.

Among the park’s most famous attractions is Peppa Pig World, inspired by the beloved children’s cartoon series, which Paultons Park has been crowned the UK’s top theme park, beating out competition from Alton Towers, Blackpool Pleasure Beach and Legoland Windsor. The Hampshire-based attraction scooped the prestigious Theme Park of the Year award at the UK Theme Park Awards 2025, as well as being named Best Theme Park for Families (Large), and Best Theme Park for Toddlers (Large).

Its Ghostly Manor ride was also voted Best New Attraction.

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Visitors have been quick to sing the park’s praises on Tripadvisor, with one reviewer, Ste H, describing Paultons Park as a “brilliant” place that is “spotlessly clean”. He added that the staff are “some of the friendliest people” he has ever encountered at such a venue, and that “[G]enuinely everyone we met made it perfectly clear they love working there, which is great to see.”

Another visitor, Lizzie L, shared her experience of visiting midweek, writing: “All the rides in Peppa Pig world were a walk on and the only time we queued was to meet Peppa. The theming is great and perfect for little ones.”

Universal’s Halloween Horror Nights is scaring the life out of punters with Terrifier. Kelly Williams decided to give it a go and left with goose bumps and utterly horrified

Despite having never been to Universal’s Halloween Horror Nights before, I knew the Terrifier was going to be bad, but I didn’t expect it to feel like my stomach – and nerves – were being tested with every step.

The smell hit me before anything else – putrid rot, bleach, coppery blood, even the stench of faeces. It stuck to the back of my throat so thick I nearly gagged. The house started deceptively dry, as if lulling me into thinking I’d make it through clean. That didn’t last.

Within minutes, I was in the middle of a full-on blood bath. Red splattered walls, dripping ceilings, and warm droplets spraying across my arms. They say it uses six gallons of blood and 35 bodies – the most ever – and I believe it. Every corner I turned was another slaughter.

And then there was Art the Clown. Not just once, he appeared everywhere, each guise worse than the last. He came at me dressed as a sick parody of Santa, revving a chainsaw and plunging it gleefully into a victim’s back with that same, mocking grin.

A few rooms later, I caught him mid-kill, snapping someone’s jaw with a crunch that echoed through the hall. The squelch of him disembodying someone else was another gruesome scene that still haunts me.

In another chamber of hell, he stood behind a screaming man, dragging a blade across his throat as blood sprayed into the air, and I had to turn my face away. The worst was the bathroom scene. It stank of mold and sewage, and the sinks were clogged with guts.

There were bodies piled in the bathtub and a mirror streaked with gore. I wanted to close my eyes, but Art was there too, standing so still it made me wonder if he was waiting for me specifically. Then came the familiar warped jingle of the Clown Café, cheerful and wrong, like a lullaby for nightmares as Art danced nonchalantly along.

By the finale, I was lightheaded from the smell and the sights, practically stumbling toward the exits where I was faced with a choice – dry path or blood bath (of course, I went for the latter). My stomach lurched with every step, I came so close to throwing up. But I made a run for it, and when the warm spray of blood (water really) finally hit me in the last corridor, I felt it on my skin long after I’d escaped.

I staggered out laughing, but it was the kind of shaky laugh you let out when you’re not sure if you survived or just got broken. Terrifier wasn’t just a haunted house. It was being dragged into Art the Clown’s world – unrated, unrelenting, and almost too much for me to handle.

Book the holiday

Virgin Atlantic Holidays offers seven nights on a room-only basis at the Loews Sapphire Falls Resort in Orlando, starting at £1,719pp, including Virgin Atlantic flights from Heathrow and a ticket to Halloween Horror Nights. Find out more and book at virginholidays.co.uk.

More info at visitorlando.com and universalorlando.com/hhn/

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A THEME park in France, often dubbed as a ‘Disney-alternative’ is set to undergo a huge makeover.

At a cost of £218million, it will get new thrilling attractions, restaurants, and a four-star hotel, and it’s all in the works to open by 2030.

Parc Astérix is the second largest theme park in France and yet it’s barely visited by Brits.

Instead, visitors from the UK tend to head to Disneyland Paris, but there Parc Astérix is worth the visit, and is about to get bigger.

The theme park is based on a comic book series that has over 50 attractions across six themed worlds like the Roman Empire, Greece, and the Vikings.

And there’s a new land being added to the portfolio which will make Brits feel like they’re right at home.

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In 2028, Parc Astérix is opening a new British-themed land called Londinium.

It will feature a major immersive roller coaster, an interactive family dark ride, a vertical playground, a pub and shops.

Some concept art has even revealed it to have a Helter Skelter and a queue themed to the UK’s own Camden Market.

Another themed area which will change is the Egypt area, its Oxygénarium attraction, which will become The Descent of the Nile.

The park will open its fourth hotel called The Odyssée Hotel, a new 300-room hotel that is set to open in 2027. 

The addition will mean that the total number of hotels at Parc Astérix will reach 750.

The park’s Les Chaises Volantes attraction will become the Flight of Ibis, and the Le Cirque Restaurant will be redesigned as Le Comptoir d’Epidemaïs.

In 2027, Parc Astérix will open a renovated Greek zone with a two new family attractions, a playground and a restaurant.

The park also revealed that the new development will create 20 per cent more capacity, and two thirds of it will be indoors so it won’t have to rely on good weather.

The theme park is 21 miles north of Paris, and in fact is just an hour’s drive away from Disneyland Paris.

Parc Astérix is significantly smaller than Disneyland Paris. Disneyland Paris is approximately 140 acres, while Parc Astérix is about 83 acres.

In terms of numbers, Parc Astérix welcomed a record 2.9million visitors in 2024, whereas Disneyland Paris averages 12million – so the French theme park will be much quieter.

It’s award-winning too, earlier this year, it’s attraction Cétautomatix  won the ‘Top European New Attraction’ prize at the Parksmania Awards 2025.

Cétautomatix is Europe’s first spinning family roller coaster.

Tickets to Parc Astérix cost €49 (£42.89) per person.

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Plus, here’s more on the massive European theme park less than three hours from the UK named the best in the world – beating Disney and Universal.

And here are the top six UK theme parks you can easily reach by train – and how to find the cheapest family fares.

One Sun Writer visited the theme park with her family, and here’s what she thought…

When EuroDisney — now Disneyland — arrived to take on France’s beloved Asterix theme park back in 1992, they had a huge battle on their hands. And, in all honesty, I couldn’t see how the French would win.

But unlike in many other countries, Parc Asterix might just have pipped Mickey Mouse to the post in France.

Disney certainly has the monopoly on world-renowned characters and a blow-out budget to create that real wow factor, all of which seems impossible to compete with — yet somehow Parc Asterix does.

he tickets are cheaper, the food is better, the shows are spectacular and the rides are a total revelation.

Add in a sprawling protected countryside backdrop just 30km outside Paris, with three separate hotels within the grounds at very reasonable prices, and you’ve got yourself a winner.

It’s pure escapism, based all around the cherished world of Asterix — the man who, in famous French comics, protected France from the Romans.

And what better way to embrace your inner Gaul than by screaming your head off on a super-fast ride?

At the last count, there were nine hardcore rides, as well as all the more child-friendly ones.

And with a guarantee that they will launch something new pretty much every year, you can return in the knowledge you will never be bored.

Our favourite rollercoaster here, reaching speeds of 110km per hour, is the fastest in France and apparently holds the record for the most “air time” — the amount of time your bum leaves the seat (a whopping 23 times apparently!).

Eating dirt is usually not a good thing, but in the new Amazon Prime series “Cometierra,” it’s a superpower.

The supernatural crime thriller, which premieres on Halloween, is based on the 2019 Dolores Reyes novel of the same name. The book follows the story of a young woman who has the ability to communicate through visions with the dead and missing people of Argentina by eating the physical land they trod.

“Cometierra” stars Lilith Curiel with supporting roles from Oscar nominee Yalitza Aparicio and Gerardo Taracena. It follows the same outline of the book but is set in contemporary Mexico to address the themes of state violence, femicide and the missing persons epidemic.

The source material and its new twist were what drew Mexican singer-songwriter Natalia Lafourcade to perform the series’s title song, “La Cometierra.”

“We have this reality in Mexico, there’s violence against many women and there’s the disappeared. It’s a very sad situation that we have, but it’s a fact,” the singer said. “It’s inspiring the way the series develops and how this girl, alongside her neighbors, creates a [positive] tribal strength out of her situation.”

Lafourcade especially liked that the series provides an organic avenue for debate and serves as a call to action to recognize that these are all problems in Mexico, while also showing that there is a deep well of beauty within the country.

“We all have a talent that we can always put forward as a service for our family, our country, just for other people,” she said.

The 41-year-old artist’s recently released single channels the energy of the series and its themes by conjuring a spoken word cadence that culminates in a nursery rhyme chant about the powers of the Cometierra.

“I wanted to make a sound that would be very strong and that would present a reality and that the lyrics wouldn’t be smooth,” Lafourcade said. “But at the same time, it would have hope and light and this feeling of joy for the next generations. So I wanted to have this mix of girls singing in a very naive tone, but also mix in a straight voice telling hard truths.”

The song, while geared toward a Mexican experience, now has a striking relevance in the United States as Immigration and Customs Enforcement raids — largely targeting Latinos — continue to take place across the country and as hundreds of detained people have been unaccounted for.

“I hope that music has this capacity to make us wake up and be conscious of situations,” Lafourcade said. “I have realized there are many themes that you can take through music, but sometimes music can become something that you hear truths that probably are not so pretty.”

Regarding some of the ugly truths of the U.S. at the moment, the “Nunca Es Suficiente” artist said that it’s not right that people should feel shame of where they come from and that communities need to show up for themselves at this point in time.

“Nobody should take our pride for our roots, our culture, our people,” she said. “The young lady [in the show] reaches a point where she’s confused about if she should use her power and give it to her people or not. She feels very afraid and insecure and she’s going through all that. But I love how she becomes a hero of her own power and I think that’s the fate of many of us, the way we can make a twist in the story we’re living every day.”

WHEN it comes to enjoying Halloween, the team at Copenhagen’s Tivoli Gardens don’t cut corners.

Spiders, cobwebs, witches’ hats, scarecrows, hay bales and thousands of pumpkins of all shapes, sizes and colours surrounded the stalls, rides and attractions.

But I could not help thinking that when it’s all over, someone’s got a mammoth clear-up job.

The Danish capital city’s famous amusement park, which is right in the centre, closes for two weeks while a team of more than 50 gardeners, designers, decorators, stagehands, crane operators, electricians and carpenters transform it into a spooky wonderland.

And as you would expect from the Danes, it’s all done very tastefully — and sustainably.

The 22,000 pumpkins are grown in Denmark, on the island of Samso, where the climate is spot on.

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The larger ones are entries for the annual Danish Giant Pumpkin Championship, hosted by the park.

Afterwards, the prize pumpkins are given to Copenhagen Zoo, where apparently the elephants are particularly fond of them.

This year is the 20th anniversary of Tivoli’s Halloween festivities and around half a million people are expected to walk through the gates before the season ends on November 2.

To avoid the queues, I would suggest going earlier in the day to do the most popular rides, but make sure you stay until dusk to get the full effects of the flickering jack-o’-lanterns.

Little ones will love the treasure hunt and pumpkin-carving workshops, while older kids will enjoy being scared — but not too much — in Villa Vendetta, where actors jump out from the shadows.

The Haunted House wasn’t quite frightening enough for my teenage son, but the gravity-defying loops of The Demon rollercoaster took his breath away.

‘Getting cosy’

A day at Tivoli was part of the compromise when we told him he’d be missing the usual trick-or-treating with mates to join his parents on an October city break.

Autumn is the perfect time to visit Copenhagen. It’s when the leaves turn, the nights draw in and the “hygge” levels rise.

If you haven’t heard of hygge (pronounced hoo-ga), it is the Danish concept of “getting cosy” — and we’d come to the capital to get a dose of it.

Flights generally cost less after the summer too, and once you are here, getting around is cheap and easy.

The Metro system only has four lines and there are also hop-on, hop-off buses and water buses (small ferries).

We purchased Copenhagen Cards, which give you free public transport plus entry to 87 attractions.

They even cover the metro or train from the airport, which only takes about 15 minutes to the city centre.

As well as getting free entrance into Tivoli (rides and attractions cost extra) we used our Copenhagen Card to take a sightseeing cruise up the river, past the famous Little Mermaid statue (it really is tiny), the royal palace, funky house boats and more.

Cardamom buns

Cruises start from Nyhavn, the city’s pretty harbour with brightly-coloured houses, where we warmed up afterwards with a cup of Glogg, a sweet mulled wine.

We took the water bus to Contemporary Copenhagen to enjoy the art installations and we joined the locals cycling around the three city lakes at Soerne.

The bikes were hired from our hotel, Charlottehaven, which also happens to be a short walk from one of the city’s best bakeries, Juno. The delicious cardamom buns were well worth queuing for.

Eating out in Copenhagen isn’t cheap but there’s a growing number of communal dining venues, a concept known as faellesspisning, which are really good value.

In just a few days we’d packed a lot in and had fallen in love with Copenhagen, a compact and friendly city where everything is within easy access, even a 20-acre theme park

We went to Kanalhuset (the Canal House) in Christianshavn and joined a table full of locals for a simple but very tasty meal for around £16 each.

There’s only one choice each night (you can check what’s on the menu on the website) but they will always do a vegetarian option on request.

Everyone turns up at 6.30pm for drinks in the bar and then joins one of the large tables in the restaurant for dinner at 7pm.

We made friends with a lovely Danish family celebrating their mum’s birthday. Pretty much all the locals here speak excellent English, so it was easy to chat.

In just a few days we’d packed a lot in and had fallen in love with Copenhagen, a compact and friendly city where everything is within easy access, even a 20-acre theme park.

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Once the Halloween festivities are over, Tivoli closes again for two weeks so that all the pumpkins can be replaced with fairy lights, an ice-skating rink and hundreds of Christmas trees.

Now we need to go back and experience Christmas hygge-style.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

A MAJOR theme park that will transport visitors to previous decades is planned for one of the most-visited cities in the world.

Named RetroEscapes, the new theme park would be based in Las Vegas, America and claims it would be the world’s first retro theme park.

The attraction would be split into five lands, with each dedicated to a different decade – 1950s, 60s, 70s, 80s, and 90s.

Then there would be an additional zone, that would allow a “glimpse into the unknown future“.

Once open, the theme park would include immersive attractions, rides, activities, dining, shopping and live entertainment – all themed around the five decades.

Social media influencer Daniel Leo Jr is behind the theme park which he has been working on with his father for the past seven years.

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Announcing the news on his Instagram, Danie-Leo Jr said: “When you enter the park, you will begin your journey through the time travel portal and then from there you will be transported back to the 50s, 60s, 70s, 80s, and 90s.

“The park will be anchored by the Fountain of Youth, that will feature a nightly firework and laser light show spectacle, that will celebrate the icons of American pop culture, through the decades.”

Little details about the theme park have been officially confirmed, but the company has released a lot of concept art revealing what could possible appear at the attraction.

In ‘The Fabulous 50s’ land, there would be ‘The King’ diner that appears to be a tribute to rock and roll legend Elvis Presley.

There would also be a ‘Monroe Cocktail Bar’ in this land, dedicated to icon Marilyn Monroe.

In this land, it looks like there will be a car water-based ride as well.

Heading onto ‘Peace & Love 60s’, the art shows there would be a ‘Yello Submarine Coffee House, perhaps as a tribute to The Beatles who rose to fame in the early 60s.

And the ‘Rocket Bar’ would be themed around the space race.

In the 70s land, there would be a ‘Twist and Shout’ restaurant and a ‘Disco Bar’.

Then for the 80s, decade icon Pac-Man will get its own bar.

For the 90s land, there will be a skate park area and a ‘Grunge’ area.

The futuristic zone looks like it would include lots of high-tech attractions.

Daniel-Leo Jr added: “RetroEscapes is being designed as a hybrid indoor/outdoor, multi-level park with cooling measures in place to ensure a comfortable experience year-round.

“We’re currently in active talks with land partners, the city/county, and strategic partners. It’s still too early to give an exact timeline, but updates will be shared as things progress.”

He also claimed that the park is being designed by PGV Destinations, the same company behind Ferrari World, Europe Park and Universal Studios Florida.

Despite not having a timeline, people are still getting excited with many taking to social media to express their love for the planned attraction.

One person said: “Can’t wait to watch this build out happen! Find me in the 90s era! Blockbuster and Pizza Hut, scrunchies and slap bracelets all day!”

Another commented: “Every millennials dream!”

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UNIVERSAL has revealed further plans for yet another theme park which is due to open next year.

Set to open in Texas, America, Universal Kid’s Resort will be solely focused on children’s attractions.

The park will feature seven lands in total, all based on popular children’s shows and stories.

The lands will include Shrek’s Swamp, Puss in Boots Del Mar, Minions vs Minions: Bello Bay Club, Jurassic World Adventure Camp, TrollsFest, SpongeBob SquarePants Bikini Bottom and Isle of Curiosity.

Visitors will enter through the Isle of Curiosity where they will be able to meet Gabby from Gabby’s Dollhouse and enjoy a dance party together.

Then in Shrek’s world, which Universal describes as a “waterlogged paradise”, guests will be able to meet Shrek and Fiona, as well as grab a photo at the onion carriage.

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The land will have two interactive play areas as well – Shrek’s Swamp Rompin’ Stomp and Shrek’s Swamp Splash & Smash.

For kids who prefer Puss in Boots, they can meet the character themselves as well as Mama Luna and Perrito from Puss in Boots: The Last Wish.

The land will also have a series of carnival-themed games and concept arts suggest there will be a swing carousel.

One of the main attractions in the Minions land, where Yellow Minions battle Purple ones, will be a water ride that snakes around the world.

Onlookers can participate in the fun too, by using water pistols to spray those on the ride.

Aspiring paleontologists will get the opportunity to see a newly hatched baby dinosaur in the Jurassic World Adventure Camp as well as climb up Lookout Towers in a play area.

Concept art also reveals a rollercoaster and drop tower ride.

In the Trolls land, visitors can once again meet characters such as Poppy and Branch and experience two play areas – Poppy’s Playland and Trolls Critter Crawl.

In addition, some of the concept art shows that the land may also have a rollercoaster, hot air balloon-themed ride and a netted climbing area.

Heading ‘undersea’ to SpongeBob’s land, kids can head to Mussel Beach and also see SpongeBob’s iconic pineapple house.

Across the park, there will be multiple sensory gardens with different touch, sound and colour attractions as well.

For families looking to stay close-by, the theme park will have a colourfully-themed 300-room hotel.

Molly Murphy, president of Universal Creative said: “Universal Kids Resort embodies the spirit of igniting thrill that drives everything we create — designed to bring our youngest guests and families together through play, creativity, and beloved characters and stories.”

Brian Robinson, executive vice president and chief creative officer at Universal Creative said: “We envisioned this park through the unbridled creativity of kids where infinite imagination, curiosity and free-spirited play were core to our design philosophies.

“It produced a park that’s pure joy and an absolute celebration of what it is to be a kid.”

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THE new and enormous theme park in Riyadh is set to open within the next two months despite it still being under construction.

Six Flags Qiddiya City said it’s will open later this year after reports it would be pushed back to spring 2026.

Attractions Magazine revealed last week that Six Flags shared an opening date timeframe of “the first half of 2026” for Six Flags Quiddiya City in a press release.

But then a Six Flags representative reached out the publication to clarify the new theme park is expected to open in late 2025. 

The theme park was first announced in 2019 to be part of Quiddiya City – an entertainment hub in Riyadh, Saudi Arabia.

The new theme park will have the world’s fastest and tallest rollercoaster in the world called Falcon’s Flight – three others will also break records.

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Falcon’s Flight, the fastest and tallest roller coaster in the world with speeds of 155 mph and heights of 639 feet.

The Sirocco Tower, will become the tallest free-standing shot ride in the world with a maximum height of 475 feet tall.

Iron Rattler, the tallest tilt coaster in the world at 208 feet tall. And Gyrospin, the tallest pendulum ride in the world will be 173 feet tall.

The Six Flags Qiddiya City will have six different lands; Steam Town, City of Thrills, Twilight Gardens, Grand Exposition, Valley of Fortune and Discovery Springs.

Discovery Springs is where visitors will be transported to deep underwater.

It has a ride called ‘Into the Deep’ where riders will be transported into sea caves on the interactive dark ride.

A rollercoaster called Sea Stallion, which will become the tallest and fastest rider-controlled coaster in the world, that will travel over rivers and behind waterfalls.

It also has a water drop adventure ride, and playground for children called Aquatopia.

The Aquarabia water park will also be part of the complex – and will be the first of its kind in Saudi Arabia.

There will be eight themed zones inspired by the wildlife found in Saudi Arabia, for example Camel Rock and Viper Canyon.

Inside the water park that’s also set to open in late 2025, will be 22 rides, a surf pool, water coaster and slides.

It’s not all rides and rollercoasters at Qiddiya City, the site will open its own racetrack that spans across two levels – the first of its kind in the world.

Called, Speed Park, the track is set to open in 2027, and the plan is that the track will eventually host the country’s Formula 1 Grand Prix.

The track has even been designed by racing drivers and will have the very first elevated track corner which is 70-metres high – which equates to a 20-storey building.

While the track will mostly be used by professionals, it will host open days for members of the public.

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Tourist taxes are being massively hiked up in a new bid to combat the effects of overtourism as locals have had it with the crowds of visitors coming for photos

Visitors heading to a beautiful city renowned for its gorgeous views and rich culture are about to face a 900% increase in tourist taxes.

Kyoto in Japan has long been a firm favourite with tourists from all over the world, thanks to its beautiful cobbled streets, traditional tea houses and countryside views. However, the city’s popularity means that it’s been fighting against overtourism for years, in a bid to manage the crowds.

Now, the city is taking new steps in a bid to help mitigate the effects of overtourism; last year alone the iconic destination saw over 10 million tourists visiting, marking a 53% increase on the previous year.

Kyoto has already had a tourist tax in place costing approximately £5 a night per tourist, but it’s set to increase this up to nearly £50 (£48.92) per person, per night. This will apply to visitors staying at the city’s more luxurious hotels, and is expected to come into force from early 2026. It marks a jump of approximately 900% cost for tourists.

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It’s not the first steps that Kyoto has taken when facing the crowds of holidaymakers that flock to its picturesque districts.

Since 2019, the city has had a ban on tourists taking photos in its historic Gion district. Although some popular areas such as Hanamikoji Main Street are deemed acceptable, locals complained that tourists were heading to private streets and properties in the area, and taking photos without the owner’s permission. As a result, local authorities introduced a ban on photos, with fines for rule-breakers of 10,000 Japanese Yen (approximately £49).

The ban on entering private alleyways and taking photos was reinforced last year. Isokazu Ota, Gion Southside District councillor, said at the time that livelihoods were being “threatened”, not to mention the narrow alleys were becoming overcrowded and therefore posing a danger to both residents and tourists.

Signs have also been placed around private areas to warn off visitors, with requests for tourists not to sit down on people’s properties to eat and drink.

Visitors have also been warned not to take photos of the city’s geishas without requesting their permission first. Nicknamed the ‘maiko paparazzi’, tourists follow local maiko and geisha and wait outside teahouses where they work. Maiko and geisha live and work on these roads and apprentice geisha are often 16 to 17 years of age, with concerns for their safety amplifying after incidents which included them being hounded by strangers for a photo.

Sora News, a Japanese publication, stated last year: “One area struggling more than most is Gion, which, despite being a place of work and residence for many locals, has been treated like something of a theme park by tourists, who have been known to chase and photograph geisha and maiko (trainee geisha) in the area.”

A few years ago the city’s authorities also temporarily released an ‘etiquette guide’ for visitors to help them navigate the local customs and behave in a way that would be deemed appropriate.

Do you have a story to tell us? Email us at [email protected].

“Grounded,” the newly opened exhibition of relatively recent acquisitions of contemporary art at the Los Angeles County Museum of Art, starts out setting a very high bar. It’s a compelling launch, even if the spotty show that unfolds in the next several rooms falls apart.

Grounded, it isn’t.

“Land Deeds,” a 1970 work by Iranian American artist Siah Armajani (1939-2020), is the opener, and it’s terrific. The piece is composed of 50 documents recording real estate purchases that the artist made in all 50 U.S. states, spending less than $100 on each. Sometimes, I’d guess, much less: Armajani only bought a single square-inch of land in each place, so the properties were cheap. Maybe that would cost a hundred bucks in Beverly Hills or Honolulu, but a square-inch of Abilene, Kan., or Whitefish, Mont., would be lucky to get a buck.

In true Conceptual art form, the notarized documents confirming the transactions are lined up on the wall in alphabetical order, from Alabama and Alaska to Wisconsin and Wyoming, in two rows of 25. Visually dry, they nonetheless quickly pull you in. These are warranty deeds, a legal document used to guarantee that a property being sold is unencumbered and the transfer of ownership from seller to buyer is legit. In good Dada and Pop art-style, the work’s title turns out to be a pun: A deed is not just a real estate certificate but an endeavor that one has undertaken.

Siah Armajani’s 1970 “Land Deeds” records his purchase of one square-inch of all 50 U.S. states.

(Christopher Knight / Los Angeles Times)

Other artistic resonances unfold. Land art was then at the cutting edge of avant-garde activity.

By 1970, sculptors Christo and Jeanne-Claude had just wrapped a million square-feet of coastal Australia in tarpaulin lashed with rope. Robert Smithson had bulldozed dirt and rocks to build a spiral jetty coiling out into Utah’s Great Salt Lake. Michael Heizer had dug a huge trench across Mormon Mesa near Overton, Nev., making a sculptural object out of empty space. Armajani’s unusual earthwork joined in: Embracing a legal, bureaucratic form, he pointed to land as a decidedly social structure.

The document display is droll but serious. It may be a layered example of up-to-the-minute Conceptual art, deeply absorbing and surprisingly suggestive, but the deeds are also lithographs, a perfectly traditional medium. They’re signed by administrative officials — one Julian Allison, warranty trustee, and notary public Brenda J. Hord — rather than being autographed by the artist. An art experience is a social transaction.

Armajani, an immigrant working as an artist in New York but not yet a U.S. citizen, was profoundly committed to democratic principles. (His citizenship would come in the wake of Iran’s 1979 Islamic Revolution, which installed a disastrous theocracy from which the Middle East still suffers.) With “Land Deeds,” he put his finger on a critical real estate context: From the get-go, full participation in American democracy had been limited to white male landowners. The explanation was that they had a vested interest in the community.

The deeper reasons, however, were profoundly anti-democratic — the noxious intransigence of patriarchy and white supremacy in Western culture, which drastically narrowed the eligible land-owning class. Women and people of color, except in limited instances, need not apply. (And suffice to say that warranty deeds for land transfers from Indigenous people were in rather short supply.) Gallingly, this autocratic check on egalitarian participation was also spiked with an element of informed equanimity: An educated populace is essential to democracy’s successful functioning, but in the 1770s, that mostly meant white male landed gentry, since they were likely to have had formal schooling.

At LACMA, Armajani’s marvelously revealing “Land Deeds” sets the stage for “Grounded.” The show was organized by LACMA curators Rita Gonzalez and Dhyandra Lawson, and deputy director Nancy Thomas. Entry wall text — there is no catalog — says it “explores how human experience is embedded in the land, presenting the work of artists who endow it with meaning.”

But, collectively, the 39 assembled contemporary paintings, sculptures, photographs, textiles and videos by 35 artists based in the Americas and areas of the Pacific underperform. Sometimes that’s because the individual work is bland, while elsewhere its pertinence to the shambling theme is stretched to the breaking point.

Familiar photographs of figures in the landscape by Ana Mendieta, left, and Laura Aguilar, center, offer background for the theme explored in “Grounded.”

(Museum Associates / LACMA)

The land theme is so loose and shaggy that, without the contemporary time frame, the show could start with prehistoric cave paintings, toss in a Chinese Song Dynasty scroll whose pictures follow a journey down the Yangzi River, add a Central African Kongo spirit sculpture filled with grave dirt and, for good measure, suitably hang a Jackson Pollock drip painting solely because it was made by spreading raw canvas flat on the ground.

Superficial bedlam, in other words.

Some work does stand out. Across from the Armajani is Patrick Martinez’s “Fallen Empire,” which takes a sly commercial real estate approach. The poignant mixed-media painting doubles as a large shop façade of crumbling, graffitied ceramic tiles with signage attached on a tarp. The name “Azteca” evokes a long-gone historical realm, here attached to a shop now falling into ruin. Martinez scatters ceramic roses across the painting, a mordant honorific to past glory and current hopes.

In the next room, Connie Samaras’ serendipitous landscape photograph unshackles whatever might be meant by being grounded. Shot from her L.A. home in the hills, what at first appears to be a strange cloud in the night sky over the twinkling city below turns out to be the vapor trail of a Minuteman missile deployed one night in 1998. A tangle of light above a black silhouette of a palm tree emits a sulfurous glow, its nauseous beauty balanced on the tip of potential annihilation.

Also among the more engaging works are two well-known photographic excursions into the landscape. Laura Aguilar’s “Grounded #111,” from a large series that likely gave the show its name, poses her corpulent nude body before a majestic boulder in the Joshua Tree desert, as if a secular saint enclosed within a sacred mandorla.

Six adjacent photographs in Ana Mendieta’s “Volcano Series no. 2” record a performance type of Land art in which a female form seems to erupt from within the Earth, spewing a volatile shower of flaming embers and smoke. Forget placid if repressive fantasies of Adam’s rib. The volcanic explosion provides a theatrically dramatic precedent for Aguilar’s contemplative composition.

Other impressive works include Mexico City-based Abraham Cruzvillegas’ exceptional sculpture, “Autoconcancion V” — the title’s made-up word translates to “auto with song” — which upends conventional L.A. car culture. An old automobile’s beat-up rear bench seat becomes the launching pad for a wooden box holding a small fan palm, held aloft on buoyant metal rods and exuding a witty mix of aplomb and high spirits.

A 70-foot video projection by Lisa Reihana reimagines a famous scenic French wallpaper.

(Christopher Knight / Los Angeles Times)

New Zealand artist Lisa Reihana, who is of Māori British ancestry, transformed a famous early 19^th century French scenic wallpaper designed by Jean-Gabriel Charvet into an equally extravagant, 70-foot-wide projection of video animation. The showily exoticized wallpaper, sold throughout Europe and in North America by celebrated manufacturer Joseph Dufour, was the culmination of Western public fascination with British Royal Navy Capt. James Cook’s three voyages to the Pacific. In a big, darkened room, Reihana redecorates.

Amid dreamy island landscapes, “in Pursuit of Venus [infected]” beautifully mixes interactive scenes of playful harmony and brute conflict between red-uniformed colonizers and colonized Polynesians. She maintains a nuanced sense of humanity’s transgressions and innocence, without demonizing or idealizing either side. Emblematic is a wickedly funny episode where a British plein-air painter at his easel bats away pesky tropical insects, invisible to a viewer’s naked eye, as he attempts to render a still life of a dead fish.

What either the Reihana video or the Cruzvillegas sculpture has to do with how human experience is embedded in the land — “grounded” — I cannot say, except in the most superficial ways. The land is certainly not a major focus of either one. The Cruzvillegas sculpture celebrates varieties of youthful play, while the Reihana animation ruminates on dimensions of cultural collision. The exhibition’s purported theme unhappily narrows perspectives on the assembled works of art, rather than opening wide their myriad readings.

Lisa Reihana, “in Pursuit of Venus [infected],” 2015, projected video animation.

(Christopher Knight / Los Angeles Times)

Essentially, “Grounded” is an old-fashioned “Recent Acquisitions” show, with most works entering LACMA’s collection in the last half-dozen years or so. (The big exception is Mendieta’s “Volcano” series, easily the show’s most famous work, purchased a quarter-century ago; it’s apparently included here as a benchmark.) Six pieces are shared with the UCLA Hammer Museum and the Museum of Contemporary Art as part of the new MAC3 (Mohn Art Collective) program, and the Aguilar is shared with the Vincent Price Art Museum at East L.A. College.

The exhibition is on view in LACMA’s Broad Contemporary Art Museum for eight months, until late June 2026. The unusually lengthy run will put recent art on par with LACMA’s historical departments, when the new Geffen Galleries building opens in April. Those rooms are also expected to thematize the museum’s diverse permanent collection of art’s global history.

But “Grounded” would have been better left without its imposed topic, which inadvertently casts much work as ugly stepsisters unsuccessfully trying to jam their feet into Cinderella’s glass slipper. Skepticism over the coming Geffen theme idea mounts.