Universal

“Can you just give me one of your leftover sharks?”

It was early in Jay Stein’s tenacious pursuit to turn a throwaway business into a sweet spot for Universal Studios, then owned by Lew Wasserman’s powerhouse entertainment firm MCA.

In 1975, Steven Spielberg’s “Jaws” was a cultural sensation and Stein wanted to capitalize on the movie’s success. He asked his colleagues in film production for props so his crews could re-create the fictional Amity Island coastline in the studio’s hilly back lot miles from downtown L.A.

“He convinced them: ‘Can you just give me one of the leftover sharks and I’ll put it on the studio tour, and we’ll get some promotion out of that,’ ” author Sam Gennawey told The Times, recalling Stein’s brilliance and his pioneering use of intellectual property.

Jay Stein with his wife, Connie, in Oregon.

(Connie Stein)

Stein died Nov. 5 at his home in Bend, Ore., according to his wife, Connie Stein. He was 88 and had been suffering from complications related to Parkinson’s disease and prostate cancer.

“He left a big hole — but he also left a wonderful legacy,” she said in an interview Sunday. “Not a lot of people have the opportunity to leave a legacy that touches generations. But he’s still making people smile every day.”

The tram tour’s shark attack, which terrified tourists when it debuted in 1976, has long been a staple. It was among Stein’s many theme park enhancements during his more than 30 years as a top MCA executive, which included Universal’s push into Florida to compete with Walt Disney Co.

The “Jaws” attraction helped cement Universal’s decades-long relationship with Spielberg, a span that would include such films as “E.T. the Extra-Terrestrial,” “Jurassic Park,” “Schindler’s List” and “The Fabelmans.” It also spawned other movie-themed attractions that included a “Waterworld” live show and a “King Kong” ride.

Stein insisted that the ape would spew “banana breath,” his wife said.

Within Universal, such jolts and flourishes became known as “JayBangs,” which Gennawey used as the title for his 2016 book about Stein’s contributions to the industry, “JayBangs: How Jay Stein, MCA, & Universal Invented the Modern Theme Park and Beat Disney at Its Own Game.”

“Jay wanted to put you in the movie,” Gennawey said. “He wanted to grab you by the collar and shake you a bit.”

The “Runaway Train” attraction on the Universal Studios backlot tour, one of its many exhilarating “JayBangs.”

(NBCUniversal Archives & Collections)

Stein was born in New York City on June 17, 1937, to Samuel and Sylvia “Sunny” (Goldstein) Stein.

His father was a watch salesman who moved the family to Los Angeles when Stein was young. As a teenager, he occasionally skipped school to go to Hollywood Park Racetrack to bet on horses. He had finagled some blank report cards and used them to bring home self-inserted high marks.

But the scam was revealed when the family briefly moved back to New York and Stein was nearing the end of high school. His parents were summoned for a conference, where they learned Stein lacked the credits to graduate. Summer school remedied that.

The family returned to L.A. Stein attended UC Berkeley, majoring in political science, but he left about a semester shy of graduating.

He served in the Army National Guard and, near the end of his service, in 1959, began working in MCA’s mailroom. Initially he wanted to get into film production, but by the mid-1960s, he was steered into the fledgling tour unit.

The company had launched the tram tour in 1964 to make a little money from its ample real estate. But some executives viewed the endeavor as tacky. Its prospects looked dim.

“It started out as two trams and a Quonset hut on Lankershim Boulevard,” Stein told The Times in a 2023 interview. “Quite frankly, the tram was considered something that interfered with television production.”

“I worked for the production office and was given the task of trying to coordinate how close we could come on the backlot without interfering. Everyone I worked for said it was an annoyance and disruptive and will not ever be welcomed.”

Stein was able “to convince others of the benefits of having the studio tour,” Gennawey said. “That’s what saved it.”

Early signage advertising Universal Studios as a tourist attraction.

(NBCUniversal Archives & Collections)

Gennawey considers Stein a key pioneer of U.S. theme parks.

“He was remarkably competitive. He recognized that Disney had its thing — but Universal could create something different and complimentary, particularly in the early days,” Gennawey said.

Disneyland was, of course, a top draw.

“But if you are a Los Angeles resident and had relatives coming in town, you knew they [also] wanted to see Hollywood,” Gennawey said. “But Hollywood was kind of scary, so you took them to Universal Studios.”

Stein’s contributions have only recently been appreciated, according to Gennawey. That’s largely because Stein subscribed to Wasserman’s edict that the “stars were the stars,” and executives should blend into the background. Stein also retired early, leaving Universal by the mid-1990s, after Japanese electronics giant Matsushita bought MCA.

Visitors line up for the studio tour of Universal Studios.

(Genaro Molina / Los Angeles Times)

Stein worried that Universal’s new owner (and a string of subsequent buyers) would fail to recognize the value of the theme parks, Gennawey said, an observation that proved correct.

That changed in 2011 when Comcast acquired NBCUniversal and began investing heavily.

The company opened its $7-billion theme park, Universal Epic Universe, near Orlando, Fla., to raves earlier this year.

The theme park unit — which includes destinations in Los Angeles, Florida, Japan and China — has become one of the most reliable profit engines for NBCUniversal. Last year, Universal theme parks produced $8.6 billion in revenue.

“Jay was the visionary behind Universal’s expansion from the Studio Tour in Hollywood to the creation of our world-class theme park destination at Universal Orlando and beyond,” Mark Woodbury, chairman and chief executive of Universal Destinations & Experiences, said in a statement.

“He had tremendous creative instincts and defined our style of immersive storytelling, making us the brand that brings great movies to life for generations to come,” Woodbury said.

Stein is survived by his wife, son Gary Stein, daughter Darolyn Bellemeur, and their spouses, children and grandchildren, his brother Ira Stein, a nephew, cousins as well as Connie Stein’s children and grandchildren.

Back in 2024, Universal conjured a pink and green tornado that swept pop culture.

From themed drinks at Starbucks and dolls of Elphaba and Glinda, to joint appearances by stars Cynthia Erivo and Ariana Grande at the Olympics and throughout a heavily-publicized press tour, “Wicked” was everywhere.

As the conclusion of the two-part film franchise heads to theaters at the end of the week, the marketing for “Wicked: For Good” has accelerated.

There are still themed Legos, but now also Gain laundry scent boosters, Swiffers and Pottery Barn bedding. There was a “Wicked” night on rival network ABC’s “Dancing With the Stars” and a “Wicked: One Wonderful Night” musical event broadcast on NBC.

The complete takeover of culture was all part of Universal’s plan to build one of its biggest and most important franchises, which has already brought in nearly $759 million in worldwide box office revenue for the first film, not to mention the haul from merchandise sales, theme park tie-ins and other categories.

Beyond the immediate revenue, “Wicked” also gives Universal a rare, female-focused franchise, an underserved audience, particularly as so many recent films have been geared toward men.

The success of the Broadway play, which has run for more than two decades, gave Universal the confidence in its potential for the big screen, said David O’Connor, president of franchise management and brand strategy at Universal Pictures. He’s also been a fan of the stage production almost from the beginning — he watched a table reading on the Universal lot, saw the musical additions to the script and finally, its run in San Francisco.

“For us, you had this potential to really take the fanship and really make ‘Wicked’ into a cultural imperative,” he said in a call from New York ahead of the film’s premiere. “When you think about the characters, the two leads, the themes of friendship, identity and empowerment, and how that resonates universally, and then, of course, the fantastical worlds of Oz and Shiz and Munchkinland, it just seemed like such a great opportunity for us.”

“Wicked” has proved to be a key boost to Universal’s lineup of blockbuster franchises.

Though the studio boasts series like “Jurassic Park,” “Despicable Me” and “Fast & Furious,” it has lacked the deep roster of intellectual property that rivals like Walt Disney Co. and Warner Bros. have, said Brandon Katz, director of insights and content strategy at data firm Greenlight Analytics.

The series “has really emerged as a much-needed, fresh tentpole for Universal,” he said. “There’s such a waterfall of value that this two-part franchise creates that Universal will be banking out on this for years to come.”

The two films were shot back-to-back, with a combined production budget of $300 million, reportedly split evenly between the two.

So far, interest for the second film is high — as of Thursday, “Wicked: For Good” was the highest ticket pre-seller of the year, according to Fandango. It is also the highest PG-rated ticket pre-seller ever on the Fandango platform, passing 2017’s live-action “Beauty and the Beast,” 2019’s animated hit “Frozen 2” and the first “Wicked.”

The film is tracking to haul in $150 million to $160 million in its opening weekend, according to estimates from industry analysts.

And the film’s appeal to women is crucial, particularly in a year when there were few films geared toward female viewers. Despite the persistent debates about the dearth of female-focused films, there have been few big, recent hits, other than 2023’s “Barbie” and last year’s “Wicked.”

“Every three or four years, female audiences are rediscovered with some hit,” said Alisa Perren, professor in the department of radio-television-film at the University of Texas at Austin’s college of communication. “It’s kind of striking how little mainstream female [films] have been released.”

To court all audiences, including those who were familiar with the play as well as those new to the story, Universal leaned into its so-called Symphony program to leverage all arms of the company to promote a film.

The program has been used previously for films like “Despicable Me” and has become a critical part of the marketing campaign, O’Connor said.

One new strategy the company used for supporting this franchise was building a “Wicked” fair, which was held on set in 2023 in London and allowed more than 200 partners to get a feel for the story, see the filmmakers and actors and meet heads of departments, like costumes and props. The studio has done set visits in the past, but nothing like this.

That open house was pivotal in driving partnership agreements and started to fuel the franchise’s success, O’Connor said. One of those was Lego, which signed on with “Wicked” after the fair and has been a partner on both films with product lines and an episode of “Lego Masters.”

Because not all geographic markets had the same built-in awareness of the Broadway play, getting corporate brands on-board was key to increasing knowledge of “Wicked” around the globe, he said.

Though “Wicked: For Good” marks the conclusion to the two-film series, O’Connor was coy about what’s next for the franchise.

“Our focus remains on building experiences that will deepen that connection to ‘Wicked,’” he said. “And all I can say is, we are very committed to ‘Wicked,’ but it’s probably too early to share much more than that.”

Disney World and Universal have an incredible selection of rides whether you’re into thrill rides or gentler kid-friendly ones

I spent an incredible two weeks visiting both Disney World and Universal in Florida. The two parks are enormous and there’s more to do in both of them than anyone can possibly do in a fortnight.

Disney World’s scale, especially, is hard to believe. It is effectively its own city or county. It is comparable in size to San Francisco in the USA or Manchester in the UK and is twice the size of Manhattan. It has its own roads and transport system including ferries, a cable car network and 490 buses. For comparison, the entire Cardiff Bus network has 171 buses.

Around 58 million people visit Disney World every year. Estimates from the ONS indicate that there were around 42.6m inbound visits to the UK in 2024. Disney World employs 80,000 people, making it the largest employer in the state of Florida.

Universal seems small in comparison but by any other measure Universal itself is also huge. And its comparatively smaller size gives it plenty of advantages, particularly in allowing guests to “hop” easily between some parks on foot, something that’s not possible in Disney World.

Of course, both Disney World and Universal, which are both near Orlando, are about far more than rides. There are countless shows on everything from Beauty and the Beast to Indiana Jones, as well as parades, fireworks and character meets, not to mention thousands of shops. But for many people the rides take centre stage.

In two weeks, I did more than 50 of them. I was travelling with young children so I got to sample the “thrill” rides as well as those for younger children. Both are a huge part of the Disney and Universal experiences and many of the kids’ rides are just as enjoyable as the more adrenaline-pumping (and, at times, frankly insane) flagship roller coasters. So I’ve included both in the list to help you make the most of your trip, especially if you’re visiting as a family. But one ride will live in the memory more than any other. Here are my top 10 rides from both Disney World and Universal, ranked in order:

10. Ko’okiri Body Plunge – Volcano Bay, Universal

At the heart of Universal’s Volcano Bay water park is the volcano itself. And going from the top to the bottom via a 125ft drop, 70-degree fall through a dark tube is this body plunge ride. You start to realise how scary this drop is going to be during your long climb up the stairs to the top – it’s way higher than it looks. You begin the ride by climbing into a one-person pod at the top. Then, with no warning, the floor gives way and you plummet to the bottom at blistering speed, emerging into a pool at the bottom. Watch it here:

9. Avatar Flight of Passage – Animal Kingdom, Disney World

The queue for this ride is an event in itself. You pass through an “active ACE (Alpha Centauri Expeditions) research lab” complete with working experiments and a life-size Avatar in a tank before you reach the linking chamber where you have fun while linking to your avatar. This journey builds up a huge amount of anticipation for the ride itself but nothing prepares you for what is to come. You put on 3D glasses and board your own mountain banshee before embarking on a totally immersive flight. Though your seat doesn’t actually go anywhere (though it does tilt and turn to an often- terrifying degree) the ride is completely immersive and you really feel like you’re flying. It’s a Disney must-ride! Harry Potter and the Escape from Gringotts at Universal Studios is a similarly brilliant experience.

8. Monsters Unchained: The Frankenstein Experiment – Epic Universe, Universal

Monsters Unchained is the marquee attraction of Dark Universe at Universal’s new Epic Universe and tells the story of Dr Victoria Frankenstein’s attempt to control Dracula in her “ultimate challenge”. Like Avatar above, the build-up to this ride is as much of an attraction as the ride itself, building suspense as you go, not least when riders are shown a model of the chair they’ll be sitting on being hurled around by an enormous robotic arm as a crazed scientist Igor raves at them on a screen. Harry Potter and the Forbidden Journey at Universal Studios is a similar style of ride and just as good.

7. Haunted Mansion – Magic Kingdom, Disney World

In some ways, Haunted Mansion is a much gentler version of Monsters Unchained. There’s far less motion to the two-person Doom Buggy carriages that take you through the mansion as the disembodied voice of a ghostly host guides you through so it’s kid-friendly (though obviously there’s a major supernatural theme). The part of the ride where ghosts dance as a pianist plays is fantastic. I loved this ride, all the more so for being able to experience it with my nine-year-old daughter and five-year-old son.

6. ET Adventure – Universal Studios, Universal

There are lots of gentle-ish flying rides across the two parks and you should also try Peter Pan’s flight at Magic Kingdom. But this was the pick of the bunch for me, especially for some pretty serious childhood nostalgia vibes. You sit on a bicycle as you try to avoid chasing police and secretive forces to get ET home. It’s wonderful.

5. Popeye and Bluto’s Bilge-Rat Barges – Islands of Adventure, Universal

There are lots of fantastic water rides across Disney and Universal and I could have picked any number of them here. Tiana’s Bayou Adventure at Magic Kingdom is superb, featuring a major and thrilling drop at the end. Pirates of the Caribbean, also at Magic Kingdom, is also fantastic, with pirates so realistic I found myself checking with fellow riders that some of them were not in fact actors. Na’vi River Journey at Epcot is stunning, with the animatronic Na’vi Shaman seen towards the end of the ride reportedly the most advanced Audio-Animatronics figure ever designed by Walt Disney Imagineering at a reported cost of $23m.

Living with the Land at Epcot is a one-of-a-kind (very) gentle educational boat ride, as are It’s a Small World at Magic Kingdom and Jungle Cruise in the same park, one of very few rides which comes with a host (Kilimanjaro Safaris at Animal Kingdom is another). Jurassic Park River Adventure at Islands of Adventure is also brilliant – and exciting.

But I’ve gone for Popeye and Bluto’s Bilge-Rat Barges at Universal’s Islands of Adventure as my pick of the bunch. It’s a great white water ride without being excessive so it’s kid-friendly. And it gets you absolutely soaked.

4. Tron Lightcycle/Run – Magic Kingdom, Disney World

This exceptional ride sees riders climb aboard their very own Lightcycle and take off on a high-speed adventure, racing against the Grid’s most menacing “programs”. Part of the ride takes place in daylight under the ride’s domed roof where you soar at speed above the park-goers on foot below, with the other half of the ride in near darkness set against thrilling screens. Guardians of the Galaxy at Epcot was another futuristic contender for this spot, but the additional spinning on that roller coaster made it too much to handle and Tron was a much smoother and more enjoyable ride.

3. Fearless River – Volcano Bay, Universal

If you thought you liked a lazy river, then wait until you try the Fearless River at Universal, which my family all took to calling the “crazy river”. We went around it so many times I lost count, with the kids refusing to leave for large parts of the day, usually to my secret delight. A strong current carries you around the river as you float in large rubber rings (or just swim) at a pretty fast pace, with big, chopping waves and churning rapids adding to the adventure. Life jackets are a must for adults as well as the kids. It’s amazing.

2. Surf Pool – Typhoon Lagoon, Disney World

There are wave machines… and then there’s the Typhoon Lagoon Surf Pool. I’d seen so many videos of this before arriving at Disney’s Typhoon Lagoon and wasn’t convinced it was real until I saw it with my own eyes. The Surf Pool is the centrepiece of this Disney water park and is a relatively calm and enjoyable pool for the most part. But every 90 seconds a “sonic boom” is heard sparking immediate squeals and screams of excitement at what is to come: a six-foot wave that comes surging through the pool consuming everything in its path. Some experienced lagoon-goers are able to body-surf it. Others, like me, were just battered. At one point, it knocked me into a backwards somersault. I’ve never seen anything like it.

1. Velocicoaster – Islands of Adventure, Universal

Of all the amazing rides throughout Disney World and Universal, this one stands out as the best. I’d been watching videos of it for weeks and was so nervous about riding it that I didn’t know I’d follow through with it until I was at the front of the queue and stepping on to the ride with a thumping heart.

Velocicoaster is the fastest and tallest launch coaster in Florida, launching to 70mph in 2.4 seconds. The Velocicoaster’s “top hat” is 155-feet tall, with riders plunging from its peak down an 80-degree drop. There are inversions and the “Mosasaurus roll” which inverts riders over water at 53mph to end the ride. A truly incredible experience that I will never forget. Other superb roller coasters I tried were Hagrid’s Magical Creatures Motorbike Adventure in the Islands of Adventure and Stardust Racers at Epic Universe. The Crush n Gusher water coaster at Typhoon Lagoon is also fantastic, as is the Seven Dwarfs Mine Train at Magic Kingdom. For a gentler ride for younger children that’s still fun, try the Trolls Trollercoaster at Universal Studios.

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.

Universal Music Group said Wednesday it has reached licensing agreements with artificial intelligence music startup Udio, settling a lawsuit that had accused Udio of using copyrighted music to train its AI.

Users create music using Udio’s AI, which can compose original songs — including voices and instruments — from text prompts.

Udio has agreed with UMG to launch a new platform next year that is only trained on “authorized and licensed music,” and will let users customize, stream and share music.

“These new agreements with Udio demonstrate our commitment to do what’s right by our artists and songwriters, whether that means embracing new technologies, developing new business models, diversifying revenue streams or beyond,” Lucian Grainge, UMG’s chairman and chief executive, said in a statement.

Udio declined to disclose the financial terms of the settlement and licensing agreements. UMG did not immediately return a request for comment on the terms.

Artificial intelligence has brought new opportunities as well as challenges to the entertainment industry, as AI startups have been training their models on information on the internet, which entertainment companies say infringes on their copyrighted work.

In the music industry, music businesses have accused New York City-based Udio and other AI music startups of training on copyrighted music to generate new songs that are based on popular hits without compensation or permission.

UMG, Sony Music Entertainment, Warner Music Group and other music businesses sued Udio last year. In the lawsuit, Udio was accused of using hits like The Temptations’ “My Girl,” to create a similar melody called “Sunshine Melody.” UMG owns the copyright to “My Girl.”

“A comparison of one section of the Udio-generated file and ‘My Girl’ reflects a number of similarities, including a very similar melody, the same chords, and very similar backing vocals,” according to the lawsuit. “These similarities are further reflected in the side-by-side transcriptions of the musical scores for the Udio file and the original recording.”

Udio said on its website at the time that it stands by its technology and that its AI model learns from examples, similar to how students listen to music and study scores.

“The goal of model training is to develop an understanding of musical ideas — the basic building blocks of musical expression that are owned by no one,” Udio had said in a statement. “We are completely uninterested in reproducing content in our training set.”

On Wednesday, Udio’s CEO and co-founder, Andrew Sanchez, said he was thrilled at the opportunity to work with UMG “to redefine how AI empowers artists and fans.”

The collaboration is the first music licensing agreement that Udio has reached with a major music label.

“This moment brings to life everything we’ve been building toward — uniting AI and the music industry in a way that truly champions artists,” Sanchez said in a statement. “Together, we’re building the technological and business landscape that will fundamentally expand what’s possible in music creation and engagement.”

Udio said that artists can opt in to the new platform and will be compensated, but declined to go into the specifics or the artists involved.

Udio, launched in 2024, was co-founded by former Google DeepMind employees. Udio’s backers include music artist will.i.am, Instagram co-founder and Anthropic’s chief product officer Mike Krieger and venture capital firm Andreessen Horowitz.

Udio said millions of people have used Udio since it launched in 2024. Users can access the platform through its app or website. The company did not break out specifically how many downloads or website users it has.

Udio has had 128,000 app downloads in Apple’s App Store since its app was released in May, according to estimates from New York-based mobile analytics firm Appfigures.

On Thursday, UMG also announced a partnership with London-based Stability AI to develop music creation tools powered by AI for artists, producers and songwriters.