universal studios

Universal Studios Hollywood’s landscape-changing, park-altering new thrill ride, Fast & Furious: Hollywood Drift, is officially open. The coaster boasting spinning, drifting cars along 4,100 feet of track had been in a soft launch phase since late July. But as of Wednesday morning, the theme park has declared the ride fit for daily operation.

“It elevates us to a new level,” says Jon Corfino, the park’s lead creative executive. “When we first started thinking about this 10 years ago, we recognized that. It’s our first big outdoor coaster. It changes the complexion of who we are, even the visual nature of who we are. You can see this from the freeway.”

The theme park hosted a private ribbon-cutting ceremony — in this case, a metal chain cutting to better represent the action-focused, garage-like grit of the “Fast & Furious” film franchise — on Tuesday evening. Mark Woodbury, the chairman and chief executive of Universal Destinations & Experiences, and Scott Strobl, executive vice president and general manager of Universal Studios Hollywood, together sliced the cable.

‘“Fast & Furious’ has delivered 25 years of high-speed thrills and big blockbuster movie moments and it was the perfect story for us to build this incredible, one-of-a-kind innovative attraction,” Woodbury said, noting a similar coaster, set to open next year, is under construction for Universal’s Florida resort.

Universal Studios Hollywood’s Fast & Furious: Hollywood Drift towers over the theme park.

(Ronaldo Bolaños / Los Angeles Times)

The coaster reaches a top speed of 72 mph, the fastest coaster in Universal’s global portfolio, and places riders in authentic, mini-re-creations of real cars that can rotate 360 degrees to create the drifting sensation of a stunt vehicle. With four inversions that bring guests upside down, Hollywood Drift is decidedly intense.

Wait times on Wednesday were hovering around 90 minutes. “I’m a big fan of the movies, and I think this is the best coaster in Southern California, hands down,” said L.A.’s Peter Lee, 43, as he was exiting the attraction on Wednesday. Lee has ridden the coaster 10 times since late July, but wanted to attend its opening day to purchase a picture of himself on the ride on its first proper day of operations.

Phillip Lambert Duke, 42, of Orlando, came to Universal Studios Hollywood to experience the West Coast edition of Halloween Horror Nights but said Hollywood Drift will be a highlight of the trip. “It’s fantastic,” Lambert Duke said. “It’s beautiful. I love how all the cars move independently of one another. “

Yet Fast & Furious: Hollywood Drift has also attracted some unwanted attention from the neighboring community of Toluca Lake, where residents have cried foul at the sound of rider screams emanating from the coaster. “Untenable,” “disturbing” and “like someone is getting murdered” have been a few of the ways longtime Toluca Lake homeowners have described the noise of riders.

An upside down rider enjoying Fast & Furious: Hollywood Drift at Universal Studios Hollywood.

(Ronaldo Bolaños / Los Angeles Times)

A number of Toluca Lake residents sent a media alert and hosted reporters in their neighborhood on Wednesday’s opening day to showcase just how disruptive the screams could be. Standing in the backyard of a house situated near a neighboring golf course, rider screams are certainly audible, and residents said the consistency of them is destroying their quality of life.

“It’s a constant stress,” said Colby Jensen, 55, a Toluca Lake resident of 26 years. Jensen said some residents have begun exploring their legal options, citing both the emotional duress of hearing constant screams and also a fear of potentially lower property values.

“It’s not just a noise, like the freeway, which is in the background,” Jensen said. “It’ll be quiet for a minute, and then you’ll hear this cacophony of screams. It inherently raises your blood pressure and stress level and it’s unnatural to hear that.”

Sofia S., who declined to give her full last name, said she just returned home to Toluca Lake after graduating from Indiana University. The 22-year-old noted the coaster has made it difficult to work from home.

“I have a little dog, and she’s barking a lot more because she thinks people are trying to come into the house,” she said.

Fast & Furious: Hollywood Drift was designed as one of the quietest thrill rides ever constructed so as not to disrupt the working studio below and the communities nearby. Its track has been filled with pea gravel to mitigate rumbles, and multiple walls and glass-outfitted curved shields have been placed on or near its layout. Universal has even stated that it can rotate the cars so riders scream away from the nearby neighborhood at particularly extreme moments. Such measures have been welcomed by the community, but they’re not enough, say many neighbors.

Universal has scheduled a community meeting with residents for Sept. 30. The park also last month pledged to build additional sound barriers to further dampen rider screams.

Fast & Furious: Hollywood Drift has been the most anticipated theme park attraction of 2026.

(Ronaldo Bolaños / Los Angeles Times)

At Tuesday’s media event, Universal executives declined to discuss community concerns or efforts to alleviate them, but later issued a statement acknowledging that community feedback has been an important part of the process.

“Testing completed to date confirms the attraction is operating in compliance with sound ordinances applicable to Universal property, which are more stringent than city and county codes,” the emailed comment reads.

Toluca Lake residents dismiss criticisms that this comes with the territory of living next to a theme park, noting for much of its history Universal focused on indoor attractions and has previously worked with the community, such as adjusting the audio on its “WaterWorld” stunt show.

Fred Iberri, who said he’s lived in his inherited Toluca Lake home since the early ’70s, said everyone has a right to peace in their home.

“People say, ‘If you don’t like it, it’s your choice to live next to a theme park.’ That’s not true. Universal hasn’t had a coaster outside until three months ago,” Iberri said. “I’ve been here for 52 years, my family for 90, and Toluca Lake has been a peaceful neighborhood until three months ago. Anyone who says that doesn’t know us or the neighborhood. It’s not so easy for seniors to just pick up and move.”

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

Early in life I discovered I had a particular affliction, and that was a proclivity for spending time at theme parks. I only phrase it that way because I understand some may find such a desire peculiar, which has made me particularly attuned to many comments about theme parks, especially those that aren’t positive.

Too hot, too crowded, too expensive or simply geared only for children. And while I’m happy to discuss or debate all aforementioned topics, there’s one particular criticism that I find especially grating: Theme parks are fake.

This is the argument that they are heavily fabricated and designed to elicit an emotional response, or worse, manipulate us. And it’s one I hear time and time again from grown-up peers. Over the years, it’s cropped up from friends. “Why do you go there?” they will say. “Everything is fake.” It’s appeared in books such as Henry A. Giroux’s and Grace Pollock’s scathing “The Mouse that Roared,” which dismisses the parks as presenting an “infantilized” worldview. And I’ve heard it from people I’ve interviewed, such as the USC professor of psychology who told me that theme parks were so fake, they forbade surprises.

The criticism irks me, in part, because of what it implies. By dismissing a Disneyland or a Universal Studios park as “fake,” there’s an implication that something is “more real.” A national park, perhaps, or a dedicated art institution. I adore those types of spaces as well, of course, but there’s an ignorant snobbery to this sort of remark, a thumbing of the nose that seems to argue I should spend some of my free time elsewhere.

This has been on my mind of late for a pair of reasons. One, I recently visited the Lucas Museum of Narrative Art and have been consumed with the discourse surrounding the value of story-driven art. And two, I recently read “Floating Mountains: The Art of Imagining the Impossible” by famed Disney designer Joe Rohde. The book is many things — an impassioned dissection of creative collaboration, a look at Rohde’s 40 years with Walt Disney Imagineering — but it is also a subtle argument that theme parks are vital, artistic spaces.

A statue of Walt Disney and Mickey Mouse in front of a very real fantasy castle.

(Christina House / Los Angeles Times)

I agree, and so I decided to bring up my pet peeve while talking to Rohde at the recent all-things-Disney fan convention D23.

“It’s a very odd criticism,” Rohde says of the knock on theme parks as being fake.

“Of course they are not real,” he tells me. “Movies are not real. Theater is not real. It’s like René Magritte, ‘Ceci n’est pas une pipe.’ Of course, a picture of a pipe is not a pipe. I don’t understand why that is an issue. It is a creation. In some cases it is a photo-realistic creation. In some cases it is a stylistic creation. But it is a creation. That’s what makes it a work of art.”

In “Floating Mountains,” Rohde, the primary creative behind the stunning Disney’s Animal Kingdom (second only to the original Disneyland in my mind), documents the myriad of disciplines that must come together to create such spaces. Animal Kingdom is full of real-world details. I can spend days exploring just the Africa section of the park, reading anti-poaching signs and piecing together a story that helps inform the area’s magnificent safari ride.

This is a work of art, albeit a less understood one, for narrative place-making and environmental storytelling are borderline experimental, less common than, say, a book or a film. Place-making requires that we not just take in our surroundings but constantly analyze them for story insights.

Joe Rohde, in 2017, discussing Pandora — the World of Avatar at Disney’s Animal Kingdom in Florida’s Walt Disney World.

(Jay L. Clendenin / Los Angeles Times)

Rohde also notes the degree to which Imagineers are taking influence from real-world spaces in an effort to bring narrative details into the parks, ensuring they appear at once familiar and fantastical. In the case of Animal Kingdom, it was Africa’s Lake Manyara National Park, among many other locales, that gave that park its realistic grit. And when it came to the fully imagined floating mountains of Pandora — The World of Avatar, it was finding inspiration in the Italian Baroque art of Gian Lorenzo Bernini, as seen in the entangled vines descending from the apparently hovering mountains.

Now, I am not someone who argues that a trip to Animal Kingdom is a stand-in for a vacation to Africa. Or that visiting the World Showcase of Epcot is akin to a jaunt around Europe. Or that hanging out in Cars Land is a substitute for a drive down Route 66. And an afternoon slugging pints at Hog’s Head at Wizarding World of Harry Potter is certainly not the equivalent of a day at an authentic British pub. No, what a theme park offers is an artistic interpretation, one that filters the natural world through the stories that define our lives.

Theme parks are not so much an escape from the world but a way to make sense of it. View them with an open mind, and they are an entree into storytelling exploration. This is different to me than, say, a re-creation of the Eiffel Tower being plopped into Las Vegas, which is preying on replication as generic spectacle. Theme parks, of course, can fall victim to this, too, when they utilize signposts or characters from a film as a substitute for innovation (see much of the design of Pixar Pier at Disney California Adventure).

Cars Land in Disney California Adventure was inspired by the scenery and history of Route 66.

(Mark Boster / Los Angeles Times)

France at Epcot’s World Showcase, in contrast, aims to weave a brochure-like tale of the country, to introduce us to culinary and architectural standouts that can inspire us to dig deeper. For some, sure, that’s deeper into their wallets, but World Showcase inspired a young me to be curious about the world beyond the suburban Chicago neighborhood I grew up in.

And purely fantastical creations — at least the ones that are done well — are not just references to things we saw on a movie or television screen. I think of Guardians of the Galaxy — Mission: Breakout! at Disney California Adventure, which is specifically designed as a cartoon-like intrusion, a building meant to clash and call attention to its surroundings. It’s all an effort to heighten the concept that the modern American myth — the superhero film — is work that encroaches, with uplifting exaggeration, on real-world settings.

And even a Disneyland classic such as Pirates of the Caribbean requires deep analytical reframing to properly understand it. Sure, it’s a boat ride with singing robot pirates, but that’s not the reason it has endured for more than half a century. I’ve described the attraction as the template for the perfect theme park ride, one that invites the guest to discover a host of mini stories based upon where riders are directing their focus. It’s a huge influence, for instance, on the world of open-world video games, which allow players to pick a direction and discover a narrative path. It’s anything but fake.

Pirates of the Caribbean is a study in environmental storytelling.

(Christina House / Los Angeles Times)

The criticism that theme parks are fake is a surface one, one that fails to properly meet the medium where it’s at. It’s easy, of course, to look at the nostalgia of a Main Street, U.S.A, and the castle up ahead and to write off Disneyland as a rosy, idealized take on America. This is the undiscerning view, for Disneyland is a presentation of an America that never existed, one disrupted by a castle that also doubles as an extended hand.

Think of it as an ask to use one’s imagination and to be open to play: Theme parks are a wholly unique medium that requires a different set of criticism, one that is looking at architecture and design as a storytelling device. And when one gets on a ride, a theme park expects us to be open to a somewhat abstract form of storytelling. Theme parks are also, at their core, a form of participatory art, inviting us to take on a starring role.

The mechanization of what makes a theme park a theme park is simply too complex, too vast and involving too many people to be dismissed as fake. And let me say that there’s no shame in wanting to be immersed in a world crafted by the hands of many a skilled artist, whether that’s the new David Geffen Galleries at LACMA or the Disneyland Resort.

This week in SoCal theme parks

Concept art for Magic Mountain’s upcoming 2027 coaster Thrill Glider.

(Six Flags Magic Mountain)

• A new coaster coming to Magic Mountain. Six Flags announced that coming in 2027 to its Valencia park will be Thrill Glider, a first of its kind thrill ride designed by coaster manufacturer Vekoma exclusively for Magic Mountain. Riders will board what the park is referring to as “hoverbikes,” essentially bike vehicles designed to simulate a flying sensation by being suspended from the track.
• Scary Farm is upon us. Halloween season is officially in full swing as Knott’s Scary Farm opens Thursday. New this year are two mazes, including one that intermixes a host of vintage animation, as well as a magic show collaboration with the Magic Castle.
• Fast & Furious: Hollywood Drift officially opens. Though it’s been in a soft open phase since late July, Universal Studios Hollywood’s Fast & Furious: Hollywood Drift will be properly open as of Wednesday. This means the coaster has passed its final testing and is ready for daily operation. Here’s everything you need to know about Universal’s fancy new coaster.
• Legoland expands its Halloween event. Brick or Treat at Carlsbad’s Legoland begins on Saturday and it’s bigger than ever in 2026. The family friendly event, for which costumes are encouraged, this year has added Brick or Treat Street, with six life-size monster homes to interact with. Also, be sure to head to the park’s new coaster, the Galacticoaster, which has received a Halloween overlay.
• A Walt Disney exhibition at Forest Lawn. Head to Glendale’s Forest Lawn Museum on Saturday evening for the opening reception of “California Visionaries: The Lives and Legacies of Walt Disney and Hubert Eaton,” which explores the connection between Disney and Forest Lawn Memorial-Parks founder Eaton. The exhibition, which promises concept art, rare Disney sheet music as well as items from early Disneyland attractions, is on display until Feb. 7.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

Attention readers who are in or near Fillmore: This Saturday is the first-ever edition of the “Time Travel Convention,” a new interactive theatrical experience from Live Action Attractions. Many veterans of the theme park industry worked to bring this event to life, including some who collaborated on the now-shuttered Star Wars: Galactic Starcruiser, colloquially known as the “Star Wars” hotel.

The story: Once a year, time travelers from the distant future head back in time to witness a historic day in small-town America. Players are cast in the role of time travelers, and throughout the day Saturday expect a series of games and costumed characters to interact with. There will be three theatrical moments staged throughout downtown Fillmore beginning at 10:01 a.m.

Register online, and you’ll receive info on where to meet. The event is highly recommended.

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

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

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

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

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

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

(Jay L. Clendenin / Los Angeles Times)

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

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

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

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

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

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

(Allen J. Schaben / Los Angeles Times)

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

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

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

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

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

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

(Jason Armond / Los Angeles Times)

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

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

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

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

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

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

This week in SoCal theme parks

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

(Todd Martens / Los Angeles Times)

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

Ride report

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

(Scott Strazzante / For The Times)

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

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

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

(Scott Strazzante / For The Times)

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

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

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

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

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

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

(Scott Strazzante / For The Times)

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

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

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

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

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

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

The ‘Obsession’ approach

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

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

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

(Ronaldo Bolanos / Los Angeles Times)

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

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

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

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

This week in SoCal theme parks

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

Event report

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

(Todd Martens / Los Angeles Times)

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

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

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

Tickets remain available for a handful of September dates.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

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

(Todd Martens / Los Angeles Times)

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

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

Universal Studios Hollywood is almost ready to properly open its new Fast & Furious: Hollywood Drift coaster. The high-speed thrill ride, which has been operating in technical rehearsals since late July, has an opening date: Sept. 16.

The coaster has essentially been in an extended testing phase. By giving the ride an official opening date, the theme park is announcing that the attraction is ready for daily operations.

Fast & Furious: Hollywood Drift, which seats riders in expertly designed mini-vehicles designed to reference real automobiles, has long been circled as the most important theme park attraction of 2026, a feat of engineering nestled on a steep hill between the park’s upper and lower lots that was 10 years in the making.

The ride — designed by Universal, manufactured by Intamin — has already changed the look and feel of Universal Studios, giving the park its first major outdoor thrill ride. Once known primarily as a studio tour park, Universal has been undergoing a large-scale overhaul throughout the last decade-plus, adding immersive lands such as the Wizarding World of Harry Potter and Super Nintendo World.

Now it has a coaster that feels akin to taking a joyride, complete with authentic engine and brake sounds. So if you’re thinking of taking Fast & Furious: Hollywood Drift for a spin, here’s what you need to know.

The view of Fast & Furious: Hollywood Drift from Universal Studios Hollywood’s Wizarding World of Harry Potter.

(Todd Martens / Los Angeles Times)

Is the ride included with Universal Studios admission?

Yes. A daily ticket starts at $109.95, although prices vary by day and expect to pay in the $150 range for a weekend date. Unlike Disneyland, Universal does not require reservations, but it is recommended to buy in advance.

Are express passes available?

Universal Studios will sell front-of-the-line access as an add-on to a daily ticket — but not yet. Fast & Furious: Hollywood Drift will not be included in express pass offerings at launch, according to a Universal spokesperson. That means all guests will have to wait in the same line. Express access is expected to be offered at a later date.

So, how long should I expect to wait in line?

A while. During technical rehearsals, afternoon waits routinely topped two hours, with some waiting longer than three and closer to four, although the last was rare. Expect operations to run a little smoother thanks to the soft open phase, but come prepared to be patient.

Is the ride included with Halloween Horror Nights?

The short answer is no. The longer answer: Those who spring for what Universal calls the R.I.P. Tour, however, will be able to ride. A guided experience, that ticket is $479 per person. (The fine print: Earlier this summer Universal did promise Hollywood Drift access with some tickets, but has since removed that option. The park has stated it will honor the terms of those who purchased the tickets before access was removed, and those buyers should have received instructions from Universal.)

The Fast & Furious: Hollywood Drift coaster features multiple inversions.

(Todd Martens / Los Angeles Times)

Tell me about the ride. How intense is it?

The ride reaches speeds of 72 mph, the fastest coaster in Universal’s global portfolio, while traversing 4,100 feet of track, two towering inverted loops and a pretzel loop. There are four individual launch points, and the coaster cars have the ability to rotate 360 degrees. It’s intense, but it’s also incredibly smooth, which helps it feel more approachable.

Wait, 360 degrees? Will I get motion sick?

Individual results will vary, of course, but for reference I am someone who can’t do extreme coasters — Magic Mountain’s Wonder Woman Flight of Courage is too much for me — and struggle on attractions that spin, such as Walt Disney World’s Guardians of the Galaxy: Cosmic Rewind. Yet I’ve been completely fine on multiple rides of Hollywood Drift. The spinning isn’t gratuitous, as the cars turn and drift with the flow of the track, so the movement feels aligned with direction.

Can I request a specific car?

You can! But be kind and patient with Universal staffers, who may not always be able to grant such requests due to crowding. If you have a specific concern, however, raise it with the coaster staff, and they will likely accommodate.

One of the ride vehicles of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

What’s the ‘easiest’ car for those who are nervous?

The middle cars, although not by much. All rotate, all experience the same speed and inversions. There are four vehicles, and the first provides the most striking views, including of the track’s drops, so the squeamish are advised to aim for the middle two cars, as it will provide a better sense of where the coaster train is heading. I’ve been told by some at Universal that the last row of the last car — each car seats four — can feel a little more riveting as it will heighten some of the speed and lift sensations. But I’ve sat in the front and the last car, and still don’t know if any differences were in my head or not.

Is there a height requirement/maximum?

Yes, you must be at least 51 inches tall to experience the coaster. There is no listed height or weight maximum, but guests are encouraged to sit in a test vehicle outside the attraction before getting in line. Riders must be seated completely inside the vehicle, which uses a pull-down lap bar, and be fitted against the headrest.

How accessible is it?

Modern roller coasters are not known for their accessibility, but Hollywood Drift is surprisingly accommodating for how intense it is. I am not small. I am 6-foot-2 and more than 210 pounds, and found Hollywood Drift to be one of the more comfortable coasters I have been on. There’s also plenty of leg room. I know a number of people significantly larger than me who have been able to ride successfully.

Where is the ride located in the park?

Across from the Wizarding World of Harry Potter. But you can’t miss it, as you need to pass it to get to the park’s lower lot, and it’s viewable from pretty much anywhere.

Well, is it worth riding? What’s your verdict?

I think it’s a blast. I rode the coaster on its first day of technical rehearsals, and as I wrote in my review, it’s full of surprises, of wondering where and when a coaster vehicle will be spin, careen or accelerate. Every turn, twist, flip leaves you guessing. Some of the park’s Toluca Lake neighbors, however, may be less enamored with it.

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

The Magic Castle is getting in on the theme park game.

The famed Hollywood institution is teaming up with Knott’s Berry Farm for its after-hours Halloween event, Knott’s Scary Farm, now in its 53rd year. The Magic Castle will supply the artists and show direction for a production that is expected to run nightly in the park’s recently refurbished Bird Cage Theatre.

The theme park initially reached out to the Magic Castle last year, says Payden Adams, vice president of entertainment for Knott’s Berry Farm, but the castle was in the middle of a leadership reorganization at the time. With that completed, a partnership could finally begin.

“It is just astounding what they’ve done with the Bird Cage Theatre,” says Jessica Hopkins, granddaughter of castle pioneers Bill and Irene Larsen and the castle’s chief operating officer. “Magic Castle magicians have been performing in there for decades. It just felt right.”

The magic shows will take place at the park’s recently refurbished Bird Cage Theatre.

(Kyusung Gong / For The Times)

Curating Knott’s magic show will be Rudy Coby, a resident magician at the Magic Castle. Coby performed at Knott’s about 35 years ago and credits the park in helping him get his start. He says the new show, “Occultum,” will vary by week with different performers lined up throughout the Halloween season. Knott’s Scary Farm begins Sept. 17.

And yet, says Coby, “Not every magician is for this audience.” So what’s the differentiating factor for a Halloween magic show?

“It’s a little more edgy,” Coby says. “You really have to grab their attention. It’s the TikTok generation.”

Some of the illusions Coby says he will bring to Knott’s Scary Farm would be “too intense for the Magic Castle.”

“The ideas I’ve had, with chainsaws and cutting off my limbs, I couldn’t get away with at the Magic Castle,” he says.

“But you can here,” says Hopkins.

The Magic Castle-headlined show is not the only new addition to Scary Farm in 2026. Here are two other reasons I’m looking forward to the event.

Inked: A new maze with killer vintage cartoons

Concept art for the new Knott’s Scary Farm maze, Inked.

(Knott’s Berry Farm)

One of the two new mazes coming to Knott’s Scary Farm will rely heavily on black-and-white, vintage-style animation. Inked, as it’s called, will be set in the 1930s, and was introduced at a media event with a song-and-dance production that recalled Disney’s classic Silly Symphony “The Skeleton Dance.”

The story centers on Mortimer Morbid, a deadbeat, down-on-his-luck animator whose career changes — not necessarily for the better — when it’s discovered his blood can bring his drawings to life. Of course, cartoons infused with blood don’t have the most altruistic desires.

Inked designer Daniel Miller says the maze took two years to create, largely because Knott’s conceived the animation for the walk-through in-house with a team of four. Most every room in the haunted house is expected to feature original media, as the animated creations will be represented both in their cartoon form and as costumed characters.

And it’ll be gruesome.

“We kind of geared it around the notion that they’re bloodthirsty,” Miller says of the killer ‘toons. “We see all the animators in various stages of disembowelment.”

Sheesh. Animators have it hard enough today already.

Expect the unexpected with ‘Voodoo: Bayou’s Edge’ and Unearthed

Concept art for Unearthed, a new Knott’s Scary Farm maze.

(Knott’s Berry Farm)

Knott’s Scary Farm, unlike its main SoCal competitor, doesn’t rely on known film and television properties. That means the event can generally get a little … weirder. You see that in its mazes, as noted above, as well as in its theatrical productions. Also new this year is a show titled “Voodoo: Bayou’s Edge,” which takes place on an outdoor stage. The production centers on a voodoo queen and the mysterious happenings in a cemetery. Knott’s is pitching it as a music, dance-focused show.

And while voodoo can potentially be a culturally sensitive subject to tackle in a theme park, the show comes from the mind of the respected Rovin Jay, who has long been closely involved in the park’s spectacular “Ghost Town Alive!” Expect “big dance numbers” and something “really sexy,” says Adams.

Another new maze, Unearthed, will be set in the present day but takes its cues from films such as “Raiders of the Lost Ark” and “The Mummy” as it deals with a supernatural archaeological dig. Maze designer Jon Asperin says it will have numerous interactive elements, such as effects triggered by guests pulling a lever.

“Having the ability to come up with original stories lets us tap into the nerd in all of us,” says Asperin. “We don’t feel restricted by certain IP or things that may not be appropriate. We get a chance to challenge ourselves with trying out new things that some folks won’t take a risk on.”

This week in SoCal theme parks

The Disneyland attraction Mad Tea Party as it was under construction just months before the park opened. The image is from the documentary “Disneyland Handcrafted.”

(Disney+)

• A must–see Disney history event. Nonprofit creative institution Ryman Arts, in partnership with Santa Ana’s Bowers Museum, will host a talk and cocktail reception centered around a screening of Leslie Iwerks’ documentary “Disneyland Handcrafted” on Sept. 27. It’s a charity event, and a good one, as the panel lineup is top notch. Historian and author Tim O’Day will moderate a talk that includes the film’s producer, Mark Catalena, former Imagineer-turned-historian Tom Morris and current Imagineer Emily “Emo” O’Brien, who oversees creative at Disneyland and is leading the team behind the just-announced makeover of Tomorrowland. Don’t expect any insights on the latter, of course, but do anticipate a lively talk on the evolution of Disneyland. Tickets start at $125 and are on sale now.
• Stay seated on Tiana’s — or else. Disneyland has updated signage around Tiana’s Bayou Adventure, warning guests that they will be removed from the park if they stand up while on the log-flume adventure, reported Times writer Hannah Fry. The changes come less than two months after a 13-year-old boy climbed out of a log flume and fell 50 feet.
• Exciting Disneyland construction news. Big changes are coming to Disneyland, and while many are years away, the positive sign is that the park is wasting no time in getting started. There are now indications of construction in Disneyland’s esplanade between its two parks. This will pave the way for a new parking garage, of which groundbreaking has just begun, as well an entrance experience on the eastern side of the resort. This is the first of many steps, but one that must be completed before Disney begins its wider expansion that could bring attractions such as “Avatar” to the resort.

Ride report

A photo of the Haunted Mansion’s new gingerbread house, as snapped from my ride vehicle.

(Todd Martens / Los Angeles Times)

Merry Christmas! Yes, that’s right, as the Haunted Mansion has been given a Christmas-heavy makeover, as always focused on “Tim Burton’s The Nightmare Before Christmas.” (And yes, before the debate begins, it’s clearly a Christmas movie.) While I prefer the original Haunted Mansion, there are plenty of fun and clever details in the seasonal makeover that still make it a must-experience attraction. The attic scene, for instance, is full of clever nods to Disney history, including a Rolly Crump-inspired melting candelabra man. Each year I wonder if what I’m seeing is brand new, or was always there, such as what appeared to be a tiny bride figurine.

But one change is guaranteed: Each season Disneyland’s team concocts a new gingerbread house for the ballroom diorama. This year’s edition is a giant, candy-infused music box-like creation, which gradually opens as guests glide past it and a skeleton pops out. The concoction is designed in the shape of the Haunted Mansion itself, so it’s a little mansion-within-a-mansion. And, bonus, the room smells like gingerbread.

The best thing I ate at the parks this week

The delicious pumpkin cookie from Disneyland’s Harbour Galley.

(Todd Martens / Los Angeles Times)

I love a cookie, and Disneyland’s Harbour Galley has the best one on the property this Halloween season with its pumpkin creation. They’re small-ish — three or four bites — but come in packs of 6 ($8.49) or 13 ($14.49). They’re soft, slightly chewy and addictive. I love it when I get a little brown sugar crystal in my mouthful. The pumpkin flavor isn’t overpowering. It’s closer to a ginger snap than it is a slice of pumpkin pie, meaning it has just the right balance of sugar and spice. It‘s also, it should be noted, one of the best values at the resort for a dessert item. I get a pack of 13 and have breakfast for a week.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

The Walt Disney Co. stated that it will soon reimagine Disneyland’s Tomorrowland at its fan convention D23. The move has been one fans have long clamored for.

(Todd Martens / Los Angeles Times)

The topic consuming most Disneyland fans for the next few years will be the Tomorrowland reimagining. The project is just getting started, and I’ll refrain from offering a wishlist. Let the Imagineers do their work, I say, although I consider all of it, save for the monorail and Space Mountain, on the table. Gut it. Start over. But reader Peter La Barba of Long Beach wrote in with a request that I wouldn’t disapprove of.

“Whatever they do, I hope they restore the two Mary Blair murals that were in Tomorrowland,” La Barba wrote. “I’d like to see optimism restored to Tomorrowland. I was about 3 or 4 when we went to the park in August of 1955 and I wanted to live in that future. Not the incessant war future of ‘Star Wars.’”

Hear, hear. The murals of animator/fine artist Blair were a wonder, full of children of the world in celebration mode. Flying contraptions! Communication devices! Satellites! Planets! I don’t have an image safe to use, so head over to Disney history site Yesterland for a look. The two murals lasted until the ’80s and ’90s, and replacing them was a mistake that’s only looked more shortsighted over time. As Blair’s work continues to grow in stature, who needs another “Star Wars” painting?

The Disney theme parks are entering their fan feedback era.

This past weekend’s all-things-Disney fan event at the Anaheim Convention Center was the first with Josh D’Amaro installed as CEO. And D’Amaro’s message to fans was clear: We’ve heard you, we know what you want and we’re working on it.

That means Disneyland Park is at long last getting its Tomorrowland makeover, a top fan request for much of the last decade-plus. Walt Disney World’s Animal Kingdom is fixing its broken yeti, the star of thrilling roller coaster Expedition Everest that has been busted for about 20 years. Epcot’s fan favorite purple dragon Figment will soon be starring in a brand new attraction that resurrects his bearded creator, Dreamfinder, saving fans from suffering through its current half-hearted iteration in which “Monty Python’s” Eric Idle essentially treats the beloved character as a pest. (I ride it because I adore Figment, but I cringe throughout, and not just because at one point we’re annoyingly blasted with the smell of a skunk.)

And Disneyland Paris is yanking the marketing-driven “Star Wars” overlay Hyperspace Mountain from Space Mountain to return the coaster to its superior Jules Verne-inspired original. Disneyland officials take note: We don’t want Hyperspace Mountain here, either, but at least ours isn’t semi-permanent.

The long-broken yeti on Walt Disney World’s Expedition Everest will eventually be fixed. The above is an artist rendering of the attraction released by Disney Experiences.

(Disney)

It’s a sharp move, and may seem like a no-brainer, but following fan feedback doesn’t come without some risks. Fans, after all, rarely know best, often prioritizing nostalgia and lore over evolution. And Walt Disney Imagineering has remained one of the most respected corporate creative institutions for a reason. In short, fans, don’t let this go to your head.

But D’Amaro is also showing that he understands something not all Disney leaders have appeared to be well-versed in. And that’s the fact that the best IP of the Disney theme parks are the parks themselves.

Disneyland Park’s biggest selling point is not “Star Wars,” “Snow White and the Seven Dwarfs,” “The Princess and the Frog” or “Peter Pan.” It’s Disneyland itself, a temple dedicated to our narrative myths and communal play.

For too long Disney parks seemed to be, if not led, steered by its marketing teams. A franchise here, a franchise there. That thinking led to lesser designs such as a misguided remake of Paradise Pier into Pixar Pier at California Adventure, in which Pixar characters are basically treated as decals. It’s led me to argue in the past that Disney’s IP was squeezing the theme out of its theme parks.

Tomorrowland in its current state is a mess of ideas with a number of underutilized buildings.

(Allen J. Schaben / Los Angeles Times)

Disneyland last attempted to revamp Tomorrowland in 1998, and while the concept was on point — a retro-futuristic, Verne-inspired look of sci-fi fantasy — the company didn’t fully commit to it and the land has largely been a mess of ideas since. Space Mountain remains a symbol of optimism dedicated to the joy and unpredictability of galactic exploration. But the rest of the land, save for the monorail, one of Disneyland’s most recognizable monuments, should be considered fair game.

Tomorrowland has become such an eyesore that even Disneyland President Jill Estorino recognized its negative press at a pre-D23 media event. “Painful to read,” she said to the assembled media as she rattled off stories observing the “little tomorrow in Tomorrowland” and describing the land as “tired.” Estorino conceded it was “all true.”

That made this past weekend’s announcement even more of a surprise. The reimagining, as Disneyland is calling it, is in good hands. Imagineer Emily “Emo” O’Brien, the creative producer overseeing the Disneyland Resort, recently worked on Fantasy Springs at Tokyo Disneyland, a highly acclaimed modern take on a Fantasyland-like area home to fresh takes on “Frozen,” “Tangled” and “Peter Pan.” O’Brien has been with Imagineering for about 30 years, and one of her first projects was hand-shaping the armrests of the approximately 2,000 seats of Disney California Adventure’s Hyperion Theater. The little details at a Disney park matter.

Promotional art for a reimagined Tomorrowland released by Disney. The project, according to Imagineers, is in its infancy.

(Disney)

“I grew up in my career with this legacy,” O’Brien said. “I understand the kind of gravitas and the responsibility that I have with our team to guide us through this journey of reimagining the only Tomorrowland that Walt [Disney] actually envisioned, designed and walked in.”

A remade Tomorrowland, to be clear, is years away. No questions were answered on Tomorrowland at D23, so fans will have to wait to hear what this means for the long out-of-work PeopleMover. And as previously reported, Estorino said the reworking of the original Disneyland area will come after California Adventure opens its “Avengers” and “Coco” attractions. The former two were given a 2028 date, while “Coco” still does not have an opening window. After Tomorrowland, the resort intends to tackle “Avatar.”

The fan favorite purple dragon known as Figment at Walt Disney World’s Epcot. The attraction Journey Into Imagination With Figment has been earmarked for renovations.

(Todd Martens / Los Angeles Times)

At a Disney parks presentation Saturday evening, the Tomorrowland announcement received arguably the largest applause. But it was closely followed by the reveal of a reworking of what is currently known as Journey Into Imagination With Figment at Epcot. That ride has been a shadow of its former, glorious self since the late ’90s, even as the squeaky-voiced Figment has remained a popular mascot for the park. That’s no real surprise, but I, of course, am biased, as I have a Figment tattoo and the character was my childhood favorite.

Figment is a dreamer, his very existence the result of a dreamer. While I don’t necessarily trust the memory of my 10-year-old self, I remember Figment becoming an astronaut one moment and pretending to be a ship’s captain in the next. Visions of that ride are burned into my brain. Figment was a reminder to a video-game-obsessed kid that while you can’t do everything, you can at least envision anything.

And Imagineering appears to be doing just that at the moment. The projects, of course, will have to be conceptualized, designed and built, and there’s still time to make mistakes, such as attaching a known IP to the reimagined Imagination (don’t do it).

Concept art for the Maleficent attraction coming to Villains Land.

(Disney)

Tomorrowland has been flawed since the early 2000s and Disney can survive without touching it. Its attractions — Star Tours, Autopia, Buzz Lightyear Astro Blasters — still, after all, draw crowds. The commitment to redesign it may be a crowd-pleasing one, but it’s also a reminder, a symbol of understanding.

If something’s broke, you correct it. You don’t let it sit in a derelict state simply because the financial math doesn’t justify new guest spending or increased crowds. The Disney parks are a home away from home for many a visitor, and they should be treated as such.

D’Amaro, of course, as CEO will be evaluated on much more than simply how he leads the parks. But he and and his partner Thomas Mazloum, the chairman of Disney Experiences, came to this D23 with one message: We’re one of you. Expect the Disney die-hards to hold them to it.

One more D23 thought

An Imagineering research and development project in which Grogu and the character of Hugo are represented as robotic figures serving guests.

(Todd Martens / Los Angeles Times)

The Imagineering booth on the convention floor was full of delights and wonders, especially in its research and development section. I tend not to devote a ton of newsletter space to R&D, only because I’d rather focus on what guests can or will be seeing in the future, but the two “Star Wars” attractions shown not only deserve their props, but belong in Star Wars: Galaxy’s Edge.

One is a no-brainer, and it’s a snack stand featuring Grogu and Hugo from “The Mandalorian and Grogu.” The latter, voiced by Martin Scorsese in the film, is largely asleep and snoring in the food truck-like stand, while Grogu uses the Force to whisk orders across the counter. Fan were transfixed. And this seems like the perfect mix of corporate and creative desires, as no doubt many a Disney guest would order an extra soda if it came with a show featuring “Baby Yoda.”

An Imagineering research and development project featuring robotic Anzellan mechanics that can interact with guests.

(Todd Martens / Los Angeles Times)

The other was an Anzellan work bench. Anzellans are tiny creatures introduced in “Star Wars: The Rise of Skywalker” known for their engineering skills, and here they were seen working on droid parts. But they also interact with guests.

Get close enough, and they’ll stop what they’re doing to quizzically look at you, ask you a question or maybe even repeat what you said to them. They’re as lifelike a robotic as Disney ever created, and the 14-acre Galaxy’s Edge is never not in need of more activity. Here’s hoping these little guys find a destination in the parks soon.

This week in SoCal theme parks

The vibrant, dance-focused “Magic Happens” parade will return to Disneyland in 2027.

(Allen J. Schaben / Los Angeles Times)

• Halloween is here! While the temperature may not feel like it, the fall Halloween season has arrived, and the Disneyland Resort’s Oogie Boogie Bash begins Tuesday evening. Additionally, the resort-wide Halloween Time launches Friday. There are still tickets available for many an Oogie date, and new this year is a Haunted Mansion-inspired street festival as well as the arrival of Yzma, the villain from “The Emperor’s New Groove.” Oogie is a good time, especially if you haven’t done it before.
• Looking ahead to Disneyland in 2027. With the new Avengers Campus not opening until 2028, the Disneyland Resort in 2027 will rely heavily on entertainment to lure locals back to the park. That means the fantastic “Magic Happens” parade is returning before next summer season. While it has the requisite mix of Disney characters, it’s also notable for its use of contemporary dance. Also returning is the original “World of Color” to Disney California Adventure and a refreshed version of the fireworks show “Remember… Dreams Come True” at Disneyland Park. Both are expected in February, shortly after the holiday season concludes.
• A blow to the in-park games of Disneyland. Reports surfaced Monday that the Walt Disney Co. was killing the Play Disney Parks app, which is home to the enjoyable Star Wars: Datapad game Batuu Bounty Hounters. The app was largely designed to give fans activities while they waited in lines, and was also meant to turn Star Wars: Galaxy’s Edge into a live-in video game. The app will go offline Sept. 16, according to Disneyland officials.
• A new window on Main Street. Former Disney CEO and future Los Angeles Lakers co-owner Bob Iger has received a window on Disneyland’s Main Street, U.S.A. The honor is reserved for those who have heavily impacted the Disney parks, and Iger certainly qualifies, as his many acquisitions — Marvel, Pixar, Lucasfilm — changed the tenor of Disneyland and beyond. Look for Iger’s window above the Emporium gift shop, where he is heralded as a “new century builder.”
• Good news for Disneyland’s ‘Monsters, Inc.’ fans. With the announcement that Disney California Adventure’s “Avatar” experience won’t arrive until after Tomorrowland’s redo, the attraction Monsters, Inc. Mike & Sulley to the Rescue! will get to remain open a little longer. Previously, the attraction was supposed to close in early 2027, but Disneyland officials now say the dark ride will remain open for the foreseeable future. A closing window will be announced at a later date.

Tell us your stories. Ask us your questions.

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

Ride on,

Todd Martens

P.S.

A still from the Smugglers Gambit game in Fortnite.

(Image from Disney)

The Disney theme parks this past weekend deepened its connection to “Fortnite” as part of a partnership with Epic Games. The latter’s Unreal Engine already fuels Millennium Falcon: Smugglers Run, as well as a new Pirates of the Caribbean audio-animatrionic. And now guests who utilize the Disneyland app and connect it to their Epic Games account can receive in-game rewards for experiencing the Millennium Falcon attraction, including the recovery of a unique crate on the ride.

I had a chance to play the “Fortnite” experience inspired by the ride, “Smugglers Gambit,” and appreciate the way park worlds are being used to fuel connection to them at home. “Fortnite,” admittedly, is not my game of choice, but “Smuggler’s Gambit” was more robust than I expected, and I’m happy see aspects of the fictional planet of Batuu represented in the digital space. Business writer Samantha Masunaga has more on Disney’s relationship with Epic Games.

UNIVERSAL Orlando has revealed what guests can expect from it’s ‘delivish’ new food and drink menu for this year’s Halloween Horror Nights.

Running from August 28 to November 1, the spooky event is one of the most popular Halloween events in the world.

And the theme park has since revealed the spooky new menu of food and drink that will be served – and it isn’t for the faint of heart.

There is the Rigatoni Ritual Pie, a take on a pizza with garlic butter, cheese, rigatoni a la vodka, crispy sausage and pesto on top.

Or there is the Jack & Odd Dog, a footlong hot dog with all the trimmings, including Flamin’ Hot® Cheetos® cheese, peppers and onion, on an unusual purple ube bun.

Or how about the Torn to Shreds Pork Sandwich, with smoked pork shoulder in a Hawaiian pretzel roll, complete with a spicy jalapeno slaw.

DEFRIGHTFUL

The best cheap theme park deals this Halloween and beyond – save up to 49%

IT’S A SCREAM

I tried out Universal’s new horror attraction – that traps guests inside game

Other treats include a Fritos Walking Taco, along with Death Bringer Tempura Shrimp, Lasagna Burn and Birria Pizza Fries.

Sweet treats haven’t been forgotten about although you might want to close your eyes when eating.

The Meat Grinder Red Velvet is made up of ground up red velvet cake along with raspberry jam and puffed rice… designed to look like maggots.

Tickets can be booked for Universal Orlando‘s Halloween Horror Night now via the website here.

Running for it’s 35th year, last year saw scare houses based on everything from Ghostbusters and Insidious to A Quiet Place.

This year’s line up of scary events will include Sinners, Stranger Things 5 as well as other park exclusives: Jack & Oddfellow: Chaos & Control

• Cybergoria
• INVASION: Alien Abduction
• MADLANDS: Caged Cannibals
• H.R. Bloodengutz Presents: A Halloween Fright-Tacular!

Following Orlando, Universal Studios Hollywood’s Halloween Horror Nights starts on September 3, followed by Universal Studios Japan on September 11 and Universal Studios Singapore on September 25.