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HAVING braved Universal Studios’ Halloween Horror Nights in Los Angeles, I thought I knew what terror felt like.

I was wrong. Nothing can prepare you for the sheer, spine-chilling fear of being shoved into a four-by-four cell, separated from your family and having a twitching, masked lunatic scream repeatedly in your face.

Welcome to Scarefest 2026.

I’d dragged my two thrill-obsessed kids — 12-year-old son Corben and daughter Piper, ten — along to Alton Towers for the grand opening.

We went in expecting a few cheap jump-scares, fake cobwebs and a bit of a laugh. Instead, we got a Hollywood-level masterclass in pure, unadulterated fright.

The big buzz this year is around Final Exhibit — the park’s newest scare maze which promises to “immerse guests in a world of fear”.

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Beyond the doors of the abandoned warehouse lies The Curator’s forgotten collection, where each room reveals a dark secret.

Upon entry, a strange, long-haired woman sits seemingly frozen at a desk.

But as we approach, what I think is a mannequin is in fact a terrifying, ghostly creature that comes to life, furiously thumping the desk with a stamp.

The corridors are filled with archivists — a silent workforce of hypnotised servants whose primary job is to terrify the bejesus out of you.

But this is more than just a scare experience. Visitors are told that those who fail to escape will be transformed into living exhibits, trapped within the archive forever.

The production value is off the charts and it all feels authentic.

Fortunately, my kids and I did eventually escape but we were blown away by the movie-style special effects.

But the real stars of the show are the scare actors — an army of performers that don’t just jump out from behind doors.

They stalk you from the shadows, crawl along the floors and track your every move before “attacking” with menace.

Monsters keep their distance in the other scare mazes, but at Alton Towers they reach out, touch your arms, grab your shoulders and brush past your neck in the dark. It turns a simple walk-through into an immersive nightmare.

Corben gasped in horror as a creature reached out from the shadows and grabbed his arm, sending us sprinting for the exit.

A serious word of warning to parents thinking of taking under-12s inside any of the scare mazes — they are NOT for the faint-hearted.

Visitors are spoiled for choice, with scare mazes including Final Exhibit, Edge of the Forest, Altonville Mine Tours: Tiny’s Revenge and the epic Compound. If Final Exhibit tests your nerves, Compound utterly destroys them.

In this terrifying attraction, visitors are torn away from their group and thrown into individual cells in a brutal mental asylum.

I was shoved into a tiny padded cell with a screaming lunatic frothing at the mouth. It was one of the most intense theme park moments I’ve ever experienced.

Thankfully, Alton Towers hasn’t forgotten about families with younger kids who want the Halloween atmosphere without the trauma.

The park is packed with fantastic, family-friendly frights that hit the sweet spot for younger children.

Piper loved Trick O’ Treat Town, which allows kids to knock on doors down colourful Spooky Avenue, collecting sweet treats along the way.

Another hit for families is Amigos in the Afterlife — a vibrant, Day of the Dead-themed walk-through bursting with brilliant costumes, upbeat music and glowing displays.

And, of course, a trip to Alton Towers wouldn’t be complete without tackling the world-class line-up of rollercoasters and rides, which take on a completely different personality once the sun goes down.

For those who fancy an overnight stay, the monorail will take you to the Alton Towers Hotel where family rooms come with a double bed for the adults, and bunks for the kids.

Good luck getting to sleep after those frights, though.

Two years ago, the biggest record labels took artificial intelligence music generators to court for copyright infringement. Now several of them are licensing their catalogs to those same companies, and the deals are starting to turn into products.

The latest example came earlier this month, when Suno, an AI music company valued at $5.4 billion, released its first models built with licensed music from Warner Music Group, BMG and Believe. Rival Udio has licensing deals with Universal Music Group and Warner.

The companies are pitching AI as a new revenue stream for artists. But so far, none of them have disclosed what artists will be paid, how many artists have opted in, or how much input individual musicians have over whether their work is used. And some musicians and songwriters are fearful of how these AI deals might affect livelihoods.

“It’s sort of a creepy and ominous cloud,” said Matt Evans, a 35-year-old Pasadena resident who’s played brass instruments on shows like “The Late Late Show With James Corden” and Netflix’s “Dr. Seuss’s Red Fish, Blue Fish.” “The fact that I could do something once and then it could be reused, and if that’s not negotiated in a contract, then I never got to make a choice to receive additional compensation. It all comes down to the loss of money.”

The American Federation of Musicians sued Universal and Warner in June, alleging the labels licensed recordings its members played on to Suno and Udio without paying those musicians or telling the union which recordings were involved. The labels have moved to dismiss the case.

In 2024, Universal, Sony Music Entertainment and Warner sued Suno and Udio for copyright infringement, alleging the AI companies trained their models on copyrighted songs spanning many artists, genres and time periods. The settlements began the following year. Universal settled with Udio in October and became its partner, and Warner settled with both Udio and Suno in November, signing licensing deals with each.

“The reason why they would settle this is they think they’re going to profit more from licensing music to them rather than from the outcome of a lawsuit,” said Jane Davidson, an entertainment attorney at Nolan Heimann who specializes in copyright and trademark infringement.

More deals followed. Udio signed with Merlin, which licenses music on behalf of independent labels, and with independent publisher Kobalt. Suno signed with BMG in August and with Believe, owner of the DIY distribution platform TuneCore, this month. Spotify, which wasn’t part of the lawsuits, struck deals with Universal and Merlin.

Not everyone is settling. Sony filed a second lawsuit against Udio over more than 30,000 recordings, and it is still suing Suno alongside Universal, which is licensing its music to Udio and Spotify at the same time. Sony and Universal also filed a new lawsuit last week alleging that Suno’s latest model still infringes on their copyrighted works. In July, a Munich court ruled against Suno in a case brought by GEMA, which collects royalties for German songwriters and publishers.

The deals between labels and AI music platforms — on which consumers can create full songs from text prompts — share a basic promise. Artists signed to the participating labels can opt in and will be credited and paid.

But each company is building something different. Udio operates under a “walled garden” model favored by Universal, in which songs made on the platform can’t be downloaded or distributed elsewhere. Spotify’s tool, a planned paid add-on for Premium subscribers, has no launch date. Suno lets users download what they make and release it elsewhere, with download caps and watermarks meant to curb abuse; songs made with its new models can be distributed through Believe and TuneCore.

Whether an artist opts out depends on who owns the rights. Songs typically carry two copyrights — one for the composition, usually held by songwriters and their publishers, and one for the sound recording, usually owned by the label. Every contract is different, so it’s unclear how AI products will handle music where those rights are split.

Waveforms of audio files from various instruments are displayed on a computer screen during the making of an AI musical piece at Suno.

(Robert F. Bukaty / Associated Press)

“These companies are able to make deals on behalf of their artists, and their control over their music is pretty significant based on what major label contracts typically say,” Davidson said. “But I expect that we will have some artists that push back against this and say that they didn’t authorize the use of their music for this purpose.”

Warner’s agreement with Suno, for example, lets artists opt in to having their names, likenesses, voices and compositions used in AI-generated music. But Jack Brody, Suno’s chief product officer, acknowledged that labels “ultimately have their contracts in place that will have some say in what an artist can and can’t do.” It’s also not always clear whether opting out keeps an artist’s recordings out of AI training, or only out of fan-facing features.

Michelle Lewis, a songwriter and the co-founder and chief executive of the nonprofit Songwriters of North America, said the composition side of that copyright split is often the harder one to defend.

“With AI, it’s so much easier to tell if you’ve infringed on the sound recording. You know what Beyoncé and Drake’s voices sound like,” said Lewis, who wrote Cher’s “A Different Kind of Love Song,” Little Mix’s “Wings” and the music for the Disney Jr. show “Doc McStuffins.” “But songwriting is so much more nebulous, so much harder to sue.”

“From the creator side, nobody asked for this. We like our job,” added Lewis. “The job is the process and what makes it special, interesting and artful.”

Some musicians argue the deals can’t cover rights the labels don’t control. A proposed class action filed last month by Jason Isbell and other musicians alleges Suno lets users generate songs that evoke specific artists’ identities without their consent, a right-of-publicity claim the plaintiffs say belongs to performers no matter who owns their recordings. Suno disputes the claims.

Session musicians like Evans are pushing back through their union.

“By licensing our members’ performances to AI platforms like Suno and Udio without consent, credit, or compensation, companies like Universal, Warner Records, and Atlantic are bypassing the very human creators who made their catalogs valuable in the first place,” AFM International President Tino Gagliardi said in a statement.

The labels have disputed the claims and argue that these deals advance the interests of artists and songwriters.

Jonathan Wyner, head of artistic technology initiatives at Berklee College of Music’s Emerging Artistic Technology Lab, compared the AI deals to the arrival of streaming services. Wyner has advised Suno.

“It’s a good step, and I think it was an inevitable step, especially if you want to stay engaged with musicians and the creative community,” he said.

That comparison cuts both ways. Streaming grew the industry while fueling years of complaints about artist pay.

Damon Krukowski, a musician and the legislative director at United Musicians & Allied Workers, said the deals so far don’t seem to benefit working-class musicians and could be used to cut them out entirely.

“It’s a new technology, but it’s not a new corporate story,” Krukowski said. “But the tools are even more powerful. It seems within their possible reach to destroy the labor market. The major labels are just seeing dollar signs without any regard to the long-term health or sustainability of this industry, because they’re envisioning an industry without artists who can push back.”

Brody disputed that, saying Suno is building ways for independent and unsigned artists to benefit, such as its deal with Believe and TuneCore.

With terms under wraps, it’s too early to know whether any of this will pay off for artists. The tests are still ahead — whether Sony and Universal win or settle, and what the first payouts actually look like.

“A label making a deal and an individual artist having a choice are not necessarily the same thing,” said Drew Silverstein, the senior advisor for AI at music tech company BandLab Technologies. “Our music industry has a long history of new revenue streams coming into existence that benefit certain folks, and create great financial opportunities for rights holders.”

IN LESS than five years the UK is set to get a new theme park that’s the only one of its kind in Europe.

Universal United Kingdom Resort, as it is officially known, will be located in Bedfordshire and is set to open in 2031.

Universal has always been at the forefront of new theme park upgrades, from letting guests use wands to cast spells in The Wizarding World of Harry Potter to interactive dragon robots at How To Train Your Dragon – Isle Of Berk.

Now the company has applied for FOUR new patents, giving fans a sneak peek at what to expect at their theme parks in the future.

These include a hybrid ride vehicle that can transition between being suspended from a track – as if it is floating through the air – to floating on the water.

Images show that the boat-style car would connect to an overhead arm and then when it enters the water it would detach from the arm and float like a normal boat.

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Another patent reveals an AI guide – an audio tour that would be able to see your surroundings and then talk to you.

It isn’t clear yet what the AI guide would be used for by Universal, but it sounds like it could be along the lines of a Google Lens or Pokemon Go experience.

It is also unclear whether these patents are specifically for the UK park or all parks.

What we do know though, is that this week the Universal United Kingdom Resort announced the 23 contractors, engineers and architects that will be used for the project.

Contractors include the team behind the 2012 London Olympic Stadium as well as The Eden Project in Cornwall, the O2 Arena, a number of airport expansions and Battersea Power Station.

Previously announced details about the first Universal destination in Europe include that it will be located on a site in Kempston Hardwick, Bedfordshire – about 45 miles from London.

The park will spread across 476 acres and feature the theme park as well as hotels, restaurants, shops and even room for possible future expansion.

The theme park will be split into four “zones” – the Core Zone, Lake Zone, West Gateway Zone and the East Gateway Zone.

Accommodation and business hotels will be in the Lake Zone, as well as an entertainment complex and a convention centre.

West Gateway Zone and the East Gateway Zone will be where guests arrive by train and car, with restaurants and hotels.

This is also likely to be where the Entry Plaza area will be, as well as parking and a 500-room hotel.

When it comes to what will actually be inside the theme park itself, there are plenty of rumours flying around.

What we do know is that there will be indoor and outdoor rides, as well as areas for shows and entertainment.

The plans state: “[Guests will] experience blockbuster attractions, adrenaline-pumping coasters, and mind-blowing spectaculars.

“They’ll come face-to-face with incredible creatures, heroes, and villains.

“They’ll discover great food, new laughs, new ways to play, and step into immersive worlds they’ve only ever dreamed of.”

There will also be a maximum height of anything in the theme park of 115metres – which if this were to be a rollercoaster, it would take over from Red Force at Ferrari Land (part of PortAventura World) in Salou, Spain, as the tallest in Europe.

Despite Universal not confirming the park map or rides that will feature, industry speculation expects the attraction to focus on its British roots with much-loved franchise Harry Potter featuring.

Other famous films set to play a part in the theme park include Paddington Bear and James Bond.

There are also rumours that Jurassic World, How to Train Your Dragon, Despicable Me/Minions and Shrek could also feature.

Rail lines near the theme park will also get upgraded with a new station on the East West Rail and Midland Main (Thameslink) Line.

It is expected to cost £5billion to bring to life.

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.