unleashed

Las Vegas — I turn a bend and see a figure in a cornfield. The gray sky is foreboding, a storm clearly on the horizon. When I take a step forward, I’m hit with a gust of wind and fog. Suddenly, it’s no longer a silhouette in the haze but a scarecrow, shrouded in hay, lurching toward me.

Only I am not on a Midwestern farm, and there is no threat of severe weather. I‘m in a warehouse in Las Vegas, walking through a maze called “Scarecrow: The Reaping.” I jump back and fixate my phone’s camera on the creature, but that only encourages them to step closer. I‘m hurried out of the farmland and into a hall, where giant stalks now obscure my path.

Welcome to Universal Horror Unleashed, which aims to deliver year-round horrors and further expand theme park-like experiences beyond their hubs of Southern California and Central Florida. Horror Unleashed, opening Aug. 14, is an outgrowth of Universal’s popular fall event, Halloween Horror Nights, which has been running yearly at the company’s Los Angeles park since 2006 and even longer at its larger Florida counterpart.

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Like Halloween Horror Nights, there are maze-like haunted houses — four of them here themed to various properties such as “The Texas Chainsaw Massacre” and “The Exorcist.” Their more permanent status allows for a greater production factor — think disappearing walls and more elaborate show scenes — and they are surrounded by brooding bars, a pop-up rock-inspired dance show and a host of original walk-around characters. “Hey, sugar,” said a young woman as I near the warehouse’s main bar, a wraparound establishment themed to a large boiler. The actor’s face was scarred with blood, hinting at a backstory I didn’t have time — or perhaps the inclination — to explore.

Horror Unleashed is opening just on the cusp of when theme parks and immersive-focused live experiences are entering one of the busiest times of the year: Halloween. The holiday, of course, essentially starts earlier each year. This year’s Halloween Horror Nights begins Sept. 4, while Halloween season at the Disneyland Resort launches Aug. 22. Horror shows and films are now successful year-round, with the likes of “Sinners” and “The Last of Us” enrapturing audiences long before Oct. 31. Culture has now fully embraced the darker side of fairy tales.

A scene from the “Texas Chainsaw Massacre” maze at Universal Horror Unleashed in Las Vegas.

Texas Chainsaw Massacre at the Universal Horror Unleashed.

A gruesome moment during the “Texas Chainsaw Massacre” maze at Universal Horror Unleashed.

“You can make every month horrific,” says Nate Stevenson, Horror Unleashed’s show director.

That’s been a goal of David Markland, co-founder of Long Beach’s Halloween-focused convention Midsummer Scream, which this year is set for the weekend of Aug. 15. When Midsummer Scream began in 2016, it attracted about 8,000 people, says Markland, but today commands audiences of around 50,000. “Rapidly, over the past 10 or 15 years, Halloween has become a year-round fascination for people,” Markland says. “Halloween is a culture now. Halloween is a lifestyle. It’s a part of people’s lives that they celebrate year-round.”

There will be challenges, a difficult tourism market among them, as visits to Las Vegas were down 11.3% in June 2025 versus a year earlier, according to data from the Las Vegas Convention and Visitors Authority. And then there’s the question of whether audiences are ready for year-round haunts that extend beyond the fall Halloween season to winter, spring and summer. I entered Horror Unleashed for a media preview on an early August night when it was 105 degrees in the Las Vegas heat. It’s also been tried before, albeit on a smaller scale. Las Vegas was once home to Eli Roth’s Goretorium, a year-round haunted house that leaned on torture-horror and shuttered after about a year in 2013.

But Universal creatives are undaunted.

Frankenstein’s monster comes alive during a Universal monsters maze at Universal Horror Unleashed.

More than a decade, of course, has passed, and Horror Unleashed is more diverse in its horror offerings. A maze themed to Universal’s classic creatures winds through a castle and catacombs with vintage-style horrors and a mid-show scene in which Frankenstein’s monster comes alive. Original tale “Scarecrow: The Reaping,” which began at Universal Studios Florida, mixes in jump scares with more natural-seeming frights, such as the aforementioned simulated dust bowl.

TJ Mannarino, vice president of entertainment, art and design at Universal Orlando, points to cultural happenings outside of the theme parks in broadening the terror scene — the success of shows such as “The Walking Dead” and “American Horror Story,” which found audiences outside of the Halloween season, as well as “Stranger Things,” which he says opened up horror to a younger crowd. Theme parks are simply reflecting our modern culture, which is craving darker fantasies. Universal, for instance, recently opened an entire theme park land focused on its classic monsters at its new Epic Universe in Florida, and even Disney is getting in on the action, as a villains-focused land is in the works for Walt Disney World’s Magic Kingdom.

An anxiety-ridden actor in “The Exorcist: Believer” maze at Universal Horror Unleashed.

“We think our audience really wants this,” says Mannarino, noting theme park attendance surveys were prodding the company to give horror a permanent home. And at Universal’s Orlando park, Halloween Horror Nights starts earlier, beginning in late August.

“Just a couple years ago, we started in August, and we were selling out August dates,” Stevenson says. “On a micro level, we’re seeing that, boy, it doesn’t matter if you extend past the season or extend out before the season — people are coming. People want it.”

The central bar, themed to a boiler room, at Universal Horror Unleashed.

Universal is betting on it, as the company has already announced that a second Horror Unleashed venue will be heading to Chicago in 2027. Smaller, more regional theme park-like experiences are once again something of a trend, as Netflix has immersive venues planned for the Dallas and Philadelphia regions, and Universal is also bringing a kid-focused park to Frisco, Texas.

There are antecedents for what Universal is attempting. Disney, for instance, tried an indoor interactive theme park with DisneyQuest, for which a Chicago location was short-lived and a Florida outpost closed in 2017. Star Trek: The Experience, a mix of theme park-like simulations and interactive theater, operated for about a decade in Las Vegas before it shuttered in 2008.

“I know there’s horror fans and Halloween fans who are always looking for something to do,” Markland says. “What [Universal is] doing is very ambitious and big, and so I’m nervous along with them. We’ll see how it goes. I’m sure people will go as soon as it opens and through the Halloween season, but after that, I don’t know. … They’ve definitely invested in Halloween and horror fans. They’re all-in.”

Horror, says author Lisa Morton — who has written multiple books on the Oct. 31 holiday, including “Trick or Treat: A History of Halloween” — is thriving in part because today it is taken more seriously by cultural critics. The genre also has metaphorical qualities — the struggle, for instance, that is life, art and creativity in “Sinners” or the underlying themes of PTSD that permeated the latest season of “The Last of Us.” That makes it especially appealing, she says, for today’s stressful times.

“I suspect that’s part of the reason horror is booming right now,” Morton says. “Everything from climate change, that we seem to have no voice in, and our politics, that don’t seem to represent us. Many of us are filled with anxiety about the future. I think horror is the perfect genre to talk about that. When you add a layer of a metaphor to it, it becomes much easier to digest.”

To step into Horror Unleashed is to walk into a demented wonderland, a place that turns standard theme park warmth and joy upside down. Don’t expect fairy tale-like happy endings. The space’s centerpiece performance is twisted, a story centering on Jack the Clown and his female sidekick Chance, who have kidnapped two poor Las Vegas street performers and are forcing them to execute their acts to perfection to avoid murder. The deeper one analyzes it, the more sinister its class dynamics feel, even if it’s an excuse to showcase, say, street dancing and hula hoop acrobatics.

A circus show at Universal Horror Unleashed features various Las Vegas performers.

The space has an underlying narrative. Broadly speaking, the warehouse is said to have been a storage place for Universal Studios’ early monster-focused horror films. That allows it to be littered with props, such as the throne-like chair near its entrance, and for nooks and crannies such as a “film vault” to be renamed a “kill vault.” Somehow — horror loves a good mystery — the space has come alive, and don’t be surprised to be greeted by a vampire or a costumed swampland figure that may or may not be related to the Creature from the Black Lagoon.

The goal, says Universal creatives, is to give Horror Unleashed a bit of an immersive theater feel, something that can’t really be done among the chaotic scare zones and fast-moving mazes of a Halloween Horror Nights event. But here, guests can linger with the actors and probe them to try to uncover the storyline that imbues the venue. One-to-one actor interaction has long been a goal of those in the theme park space but often a tough formula to crack, in part because cast members are costly and in part because of the difficulty to scale such experiences for thousands.

“As we’ve evolved this style of experience, we have given more and more control of the show to the actors,” says Mannarino on what separates Horror Unleashed from Halloween Horror Nights. “It’s less programmed. It’s less technology. I’ve had conversations with tech magazines, and they’ll ask me what is the most critical piece, and I’ll say it’s the actors. … The lifeblood of our all stories — we can build all of this, but it doesn’t go without the actors.

“It’s what really drives this whole animal,” he adds.

A dark moment in “The Exorcist: Believer” maze at Universal Horror Unleashed.

It extends a bit to the mazes as well. Audiences should expect to spend about five to seven minutes in each of the four walk-through attractions, but unlike a Halloween Horror Nights event, where guests are rushed from room to room without stopping, in Las Vegas there will be one dedicated show scene per maze. Here, groups will be held to watch a mini-performance. In the “Exorcist” maze, for instance, that means witnessing a full exorcism, complete with special effects that will have walls give way to demonic specters. In the ‘70s-themed “Texas Chainsaw Massacre” haunt, look out for a bloody scene designed to drench guests.

The mazes are intended to be semi-permanent. Stevenson says there’s no immediate plans to swap them out in the near future but hints that Horror Unleashed will be an evolving venue and, if all goes according to plan, will look a bit different in a few years. Thus, he says the key differentiator between Horror Unleashed and Halloween Horror Nights is not necessarily the tech used in the mazes, but the extended time they can devote to unwrapping a story.

“When Universal builds a haunted house, the level of story that starts that out is enormous,” Stevenson says. “There’s so much story. All of our partners need that because they base every little nuanced thing off of that story. Unfortunately, we don’t always have the chance to tell that story, and all our fans tell us they want to know more story.”

A sampling of food and drinks at Universal Horror Unleashed, including a bread dish with bourbon-laced cheese.

Tacos and a chainsaw-themed flatbread at Universal Horror Unleashed.

Story percolates throughout the venue. Flatbreads, for instance, are shaped like chainsaw blades. Desserts come on plates that are mini-shovels. Salad dressing is delivered in syringes. In the past, says Mannarino, no one wanted their food to be played with. ‘“Don’t do horrible things to my food!’” he says in mock exaggeration. “But now, people really love that.”

Little, it seems, is obscene, when every day can be Halloween.

La migra spread across MacArthur Park yesterday morning like a platoon ready for war.

Federal agents on horseback with a white steed in the middle trotted through a soccer field. Others dressed like they were ready for Fallujah walked across lawns that just minutes earlier hosted a kid’s summer camp. Humvees complete with gun turrets parked on Wilshire Boulevard.

A Black Hawk helicopter buzzed above.

It was meant to be a show of force. It was more of a farce.

The park was mostly empty thanks to social media posts that had been warning Los Angeles about the coming incursion since Sunday. A furious Mayor Karen Bass arrived, got on the phone with U.S. Border Patrol Chief Gregory Bovino — who was strolling around while a photographer took glam shots — and told him to pull back. Activists showed up instead of the regular crowd to laugh at and film la migra and cuss them outta there.

It was like the climactic scene in “Blazing Saddles,” when incompetent villain Hedley Lamarr tried to invade a small town with the baddest of hombres besides him only to find a Potemkin village. The Non-Battle of MacArthur Park even had a “cowboy” (those quote marks are getting some serious “air” time as I write this)With his straw cowboy bat and rifle slung over his shoulder, Assistant Chief Border Patrol Agent David Kim seemed to be channeling his inner Alex Villanueva, the ex-L.A. County sheriff who wore Stetsons anywhere and everywhere in urban L.A. because he thought that showed power.

This was the Battle of the Photo Op. Written in D.C. and paid for by taxpayers.

For the past 30 days, President Donald Trump has laid siege to L.A. like a potentate trying to quash a far-away rebel province. Over 1,600 people detained, citizens and noncitizens alike. A parade of his lackeys — Department of Homeland Security head Kristi Noem, Vice President JD Vance, border policy advisor Tom Homan — parachuted in to lecture L.A. about how out of control it is and vow retribution. California’s senior U.S. senator, Alex Padilla, briefly handcuffed for daring to question Noem during a press conference.

Trump and his troupe keep squawking about getting “the worst of the worst,” but they’re mostly not. This operation doesn’t seem to make much of a distinction between snatching an immigrant with a criminal record or a guy armed with a stockpile of tamales he’s trying to sell to make a living.

Masked men grabbing anyone and everyone in the fashion of paramilitary squads from countries we deem uncivilized. Straight-up invasions of workplaces and residential neighborhoods, parks and street corners. Thousands of members of the National Guard and hundreds of Marines called up.

What the city is weathering is supposed to be a warning to all other immigrant-friendly municipalities across the country: submit, or else.

Well, L.A. chose the something else. And Trump and his goons are getting more and more angry — and reckless.

Department of Homeland Security Secretary Kristi Noem speaks to the National Guard before their lunch at the Wilshire Federal Building in Los Angeles on June 12.

(Luke Johnson / Los Angeles Times)

People are scared, sure — even terrified. That’s part of Trump’s strategy, along with making life so miserable that he hopes Angelenos will turn on each other. Instead, they’re uniting and hunkering down for more. Support networks and neighborhood watchdog groups are blooming across the region. Everyone with a smartphone and a social media account is now a reporter, capturing la migra at its worst and letting the world know what’s really going on. Lawsuits are being filed. More and more average citizens are joining the resistance.

What’s happening reminds me of the concluding line Lisa Simpson sang when Springfield Nuclear Power Plant workers went on strike against Mr. Burns and his heavies:

They may have the strength, but we have the power.

I get it, America: You think what’s happening in L.A. will never come to you. And you sort of like seeing the big, bad City of Angels getting smacked around with promises of even worse things to come. There’s a reason sports fans chant “Beat L.A.” and not “Beat Salt Lake City” or even New York.

But what happened yesterday at MacArthur Park is a microcosm of Trump’s vision for the rest of the country: a massive show of nada that does absolutely nothing to make life better for Americans. A gigantic waste of money. Spectacle over substance. Venom for anyone who dares speak out.

That should concern anyone who cares about a functioning democracy. Including L.A. haters.

The last month of raids across Southern California has shown that when the going gets tough, Trump goes for the easy. Sure, the Department of Homeland Security and its toxic alphabet soup of agencies participating in Trump’s deportation deluge are churning out social media posts featuring grainy photos of some of the people they’ve caught along with their alleged crimes. But that’s a way to mask the reality that these people taken in raids are mostly not criminals. A Times analysis of data obtained by the Deportation Data Project at UC Berkeley Law found that nearly 70% of those arrested by Immigration and Customs Enforcement from June 1 through June 10 had no criminal convictions.

The sad irony about what happened yesterday in MacArthur Park is that if ever there was a place in L.A. that might have welcomed a helpful assist from the feds … it’s MacArthur Park.

As my fellow columnista Steve Lopez has written about for years, it’s a jewel of a green space with serious problems that city officials have allowed to fester over the decades and has made it a no-go zone for many Angelenos. Gangs have long extorted businesses in the neighborhood and terrorized everyone else — including immigrants. Too many unhoused people pass through with nowhere else to go. Drug use is as prevalent as sunbathing: When I walked through it earlier this year on the way to Langer’s for lunch, I saw a man smoke a meth pipe within eyesight of an LAPD officer who didn’t even blink.

But this wasn’t about saving MacArthur Park from the bad guys. Instead, the deployment of masked troops in tactical gear showed Trump and his berserkers only care about optics, up to and including a man on horseback leading his fellow cavalry in a straight line while holding an American flag as colleagues whipped out their smartphones. The charade looked like something out of a Western movie — American military subjugating yet another Native American tribe.

Federal immigration agents near MacArthur Park on July 7.

(Carlin Stiehl / Los Angeles Times)

More is going to come, most likely worse. Trump’s Bloated Bullplop Bill has allocated $170 billion to immigration enforcement. Homan is relishing the idea of increasing the number of ICE agents from 5,000 to 15,000 — as if all that migra will improve the economy or make up for the rise in taxes and loss in Medicaid that millions of American citizens will suffer in order to support an agency whose increased budget will put it above the military of most of the world’s countries.

Are you paying attention yet, America?

After the MacArthur Park action, Trump’s disciples proclaimed victory. Bovino bragged to Fox News reporter Bill Melugin — the de facto media stenographer for Trump’s migra mission — that he told L.A. Mayor Karen Bass during their phone call, “Better get used to us now, ’cause this is going to be normal very soon. We will go anywhere, anytime we want in Los Angeles.” White House Deputy Chief of Staff Stephen Miller went on Fox News later to thunder, “The Democrat Party’s objective is to flood the West with millions upon millions of illegals from the developing world” as footage of what happened earlier that day rolled next to him.

Big words from little men who act like they’re living some “Apocalypse Now” fantasy.

I preferred what L.A. councilmember Eunisses Hernandez — whose district encompasses MacArthur Park — said shortly after the sweep at a City Hall press conference, something as true as the sun rising in the east: “We are the canary in the coal mine. What you see happening at MacArthur Park is coming to you.”

When Wu-Tang Clan and Run the Jewels took over the Crypto.com Arena in downtown L.A. on Sunday night, it wasn’t just a concert — it was a cultural earthquake. Crammed full of rap royalty, fans were packed together tighter than a “36” Chain” in a charged celebration of hip-hop’s powerful lasting impact.

The stop was part of the group’s Wu-Tang Forever: The Final Chamber farewell tour that began June 6 in Baltimore and concludes July 18 in Philadelphia, comprising 27 shows.

The tour features Wu-Tang’s surviving members — RZA, GZA, Raekwon, Ghostface Killah, Method Man, Inspectah Deck, U-God, Masta Killa and Cappadonna — along with Ol’ Dirty Bastard’s son, Young Dirty Bastard, and DJ Mathematics.

The night began with an fierce performance from Run the Jewels, who set the tone with their explosive energy and charisma. Killer Mike and El-P, self-described as the new PB&J, commanded the stage effortlessly as they tore through their set list, kicking off with “Legend Has It” and moving into iconic hits like “Gold,” “Lie, Cheat, Steal,” “Ooh La La” and “Close Your Eyes.” The crowd was electric, rapping every word in unison while raising hand pistols and fists in solidarity. The duo’s sharp-witted lyrics, relentless rhythm and uncontainable passion ensured that their performance would be etched in memory as one of the highlights of the evening.

RZA of Wu-Tang Clan performs Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

By 9 p.m., it was officially time for Wu-Tang Clan to “Bring Da Ruckus,” and it did so with the fiery conviction of a team that defined an era in hip-hop. Arguably one of the most influential groups in music history, Wu delivered a performance that was both nostalgic and invigorating. Each member’s unique style and lyrical prowess shone brightly as classics like “C.R.E.A.M.,” “Protect Ya Neck,” “Method Man,” “Can It Be All So Simple” and Triumph” reverberated through the arena, igniting waves of energy throughout the audience. The powerful bass lines and raw, unfiltered sound reminded everyone why Wu-Tang Clan remains one of the most significant outfits in hip-hop.

Inspectah Deck and U-God of Wu-Tang Clan perform Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

Every hit Wu performed was like a time machine, taking the crowd on a ride through decades of influence, innovation and street-born poetry. The chamber members didn’t just perform, they took victory laps in front of a crowd that knew every word. You could feel the respect and weight of history in every moment.

Young Dirty Bastard and Method Man of Wu-Tang Clan perform Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

Adding a poignant touch to the evening, YDB took the stage to honor his late father, Ol’ Dirty Bastard, with renditions of his hits “Shimmy Shimmy Ya” and “Got Your Money.” The crowd rapped along passionately, creating a collective moment of tribute. The show also featured an unexpected twist, with multiple interludes promoting RZA’s latest action thriller, “One Spoon of Chocolate,” as well as the “Purple Tape Files” doc produced by him and Raekwon, blending entertainment with strategic promotion. Smart? Probably — even if it did seem oddly shoehorned in the middle of the show.

Fans of Wu-Tang Clan cheer as the band performs Sunday at Crypto.com Arena.

(Brian Feinzimer / For The Times)

Sunday at Crypto.com was much more than a gathering of two legendary crews sharing a stage. It was a historic celebration that lighted up Los Angeles with the full force of hip-hop excellence. From the thundering beats to the infectious energy of the crowd, every moment served as an in-your-face reminder that music shapes, inspires, and unites. And the performances? Those were a living testament to hip-hop’s enduring role in culture, and the audience left buzzing with the echoes of greatness that had filled every corner of the arena — Wu-Tang forever.