wednesday

THURSDAY’S RESULTS

City Section

Carson 32, Wilmington Banning 19

Contreras 18, RFK Community 7

Contreras 33, Roybal 0

Foshay 34, Manual Arts 7

Franklin 37, Chatsworth 0

Fremont 30, Marquez 12

Garfield 12, Huntington Park 0

Granada Hills Kennedy 20, Birmingham 9

Hollywood 26, Bernstein 6

Hollywood 30, Mendez 0

Jefferson d. Los Angeles, forfeit

King/Drew 50, Gardena 0

Legacy 16, South Gate 14

Los Angeles Hamilton 20, Palisades 0

Los Angeles University 22, LACES 16

Narbonne 8, San Pedro 0

RFK Community 20, Roybal 13

Santee 25, West Adams 0

Venice 33, WISH Academy

Westchester 13, Fairfax 6

Southern Section

Agoura 24, Oaks Christian 14

Antelope Valley 6, Knight 0

Aquinas 59, Riverside Notre Dame 7

Brentwood 21, Burbank Providence 6

Burbank Burroughs 19, South Pasadena 0

Castaic 44, Golden valley 0

Culver City 14, Hawthorne 12

Eastside 53, Littlerock 7

Hart 27, Canyon Country Canyon 12

Lawndale 7, Inglewood 6

Newbury Park 36, Calabasas 0

North Torrance 13, Wiseburn-Da Vinci 6

Oxnard 53, Rio Mesa 0

Oxnard Pacifica 47, Del Sol 0

Palmdale 2, Lancaster 0

Pasadena Poly 39, Village Christian 34

Quartz Hill 19, Highland 12

Redondo Union 32, Mira Costa 0

Santa Ana Foothill 19, Brea Olinda 6

Santa Barbara 20, Channel Islands 2

Santa Paula 33, Hueneme 16

Sherman Oaks Notre Dame 54, Flintridge Sacred Heart 6

Sierra Canyon 46, Louisville 0

Simi Valley 26, Royal 14

South Torrance 50, West Torrance 0

Tesoro 50, Dana Hills 0

Woodbridge 47, El Toro 13

Intersectional

Saugus 45, Verdugo Hills 13

WEDNESDAY’S RESULTS

City Section

Arleta 63, Grant 0

Arleta 26, Grant 0

Collins Family 19, Smidt Tech 0

East Valley 47, AMIT 0

GALA 6, Los Angeles Marshall 0

Los Angeles Hamilton 19, Fairfax 13

Los Angeles Wilson 47, Monroe 6

Los Angeles Wilson 12, Panorama 6

Lincoln 27, Legacy 0

Orthopaedic 36, East College Prep 0

Panorama 49, Monroe 0

Rise Kohyang 40, Animo De La Hoya 13

San Fernando Arroyo 37, Reseda 7

SOCES 50, Valley Oaks CES 0

Stern 12, Camino Nuevo 0

Sun Valley Magnet 69, Valor Academy 0

VAAS 20, MSAR 0

Van Nuys 12, Immaculate Heart 0

Van Nuys 33, Chatsworth 0

Southern Section

Baldwin Park 30, Sierra Vista 7

Bell Gardens 45, Keppel 6

Bishop Amat 18, St. Paul 7

Bonita 19, Ayala 6

Cajon 34, Eastvale Roosevelt 12

California Military 61, United Christian Academy 0

Camarillo 33, Oxnard Pacifica 20

Century 39, Bolsa Grande 25

Cerritos 26, La Mirada 16

Chaminade 59, Flintridge Sacred Heart 26

Charter Oak 12, Hacienda Heights Wilson 0

Colony 48, Arlington 13

Compton 28, Dominguez 0

Compton Centennial 12, Compton Early College 6

Corona del Mar 23, Los Alamitos 13

Cypress 20, Anaheim Canyon 7

Don Lugo 33, Ontario 0

Downey 25, California 13

El Dorado 20, Sunny Hills 18

El Monte 6, Rosemead 0

El Rancho 34, Schurr 6

Etiwanda 19, Bishop Montgomery 6

Fountain Valley 43, Marina 0

Fullerton 14, Segerstrom 13

Gabrielino 33, South Pasadena 12

Gardena Serra 38, St. Mary’s Academy 6

Garden Grove 6, Laguna Hills 0

Garden Grove Pacifica 18, Santa Ana Foothill 12

Garden Grove Santiago 27, Savanna 0

Glenn 41, Whitney 0

Godinez 12, Buena Park 0

Hemet 20, West Valley 6

Highland Entrepreneur 28, Fontana Entrepreneur 0

Huntington Beach 18, Newport Harbor 6

Irvine University 8, Northwood 0

La Canada 12, Monrovia 7

Laguna Beach 12, Rosary 6

Lakewood 37, Los Angeles Jordan 18

La Serna 28, Gahr 8

Long Beach Poly 20, Millikan 6

Linfield Christian 19, Ontario Christian 6

Mission Viejo 20, Trabuco Hills 12

Montclair 19, Chaffey 12

Mountain View 24, Arroyo 0

Nogales 20, Garey 0

Ocean View 6, Katella 0

Orange 18, Loara 12

Palm Desert 19, Elsinore 13

Paramount 13, Artesia 6

Pomona 19, Edgewood 6

Redlands 28, La Sierra 8

Rio Hondo Prep 13, Westridge 6

Riverside Poly 14, Corona Santiago 7

Rowland 8, Covina 6

San Clemente 30, San Juan Hills 6

San Marino 12, Burbank Burroughs 6

Santa Ana Valley 6, Western 0

Sierra Canyon 40, Palos Verdes 12

Sonora 13, Villa Park 7

South El Monte 31, San Gabriel 14

St. Lucy’s 27, Ramona Convent 13

St. Margaret’s 45, Irvine 13

St. Monica 33, Animo Leadership 0

Temple City 24, Cantwell-Sacred heart 12

Troy 12, La Habra 7

Tustin 7, Costa Mesa 0

Valley View 24, Indio 13

Van Nuys 12, Immaculate Heart 0

Vasquez 56, PACS 0

Warren 59, Mayfair 0

West Covina 7, Northview 6

Western Christian 68, Vista Meridian 0

Westminster 2, Placentia Valencia 0

Westminster La Quinta 7, Los Amigos 0

Whittier 33, Oxford Academy 6

Woodbridge 19, Sage Hill 13

Woodcrest 22, Riverside Notre Dame 6

Workman 41, Bassett 0

Whittier 34, Oxford Academy 6

Yorba Linda 27, Crean Lutheran 19

CINCINNATI — Dodgers left-hander Blake Snell left his start against the Cincinnati Reds on Wednesday after one inning, with what the team identified as left groin tightness.

Snell gave up one hit, a single to Sal Stewart, which he quickly erased with a successful pick-off that caught Stewart in an inning-ending run-down.

Snell threw 19 pitches. Blake Treinen replaced him in the second inning.

Wednesday marked Snell’s eighth start of the season. His 2026 debut was delayed by shoulder fatigue. After one start, he landed back on the injured list to undergo arthroscopic surgery to remove loose bodies from his left elbow.

Since returning, he hasn’t given up more than one run in a start. Through Wednesday’s abbreviated outing, Snell has a 1.86 ERA.

Snell has a history of left groin and adductor strains. He spent time on the IL in 2021, 2022 and 2024 for such injuries.

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.

WEDNESDAY’S RESULTS

City Section

Belmont 66, Annenberg 3

Port of Los Angeles d. Los Angeles Jordan, forfeit

Stern 26, Smidt Tech 0

Southern Section

Aliso Niguel 26, Villa Park 6

Anaheim Canyon 9, Esperanza 6

Aquinas 26, Ontario Christian 21

Bellflower 26, Mayfair 0

Bonita 13, San Dimas 6

Burbank Burroughs 31, South Pasadena 6

Cajon 56, Alhambra 0

California Military Institute 28, Workman 0

Compton Early College 7, Dominguez 6

Desert Hot Springs 20, San Jacinto Valley Academy 0

El Modena 27, El Dorado 6

Elsinore 12, Palm Springs 0

Hacienda Heights Wilson 24, La Puente 0

JSerra 41, Santa Margarita 7

La Canada 24, Temple City 7

La Habra 18, Garden Grove Pacifica 6

Linfield Christian 28, Corona 21

Los Altos 42, St. Lucy’s 14

Millikan 26, Long Beach Wilson 7

Mountain View 25, Bassett 0

Newport Harbor 39, Fountain Valley 0

Palm Desert 24, Valley View 6

Paloma Valley 27, Liberty 0

Pomona 13, Keppel 0

Ramona Convent 36, El Monte Arroyo 6

Rancho Verde 41, Heritage 0

Rosary 12, Irvine 6

Sage Hill 25, Irvine University 18

South Hills 20, West Covina 8

St. Margaret’s 40, Newport Beach Pacifica Christian 12

Tesoro 56, San Juan Hills 27

Vista Murrieta 22, Temescal Canyon 6

Westlake 61, Calabasas 0

Yucaipa 25, Arrowhead Christian 14

Intersectional

Granada Hills Kennedy 19, Vasquez 7

Harvard-Westlake 23, Birmingham 0

Venice 25, St. Monica 0

THURSDAY’S RESULTS

City Section

Cleveland 20, Los Angeles Roosevelt 0

Contreras 6, San Fernando Arroyo 0

Jefferson 43, Santee 0

King/Drew 20, GALA 7

San Fernando Arroyo 19, Contreras 13

Southern Section

Agoura 28, Newbury Park 13

Antelope Valley 6, Lancaster 0

Canyon Country Canyon 37, Golden valley 16

Castaic 13, Saugus 0

Cerritos 20, Artesia 0

Channel Islands 24, Buena 12

Dos Pueblos 27, Ventura 6

Eastside 18, Knight 6

El Toro 19, Northwood 0

Hart 12, West Ranch 6

Highland 26, Palmdale 0

Hueneme 38, Fillmore 12

Lawndale 6, Compton Centennial 0

Lakewood St. Joseph 27, Gardena Serra 0

Mater Dei 26, Sierra Canyon 20

Miller 45, Fontana 0

Newport Beach Pacifica Christian 14, Ontario Christian 0

North Torrance 31, West Torrance 7

Oaks Christian 32, Thousand Oaks 12

Oxnard 13, San Marcos 12

Oxnard Pacifica 6, Santa Barbara 2

Palos Verdes 19, Mira Costa 7

Quartz Hill 2, Littlerock 0

Redondo Union 28, Torrance 0

Rio Mesa 41, Del Sol 6

San Clemente 50, Capistrano Valley 0

Santa Monica 56, Beverly Hills 0

South Torrance 19, El Segundo 13

Warren 38, La Serna 12

Woodbridge 51, Laguna Beach 8

Intersectional

Oceanside 31, Dana Hills 19

NEW YORK — Republicans are gathering in Dallas on Wednesday for a highly unusual midterm convention, a “Trump-a-Palooza” that will put President Trump at the center of this fall’s midterm elections — whether the candidates running like it or not.

Many party members, including those facing tight races, are skipping the two-day affair, citing conflicting obligations or balking at demands that they pony up for access. Others are hoping an appearance alongside Trump will put them in the national spotlight as they work to turn out his voters without him on the ballot.

The convention, which is part rally and part fundraiser, comes as Republicans try to boost enthusiasm heading into the midterms’ final stretch despite Trump’s low approval ratings. Organizers have cast it as “a primetime showcase for President Trump’s success, candidates, and causes that have propelled the 2026 midterms to unprecedented focus.” Much of the programming will focus on Democrats, trying to cast them as extremists by highlighting the party’s insurgent left wing.

The lineup features Trump and more Trump

Normal political conventions are held every four years and serve a purpose beyond pomp and circumstance, with parties formally nominating their presidential picks. In 2024, Trump used the opportunity to announce JD Vance as his running mate.

The schedule this week released by organizers makes clear that the convention will be the Trump Show, through and through.

“It’s gonna be a Trump-a-Palooza,” RNC Chairman Joe Gruters told Spectrum News.

The president will be speaking both nights, delivering a keynote address on Wednesday night and speaking again Thursday after Vance to close out the event. He had originally been scheduled for only one speaking slot.

Also addressing the convention will be members of the Republican congressional leadership and Cabinet members including Atty. Gen. Todd Blanche and Health Secretary Robert F. Kennedy Jr. The president’s oldest son, Donald Trump Jr., is on the roster, too.

Candidates who will speak include Michigan Senate nominee Mike Rogers, who is running a high-profile race against Abdul El-Sayed, and North Carolina Senate nominee Michael Whatley, who is up against former Gov. Roy Cooper.

Organizers have outlined 12 hours of programming over the two nights that will include more than 100 speakers and segments focused on subjects like tax cuts, fraud allegations, border security and a proposed ban on members of Congress trading stocks.

Missing from the public lineup: any mention of the unpopular war with Iran.

Republican House Speaker Mike Johnson said some members of his caucus plan to skip Dallas, preferring to stay home and campaign for reelection, but many of them will make an appearance.

“We’ll parade our stars across the stage,” he said.

Many will be skipping the event

An Associated Press survey of more than four dozen Republican candidates found a majority either planned not to attend, said their plans were to be determined, or ignored requests for comment.

“I had stuff already planned in my congressional district or I would be there,” Kentucky Rep. James Comer told NewsNation. “Got a lot going on back in Kentucky, so my time is needed there.”

“Well, unfortunately, I have a family obligation, so I won’t be able to be there,” Georgia Rep. Buddy Carter said on Fox Business.

Some members balked at high attendance fees. Republican House members were being asked to pay $25,000 for convention tickets and lodging, according to people familiar with the situation and granted anonymity to speak frankly about the private arrangement.

An additional 2,000 tickets were distributed by the House GOP’s campaign arm, largely to donors and others to attend the convention. Other tickets were allocated to state parties to distribute as they saw fit.

“Per the RNC, this is a ticketed fundraiser and rally, not a traditional national convention,” the Denton County Republican Party in Texas wrote in a Facebook post, which advertised packages from $5,000 to $20,000.

The Republican Party of Virginia was offering a relative discount of $1,000 to $1,500, not including accommodations, according to an email obtained by the AP.

Despite the many no-shows, more than 100 Republican House members and candidates are expected to be in Dallas, including almost all of the MAGA Majority class of candidates in the most targeted congressional districts, according to a person familiar with the event who requested anonymity before it begins.

“It’s like any political convention, it’s no different than the traditional RNC,” said Matt Beynon, a spokesperson for Pennsylvania Rep. Scott Perry, who won his district by barely 1 percentage point in 2024 with Trump on the ballot. “Obviously, you’re out of the district, but it’s a really good opportunity to get in front of people” and “talk to the press.”

It remains unclear what kind of air time the convention will receive. The two nights of programming will coincide with the launch of football season. The NFL season is set to kick off Wednesday with a game between the Seattle Seahawks and the New England Patriots. And on Thursday, the San Francisco 49ers and Los Angeles Rams will be playing an international game in Australia.

In a sign of the growing focus on the midterms, Trump’s political organization, which is sitting on a big war chest, is spending heavily to back a new group, the No Going Back PAC Inc., The New York Times reported Wednesday. The new group started reserving $47 million for six competitive Senate races and one competitive House race. That’s in addition to the $10 million the Trump-affiliated MAGA, Inc. political group is spending in the Texas Senate race.

Democrats say Republicans are out of touch

Democrats, meanwhile, are planning their own counterprogramming.

“The fact that these Republicans are planning a celebration in the middle of an economic crisis — where everyday Americans are drowning because of this high cost of living — is extraordinary,” Rep. Hakeem Jeffries, the House Democratic leader, said at the U.S. Capitol.

Democrats have held such midterm conventions in the past but are not doing so this year. Rep. Suzan DelBene of Washington, chair of the Democratic Congressional Campaign Committee, said she wasn’t worried that her party was missing an opportunity to make its case on a national stage like Republicans.

“They are not focused on the issues that people are struggling with right now, that they’ve created,” DelBene said. “Cost, housing, food, healthcare, childcare, energy costs, gas prices all going up. That’s what we’re talking about on the ground all across the country.”

Americans “are going to continue to see how much they don’t care,” she added. “And we’re gonna be on the ground all across the country with great candidates talking directly to the American people.”

Colvin writes for the Associated Press. AP writers Steven Sloan and Lisa Mascaro in Washington, Marc Levy in Harrisburg, Pennsylvania, Hannah Fingerhut in Des Moines, Iowa and Sarah Rankin in Richmond, Va., contributed to this report.

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.

WEDNESDAY’S RESULTS

City Section

Arroyo 38, MSAR 0

Arroyo 28, MSAR 0

Birmingham 20, Venice 0

Brio College Prep 47, Belmont 0

Camino Nuevo 18, Animo De La Hoya 13

Cantwell-Sacred Heart 36, South Gate 12

Fairfax 6, San Fernando 0

Foshay 21, New Designs University Park 0

Franklin 12, Los Angeles Roosevelt 6

Franklin 28, Santee 0

GALA 12, Sotomayor 0

Jefferson 13, Verdugo Hills 6

Los Angeles Roosevelt 24, Santee 0

Los Angeles Wilson 41, Jefferson 13

Los Angeles Wilson 25, Verdugo Hills 6

Orthopaedic 14, Alliance Levine 0

Rise Kohyang 24, Smidt Tech 0

Roybal 20, Diego Rivera 0

San Fernando 12, Contreras 6

San Pedro 49, Legacy 0

SOCES 7, Chatsworth 6

Stern 6, Collins Family 0

Torres 45, West Adams 0

Southern Section

Alemany 19, Louisville 0

Aliso Niguel 31, Corona Centennial 6

Anaheim Canyon 14, La Mirada 12

Azusa 38, Arroyo 6

Baldwin Park 30, Norwalk 14

Bishop Montgomery 28, Artesia 6

Bonita 32, Sierra Vista 0

Burbank Burroughs 6, Thousand Oaks 0

California 12, Warren 7

California Military 32, Arrowhead Christian 14

Cathedral City 14, Desert Hot Springs 0

Cerritos 33, Katella 0

Compton 31, Dominguez 6

Compton Early College 10, Long Beach Cabrillo 0

Corona del Mar 44, Marina 7

Costa Mesa 20, Capistrano Valley Christian 6

Covina 35, El Monte 0

Downey 28, Gahr 6

Duarte 37, Edgewood 6

Eastvale Roosevelt 27, Lakeside 0

El Dorado 14, Chino 12

El Modena 18, Rialto 0

El Rancho 27, Pioneer 0

Fountain Valley 32, Garden Grove Pacifica 18

Fullerton 52, Placentia Valencia 24

Gabrielino 26, La Canada 25

Godinez 8, Estancia 6

Glendora 38, San Dimas 20

Huntington Beach 16, Edison 15

Irvine 7, Laguna Beach 6

JSerra 36, Corona Santiago 0

La Habra 6, Bishop Amat 0

Lakewood St. Joseph 25, Long Beach Poly 6

La Serna 27, Bellflower 0

Millikan 26, Villa Park 0

Mountain View 48, Entrepreneur 0

Murrieta Mesa 60, Rancho Christian 0

Newport Harbor 47, Los Alamitos 6

Norco 13, Riverside Poly 6

Ontario 12, Nogales 6

Ontario Christian 31, Xavier Prep 14

Pomona d. Sacred Heart of Jesus, forfeit

Portola 19, Irvine University 12

Ramona Convent 30, La Puente 6

Redlands 28, Palm Springs 14

Rowland 35, Montclair 0

Saddleback 19, Santa Ana Valley 12

San Clemente 60, Oceanside 0

San Marino 28, Temple City 6

Santa Ana Foothill 19, Long Beach Wilson 12

Segerstrom 13, La Palma Kennedy 6

Sherman Oaks Notre Dame 14, Harvard-Westlake 6

Sonora 40, Santa Fe 0

South El Monte 26, Rosemead 6

South Hills 26, Charter Oak 7

St. Lucy’s 14, Valley View 6

Sunny Hills 21, Brea Olinda 8

Temecula Prep 51, Nuview Bridge 0

Tustin 18, Orange 8

Upland 6, Shadow Hills 0

Western Christian 13, Linfield Christian 12

Intersectional

Agoura 14, Cleveland 13

Ayala 25, Paso Robles 18

Cantwell-Sacred Heart 26, South Gate 12

Garfield 7, Montebello 6

St. Paul 33, South East 0

Taft 25, Calabasas 0

Vasquez 13, Rosamond 0

Wilmington Banning 14, Torrance 0

THURSDAY’S RESULTS

City Section

Carson 26, Los Angeles Marshall 0

Eagle Rock 41, Bell 6

Garfield 19, North Hollywood 7

Hollywood 18, WISH Academy 0

LACES 20, USC Hybrid 13

Lincoln 20, Jefferson 18

Los Angeles Marshall 20, Arleta 12

Manual Arts 20, LACES 6

Torres 12, Huntington Park 6

Southern Section

Agoura 46, St. Bonaventure 0

Alhambra 8, Whitney 0

Aliso Niguel 31, Etiwanda 20

Burbank Providence 52, YULA 7

Castaic 6, Canyon Country Canyon 0

Culver City 30, Beverly Hills 6

Dos Pueblos 46, Oxnard Pacifica 0

Eastside 12, Palmdale 0

El Segundo 28, Wiseburn-Da Vinci 7

Knight 70, Littlerock 0

Lancaster 7, Highland 6

Lawndale 19, Hawthorne 13

Mater Dei 25, Capistrano Valley 0

Newbury Park 39, Fillmore 6

Oaks Christian 21, Hart 20

Orange Lutheran 31, Beaumont 13

Oxnard 52, Channel Islands 0

Quartz Hill 13, Antelope Valley 0

Santa Margarita 33, Tesoro 6

Santa Monica 7, Torrance 6

Santa Paula 9, Buena 6

South Torrance 19, North Torrance 12

St. Margaret’s 32, San Juan Hills 7

Village Christian 12, Brentwood 6

Westlake 33, Sherman Oaks Notre Dame 19

West Torrance 7, Peninsula 6

Woodbridge 24, Fountain Valley 6

Intersectional

King/Drew 12, Mayfair 0

Merced 44, Hacienda Heights Wilson 6

Shohei Ohtani was out of the lineup Thursday and his availability is a “day-to-day situation,” manager Dave Roberts announced before the Dodgers’ series finale against the St. Louis Cardinals.

The area around Ohtani’s right biceps and neck was bothering him during the Dodgers’ loss Wednesday, Roberts said.

“It just wasn’t firing the way he wanted it to,” Roberts said. “That’s why I think you saw some grimacing and some kind of shaking of the arm just trying to get it to fire and he couldn’t do that.”

Ohtani was not made available to talk before the game, and he declined requests for comment twice during the Dodgers’ road series in Detroit this past weekend. He last spoke to reporters on Aug. 17.

Ohtani’s health has been scrutinized for much of the season and even more over the last week. He hasn’t pitched since July 3 because of soreness and threw a bullpen session last Friday in hopes of pitching one inning Sunday against the Detroit Tigers. But, not feeling “100%,” as Roberts put it, Ohtani didn’t return to the mound, and his throwing progression stalled.

Though Roberts described Ohtani’s ailment as an overall issue, including his left knee and right biceps, he remained in the lineup. Roberts said then that he’d been given no indication that swinging the bat was affecting Ohtani, but if that changed, the manager would have no problem with sitting the superstar.

Wednesday, as Ohtani went 0 for 4 in the midst of a two-for-23 skid, his body language sounded alarm bells.

“I saw the same thing that everyone saw,” Roberts said after the Dodgers’ 8-6 loss to the Cardinals. “I saw the shaking of the arm, I saw the wincing, and clearly the swings aren’t who he is. And so, obviously, there’s some compensation. So I’m going to talk to him, and then I’ll make a decision about his availability.”

Roberts said a stint on the injured list was unlikely “but not impossible.”

“Ideally, he takes it as a mental and physical day,” Roberts said. “And then it’s just getting together with him later [Thursday] and seeing how the day is and how [he responds to] the day of rest. … At that point in time, we can make a decision as far as [Friday].”

Managing Ohtani’s health will continue to be a priority for the Dodgers. He’s been dealing with lingering knee soreness and inflammation since at least mid-June, and his biceps issue has flared several times this season.

Ohtani’s buildup back to pitching has been halted twice since he received an Orthovisc injection to lubricate the knee joint over the All-Star break.

As valuable as Ohtani is to the Dodgers as a pitcher, his offensive impact is needed far more, especially with left-hander Tarik Skubal added to the rotation. If continuing to try to pitch jeopardizes Ohtani’s production with his bat, it may be in the team’s best interest to take pitching off the table for him.

Tommy Edman was penciled into the leadoff spot and will play center field, while Alex Call will be the designated hitter and bat eighth.

Yoshinobu Yamamoto was flawless over his first five innings in the Dodgers’ 8-6 loss to the St. Louis Cardinals on Wednesday, giving up no hits with seven strikeouts and one walk.

“It comes down to starting pitching,” Roberts said pregame, after his team gave up 13 runs in a loss Tuesday. “And obviously it’s a young, hungry team out there. Came out last night swinging the bats, so it’d be nice to put up a zero, get a lead, and go from there.”

Roberts’ wish appeared granted, as the Dodgers led 3-0 in the first after Freddie Freeman ended his career-long 47-game homer drought with a three-run blast against Cardinals lefty Brycen Mautz.

But the once-cruising ace encountered turbulence. He later gave up a pair of two-run homers, with the Cardinals’ Thomas Saggese launching the first in the sixth and Leo Bernal the second in the eighth.

The Dodgers showed fight amid chaos on Tuesday.

“[Tuesday] night I really liked the way we just kind of fought, saw some different arms, got the closer up, and things to build on,” Roberts said pregame.

On Wednesday, not even a Mookie Betts two-run homer in the seventh could lift the Dodgers (82-57) to a win.

Yamamoto’s night was done after seven innings. He threw 93 pitches, had eight strikeouts and gave up five hits, two walks and four runs, a few mistakes away from a completely different outing.

Tanner Scott stepped in for Yamamoto in the eighth, allowing a Joshua Báez double three pitches in. And after Ivan Herrera moved Báez to third via a groundout, Alec Burleson tied the score at five with a sacrifice fly to right.

Jack Dreyer kept things stable with a clean ninth. However, in the 10th, Brock Stewart (0-2) uninspiringly gave up three runs. Orange County native Nathan Church got the Cardinals’ wheels turning iwith a single up the middle, advancing José Fermin to third. Saggese delivering the go-ahead run on an infield single. One pitch later, Báez put the game out of reach with a two-run double

The Dodgers could only get one run back in the bottom of the miserable 10th.

CT3 comes home

Chris Taylor, his wife Mary and son Theo watch a video tribute to his career before the start of Wednesday’s game.

(Ronaldo Bolanos / Los Angeles Times)

The Dodgers welcomed back former longtime utility player Chris Taylor to Dodger Stadium and presented him with a video tribute and his third World Series ring.

“It’s pretty much what I identify my career as — over 90% of my entire career was in Dodger Blue,” Taylor said. “This is the place I call home. Always proud to be a Dodger, and it means a lot to me that they would do this for me. So, I’m extremely humbled.”

Taylor, a 12-year veteran who retired earlier this season, said Wednesday night was the first time he was able to watch a game with his family.

Injury Updates

Shohei Ohtani reacts after striking out in 10th inning Wednesday.

(Ronaldo Bolanos/Los Angeles Times)

Roberts said the plan is still for Shohei Ohtani to return to pitching this season. However, there is no timetable for when he’ll throw his next bullpen session, and shutting down Ohtani as a pitcher remains a distant possibility.

“We’re not there quite yet, but it’s certainly an option,” Roberts said.

Roberts also shed light on some of the work Ohtani’s doing to get back on the mound.

“He’s doing plyos,” Roberts said. “He does that a handful of times a week. … That’s kind of where we’re at right now.”

Will Smith was given a breather after going one for five with two RBIs in his first game back from a three-month stint on the IL on Tuesday.

“It was good to see him get a knock,” Roberts said. “I thought he swung the bat pretty well. So, it’s a premeditated day off today. He’ll be back in there tomorrow, but I guess no news is good news.”

It wasn’t a full day off, as Smith pinch-hit for Hunter Feduccia in the ninth and scored the Dodgers’ run in the 10th.

Rōki Sasaki’s blister is healing as planned, and he shouldn’t miss additional time.

“I saw him yesterday at the end of the bench; it’s healing well,” Roberts said. “He’s still moving his arm, playing catch. So I think it’s going to be a shorter term getting him back.”

Roberts doesn’t yet know whether Sasaki will take a spot in the bullpen or rotation upon his return.

Gavin Stone could potentially pitch in September, according to Roberts.

“Gavin’s been good,” Roberts said. “I think right now — and again, this is not talking to the guys in the, you know, player development — but it’s more of just getting him to stay upright, stay healthy, is the win for 2026.”

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 Pro Bowl is no more, the NFL announced Wednesday, ending an exhibition of the league’s top players that was held in some form almost every year since 1951.

The game wasn’t played in 2021 because of the COVID-19 pandemic, but that was the only pause in the postseason event.

The league said 88 players will still be named as Pro Bowl players and honored in Los Angeles after this season. Several flag football events also will take place at that time.

“The Pro Bowl has always been about recognizing the players who distinguish themselves as the very best in the NFL,” league executive vice president Peter O’Reilly said in a statement. “A Pro Bowl selection will return to its original purpose, honoring the best of the best. We want that distinction to carry even greater meaning for the players, their families, their clubs and our fans.”

The Pro Bowl has waned in popularity in recent years. Once a staple in Honolulu, the NFL has moved the event to various cities and even switched from tackle to flag football in 2023.

A federal judge on Wednesday lifted a major obstacle to President Trump’s executive order limiting mail voting, even as Democratic state officials filed a new court challenge with the midterm elections fast approaching.

The fresh round of legal wrangling comes just two days after the Supreme Court handed down a procedural ruling in Trump’s favor, and could mean the issue lands before the high court again before the pivotal contests for control of Congress. The first mailed ballots are set to be sent out next week.

U.S. District Judge Indira Talwani in Boston agreed to lift an order prohibiting the U.S. Postal Service from carrying out Trump’s order for November’s elections. She wrote that she was “compelled” to do so after the Supreme Court’s conservative majority ruled that a similar injunction she granted in a separate case was premature.

Talwani nevertheless said the executive order could unleash “chaos” and referred to it as “likely unconstitutional.”

The administration can now move forward and implement a Postal Service rule published late Friday. It would require states to follow a uniform envelope style for mail ballots and to give the Postal Service a list of voters eligible to receive them. Talwani found on Tuesday that the rule’s issuance technically violated her injunction, but she declined to penalize the administration.

The new lawsuit, filed by about two dozen Democratically controlled states against the U.S. Postal Service, marked a new phase in the high-stakes litigation creating confusion around the midterm elections.

It came after the Supreme Court ruled against them in a separate case, but did not say Trump’s order was legal.

The high court majority found the initial Democratic lawsuit was premature, but that was before the Republican administration issued a rule governing Postal Service delivery of mail ballots. Election officials warn it will be impossible to implement before the first wave of mail ballots are sent out next week.

“Across the country, states are already deep into preparations for the 2026 elections. Now, at the last moment, the federal government is attempting to meddle in those preparations and potentially threaten countless Americans’ right to vote,” New York Attorney General Letitia James, one of 25 Democratic attorneys general filing the lawsuit, said in a statement. “USPS has no authority to decide who can and cannot vote by mail.”

The Trump administration plan faces a third lawsuit originally filed in May in the nation’s capital, though judges there have so far declined to block it.

All previous challenges were filed before the administration published its mail ballot rule Friday night.

White House spokesperson Lauren Bis on Wednesday said the Postal Service’s proposals were “commonsense measures that protect the security of mail-in ballots” and that the administration would continue to work to implement them to boost “the safety and security of our elections.”

The Postal Service said it would not comment because of the pending lawsuit.

National Democrats on Tuesday cited the rule in asking the federal judge in the Washington case to block Trump’s order after he declined to do so last spring, saying the administration at the time had not taken concrete action. In Boston, Talwani also found that the administration had violated a separate injunction she had placed on the Postal Service in drafting the new rule, although she did not take any action against the government.

Talwani had issued the injunction against Trump’s executive order in the prior Democratic state case, which is the one the Supreme Court overturned on Monday. She also issued a second injunction Aug. 11 in a case filed by the League of Women Voters and other voting rights groups, while the Supreme Court was considering the administration’s appeal of the judge’s first order.

Trump has long targeted mail voting, which he falsely blames for his 2020 election loss and is disproportionately used by Democrats as a result of Trump’s condemnations. Since returning to power, Trump has tried to claim authority over election rules, saying he thinks Republicans should “take over” vote counting in Democratic areas.

He issued his first election executive order just months after retaking office, attempting to require documentary proof of citizenship to vote, among other changes. He has also been pushing a sweeping election bill that has stalled in the Senate amid opposition from Democrats and even some within his own party.

Riccardi and Whitehurst write for the Associated Press.

California and a coalition of other Democratic-led states sued again Wednesday to block the U.S. Postal Service from implementing new nationwide rules for mail ballots, arguing they usurp state authority over elections at President Trump’s behest, expose voter information unnecessarily and threaten chaos in the rapidly approaching November election.

The Postal Service formally issued a 95-page “final rule” on Friday asserting that it was amending its mailing standards for mail ballots in federal elections to comply with Trump’s March executive order.

Trump demanded the rule changes as part of a broader plan to combat what he alleges — without evidence — is widespread voter fraud in the U.S., including by noncitizens voting through the mail. Election experts say there is zero evidence of such problems existing at scale.

“This mail-in voting rule is an unlawful overreach that shows just how far President Trump will go to control elections, but as I’ve said before, this fight is far from over and we are confident that the facts and the law are on our side,” California Atty. Gen. Rob Bonta said in a statement.

“Donald Trump does not run elections. States do. And his latest attack on democracy is proof of how weak he has become,” said Gov. Gavin Newsom. “California will continue to lead the way in defending democracy — using every tool at our disposal and every minute in our day. This perilous moment in history demands no less from us.”

The new postal rules require states to submit lists of eligible voters — including their names and addresses — to the Postal Service, and to use new ballot envelopes with digital barcodes that would allow the Postal Service to identify and reject ballots that don’t match those lists.

The rules do not give the Postal Service authority to dictate which voters may appear on state lists. However, the rules do acknowledge that the lists would provide state voter data to federal law enforcement for the first time, and would put those authorities in “a better position to identify any potential issues regarding compliance with federal law that may merit further investigation.”

Trump’s March executive order also required the Department of Homeland Security to use available federal data to compile its own state lists of eligible citizen voters, ostensibly to compare them with the mail voter lists provided by the states to the Postal Service, and identify and pursue any ineligible voters.

Wednesday’s lawsuit follows a Monday decision by the U.S. Supreme Court that found an earlier challenge from the states was premature, in part because it sought court relief to a rule-making process that required nothing of the states and before the Postal Service had moved to implement any changes.

“On Monday, the U.S. Supreme Court declined to fully close the door on the President’s attempt to interfere in our election administration. Today, we’re taking legal action to stop this unlawful rule in its tracks and ensure that voters can exercise their constitutional right to vote,” Bonta said.

The White House did not immediately respond Wednesday to a request for comment on the latest lawsuit.

However, it has defended Trump’s executive order as overdue and badly needed to secure U.S. elections, and hailed the Supreme Court’s ruling allowing the rule-making to proceed as “a major win for the security of American elections.”

“These are commonsense measures that protect the security of mail-in ballots and ensure only Americans are electing American leaders,” White House spokeswoman Lauren Bis said.

The high court allowed the Postal Service to move forward with its work to comply with Trump’s order, but explicitly noted that it had reached no conclusions as to the legality of the pending rules.

Trump administration officials have said they are pursuing fraudulent voters, and have warned state election officials that they could face legal consequences personally if they don’t do everything in their power to prevent voter fraud, including by noncitizens.

Critics contend Trump’s executive order was devised as an end run around laws and a slew of recent court rulings blocking the Trump administration’s demands for state voter rolls — which states, including California, have refused to provide.

States have argued the administration’s demands are in bad faith, intended to bolster Trump’s baseless claims that U.S. elections are compromised rather than enhance election security.

In issuing its new rules, the Postal Service rejected a slate of concerns from critics who submitted comments on the proposed rules, including that the changes are being proposed far too close to the November election and will cost states and localities a huge amount of money to comply with.

It also rejected concerns that creating a single nationwide voter database — which has never existed before — will provide a massive new target for foreign adversaries and other bad actors interested in disrupting U.S. elections.

The Postal Service concluded that the cost to the states is outweighed by the benefits of the changes. It said it has sufficient staffing to implement the changes, and is ready to safeguard the database it builds using “multi-layered security controls.”

The lawsuit, brought by 24 state attorneys general and the governor of Pennsylvania, asks for immediate court intervention to halt the Postal Service changes from being implemented while the litigation continues.

“Let’s be clear: the U.S. Constitution gives states the power to regulate elections — not the President and not USPS,” Bonta said. “Ballots are an extension of our voices and we’re asking the court to ensure that every person has the right to make theirs heard.”

Independent voting rights groups have also sued to block the Postal Service rules from being implemented.

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?

It’s as though Kyle Tucker accidentally became important at work and it ruined his life.

He just so happened to be the best available right fielder on the free agent market at the moment in time that the Dodgers were craving an uptick in right field and another functional bat to further fortify their lineup.

Basically, they wanted just another cog in the machine to help clear a path to a third consecutive World Series championship.

And because money is no object — to the objection of the rest of baseball — instead of offering Tucker a long-term deal with annual pay more in line with his talents, the Dodgers slapped a four-year, $240-million deal on the table.

Dodger Kyle Tucker talks with manager Dave Roberts in the dugout on Aug. 15.

(Gina Ferazzi/Los Angeles Times)

Said, essentially: Hey, guy, how would you like a Major League Baseball record for average annual value — about $57.1 million per year — not to be the man, but to be a guy?

Not to outshine Shohei Ohtani and his starry pals, not to move merch off the field or do huge numbers on it. Just to quietly do what he did the previous season as a Chicago Cub, when he slashed .266/.377/.464 with 22 home runs, 73 RBIs and 25 stolen bases in 136 games.

It must have felt like winning the lottery. All the introverted Tucker had to do was be his normal self with the understanding that no one expected him to live up to that Ohtani-type contract, that Juan Soto-esque dough, that Aaron Judge-level cheddar.

It wasn’t that too much was expected of Tucker, it was that only so much was.

That was a weird place to start. And it obviously didn’t help him find his footing as a Dodger, because he still hasn’t gained traction.

“I mean, it’s been a struggle in the sense that I’d like to help our team win and perform better for the guys in the clubhouse and the fans that come to the games,” Tucker said Friday. “In that aspect, I wish I would’ve done better this year. But like I said, we’ve still got a month and a half left and the playoffs coming up, so it’s not over yet.”

We can’t, of course, say “poor Kyle Tucker” as he strains — less stoically now — to figure it out with the postseason closing in.

But we can wonder if it was a poor decision by the Dodgers, with all of their top-flight minor league outfield prospects, to splurge so steeply?

We can ask whether they should have taken into account the mental makeup of a man who they were asking to carry the weight of a contract so unwieldy he should be embarrassed by it — which is how Tucker looks when he does his inhibited version of the hip-lock, arm wiggle-and-wave dance moves all the Dodgers do when they reach base.

Tucker just hasn’t looked like a true blue Dodger yet; he hasn’t been able to cut loose — especially not here in L.A.

Brandon Gomes, Dodgers executive president and general manager, helps new signee Kyle Tucker put on a Dodgers jersey during a news conference at Dodger Stadium on Jan. 21.

(Ronaldo Bolaños/Los Angeles Times)

After going 0-for-4 in Friday’s 5-4 victory over the Pittsburgh Pirates, Tucker is hitting .186 with a .552 OPS at Dodger Stadium. He went 0-for-19 in the Dodgers’ last homestand, when even a game off did nothing to unscramble his mind.

Overall, he’s had it rough in the outfield too, where Statcast’s Fielding Run Value (FRV) measuring a player’s overall defensive value has him rated 96th of 97 right fielders this season.

At present, it doesn’t help that Tucker is one of two high-profile Dodger free-agent busts-so-far.

All-Star closer Edwin Díaz has blown four saves while saving just seven games this season in between stints on the injured list — Tucker and Díaz, insult to injury. For the high-high price of a combined $309 million.

Still, the Dodgers are 78-51. They have the second-best record in baseball, with two fewer wins than the Milwaukee Brewers.

And on the road, Tucker has given the Dodgers more of their money’s worth, hitting.272 with a .820 OPS.

So after Wednesday’s two-hit game to close out a sweep in Colorado on Wednesday, Tucker came home and tried the slump-busting tactic of taking batting practice outside on the field Friday for the first as a Dodger.

“Just trying to put up good swings tonight, good at-bats,” he said. “Just trying to move guys over, get guys in, do my part to try to win.”

The crowd participated too Friday, giving Tucker ovations more befitting a hitter on a heater than one on ice each time he stepped to the plate, where he put up a fight all night.

He saw 31 pitches, walked and hit into a 10th-inning fielder’s choice that moved Kiké Hernández to third base before he scored on Tommy Edman’s walk-off single.

Moral victories for $240 million, Alex? That’s not what the Dodgers bargained for.

But they’ll take it.

“I loved his at-bats,” said Roberts after Friday’s victory, picking up where the Dodgers’ crowd left off. “That’s one of the things I’m going to make sure I do, is encourage him.”

Because one magic moment in October will make it all worth it.

WEDNESDAY’S RESULTS

City Section

Granada Hills Kennedy 47, SOCES 0

North Hollywood 18, New Designs University Park 0

Sun Valley Magnet 13, New Designs University Park 12

Sun Valley Magnet 6, North Hollywood 0

Southern Section

Aquinas 13, La Sierra 0

Ayala 44, Paramount 0

Beckman 41, San Juan Hills 20

Bishop Amat 6, California 0

Compton Early College 27, Animo Leadership 0

Costa Mesa 31, Pioneer 12

Covina 26, South El Monte 0

Culver City d. Dominguez, forfeit

Desert Hot Springs 28, Long Beach Wilson 0

Downey 47, Santa Monica 12

Eastvale Roosevelt 30, Don Lugo 0

El Dorado 18, Marina 6

Elsinore 33, Lakeside 0

Estancia 7, Tustin 0

Foothill 12, Northwood 8

Fountain Valley 20, San Clemente 19

Gabrielino 41, San Gabriel 0

Garden Grove 26, Bolsa Grande 0

Garden Grove Santiago 18, Valley View 13

Glendora 25, Westminster La Quinta 0

Godinez 13, Santa Ana Valley 6

Hart 9, Santa Paula 6

Indio 19, Cathedral City 13

Irvine 18, Los Osos 0

La Canada 27, Long Beach Jordan 6

Laguna Hills 19, Laguna Beach 13

Lakewood d. St. Anthony, forfeit

Lakewood St. Joseph 33, Mira Costa 0

La Palma Kennedy 12, Garden Grove Pacifica 0

La Serna 15, Upland 6

Los Alamitos 31, Millikan 26

Montclair 33, Bloomington 0

Mountain View 37, Whitney 0

Murrieta Mesa 13, Temescal Canyon 6

Newport Beach Pacifica Christian 36, Oxford Academy 6

Oaks Christian 39, Rio Mesa 12

Ocean View 6, Los Amigos 0

Pomona 6, Bell Gardens 6

Quartz Hill 12, Vasquez 6

Rialto 19, San Dimas 14

South Torrance 7, Bishop Montgomery 0

St. Paul 22, Whittier 6

Sunny Hills 26, Santa Fe 0

Tesoro 41, Segerstrom 0

United Christian Academy 20, San Jacinto Valley Academy 0

Villa Park 12, Placentia Valencia 6

Warren 27, Long Beach Poly 14

West Covina 9, Sierra Vista 6

Western Christian 19, South Hills 18

Westridge 18, Ramona Convent 0

Whittier 22, St. Paul 6

Yorba Linda 13, La Habra 6

Intersectional

Cerritos 38, Garfield 6

Montebello 7, Maywood CES 6

Panorama 2, Alemany 0

THURSDAY’S RESULTS

City Section

Eagle Rock 33, Granada Hills Kennedy 6

Los Angeles Roosevelt 13, Sotomayor 0

Narbonne 35, Legacy 0

Franklin 31, San Fernando 8

Franklin 32, Los Angeles Hamilton 6

Los Angeles Hamilton 14, San Fernando 0

Van Nuys 39, Magnolia Science Academy Reseda 0

Southern Section

Adelanto 18, Eastside 0

Agoura 50, Simi Valley 14

Burbank Burroughs 13, Saugus 0

Camarillo 19, Thousand Oaks 0

Corona del Mar 14, Anaheim Canyon 12

Dos Pueblos 37, Lompoc 0

Gahr 18, Inglewood 12

Harvard-Westlake 25, Calabasas 6

JSerra 41, Edison 6

Knight 19, PACS 12

Mayfair 6, Cerritos Valley Christian 0

Newport Beach Pacifica Christian 25, Orange 12

Oak Park 18, Chaminade 13

Orange Lutheran 14, La Serna 0

Oxnard 32, Newbury Park 0

Palmdale 32, Rosamond 6

Redondo Union 69, West Torrance 0

Rio Mesa 20, Fillmore 14

Santa Barbara 39, Lompoc Cabrillo 0

San Marcos 25, Hart 0

St. Margaret’s 12, Capistrano Valley 0

Torrance 40, Lakewood 0

Trabuco Hills 13, Santa Margarita 7

Ventura 34, Channel Islands 0

Village Christian 39, Immaculate Heart 0

Westlake 39, Royal 6

Woodbridge 27, San Clemente 0

Intersectional

Canyon Country Canyon 57, Monroe 0

Compton 47, Port of Los Angeles 6

Van Nuys 7, Golden Valley 6

José Alberto Suárez, a Telemundo executive, died in a helicopter crash on Wednesday in Kenya.

The 55-year-old — who was president and general manager of Telemundo 31, Telemundo 49 and Telemundo Ft. Myers-Naples — was among the seven deceased following an aircraft incident at Mt. Ololokwe, that took place at about 9:13 AM.

The Kenyan Civil Aviation Authority shared on X that the group left Loisaba to travel to Ewasonyiro on a Eurocopter, EC130 B4, operated by the charter service company Lady Lori Helicopters. Guests on board were said to be part of a luxury safari tour by travel agency andBeyond.

In a statement by NBCU News Group Chairman Cesar Conde, NBCU Local Chairman Valari Staab and Telemundo Station Group President Jose Cancela, they shared that Suárez was a “deeply respected leader” and “beloved friend and colleague.”

“The suddenness and circumstances of José’s passing make this loss especially difficult to comprehend,” read a statement to The Times. “Our hearts are with his loved ones, and with all of José’s colleagues and friends across NBCUniversal who are grieving this terrible loss.”

Over the course of his 20-plus years with NBCU Local and NBCU News Group, Suárez led stations in San Antonio, Sacramento, Fresno, Salt Lake City and Las Vegas. Earlier in his career — inspired by Cuban American journalist Jose Diaz-Balart — he served in programming, digital and creative leadership for Telemundo Station Group, NBC6 and Telemundo 51 in Miami.

“José was an exceptional colleague and mentor to many. He cared deeply about his teams, the communities they served and the essential role our stations play in people’s lives,” continued the statement. “He brought energy, humor, warmth and a strong sense of purpose to his work, and his impact was felt far beyond the stations he led.”

Some of Suárez’s colleagues took to social media to pay homage to the storyteller, including Elizabeth Chavolla, a bilingual multiplatform producer for NBC4 and Telemundo 52 Los Angeles, who uploaded a picture of the two on Instagram.

“I will always remember your kindness, professionalism, sense of humor and words of encouragement,” said Chavolla in an Instagram post. “You always knew how to make people smile, lift their spirits and remind them that everything was going to be okay.”

Brian Lozano, a news anchor for Telemundo 33 in Sacramento, wrote “part of me is leaving with him,” in a heartfelt Instagram post.

“He had his own way of being there for others, helping, accompanying and of leaving a deep imprint on every person who was lucky enough to cross his path,” Lozano wrote.

In a video tribute released by Telemundo 60 San Antonio, they describe Suárez as a meteorology fanatic who helped elevate the station into a robust weather reporting, while become a fan of Texan western wear and food.

“We appreciate you to the heavens for everything you did for the team, especially your joy, passion and journalistic commitment, but above all the lessons that you instilled as the great human that you’ve always been,” the video stated.

NBC Nightly News anchor Tom Llamas also paid homage to the news executive at the end of his Wednesday program, describing him as a “loving and funny guy in a tough and unforgiving business.”

“José was not only a mentor to me but also a good friend,” said Llamas. “I, and we, will miss him so much but we know his legacy will live on in all those newsrooms, big and small, that he touched.”

Following the Wednesday tragedy, more clarity on who was on the aircraft has also come to light.

Among the deceased were Roger Duarte, a 42-year-old Miami restaurateur and seafood businessman, as well as pilot Josh Outram, a fourth-generation Kenyan and wildlife conservationist.

Two couples were also onboard, including Michele Sensi-Contugi, a 44-year-old Ecuadorian intelligence chief, who died alongside his wife, Stephany Hollihan, a 42-year-old Ecuadorian fashion designer. Husbands Henry Parra, a 55-year-old aviation software executive and Adam Hlavaty, a 42-year-old real estate developer, also died.