wednesday

ESPN is pulling up stakes from downtown Los Angeles and heading to the NFL’s headquarters at Hollywood Park in Inglewood.

“We look forward to all of ESPN’s L.A. based studio content, originating from a single location, further enhancing creativity and collaboration with expansion possible in the future,” the Walt Disney Co.’s sports media unit said Wednesday in a statement.

ESPN produced “NBA Today” and “WNBA Countdown” out of the L.A. Live location, which opened in 2009. A late night edition of “SportsCenter” was produced there until last year. The productions will move into the NFL’s Los Angeles headquarters near SoFi Stadium.

ESPN’s local radio outlet, KSPN, will continue to broadcast out of the L.A. Live location adjacent to Crypto.com Arena.

The NFL took a 10% equity stake in ESPN last year. As part of the deal, ESPN oversees the NFL Media, including the NFL Network and the RedZone channel, which has its production facilities at the Hollywood Park location that opened in September 2021.

The moves, expected to be completed by early September, come ahead of ESPN producing its first Super Bowl, which will air on ABC in February 2027 from SoFi Stadium.

Although a new round of layoffs is reportedly expected at ESPN, a person familiar with the matter who could not comment publicly said there will be no job cuts related to the move to Hollywood Park.

About 160 employees work at the L.A. Live location. People involved in ESPN’s productions will relocate to Hollywood Park while others will move to a Disney location in Glendale, Calif.

SANTA CLARA — The U.S. cannot appeal Folarin Balogun’s red card and ensuing suspension for the Americans’ round of 16 match against Belgium, U.S. soccer officials confirmed.

FIFA rules governing the 2026 World Cup, first cited by the Athletic, state that “a sending-off automatically incurs suspension from the subsequent match. The FIFA judicial bodies may impose additional match suspensions and other disciplinary measures.”

The only instance in which the U.S. could appeal is if FIFA’s disciplinary committee decides to suspend Balogun for more than one game after reviewing the incident.

Broadcast commentators and fans immediately questioned the decision after Balogun was shown a red card during the U.S.‘s win over Bosnia-Herzegovina on Wednesday at Levi’s Stadium.

Balogun crashed into Bosnia’s Tarik Muharemović, landing his foot on top of Muharemović’s during the physical match. Muharemović hit the pitch, howling in pain, and was treated on the field. The referee used the video assistant referee to review the play and determined it merited a red card.

U.S. fans accustomed to appeals in the NBA and NFL suggested that an appeal include video of Lionel Messi receiving no discipline for stepping on an opponent’s calf earlier in the tournament.

The red card on the field, however, remains the final word barring any extra games added to Balogun’s suspension.

A civil jury says R&B star Chris Brown must face the music for the vicious dog attack that in 2020 left one of the two housekeepers working at his Tarzana home hospitalized with injuries to her face, arm and leg.

The Los Angeles jury on Tuesday found the 37-year-old Grammy winner liable in the years-long case and determined he must pay nearly $13 million to Maria Avila, whose sister Patricia Avila sued Brown and his Black Pyramid Co. in April 2021. Court documents reviewed by The Times on Wednesday show that Brown owes Maria Avila $12.9 million in damages including emotional distress and medical expenses. Brown must also pay $885,000 in damages to Patricia Avila, who was present during the dog attack on her sister, and $50,000 in damages to Maria’s husband.

Patricia Avila’s attorney Michael C. Murphy Jr. told The Times in a statement his team was “thrilled” by the outcome. “We are so happy for her and her family after everything they went through on that horrible day,” he said. “It was an honor to represent her.”

A legal representative for Brown did not immediately respond to The Times’ request for comment on Wednesday.

Patricia Avila filed her civil suit against Brown in Los Angeles County Superior Court five years ago, suing the singer for premises liability, negligent infliction of emotional distress and strict liability. At the time, she was seeking an unspecified amount of damages including loss of wages, medical expenses and legal fees.

Avila alleged in her lawsuit that she and sister Maria Avila were hired in November 2020 as housekeepers at Brown’s home in Tarzana. The suit says the sisters were aware the singer owned dogs at the property and understood he kept the pets locked up in a different part of the home. According to the complaint, the incident occurred in December 2020 when Maria went to the home’s backyard to empty out a vacuum. There, she encountered the singer’s Caucasian shepherd, which “proceeded to viciously attack Maria,” the lawsuit said.

“Plaintiff [Patricia] fully recognized that the screams were coming from her own sister, knew that her sister went outside to empty a vacuum, and could hear that a dog was violently attacking her sister,” the lawsuit said. “The screams were so bad that it caused Plaintiff to immediately run outside, where she found her sister covered in blood while she was screaming and crying for help. Mr. Brown proceeded to call 911.”

The lawsuit said the dog attacked Maria around her eye, her left arm and had bitten into her leg. Paramedics responded to Brown’s home and transported the woman to a hospital, where she remained for multiple days and underwent two surgeries. Patricia Avila said in the complaint that she suffered emotional distress and had been unable to work as a result of the incident.

The jury reached its decision after a two-week trial in Van Nuys.

As one legal saga appears to be coming to an end, another awaits Brown. The singer and his friend Omololu Akinlolu, a musician who performs as HoodyBaby), are set to stand trial in October for allegedly attacking music producer Amadou “Abe” Diaw in February 2023 at a London nightclub.
The singer, who notably assaulted ex-girlfriend and Fenty beauty mogul Rihanna the night before the 2009 Grammy Awards, pleaded not guilty last year in the Diaw case. He pleaded not guilty to one count of attempting to unlawfully and maliciously cause grievous bodily harm with intent, assault causing actual bodily harm and having an offensive weapon.

Brown is performing with Usher on their joint North American stadium tour. The singers will take over Inglewood’s SoFi Stadium on Sept. 25 and 26.

WASHINGTON — President Trump on Wednesday took his maiden voyage on a new Air Force One — a retrofitted Boeing 747 worth $400 million gifted by Qatar that embeds his personality more deeply into the institution of the American presidency.

Gone is the trademark light blue hull that helped Air Force One blend into the sky. The refurbished jet is painted to Trump’s preferred color scheme of a navy blue belly and red and gold stripes. It has the luxury features that the president believes a commander-in-chief’s entourage should have — plush carpets, lie-flat seats, wood paneling and a presidential seal on the seat belts, according to reported tours of the plane.

Trump told reporters that he was proud of the luxurious plane. “You can do two things: You can low-key it, or you can show it,” he said.

Reporters are generally not permitted to take photos on the plane unless Trump is present. But on Wednesday, Trump administration staffers posted images of the plane’s interior on social media.

White House communications director Steven Cheung posted a photo of aides gathered around a circular table that had off-white place mats and leather captain’s chairs. Monica Crowley, the chief of U.S. protocol, posted a picture of herself perched on a leather couch between a pair of Air Force One throw pillows. Mounted on the wall behind her was a framed photo of the Thomas Jefferson Memorial.

The jet carried Trump to North Dakota to see the Theodore Roosevelt Presidential Library, its first official visitor ahead of its opening on the nation’s 250th anniversary.

The gift from the Middle Eastern power raised ethical concerns, but Trump saw the plane as a necessary replacement to the 35-year-old planes that had previously ferried him as president.

“This is a gift from a country that has treated us very well,” Trump said.

The new jet will only temporarily be in the nation’s service, as Boeing is expected to deliver in 2028 long-delayed planes that will permanently serve as Air Force One. Trump, a Republican, has said in the past that the Qatar plane would end up in a presidential library.

The Air Force has said that it did little to change the cabin layout of the plane and that it spent less than $400 million on security upgrades.

Nikhinson and Boak write for the Associated Press.

SACRAMENTO — The Dodgers scratched Shohei Ohtani from his scheduled Wednesday start against the Athletics and said he would instead start Friday at Dodger Stadium against the San Diego Padres.

The Dodgers did not immediately say why they delayed Ohtani’s start or who would start in his place Wednesday. Ohtani is in the lineup at designated hitter for Tuesday’s game.

This series marks the Dodgers’ lone scheduled visit to Sacramento during the A’s three-year stay here. The A’s plan to move into a new ballpark in Las Vegas in 2028, the next time the teams are scheduled to face off.

Ohtani would have been starting on his usual six days rest. However, with the Dodgers on a run of 13 consecutive games without an off day, pushing Ohtani back at some point would allow the Dodgers to better manage his workload.

He is 8-2 with a 1.58 earned-run average this season. Among National League pitchers with at least 70 innings, his ERA is bettered only by Jacob Misiorowski of the Milwaukee Brewers (1.46).

Ohtani already has pitched 79-2/3 innings this season, his most in three years. He spent all of the 2024 season and the first half of the 2025 season rehabilitating from elbow surgery.

On Monday, Dodgers manager Dave Roberts said Ohtani, already elected as the NL designated hitter for next month’s All-Star Game, would not pitch in that game if he were not the starting pitcher.

“He’ll obviously DH and then we’ll go from there,” Roberts said. “I don’t know where he is with the pitching thing. We’ll see.”

The Dodgers have carefully managed Ohtani’s workload as a pitcher and might well prefer he be limited to DH in the game. It also would be impractical to have him warm up during a game in which he were hitting, and Misiorowski and Cristopher Sanchez of the host Philadelphia Phillies are top candidates to be the NL starting pitcher.

Since its opening in 1967, Pirates of the Caribbean has stood as an anchor at Disneyland, a statement piece that has defined the direction of the park.

And that remained true last week when Walt Disney Imagineering unveiled a new audio-animatronic pirate. It’s wow-inducing. It’s also narrative-wrecking. And it fundamentally shifts the vibe of the attraction’s early scenes.

The high-tech pirate, we can bet, is just a small preview of the park’s next-gen toys. Because when changes come to Disneyland, they often hit Pirates of the Caribbean first. Over a half-century ago, the robotic figures of Pirates were a symbol of Disneyland’s technological ambitions, dazzling audiences with characterized but lifelike movements. With the ride, Disneyland made it clear that as the world advances, so, too, would the park.

As culture shifted and the lecherous buccaneers of the ride began to look more like symbols of sexual harassment, they would be forced to undergo some welcome personality adjustments. A redheaded victim of sex trafficking would transform into one of the ride’s most striking characters, and a number of rides from the Jungle Cruise to Splash Mountain would eventually undergo similar reassessment.

For Pirates of the Caribbean, after all, is the attraction that defined the Disneyland template. Its mastery is that it is a series of larger-than-life dioramas constructed around an abstracted narrative where themes of greed, lust and intemperance take precedence over a plot with a firm beginning, middle and end. And thus it made sense for Imagineering, the outfit of the company responsible for theme park experiences, to unveil its latest tech-driven master work on the ride.

A new animated pirate on Disneyland’s Pirates of the Caribbean shifts from living to dead using projection technology.

(Todd Martens / Los Angeles Times)

Reaction, however, has been less than enthused. Disneyland’s own social media accounts are flooded with pointed critiques, but even if we consider that social media tends to lead with gripes, some of the park’s most ardent fan sites have referred to the reimagined scene as a gutting. Why so much hullabaloo over a single robot? If we allow that Disneyland is a place that generations make pilgrimages to, then Pirates of the Caribbean is its most sacred temple. Handle with care.

There is, of course, a series of stages most Disneyland fans go through with any major changes, and it’s usually one of shock or confusion followed by acceptance and eventually new nostalgia. And Disneyland’s recent attraction updates have by and large been winners, as evidenced by the lovely Tiana’s Bayou Adventure, the exploratory Adventureland Treehouse and the bewitching Snow White’s Enchanted Wish.

This one, however, is more complicated.

Where once was a foreboding skeleton frozen in time atop a treasure and swords, there is now an animated figurine built with the latest in projection technology. The latter transitions from living to dead, caught in a perpetual loop with each glimpse of the cavern’s “cursed treasure,” which it continually lifts and drops. The pirate is placed after the ride’s two dips in a gold-filled room among the winding, mysterious underground chambers that help set its tone.

Dead pirates fill the caverns of Disneyland’s Pirates of the Caribbean.

(Todd Martens / Los Angeles Times)

Since the attraction’s opening, the only living beings in this portion were a lone seagull and maybe a stray sea critter or two. It is here where the mystique of Pirates of the Caribbean is set, and guests are placed in the active role of piecing together the time-shifting narrative. Story is hinted at rather than fed to us. We hear tales of the hexed fortunes found in the caves via ghostly narration, but see only its after-effects — skeletons locked in a chess battle or standing behind the wheel of a crumbling ship.

The centerpiece treasure room, where our new pirate is found, has long been a breathtaking scene. Previously, a now decayed body sat atop a mountain of wealth, an empty, soulless figure done in by selfish pride. It was disquieting, and a bit ghoulish. Stray, soft musical notes underscored the tragedy. Further on, a trapped pirate quietly transitions from living to dead via an old theatrical mirror illusion, and the boats float into a city filled with battles and buffoonery.

Gone is the subtlety. A somber tableau is now relatively loud, as our eyes no longer take in the full set but zero in on a bright and at times lively figurine. I cannot deny that it is an impressive piece of technology. On the multiple rides that I took Monday morning, I overheard two teens describe it as “pretty cool” and watched as a young child excitedly shouted to his mom and dad that the figure’s face was changing.

The caverns of Pirates of the Caribbean set a foreboding tone.

(Todd Martens / Los Angeles Times)

Such reactions are no doubt what Imagineering is hoping for. Part of the job of stewarding a classic attraction, after all, is ensuring it maintains an appeal to future generations. But I believe two things can be true. The new pirate may captivate some audiences and it can also stylistically and tonally clash with the attraction. This is the right tech, perhaps, for a more animated experience, one such as the in-development “Coco” ride coming to Disney California Adventure. Unfortunately, in Pirates it’s misplaced. Worse, it’s distracting, as we’re immediately drawn to its movement, grunts and quick-transitioning face.

I lament losing what was there. Projected figures, even the best of them, such as this one, are still media and can still gleam with light. And while the original Pirates of the Caribbean designs by Marc Davis were exaggerated, they were brought back to reality by Blaine Gibson, who sculpted them with bold, hardened features that made them at once heightened but believable. They may have been cartoonish, but they weren’t actual cartoons, and this figure is too much of a contrast, its comic-like excess feeling less relatable, less human. And that says nothing of its snort-like laughs, which reminded me too much of the huffs and puffs of the ride’s donkeys.

It also raises more story questions than it answers. Why, for instance, aren’t the other skeletons caught in a loop? Sometimes more is said by saying less, and this feller leans silly in a portion of the ride that calls for spooky. Ultimately, it just feels unnecessary, a symptom of our often exhausting, tech-obsessed, digital-drenched age where new, needless tools are shoved in our faces daily.

Thankfully, the rest of the attraction serves as a reminder that no computer wizardry can out-class old-school theater. Theme parks should evolve with the times, but sometimes it takes artful restraint to not mess with what’s already timeless.

This week in SoCal theme parks

• Disney California Adventure turns Soarin’ Over California into Soarin’ Across America. The makeover will be unveiled July 2, just in time for the Fourth of July holiday and the celebration of America’s semiquincentennial. While Soarin’ Across America is already open at Florida’s Walt Disney World and I’ve written about the patriotic re-imagining, I’ve waited to see it in the flesh and will have impressions next week.
• Fireworks! If you’re looking for them this weekend, our theme parks have got you covered. Disneyland, of course, has an annual Fourth of July show with patriotic music, and the park will be running “Disney’s Celebrate America! — A Fourth of July Concert in the Sky” Friday through Sunday. If you’re heading to Knott’s, be sure to check out the park’s free-to-visit Independence Hall, a replica of the Philadelphia landmark that will be offering guided tours Friday and Saturday, while Six Flags will feature fireworks Friday through Sunday. Universal Studios Hollywood will on Friday and Saturday debut a new Fourth of July-themed fireworks show.
• Shattered glass on Fast & Furious: Hollywood Drift. Fans are eagerly awaiting the opening of Universal Studios Hollywood’s new “Fast & Furious”-inspired coaster, and word spread via social media recently that a panel of glass on one of the ride’s sound barriers had shattered. Universal declined to comment, but sources familiar with the ride characterized it as an “installation error” that shouldn’t delay the public launch of the ride, which is expected by mid-summer. I reached out to California’s Division of Occupational Safety and Health’s Amusement Ride & Tramway Unit (Cal/OSHA), which monitors the state’s theme park attractions. A spokesperson said the situation was looked into but did not warrant further evaluation.
• Plan your perfect theme park day. The L.A. Times has unveiled a new feature. Now you can save must-try spots from our local guides and build your own personalized list. Or perhaps you’d like to browse my mega-project “Every Southern California theme park ride, ranked” and create an itinerary for your next visit.

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.

Visitors tie paper tags bearing wishes onto trees in the courtyard of the Broad as part of an exhibition dedicated to Yoko Ono.

(Kayla Bartkowski / Los Angeles Times)

Theme parks often are about the power of imagination, allowing us to play pretend in heightened, alternate worlds. And I had theme parks on my mind while I traversed the Broad’s excellent current exhibit dedicated to Yoko Ono.

What, perhaps you wonder, does Ono have to do with theme parks? “Yoko Ono: Music of the Mind” documents the entirety of the artist’s career, and much of her early work centers on play. Real, philosophical play, essentially the idea that through creativity, fantasy and a bit of silliness, we can all see the world differently.

Whether it was communicating with her audience while in a bag (1964’s “Bag Piece”), an antecedent to Meow Wolf’s “Experience Tube,” or offering instructions to count stars, tally our wrinkles, drop off peas on a morning walk, attach wishes to a tree or create fictional maps of our neighborhoods, much of Ono’s career was dedicated toward building community and connections through playfulness and imagination.

It’s freeing work, and a reminder that a little frivolity via participatory art — and that’s really what theme parks and so-called immersive entertainment provide — is a necessary ingredient for happiness.

Detroit Lions cornerback Terrion Arnold has been arrested in connection to an alleged armed attack on a group of men in Tampa, Fla., in February. He faces eight felony charges of kidnapping and robbery that could keep him in prison for life if convicted.

Investigators believe Arnold was the “primary conspirator” in an alleged plot that left three young men with “visible injuries from being battered, held at gunpoint, and pistol-whipped before their personal property was stolen and they were ordered to leave,” the Tampa Police Department said Wednesday in a news release.

Six other suspects previously were arrested. Two women already pleaded guilty and agreed to help authorities prosecute Arnold, police said.

The second-year player turned himself in Wednesday night and was held in a Hillsborough County jail without bond before his arraignment hearing Thursday afternoon.

Arnold appeared remotely during the brief hearing, where he was charged with three counts of robbery with a firearm or deadly weapon for less than $750 and three counts of kidnapping to harm or terrorize, all of which are first-degree felonies. He was also charged with two second-degree felonies for conspiring to commit those crimes.

“He’s absolutely denying these allegations,” defense attorney R. Timothy Jansen said during Hillsborough County court proceedings.

Arnold will be held without bond until a pretrial detention hearing Monday, where the Hillsborough County state attorney’s office will argue for him to remain behind bars until trial.

According to Tampa police, several items belonging to Arnold and others were stolen Feb. 1 from an Airbnb rental property in Largo. They reported to Largo police that the items were worth more than $250,000.

The alleged incident that led to Arnold’s arrest occurred early Feb. 4. It was plotted, Tampa police said, because Arnold suspected that two of the three men were responsible for stealing the items. Investigators later determined those men were not involved, police said.

Police said the victims were lured to an apartment, where they were held at gunpoint and hit by suspects who were streaming the alleged attack to Arnold, who is accused of helping coordinate the plot and giving orders to the alleged attackers on a group chat during the incident. He later arrived at the apartment and drove some of the suspects away, police said.

“Fame doesn’t get you out of criminal charges or our pursuit of justice and holding criminals accountable,” Tampa police chief Lee Bercaw said in a statement posted to X. “Our victims now have some closure thanks to the great work of our detectives and our strong partnership with State Attorney Suzy Lopez.”

The head of the management agency that represents Arnold said in a statement that the former first-round draft pick “categorically denies any involvement in the matters unlying the allegations made against him and maintains his innocence.”

“There is no credible evidence linking Mr. Arnold to these allegations,” EAG Sports Management CEO Denise White said. “Instead, the government appears to be relying on testimony from multiple convicted felons who have admitted their own involvement and may have substantial incentives to shift blame in an effort to lessen their sentences.”

Arnold has played in 24 games for the Lions. He had 31 tackles and an interception last season before going on injured reserve with a shoulder injury on Dec. 1.

The Lions said they are aware of Arnold’s situation but have no further comment.

The Associated Press contributed to this report.

He’s no longer a cute little kid.

He’s a $185-million man.

He’s no longer a quintessential underdog routinely pardoned for his bad defense, his questionable durability and his tendency to tighten up in the playoffs.

He’s a big dog who needs to own it.

Austin Reaves, the most beloved Laker, became the most scrutinized Laker on Wednesday with the news that he agreed to a maximum four-year, $185-million contract to remain with the team.

Kudos to him for becoming the highest-paid undrafted player in league history.

Props to him for declining a rich extension offer last summer to play out the season and bet on himself.

Congrats to the Lakers for turning a homegrown talent into a budding superstar.

Seriously, it makes you just want to hug that unkempt, headband-wearing dude and let him know how his everyman story resonates with the masses.

Except that story is finished. That book has been closed. A new volume has begun.

It’s called, “Is Austin Reaves Worth It?”

Thus far, the answer has been no.

Flash back to May, the opener of the Western Conference semifinals against the Oklahoma City Thunder, a week after he had returned to the court following a monthlong absence with an oblique injury.

Lakers guard Austin Reaves chases after a loose ball ahead of Rockets guard Amen Thompson during Game 5 of their playoff series in May.

(Robert Gauthier / Los Angeles Times)

The Lakers needed Reaves to set the tone. He instead laid an egg, shooting three for 16 from the field and zero for five from beyond the arc, his body knocked clear to Tulsa by a physical Thunder defense.

Two games later, same thing, he shoots five for 13 and one for five from deep, allowing the Thunder to pound him to a pulp.

With Luka Doncic out and LeBron James exhausted, the Lakers desperately needed Reaves to pick up the slack. He dropped it, again and again, and the Lakers were swept.

It was the same thing in the spring of 2025, when Reaves crumbled in the first-round series-clinching loss to the Minnesota Timberwolves, shooting five for 14 and two for 10 in a performance that was, as usual, generally overlooked because he tried so hard and accepted his shortcomings so honestly.

That’s not going to work anymore. That’s not going to be enough anymore.

With this new deal, Reaves becomes the Lakers’ second cornerstone along with Doncic. They are now officially a one-two punch. They are now a twin-engine scoring machine that can rival any similar duo in the NBA.

Guards Austin Reaves and Luka Doncic are the new one-two punch of the near future for the Lakers.

(Gina Ferazzi / Los Angeles Times)

Doncic has lived up to his end of the bargain. Will Reaves?

And what about defense? For $185 million, you’d think you could get some defense. Doncic needs his running mate to compensate for his questionable defensive skills, and Reaves has yet to do that.

Simply by earning his way onto the Lakers roster five years ago, Reaves has been a great role model for everyone who has ever been ignored or shunned or marginalized. But did the Lakers fall in love with his legend and ignore his frailties?

Yes, he averaged 23 points per game last season. But he only played in a career-low 51 games because of calf and oblique injuries, and will he add the muscle required to fend off such problems in the future?

Yes, he has been a great interview while admirably and publicly holding himself and his teammates accountable. But he’s always been able to lead from the shadows. How will he react when 185 million microphones are pointed at him?

In a postgame interview after the Lakers’ final loss against Oklahoma City this spring, Reaves was at his aw-shucks best.

“I take life day by day and I’m just blessed to have an opportunity to play for this organization, play a kid’s game,” he said, “I make good money. But like I said, I don’t think about what I’m really going to do in the future, just day by day.”

Lakers guard Austin Reaves consults with coach JJ Redick during a break in the action during Game 3 of the series against the Oklahoma City Thunder in May.

(Robert Gauthier / Los Angeles Times)

That tone has to change. He now has to think about the future because he is the future, of this team, of this organization, of the hopes of this city.

With all of Reaves’ shortcomings, one can almost see the unsentimental Dodgers officials looking at Wednesday’s news and saying, “Wait, they did what?”

But in the end, the Lakers didn’t really have a choice. There wasn’t a free agent available who could match Reaves’ prolific shooting, and nobody who could match the Laker-centric story of his personal journey.

Renowned softie Rob Pelinka, who should count Reaves as one of his greatest successes, was so moved by the opportunity to bring him back that he mentioned the Lakers colors when answering a question about him.

“He started his journey here as a Laker and has made it very clear to us that he wants his journey to continue as a Laker,” Pelinka said during exit interviews this spring. “We want his odyssey to continue to unfold in the purple and gold.”

And so it will, for at least several more years, Reaves now occupying a Lakers leading sidekick role made famous during their championship years by the likes of Anthony Davis and Pau Gasol.

How sweet. How scary.

NEW YORK — A chief of staff to former New York City Mayor Eric Adams has been charged with accepting more than $100,000 in bribes to steer a lucrative migrant shelter contract to a Queens hotel, according to a federal indictment unsealed Wednesday.

Frank Carone’s arrest Wednesday was the latest in a string of corruption allegations that have rocked the one-term mayor and his inner circle. And it came the same day federal authorities executed search warrants related to a separate bribery investigation involving high-ranking police officials under Adams, the latest sign that prosecutors are continuing to hone in on the previous administration.

In the indictment, returned June 12, prosecutors accused Carone of leveraging his position as Adams’ chief of staff to commit multiple acts of bribery, wire fraud and money laundering. His brother, Anthony Carone, as well as the Queens hotel owner, Yan Po Zhu, and Crystal Chen, an employee of the hotel, were also charged.

They were expected to appear in federal court in Brooklyn on Wednesday afternoon.

Prosecutors said Carone accepted a series of bribes from Zhu and Chen in order to steer a multimillion dollar shelter contract to their hotel, which city officials had said was smaller than two other proposed hotels and could house fewer migrants. The contract was awarded amid an influx of migrants to New York that overwhelmed the city’s homeless shelters.

Frank Carone’s lawyer, Arthur Aidala, called the new indictment “not worth the paper upon which it is printed.”

“Today’s indictment is a sad day for our criminal justice system,” Aidala said in a statement. “It epitomizes the government first finding a target and then spending three years and enormous taxpayer resources to find a crime.”

Frank Carone known for link to Sabrina Carpenter church controversy

Carone, a longtime Brooklyn power broker, is widely credited as one of the architects of Adams’ political rise. Among the wider public, he is perhaps most notorious for his role in an episode that led to a Brooklyn pastor being stripped of his duties partly for allowing pop star Sabrina Carpenter to film scenes for a provocative music video at his Roman Catholic church.

The church was later subpoenaed by federal investigators seeking information about business dealings between Monsignor Jamie Gigantiello, who approved the video, and Carone.

Adams himself was indicted on bribery charges in 2024 for allegedly accepting illegal campaign contributions from Turkish officials and others in exchange for political favors. The case was tossed by the Justice Department, which said it was distracting Adams from assisting in President Trump’s immigration crackdown. Adams has denied wrongdoing but abandoned his campaign for a second term last year.

The former mayor was not accused of wrongdoing in Carone’s indictment.

A lawyer for Zhu, Stephen Scaring, said the hotel owner “will be entering a plea of not guilty and is anxious to establish his innocence.”

Chen’s lawyer declined to comment. Messages were left for Anthony Carone’s lawyer.

Hotel at center of alleged bribery had been rejected by city

In total, Frank Carone was paid around $120,000 by Zhu and Che for the emergency shelter contract, prosecutors said. The money was passed through a law firm owned by his brother, Anthony Carone, according to the indictment.

The city’s Social Services Department had initially rejected the hotel’s application to house migrants due to growing resistance to the high number of shelters already operating in the neighborhood, the indictment said.

Carone then interceded on the hotel’s behalf, prosecutors allege. In one text exchange in September 2022, Zhu wrote: “Thank you my big guy,” according to the indictment.

The Carones and Zhu socialized frequently and attended gatherings at Zhu’s Long Island home, the indictment said.

In a separate statement, Todd Shapiro, a spokesperson for Adams, said Frank Carone “dedicated decades of his life to public service, the legal profession, and helping countless individuals, businesses, and charitable organizations throughout New York.”

Carone played a key role in Adams’ campaign for mayor in 2021 and served as Adams’ chief of staff in 2022. In 2023, he formed a political consulting firm. He also was a one-time lawyer for the Brooklyn Democratic Party.

Separately Wednesday, federal agents searched the homes of current and former New York Police Department leaders as part of a bribery investigation that grew out of an inquiry into Jeffrey Maddrey, the chief of department under Adams, according to a law enforcement official briefed on the searches.

As part of that inquiry, the FBI and the NYPD executed warrants on the home of NYPD Chief of Manhattan South James McCarthy and former Deputy Commissioner Tarik Sheppard, according to the person, who requested anonymity because they were not authorized to discuss the investigation.

Maddrey’s home was also searched by federal agents, the person said.

The searches were not related to the arrest of Frank Carone, according to another person familiar with the matter who also spoke on condition of anonymity because they were not authorized to publicly discuss details of the case. There is no public indication of any arrests as part of those searches.

Once the highest-ranking uniformed officer in the department, Maddrey resigned in late 2024 over allegations that he demanded sex from a subordinate in exchange for opportunities to earn extra pay.

An inquiry to his attorney was not immediately returned. Attorney information for Sheppard and McCarthy was not immediately available.

Collins, Offenhartz, Sisak and Richer write for the Associated Press. Collins reported from Hartford, Conn., and Richer reported from Washington.

When the creators behind Universal Studios Hollywood’s soon-to-open “Fast & Furious” coaster discusses the attraction, they speak of it not only as the most grown-up, intense ride at the park, but also as one of the most extreme coasters in Universal‘s global portfolio. That means, in theory, a ride as vaunted as its Florida coasters Jurassic World VelociCoaster and Stardust Racers.

For riders, some of the perception of danger will come from the coaster’s location. Fast & Furious: Hollywood Drift is set on a hill between the park’s upper and lower lots. It will careen over, under and around guest escalators, and take attendees on a journey that includes multiple inversions and speeds of 72 mph, making it the fastest coaster at any Universal park. A particularly unique facet is the ability for its cars, each meticulously designed after a real vehicle, to rotate 360 degrees.

Plenty of coasters have the capacity to spin, but Universal has been hyping the high-speed “drift” sensation of its cars. Each ride vehicle will have distinct programming along the coaster’s 4,100 feet of track, and the hope is to create the feel of a stunt car just barely maintaining its control.

I like a coaster, but I’m also, I’ll admit, a tad squeamish. Hollywood Drift is expected to open by mid-summer, and at the time of writing, only Universal stakeholders had been on the attraction. Jon Corfino, the park’s lead creative executive, was one of those riders, so as he gave me a tour of the coaster, I pressed him to describe what the experience is like. Here’s what I learned.

So Fast & Furious: Hollywood Drift is intense. But just how intense is it?

A loop on Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The late, great theme dark designer Eddie Sotto once devised a simple formula for what makes a good coaster: Fear minus death equals fun. I wanted to ask Corfino just how scared I would be. Answer: Pretty frightened. Probably.

“It’s a high level of intensity, absolutely, for sure,” Corfino says.

And yet Corfino tried to calm my nerves. Hollywood Drift, he explained, is designed to feel relatively slick — polished, if you will.

“I’ve ridden coasters that I would say are high intensity, but they’re very aggressive,” he says. “They’re very rough. But if you look at what we tried to achieve here, it’s that you’re in a [car] vehicle. It’s very smooth. It’s not something that would be not natural for a car, if that makes sense.”

Well, except for the whole going upside down part. Based on Corfino’s assessment, we can expect some white knuckles, as Hollywood Drift will lift riders off their seats at multiple points.

“You definitely feel you’re coming out a couple times, and not the least of it is when you’re upside down,” Corfino says. The coaster will utilize a lap restraint that extends from the top.

“You’ll be holding on,” he says. “When you’re upside down, you’re holding on.”

What about the drops?

Unversal Studios’ Hollywood’s Fast & Furious: Hollywood Drift is set to open this summer.

(Todd Martens / Los Angeles Times)

Corfino didn’t pinpoint the exact steepness of the drops on Hollywood Drift, but riders will encounter one immediately after launch. When exiting the show building, designed to look like a warehouse garage, Hollywood Drift will take a sudden dip off a cliff. The sharp drop is one of many.

Riders will encounter, for instance, a so-called “bunny hop,” which is typically a series of small hills that provide airtime. But Hollywood Drift will play with riders’ expectations through its terrain. Those mid-ride hills are “actually pretty darn steep,” Corfino says. And then before the ride ends, riders will go up, over and under Universal Studios’ most recognizable feature (except perhaps Stuart the Minion): its escalators.

“When you go up over the loop, that’s very steep. You’re coming straight down over the stairway and then underneath the stairway,” Corfino says.

How real are the cars?

The minicars of Fast & Furious: Hollywood Drift.

(Todd Martens / Los Angeles Times)

The coaster will feature four heavily detailed miniature cars as ride vehicles. These four-seaters — mimicking a Dodge Charger, Mazda RX-7, Nissan Skyline GT-R and Toyota Supra — all come complete with working taillights. And each has its own distinct sound effects, engine and brake noises that match their real cars. Guests will hear brakes each time the vehicle drifts or turns.

The minicars aren’t complete tiny re-creations. The odometers in the coaster cars, for instance, are for show only.

“The truth is I was really laboring,” Corfino says of the accuracy of the coaster cars. “They all have realistic sound effects, and when you hit the bottom, the big launch, I wanted to hear the NOS kick in. But you’re going so fast, at 72 mph, and with the wind, you’re not hearing anything. Quite frankly, your vision is even kind of shaky because you’re going so fast.”

That sort of attention to detail is what separates a Universal or Disney coaster from so much of the industry — even if riders will be clutching their restraints too hard to notice the discrepancies in each car’s engine roar.

I’m eager to get on the ride. I will, however, pretend I didn’t hear Corfino say that thing about “shaky” eyesight.

This week in SoCal theme parks

Dataland is now open in downtown Los Angeles. Theme park fans should give it a look.

(Carlin Stiehl / For The Times)

• “Stranger Things” lives at Halloween Horror Nights. Universal Studios Hollywood’s trickle of announcing haunted houses for its Halloween event continues. After unveiling a “Sinners” house earlier this year, Universal has added “Stranger Things” to the roster. “Stranger Things” is no outsider to the festivities, but this house will be themed specifically to the show’s fifth and final season. Expect, of course, some Demogorgons and other nasty creatures. Halloween Horror Nights is set to launch on Sept. 3.
• Theme park fans, pay attention to this new museum. Now open in downtown Los Angeles is Dataland, which was described by this outlet as a “25,000-square-foot immersive, environmental, generative, multisensory AI arts museum.” While there’s much to discuss and debate regarding the center’s use of AI, Dataland’s inaugural exhibition, “Machine Dreams: Rainforest,” is the kind of all-encompassing, wrap-around display theme parks are known for (I’d argue Dataland is, in fact, more indebted to theme parks than the world of fine arts, but that’s another column). No doubt those in the immersive space are paying close attention as to how Dataland is received.
• “Toy Story 5” has arrived, in theaters and at the Disneyland Resort. Fans of the “Toy Story” franchise will want to make their way to Disneyland’s Pixar Place Hotel, where a second-floor exhibit features drawings and sculptures from the new film. And for hotel guests, coming July 2 is the “Disney Poolside Splash Bash,” a pool party with music, trivia and appearances from Jessie, Bo Peep and Woody. If you’ve seen the movie, I encourage you to check out Amy Nicholson’s review of the work. She found, perhaps, that the toys have overstayed their welcome.
• Bag checks and metal detectors arrive at CityWalk. Universal Studio’s theme park adjacent shopping and dining area is home to a couple should-be cultural institutions: the Los Angeles outpost of Jimmy Buffett’s Margaritaville and one of the finer Imax theaters in the nation. Now getting to either comes with an extra hurdle, as Universal has placed CityWalk within the theme park’s security zone. Prepare for bag checks, metal detectors and extra time if you’re heading to a sold-out screening of Christopher Nolan’s “The Odyssey.” The local film community, as reported by The Wrap, is having a fit.

What I’m thinking about

A media image distributed by Adobe and Walt Disney Imagineering is designed to show how AI software can be used in the design process.

(Adobe / Walt Disney Imagineering)

Generating attention this week was an announcement from Adobe and Walt Disney Imagineering, the creative arm of the company responsible for theme park designs, regarding a new AI partnership. AI is a term I generally believe is rightfully viewed with skepticism, especially when it comes to creative work. As a writer, I view utilizing AI to help craft a story as strictly forbidden; journalism, after all, is a storytelling art. But I’m not above tools that can help accelerate tedious aspects of the process, such as using AI to help transcribe an interview.

So places in which Adobe’s Firefly Foundry could, say, transform drawn 2D renderings into potential 3D models seem not entirely troublesome, especially for an industry in which one of the most time-consuming aspects is the build. And yet there were components of the announcement, as well as the press materials distributed with it, that made me cringe. The generation of on-demand, on-brand assets, for instance — one of the promised abilities of the software — is a job for an artist, not a computer.

And Adobe and WDI proved my point. Accompanying the press release was an image of Disneyland’s Haunted Mansion ride vehicles, the Doombuggies, as re-imagined by the program. A perfect, coffin-like design from Bob Gurr was now bedazzled with garish, grotesque imagery that had little similarity with anything in the Haunted Mansion. That the two companies viewed something this amateurish as a prime example of what the software could achieve should raise an eyebrow.

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.

Changes are coming to Disneyland’s classic Autopia ride.

(Allen J. Schaben / Los Angeles Times)

Disneyland’s classic Autopia attraction is facing a deadline. The Disneyland Resort has already stated that the gas-powered minicars of Autopia would be on the way out in early 2027. Disneyland officials confirmed just a few weeks ago that the park has an agreement with the California Air Resources Board to retire the current engines next year. No closing or reopening date has been announced, and no details on the new cars have yet been released.

But, thanks to new reporting from environmental reporter (and former Times staffer) Sammy Roth, it’s been revealed that the theme park faces a strict deadline to begin making the switch. In a recent edition of Roth’s Climate Covered Goggles, the writer noted that due to an agreement with the board, Autopia in its current form must shut down by Feb. 1, 2027.

While that doesn’t shed any clarity on when the ride may reopen with refreshed vehicles, it at least provides a timeline as to how long it will likely exist in its current form.

Lil Nas X says he feels “less fear in my heart” as he opens up about receiving treatment for bipolar disorder and moving forward from the mental health episode that landed him in hot water with law officials last year.

The Grammy winner (real name Montero Lamar Hill) addressed last year’s events in a video Wednesday morning on Instagram. Lil Nas X, 27, informed fans that he has been in a rehab program “for a few months,” spending time with family in Atlanta and with friends in Los Angeles. Since last year’s incident, the singer said he has been focused on “trying to ground myself down to Earth and get out of my head.”

Lil Nas X was hospitalized and arrested in August after he was seen strolling in only his underwear and white boots through Studio City, eventually shedding those items as the night progressed. The singer received treatment at a nearby hospital for a possible overdose but was accused of assaulting police officers.

He was charged with four felony counts: three counts of battery with injury on a police officer and one count of resisting an executive officer. Police accused the singer of assaulting the officers who were trying to take him into custody. Lil Nas X pleaded not guilty to all those counts.

In Wednesday’s video, Lil Nas X explained that he has also started seeing a therapist and psychiatrist to help address his mental condition — one he initially refused to accept. The singer, smiling and standing against a blue sky in his video, told fans that he was hesitant to take medication that would help address his bipolar disorder and joked that living with mental illness would add more to his plate: “I mean I’m already Black and gay…I’m like already living life on extreme hard mode.”

According to the Depression and Bipolar Support Alliance, bipolar disorder is a treatable mental health condition marked by extreme changes in mood, thought, energy and behavior. Manic episodes, marked by elevated changes in mood or behavior, are a symptom of the condition. People with a bipolar disorder diagnosis more commonly experience depressive episodes.

Lil Nas X spoke candidly about his diagnosis months after a Los Angeles judge in April granted the “Industry Baby” and “Old Town Road” singer’s motion for diversion, ordering the musician to enter a two-year mental health program. TMZ reported at the time that the musician would be cleared of his four felony counts if he complies with treatment and commits no other crimes.

The singer assured fans on Wednesday: “I’m doing better, I’m feeling better, I’m creating freely and there’s less fear in my heart and I’m just like smelling the roses.”

He also reflected on his career thus far — he quickly ascended to fame in 2019 with his viral hit “Old Town Road” — and teased that new music is on the way. Lil Nas X concluded his video by thanking fans for their support and for “holding it down.”

“I love you, and all I wanna do is continue to try to make you proud and make myself proud,” he said. “Let’s go dreamboy, let’s go.”

An effort to exempt new apartment buildings in Los Angeles from the so-called mansion tax moved forward Wednesday, amid concerns that the tax is suppressing housing construction and making the affordability crisis worse.

In a 9 to 5 vote, the City Council directed the City Attorney to draft a ballot measure that would ask voters to change Measure ULA, which funds subsidized housing construction and homeless prevention efforts by taxing nearly all property sales over $5.3 million.

Once the proposal is drafted, it must come back to council for a final approval to make it onto the November ballot.

Wednesday was the deadline for the council to take the vote and stay on track to make the ballot this fall, said Councilmember Katy Yaroslavsky, who introduced the proposal along with Councilmember Tim McOsker.

“We should protect what is working and fix what’s not,” Yaroslavsky told colleagues before the vote. “If we fail to act today, that door closes.”

The ULA tax, approved by voters in 2022, is known as the mansion tax but applies a 4% tax to nearly all properties — whether they are mansions or not — if they sell for more than $5.3 million, increasing to 5.5% for sales at or above $10.6 million.

Under the proposed ballot measure, the ULA tax wouldn’t apply to multifamily buildings sold within 10 years of construction. There would also be some more technical changes put before voters, including to allow ULA money to be spent on temporary housing for homeless people.

Since ULA passed, apartment construction in Los Angeles has plummeted. Some studies have found that the additional tax on property sales has played a big role in the drop-off by adding extra costs for developers.

That’s led to fears that the tax, in some ways, is making the affordability crisis worse by suppressing new supply.

A coalition of business groups and pro-development activists have been pushing the council to amend ULA, in part hoping that the effort will blunt another possible measure on November’s ballot that would cancel ULA and other similar taxes altogether.

ULA supporters, however, have fought the exemption for new construction and say that other factors — like high interest rates — are the reasons for the multi-year construction drop-off. They also point to a surge in new building during the first three months of this year to argue that it’s too early to know ULA’s long-term impact.

Also on Wednesday, the council, in a unanimous vote, directed the City Attorney to draft a separate ballot measure that would exempt homeowners impacted by the Palisades fire from paying the ULA tax for five years, retroactive to Jan. 7, 2025.

“ULA has been an impediment to the Palisades recovery, leaving properties sitting empty and people mired in tax and regulatory hell,” City Councilmember Traci Park, who represents Pacific Palisades, told colleagues before the vote. “We need to move forward with this exemption.”

Similar to the broader ULA changes, the Palisades changes must receive a second council approval to make the ballot.

A duo for the ages is convening once again.

The Williams sisters — Venus, 45, and Serena, 44 — will bring back their doubles partnership at Wimbledon in under two weeks. The All England Club announced the doubles wild card invitation on Tuesday.

Should they win for a record seventh time, the Williams sisters would make history as the oldest Grand Slam-winning doubles combo by nearly 16 years.

The record of 74 years and 303 days is held by Hsieh Su-wei and Barbora Strýcová, who won at Wimbledon in 2023. Venus will turn 46 on Wednesday and Serena will be 45 on Sept. 26, putting their combined age by the tournament’s end at 90 years and roughly 290 days.

The Williams sisters have won six doubles titles together at Wimbledon, most recently in 2016 with the first coming in 2000. They have won 14 Grand Slam doubles titles together, the second most by any women’s team in the Open Era behind the 20 won by Martina Navratilova and Pam Shriver.

Serena recently returned to competition after almost four years away from professional tennis. She will compete in the Berlin Open doubles alongside world No. 10 singles player Karolína Muchová on Tuesday against Erin Routliffe and Giuliana Olmos.

The initial tournament in Serena’s comeback was abbreviated. Her playing partner, Canadian teenager Victoria Mboko, suffered a knee injury that ended their effort at the Queen’s Club Championship after one match, a 7-6(2), 6-2 victory over No. 3 seeds Erin Routliffe and Nicole Melichar-Martinez.

Venus, who will turn 46 on Wednesday, is in the midst of her record 33rd consecutive WTA season. She has been eliminated in the first round of singles at several tournaments while faring better in doubles.

The pairing at Wimbledon will be the first since 2022 for the Williams sisters. Serena took a long hiatus beginning that year and gave birth in 2023 to her second child, Adira River Ohanian.

Many of the sisters’ career highlights have come at Wimbledon. Serena has 14 titles on the hallowed grass court — six in doubles, one mixed doubles and seven in singles. Venus Williams has won 11 Wimbledon titles — five in singles and six in doubles.

Neither Williams sister is slated to play singles in this year’s tournament, although one women’s singles wild card has not been allocated.

WASHINGTON — Ever since Kevin Warsh was nominated by President Trump in late January to lead the Federal Reserve, a question has lingered: Will he seek to raise interest rates to tame inflation or cut them as Trump has long demanded?

On Wednesday, Warsh may provide the first hints of an answer when he oversees his first Fed policy meeting as chair and holds a news conference afterward. Bond markets, which can swing sharply on a chair’s pronouncements, will be watching particularly closely for any signs of which way he leans.

“We expect the press conference to be pivotal,” Jonathan Pingle, an economist at investment bank UBS, wrote in a note. “This will be Kevin Warsh’s first public appearance as Chair. … We do not really know what his policy views are.”

Economists say Warsh will likely aim for a neutral approach, largely because he is taking over the Fed at a challenging time. Rising inflation has made it all but impossible for the Fed to cut interest rates anytime soon, which could stimulate growth and further raise prices. Hiring has improved noticeably since the beginning of the year, removing another key rationale for rate cuts. And the other 11 policymakers on the Fed’s rate-setting committee — including Warsh’s predecessor, former chair Jerome Powell — are split on whether an increase in the Fed’s key rate will be needed or if it can stay unchanged.

High inflation puts Fed in tough spot

Oil prices have fallen sharply on news that the U.S. and Iran have reached an initial deal to end their war, which could eventually cool inflation. Yet it’s unclear whether a permanent agreement can be reached.

“The right thing to do now is wait and see,” said William English, an economist at the Yale School of Management and a former top Fed economist.

Inflation has jumped to a three-year high of 4.2%, the government said last week, mostly because of higher gas prices. Even Trump has backed off a bit from his relentless demands for lower rates, and instead has argued that rate hikes — which the Fed undertakes to cool the economy and slow inflation — aren’t necessary.

In an interview earlier this month on NBC’s “Meet the Press,” Trump said, “Kevin is fantastic and I want him to do whatever he wants,” but added, “there’s no reason to raise rates.”

On Wednesday, the Fed is widely expected to keep its key rate at about 3.6%, where it has remained since last December. When the Fed reduces its rate, over time it can lower other borrowing costs for things like mortgages, auto loans, and business loans.

Changes likely to dash hopes for those seeking lower rates

Still, some changes are expected, which will disappoint those hoping for lower borrowing costs: The Fed is likely to drop language that suggests its next move will be a rate cut, and instead adopt wording that is more neutral. Several Fed policymakers in recent weeks have said that the Fed’s most likely next move is a hike, rather than a cut.

The central bank is also scheduled to release its quarterly economic projections, which include forecasts for how the Fed’s key rate will change over the next three years, on Wednesday. In March, those projections suggested the Fed would cut its rate once this year. Yet on Wednesday they will likely show no change in 2026, with maybe one or two cuts next year, economists say.

Warsh has criticized the projections for providing too much “forward guidance” to financial markets and leading Fed officials to stand by their forecasts for too long, even as the economy changes. Fed watchers will look closely to see if Warsh participates in the quarterly projections. If he doesn’t submit his own forecasts, it could be a sign he will seek to get rid of them entirely in the coming months.

Warsh to bring a new approach to Fed leadership

Outside of policy, Warsh is expected to bring a different style to the Fed than Powell, according to people who’ve worked with him. He wants Fed policymakers to give fewer speeches, have more debates behind closed doors and will likely avoid commenting on the daily ups and downs of the economy. Powell was relatively plainspoken and straightforward, while Warsh has suggested he sees the famously oracular Alan Greenspan, the Fed’s chair from 1987 to 2005, as a model.

“He’s just going to say less, because he doesn’t find that stuff very helpful,” said Robert Tetlow, a former senior policy adviser at the Fed.

Randall Kroszner, an economist at the University of Chicago who served on the Fed’s governing board from 2006 to 2009, when Warsh was also a governor, said the new chair would likely focus on bigger-picture questions, such as how AI will impact the economy. He will avoid thornier issues, such as whether tariffs raise inflation, which Powell was willing to address.

By avoiding such hot-button issues, the Fed could attract less negative attention from the White House, Kroszner said.

“He’s going to stay away from those,” Kroszner added. “If the Fed is to maintain its independence, it needs to maintain its focus.”

While seeking Trump’s nomination, Warsh called for “regime change” at the Fed and criticized the central bank for not preventing the 2021-22 inflation surge, when prices jumped 9.1% in a year, the biggest spike in four decades.

Yet Kroszner said Warsh will likely to seek to build consensus around changing things like the Fed’s communications policies, rather than imposing them. So far, former Fed officials say he hasn’t sought to fire top staff.

“He’s not there to break things,” Kroszner said.

During his Senate confirmation hearing in April, Warsh said he would focus on quelling inflation.

“Inflation is a choice, and the Fed must take responsibility for it,” he said then.

If he acts on that sentiment by keeping rates unchanged — or even raising them — Trump could end up disappointed in another Fed chair. He often threatened to fire Powell, whom he also appointed, for not cutting rates deeply enough.

“There’s at least a risk here that six months down the road, Trump is fulminating about how he didn’t get what he wanted from Warsh, and he’d like to fire Warsh,” English said.

Rugaber writes for The Associated Press.

When Jon Corfino was among the first to test ride Universal Studios Hollywood’s new high-speed “Fast & Furious”-inspired coaster, it was the culmination of a convoluted decade-plus journey filled with uncertainty. For before any track was laid, before the ride was even associated with “Fast & Furious” or any film franchise, Corfino, the park’s lead creative executive, didn’t know whether a coaster could even exist.

Universal Studios Hollywood is landlocked, constructed around a working film studio, meaning space is at a premium. And then there’s the problem of noise. Coasters, historically, are loud, and film productions necessitate a quiet environment. The theme park is also nestled against a neighborhood full of homes and apartments.

To make it work at all, the coaster would need to stand on a relatively steep hill, winding over, under and around escalators between the park’s upper and lower lot. It extends significantly beyond guest-accessible areas, visible even from nearby Ventura Boulevard. “It wouldn’t be your first choice,” Corfino says of the topography. “But in a way, it makes it more dynamic that we were able to do it.”

He continues, “Everything we do is a bit of invention.”

When discussion on the project first began a decade or so ago, Universal Studios Hollywood was far from a thrills park. While the Wizarding World of Harry Potter was nearing completion and would open in 2016 — a full-scale re-creation of a fictional world that would alter the tenor of the park — the vast majority of Universal rides were designed to place guests inside the world of stories they had already seen on the screen. Or to let them “ride the movies,” as Steven Spielberg once coined. The park’s portfolio was also dotted with stunt and animal shows.

Fast & Furious: Hollywood Drift will reach speeds of 72 mph and take riders through multiple inversions.

(Todd Martens / Los Angeles Times)

Universal was once heavily dedicated to pulling the curtain back on how movies were made. A coaster simply didn’t fit the vibe.

“It was never a thought,” Corfino says of his earliest days at Universal back in the 1990s. “It was a different ethos. We were going to take you behind the scenes and show you stuff. But during the epic transformation of bringing in ‘Potter,’ and immersing you in different environments, it became more of a reality.”

And so began the process of looking for a franchise to associate with the coaster, one that would still make sense with Universal’s inside-the-movies mindset. At the time, there already was a “Fast & Furious” segment on Universal’s behind-the-scenes tram tour (now shuttered, a replacement is expected to be unveiled in 2027).

“You go through a lot of ‘what ifs,’” Corfino says. “I can say, one of the earlier ‘what ifs’ was ‘what if this,’ in terms of brand. We already had one [‘Fast & Furious’ attraction] on the backlot, but we didn’t know what else we were going to be doing, so you go through a lot of different ideas. But it was early on that we said, ‘This brand speaks to it.’”

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

(Todd Martens / Los Angeles Times)

Fast & Furious, the street racing mega-franchise that’s celebrating its 25th anniversary this year, works in part because Universal could theme the coaster around cinematic stunts. Before guests board the ride, they will walk through a twisting queue area that will focus on prop cars with installations designed to show how movie magic is brought to life. Guests will be prodded to scan QR codes to further go behind-the-scenes, that is if they’re not distracted watching the coaster, which will launch directly above them and then go on a journey through multiple inversions on the side of a hill.

And then there was another problem: Would it be too loud? Before land was moved, Universal placed speakers on the old special effects and stunt buildings to see how noise traveled down the hill. “We did recordings all over the place and really established a baseline on which to design,” Corfino says.

Ultimately, the tracks would be complemented with multiple sound walls and shields, the latter clear structures designed to block coaster rumbles and audience screams. And because the cars can rotate 360 degrees, Universal can in theory direct rider yells away from the studio below and the neighborhood nearby. What’s more, the actual track has been filled with pea gravel, designed to minimize nose from any reverberations.

“It’s incredibly quiet,” Corfino says. “We were able to do that by putting materials inside portions of the track to deaden the sound. I’m not sure we would have needed it, but it was important to do the right thing. It’s pea gravel and rocks. It’s quieter than I ever thought it was going to be.”

VP of Universal Creative Jon Corfino, who led the creative development of the Fast & Furious coaster, photographed in 2019.

(Brian van der Brug / Los Angeles Times)

A 72-mph coaster with 360-degree rotation and multiple loops and inversions that’s relatively muffled? Perhaps. I can only say that as I watched test cars speed by me last week from an upper lot lookout, the soundtrack from the Jurassic World water ride below was certainly louder.

An opening date for the coaster has not yet been set, but it’s soon. The other week the Universal website briefly posted June 26 as a launch date, and while that was once a targeted day, it will not be the coaster’s grand opening, which is now expected after the Fourth of July holiday (the coaster will be open intermittently for tech rehearsals for some time before its official date).

But Corfino is willing to make one promise. “Given the physical realities of putting this on the side of a hill,” he says, “this is the best view in Hollywood.”

That is, if you’ll be brave enough to keep your eyes open to take it all in.

Universal Studios Hollywood first began exploring a high-speed coaster more than a decade ago.

(Todd Martens / Los Angeles Times)

This week in SoCal theme parks

• Los Angeles loves a parade. Head to the Los Angeles County Museum of Art on Saturday evening for the Art Parade, which is designed to showcase L.A.’s thriving creative community with a colorful procession down Museum Row. Of particular note: Experiential art firm Meow Wolf, which is in development on its first-ever Los Angeles installation, will be participating. Meow Wolf’s L.A. exhibit, influenced equally be sci-fi and cinema, is on target for a winter opening.
• Disneyland history is Los Angeles history. The Autry Museum of the American West has a new exhibit, “Life, Liberty and Los Angeles.” As part of the show, which highlights how SoCal reflected and contradicted our nation’s founding ideals, guests will come across a 1967 Autopia vehicle from Disneyland. Now perhaps a bit quaint, the ride once exemplified our region’s dreams of an open freeway. Autopia is due next year to be remade with electrical vehicles.
• Plan a tour of Walt Disney’s former Los Feliz home. Disney and his family in the 1930s lived in a storybook mansion. Keepers of the house have announced that it will be open on a few select Saturdays this summer for tours. Though a private residence, tours are led by Disney expert Dusty Sage, who oversees the Micechat website and fan community. I’ve been inside, and can report the house is full of unique design quirks as well as a number of only-in-SoCal historic tales.
• A lively night at Downtown Disney. Head to Downtown Disney on Friday at 5 p.m. for Yardfest 2026, an evening to honor the music and traditions of historically Black colleges and universities. Expect performances from the Texas Southern University Ocean of Soul Marching Band near the area’s live stage, which itself has a unique design paying homage to famed Black architects, as well as specialty food offerings and Mickey Mouse in his drum major outfit.

Ride report

Knott’s Berry Farm has a new show inside the Calico Saloon dubbed “Spirits and Shenanigans.” The production is part of the park’s summer offerings.

(Todd Martens / Los Angeles Times)

Today’s report is on a show. It’s summer season at Knott’s Berry Farm, which means a new storyline for its popular Ghost Town Alive!, a heavily improvised, actor-led experience that unfolds like a live-action role playing game. New this year is a hootin’ and hollerin’ good time of a show in “Spirits and Shenanigans,” which takes place in the Calico Saloon inside the park’s historic Ghost Town.

At 25-minutes, the production centers on the fictional husband-and-wife bar proprietors, who sing of leaving Illinois to open the spot, as well as its boot-tapping, can-can dancing staffers. Just ever-so-slightly risque with a bit of a patriotic feel, it’s a fast-moving ode to drinking holes and the sense of local community they provide. Expect tap dancing as well as numbers that will turn the entire stage into a drum kit. So if you’re heading to Knott’s this summer, “belly up to the bar,” as they sing, and grab a Boysenberry IPA and one of the few inside seats for this lively, can’t-miss production.

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

California Democrats made it out of last week’s primary election having kept the promise of Proposition 50 alive — advancing candidates to November runoffs in all five Republican-held Congressional districts that last year’s redistricting measure targeted.

They now head into November bullish about turning those districts blue, wresting control of the U.S. House from Republicans and delivering their party important leverage to challenge President Trump through the remainder of his second term.

“As Democrats, we are united in our fight to flip this seat and to take back the House for Democrats here in ‘26,” progressive college professor Randy Villegas told The Times on Wednesday after besting his Democratic challenger to advance and take on Rep. David Valadao (R-Hanford) in the redrawn 22nd Congressional District. “We know the path to taking back the House runs through the Central Valley.”

Robert Jones, a Valadao campaign strategist, said Valadao “is always humbled to receive the support of Democrats, independents and Republicans across the Central Valley,” and that his “brand of independent, bipartisan leadership is all too rare in Congress and California.”

“We look forward to a campaign that puts the Central Valley ahead of any political party and wins again in November,” Jones said.

In a social media post Wednesday, former state Sen. Richard Pan, who advanced in the redrawn 6th Congressional District in the Sacramento suburbs to take on Rep. Kevin Kiley (I-Rocklin), cheered his race being added to the Democratic Congressional Campaign Committee’s “Red to Blue” program highlighting winnable seats. He said his race is “one of the top chances to flip a House seat and take back the majority.”

Kiley did not respond to a request for comment, but wrote on X that the November race between him and Pan “will be a choice between the extreme partisan policies that have made California the most unaffordable state in the country, and the independent leadership that allows our local communities to thrive in spite of the state’s failures.”

The two races are considered among the most competitive in California in November, but primary results to date show substantial momentum in the Democrats’ favor, experts said.

In the 22nd Congressional District race, Valadao had received substantially less than half of the vote as of Wednesday, while Villegas and his Democratic rival, moderate Assemblymember Jasmeet Kaur Bains (D-Delano), had together received well over half the vote.

In the 6th Congressional District race, Kiley and the leading Republican candidate had together received well under half the vote as of Wednesday, while Pan and four other Democratic candidates had collectively won well over half the vote.

Those results are not final, nor do they necessarily reflect how voters will break in November’s head-to-head competitions. Just because a voter cast a ballot for a Democrat or Republican in the primary doesn’t mean they will back another candidate of the same party or partisan alignment in the general, experts said.

Still, the Democratic candidates clearly have an advantage in a year when the electorate — facing high gas prices and other economic headwinds — appear to be shifting against the president’s party, said Mike Madrid, a Republican political consultant in the state.

“We’re in an anti-Republican moment,” Madrid said. “Is there time to turn it around? I guess. But there’s also time for it to get worse — and that’s the way it seems to be heading.”

Bob Shrum, a longtime Democratic strategist and director of the Dornsife Center for the Political Future at USC, said Democrats stand to perform even better in November based on historical trends that show much larger Democratic turnout in general elections.

“I would not be surprised if Democrats won all five targeted seats, and the primary certainly increases the possibility that happens when you look at the results,” he said. “Maybe one of these places will surprise us, but right now, just looking at the numbers, I don’t think Republicans are in good shape.”

In the redrawn 1st Congressional District in Northern California, where incumbent Rep. Doug LaMalfa (R-Richvale) died in January, Republican Assemblymember James Gallagher handily won a special election — using the old district lines — for the remainder of LaMalfa’s term.

However, in the primary race for the next full term using the newly drawn district, state Sen. Mike McGuire and other Democrats collectively outperformed Gallagher by a substantial margin as of Wednesday — giving McGuire the momentum heading into the November runoff with Gallagher.

In the redrawn 41st Congressional District in Los Angeles and Riverside counties, Rep. Linda Sánchez (D-Whittier) and Republican Mitch Clemmons advanced. As of Wednesday, Sánchez and her fellow Democratic candidates had collectively outperformed Clemmons by a wide margin.

In the redrawn 48th Congressional District in San Diego and Riverside counties, where Rep. Darrell Issa (R-Bonsall) retired rather than run for reelection, moderate Republican San Diego County Supervisor Jim Desmond advanced alongside Democratic San Diego Councilwoman Marni von Wilpert. Results as of Wednesday showed Von Wilpert and other Democrats in the race collectively outpacing Desmond and the other Republican in the race.

Republicans have long held on to hope that Valadao might be able to hold on to his San Joaquin Valley district, spoiling Democratic hopes for a flip there. They also seemed buoyed by early results in the Kiley race. But neither race went as Republicans hoped — and both Kiley and Valadao face a tough road ahead, experts said.

Having abandoned the Republican Party to run as an independent in a district that was designed to favor a Democrat, Kiley “now has to work all three lanes,” Madrid said. “He has to get a consolidation of the Republican vote, he has to communicate directly to independents, and he’s going to have to get crossover Democrats.”

That’ll be extremely difficult, especially given that any move he makes back toward Trump, to woo Republican voters, risks alienating moderate voters he also needs to win, Madrid said.

Shrum blamed Trump for the difficult spot in which the GOP now finds itself, referring to the president calling on Texas Republicans to redistrict in favor of Republicans.

“These California Republicans are paying the price for Trump starting this mess in Texas,” Shrum said.

“Kiley in his old district probably would have been easily reelected. This new district is a whole different story.”

Shrum also said it “doesn’t look good” for Valadao, despite the political argument picked up by GOP leaders that Villegas is too progressive for the Central Valley.

“Randy Villegas endorses every far-left policy that would destroy any hope for Central Valley residents looking for relief from Gavin Newsom’s high-tax, high-fraud system,” Republican National Committee Chairman Joe Gruters said in a recent statement.

Shrum said he doubts that message will resonate with enough voters to sway the race to Valadao “in an environment where the things people are worried about are the cost of living, the war.”

Madrid had even less confidence in a Valadao victory, saying that “in an environment like this, a tree stump could beat Valadao” given how frustrated voters are with the economy and the president’s party.

Villegas, who racked up endorsements Wednesday from a raft of Democratic leaders in the state, said the district’s primary results were “rooted in the reality that Central Valley residents are fed up with David Valadao” — not just Trump — and want a change.

After decades spent shaping modern movies without ever taking home a competitive Oscar, actor Glenn Close and director Ridley Scott will finally receive statuettes from the Academy of Motion Picture Arts and Sciences this fall.

The academy announced Wednesday that Close and Scott will receive honorary Oscars at this year’s Governors Awards alongside pioneering animator Floyd Norman, while producers Christine Vachon and Pamela Koffler, co-founders of Killer Films, will receive the Irving G. Thalberg Memorial Award.

The annual Governors Awards, launched in 2009, recognize lifetime achievement and significant contributions to filmmaking and the motion picture industry. The Thalberg Award honors producers whose bodies of work reflect consistently high-quality motion picture production.

Unlike the competitive Oscars handed out during the telecast, the honorary prizes are presented at a separate ceremony attended by film industry figures, academy members and awards season contenders.

Close, 79, one of the most acclaimed actors of her generation, has received eight Oscar nominations over her career, including for “Fatal Attraction,” “Dangerous Liaisons,” “Albert Nobbs” and “The Wife.”

Scott, 88, the architect of “Alien” and “Blade Runner,” whose striking visual style helped define modern blockbuster filmmaking, has scored nominations for directing “Thelma & Louise,” “Gladiator” and “Black Hawk Down,” while also earning a best picture nomination for “The Martian.”

Despite their long influence on Hollywood, both have frequently appeared on lists of prominent Oscar nominees never to win a competitive Academy Award.

The 90-year-old Norman, who began working at Disney in the 1950s, became the studio’s first Black animator, contributing to films including “Sleeping Beauty,” “The Jungle Book” and “Robin Hood.” His career has spanned more than six decades.

Vachon and Koffler have been central figures in American independent cinema for decades, backing such films as “Boys Don’t Cry,” “Far From Heaven,” “Carol,” “First Reformed” and “Past Lives,” the last of which earned them their first best picture nomination in 2024.

The honors will be presented Nov. 15 at the Ray Dolby Ballroom at Ovation Hollywood during the academy’s 17th Governors Awards ceremony.

“Doctor Who” is going through another major regeneration.

The BBC announced Wednesday that it is not moving forward with a previously announced “Doctor Who” Christmas special. Last year, the broadcaster teased a “spectacular” special episode written by showrunner Russell T Davies for the 2026 holiday.

“After careful consideration, the BBC, Russell T Davies and Bad Wolf have collectively decided not to go ahead with the previously announced Doctor Who Christmas episode,” the BBC wrote in its latest update. “This decision was not taken lightly, and we know it will be disappointing for fans, but in order to set the show up for future series, it was decided that rather than bridge the gap with a one off special, we are choosing to push forward to invest in the long-term future of the show which ensures that when the TARDIS lands once more, it does so in all its glory.”

Whovians know that the Christmas Day specials are a longstanding tradition for the sci-fi series. Previous holiday episodes have marked the first full appearance of David Tennant’s Tenth Doctor in 2005 as well as Ncuti Gatwa’s Fifteenth Doctor in 2023.

BBC’s plan now is to “put Doctor Who out to competitive tender” in order to “[secure] the next phase of the show for future generations” — meaning they are inviting potential producers to pitch their ideas for the next era of the long-running series. This also means Davies and producer Bad Wolf are parting ways with the franchise.

“And so GOODBYE from me to Doctor Who but HELLO to a big new future for the show,” Davies wrote in a Wednesday Instagram post, confirming his exit. “You’ll have to wait a bit longer for new Doctor Who… but you’ll be waiting for MORE Doctor Who than a one-off. So it’s worth it!”

Davies, who led the “Doctor Who” revival from its 2005 launch to 2010 before returning for his second stint in 2023, also said that he had not written a script for the previously planned Christmas special and “no actor was ever approached to play the next Doctor.”

“I’m as excited as anyone to see what comes next!” Davies added. “Will they keep the theme tune? Will they lose the blue box? Will they bring back the Drahvin?! It’s all up for grabs, which is so Doctor Who, exciting and unpredictable and new!”

Bad Wolf, which worked on the two seasons starring Gatwa as the Time Lord, also on Wednesday confirmed its exit on Instagram in a post thanking fans and those that joined them on this “incredible journey through Space and Time.”

“It has been a joy and a privilege to have been at the helm of the TARDIS alongside the brilliant Russell T Davies,” read the production company’s statement. “Doctor Who is – and always will be – a show that shines light into the darkness and it has been an absolute honour to have been its torch bearer for 26 episodes with the BBC and Disney+.”

The BBC in its announcement reiterated its commitment to “Doctor Who” and its future. It also shared that a previously announced animated “Doctor Who” series for CBeebies is currently in production.

This latest “Doctor Who” update comes during a tenuous time for the franchise. The series has faced low viewership, Disney+ exiting as the show’s co-producers and Gatwa ending his run as the Doctor. The most recent season concluded with a cliffhanger, with the Fifteenth Doctor regenerating into a form resembling Rose Tyler, the companion portrayed by Billie Piper.

WASHINGTON — U.S. retaliatory strikes against Iran will continue after its forces shot down an American helicopter, President Trump said Wednesday, accusing the Islamic Republic of stringing him along over months of negotiations to end the war.

The prospect of a renewed U.S. air campaign cast fresh doubt on the viability of a ceasefire between the United States and Iran that has largely held since April, when the two sides reached a tenuous truce, pausing weeks of fighting. Trump’s decision to resume attacks comes after an exchange of fire between Israel and Iran threatened to spiral into open war over the weekend.

The administration has presented Trump with options to expand U.S. targets beyond the immediate area around the Strait of Hormuz to Iranian power plants across the country, an escalation that will open the president up to accusations he is targeting civilian infrastructure, according to a defense official familiar with the matter.

Speaking with reporters in the Oval Office, Trump encouraged the Iranians to accept a framework agreement negotiated between the two sides, and suggested that additional military action might compel Tehran to accept a final truce.

“We hit them hard yesterday, and we’re gonna hit ‘em again hard today,” Trump said. “And we’ll see what happens with the deal. We were really close to a deal, but they keep tapping us along — they keep playing us for suckers.”

The president’s remarks came a few hours after Trump posted on his social media website that Iran “will have to pay the price” for taking too long in negotiating a peace deal.

When pressed by reporters to elaborate, Trump said he meant that bombing would resume but declined to say whether that would include strikes on Iranian power plants and bridges, a threat he has repeatedly issued during the war.

The ongoing conflict, which is in its fourth month, has left a mark on the global and domestic economy. The U.S. Bureau of Labor Statistics reported Wednesday that inflation accelerated in May, driven by a surge in energy prices linked to the war with Iran.

The consumer price index rose 0.5% on a seasonally adjusted basis — the largest monthly increase in three years — pushing the annual inflation rate to 4.2%.

Asked whether he was concerned about the inflation numbers, Trump told reporters that the “numbers were great.”

“You know what I really love? I love the inflation. You know why? Because as soon as this war is over…,” Trump said, without finishing the thought.

The remark prompted near instantaneous news releases from Democratic operatives, as well as the party war room, which sent out a statement accusing Trump of mishandling a reckless war that has devastated the economy in the process.

“Donald Trump’s disastrous economic agenda and deadly and costly war with Iran have made life unbearable for millions of Americans,” Kendall Witmer, the Democratic National Committee’s rapid response director, said in a statement.

“Working families are shouldering skyrocketing costs for basic goods, with their wages being eaten up by Trump’s soaring inflation,” she added. “On the campaign trail, Trump promised to ‘defeat inflation,’ and to lower costs on ‘Day One,’ but two years later, Trump can’t get a handle on his war of choice with Iran as he tanks the economy back home.”

Trump then told reporters about a secret military mission to ensure safe passage for oil tankers through the Strait of Hormuz, one of the world’s most important commercial waterways. He said the operation had secured the passage of more than 100 million barrels of oil through the strait since it began.

“We took out, the other night, 22 ships late at night with no lights because they don’t have any radar because we blasted the crap out of it,” Trump said.

A couple of hours later, Trump wrote in another post that the military operation had been “wildly successful,” and that it proved the United States — not Iran — was in control of the Strait of Hormuz.

“Their military is defeated, and their economy is lost,” he wrote. “It’s over for Iran!”

Over months of diplomacy with Iran, Trump has sought to avoid a return to conflict, often seeking de-escalation when fighting has flared — and repeatedly pressuring Israel to minimize its attacks in Lebanon, where it continues to battle the militant group Hezbollah, a proxy of Iran.

Israeli strikes continued Wednesday, according to local news reports, while Hezbollah said it carried out attacks on Israeli troops stationed in southern Lebanon.

Speaking to journalists in the Oval Office, the president implied he was losing patience with Iranian tactics at the negotiating table.

“I gave them a break, at the request of Pakistan,” he said. “They still are working on trying them to do what’s right. But we want a deal that’s meaningful. We want a deal that works.”

“It was just tap, tap, tap,” the president added. “I don’t know what they’re doing.”

PITTSBURGH — Dodgers catcher Will Smith was out of the lineup for a third straight game on Tuesday against the Pirates, the stiffness in his neck still lingering. He’ll probably also be sidelined Wednesday, Dodgers manager Dave Roberts said.

“Now the [injured list] is more of a possibility,” Roberts said, noting that the minimum for positions players is 10 days. “We’re starting to talk about that.”

Teams can backdate IL moves by up to three days. Smith’s neck issue cropped up Saturday, when he was scratched from the Dodgers’ lineup against the Angels. Though Roberts speculated then that Smith could have slept on it awkwardly, he said the cause of the injury is unclear.

Smith played catch Tuesday, Roberts said, which “went OK,” but Smith’s neck bothers him the most while swinging.

“It’s still a day-to-day situation,” Robers said. “But for me, just talking to him, talking to the trainers, I would like him to go through a full day (of work) before he plays. So that would probably take [Wednesday] off the table. And then we’ll kind of go from there.”

In Smith’s absence, 25-year-old Dalton Rushing has started three straight games behind the plate, including his four-hit performance in the series finale against the Angels, and six of the last nine games.

“This year my whole goal was to make sure, if there’s an opportunity [when] Will needs rest … make sure that I can provide just as much as he does with the bat as well as behind the plate,” Rushing said Saturday. “That’s something I’m obviously continuing to work toward. Whatever he needs, I’ll be here. He knows I’ll catch seven days a week. He knows I’ll catch every game if he can’t go back there.”

If the Dodgers were to put Smith on the IL, it’s unclear who would back up Rushing. After releasing Seby Zavala last week, the Dodgers’ triple-A catchers are Eliezer Alfonzo and Chuckie Robinson, both journeymen with only Robinson having some major-league experience.

Six Flags Magic Mountain wants to change its narrative.

Known as a destination for thrill seekers, the coaster-heavy amusement park is putting the emphasis on its animated characters.

Now open is a revamped, kids-focused area in Looney Tunes Land, a remake of the former Bugs Bunny World and Whistlestop Park. All told, it’s a 5-acre space with nine rides, including two kiddie coasters, as well as still-to-come play areas, a live show and an in-development augmented reality experience.

I last walked through the area about two summers ago, and it was in a derelict state. I’m happy to report it’s more welcoming, prettier and dotted with plant life and landscaping.

Gone is the vintage Magic Flyer, once Magic Mountain’s oldest coaster (the park’s eldest thrill seeker is now Gold Rusher). Also among the casualties: Tweety’s Escape, a steel swing that placed children in birdcages that had begun to look like mini jails. It was a grim-appearing ride.

The remaining attractions have all received some much-needed TLC. Some even have added mini storylines. What was Whistlestop Train, for instance, is now Taz’s Tasmanian Train Tours. It follows a narrative in which the ride’s titular character has escaped the zoo and is eluding capture, generally causing havoc on the countryside. It’s a calm, slow-moving ride through a small green space, and we see failed attempts to trap Taz, such as an overgrown mice contraption. The ride concludes with a mechanical not-so-hidden Taz, but not before glimpsing a statue of Tasmanian She-Devil in full kiss mode.

A look into the Bugs Bunny-focused area of Magic Mountain’s new Looney Tunes Land.

(Myung J. Chun / Los Angeles Times)

The reimagining comes two years after Six Flags Entertainment Corp. and the Cedar Fair Entertainment Co. completed a merger, which in SoCal brought Magic Mountain and Knott’s Berry Farm under the same ownership. Six Flags’ corporate creative producer Clayton Lawrence says post-merger, the company pinpointed upping the family appeal at Magic Mountain as among its first orders of business.

That meant last summer devoting resources to improving the Hurricane Harbor water park, which Lawrence says specifically attracts families and grandparents. This year, attention was turned to the primary park in Looney Tunes Land.

“We really thought about what this park needs,” Lawrence says. “What will the parents need? How do we slow the guests down a little bit? This park has so many thrills in it — so many coasters — that we wanted to create a place that was nice to take a break from all the action and also develop areas where grandparents and parents could watch little ones burn off energy.”

It’s safe to say that Magic Mountain’s core audience is likely always going to be thrill seekers. And that fan base will be served next year with the planned opening of a new coaster that will overlook the Looney Tunes area.

The kiddie coaster the Road Runner Express at Six Flags Magic Mountain.

(Myung J. Chun / Los Angeles Times)

Magic Mountain attracted 3.3 million visitors in 2024, according to data released by the Themed Entertainment Assn. While Lawrence was not able to break down which percentage of that number included those traveling with children 12 and under, it’s safe to say that a greater family appeal is viewed as one of the ways to boost a SoCal audience.

“There’s a lot of people who grew up coming up here, or their first ride was inside Bugs Bunny World,” Lawrence says. “A lot of families have a daredevil teen who can go on the rides, but they also have a little one. This is about the multi-demo family.”

Looney Tunes Land is broken into four mini areas — Taz-Mania, Road Runner Ridge, Bugs Bunny Play Park and Camp Duck Amok. While there are no major distinctions between the spaces, there are slight differences. Taz’s footprints, for instance, are found in the gravel-colored pavement of Taz-Mania, and in the Daffy Duck locale the flooring looks a bit like rockwork. A small outback-like trail in Taz-Mania will soon be home to an augmented reality game, and a much-needed green space in the Bugs Bunny spot will later this summer be populated with tunnels and little climbing structures.

Asqwer Turki, 13, poses for a picture with Wile E. Coyote at the new Looney Tunes Land at Magic Mountain.

(Myung J. Chun / Los Angeles Times)

There are fun additions to spot on the refreshed rides. The Canyon Cruiser beginner’s coaster, for example, nods to classic Looney Tunes cartoons, specifically prank-filled episodes featuring Daffy Duck, Bugs Bunny and Elmer Fudd. The children’s theater has been remade into Bunny Bowl, and given giant carrots that call the attention of guests.

Such light thematic touches, said Magic Mountain President Brian Oerding, have been missing from parts of the park. They’re vital, he says, in lengthening a guest’s day.

“We’ve learned that softening the hardscape creates a better environment, a better experience, and that means you’re going to want to hang out more,” Oerding says. “Some folks will walk by black asphalt and not think anything about it, but when you look into Looney Tunes Land, and you look at the softness of the pavement and the additional landscaping, we’ve created a happier space. Mom and Dad are happier, and that means they’ll hang out longer.”

Mountain Park President Brian Oerding officially opens the new Looney Tunes Land at Magic Mountain.

(Myung J. Chun / Los Angeles Times)

Looney Tunes Land has also given Magic Mountain some much-needed in-park entertainment, as the area has been lacking a live show for a number of years. “Vacation Mayhem” comes in at just under 15 minutes and features Bugs, Daffy, Porky Pig and Sylvester imagining their perfect getaway spots in song.

Things go wrong, of course, and Bugs even explores some vices by gambling in Las Vegas, which was an odd choice I thought for a kids show, but Looney Tunes did always have a bit of an edge. Nevertheless, the musical numbers, ranging from reworkings of “The Gold Diggers’ Song (We’re in the Money)” to “Hello Muddah, Hello Fadduh (A Letter From Camp)” keep it zipping along.

“If we don’t believe that entertainment and character shows are important, we’re missing it,” Oerding says. “Yes, the rides are cool, but we haven’t done an actual entertainment show in here in a long time.”

And Lawrence says Looney Tunes is essentially a model for the entire park. No, that doesn’t necessarily mean more kiddie rides in the coming years, only that Six Flags is looking at other places where the park can use some beautification.

“This is what we want to do for the rest of the park,” Lawrence says. “Disciplined design. Nice hardscape.”

And here’s hoping for some more plants and an additional fountain or two.

This week in SoCal theme parks

Alexis Rosales of Bell gets drenched by Luke Brodowski, performing as Fluke Mayfield at Knott’s Berry Farm’s Ghost Town Alive! in 2024.

(Allen J. Schaben / Los Angeles Times)

• It’s the most wonderful time of the year. Knott’s Berry Farm begins its summer season on Friday, and that means the return of Ghost Town Alive! This interactive live show, now a decade old, is unlike anything at any other SoCal park, and in my mind it’s the best summer entertainment available. This hybrid live-action role-playing game and work of interactive theater enables guests to live out mini-Wild West adventures while interacting with more than two dozen actors. Players follow a loose story centered on the drama in the fictional town of Calico, in the park’s Ghost Town area. It’s silly, it’s wacky and there’s even a daily newspaper. Ghost Town Alive! runs on select days, and I’ll see you there Friday.
• World Cup, Lego Style! Carlsbad’s Legoland is celebrating the arrival of the World Cup with a host of limited-time activities and Lego creations. The park, for instance, has built a 30-foot-long re-creation of SoFi Stadium, and elsewhere has created brick versions of a host of soccer stars. There are interactive events as well, such as accuracy challenges and games that have attendees trying to score goals off of Lego minifigures. Legoland’s FIFIA World Cup Experience 2026 launches Thursday and runs through July 19.
• Oogie Boogie Bash tickets drop — and a Haunted Mansion street parade? The Disneyland Resort’s popular after-hours event Oogie Boogie Bash returns Aug. 18, and tickets for Magic Key passholders go on sale June 16 (the general public sale is June 18). New this year to the Disney California Adventure experience is what the resort is calling “Madame Leota’s Swinging Wake.” Though not a full-scale parade, expect Haunted Mansion characters — the concept art shows floats of the attraction’s “stretching room” portraits — as well as ghostly dancers. But with something new, something must depart. “Madame Leota’s Swinging Wake” is replacing the “Frightfully Fun Parade.” Ticket prices vary by day, starting at $139. October dates, for instance, top off at $199.
• “Harry Potter” will hover above Dodger Stadium. A theme park-like drone show is arriving Saturday at Dodger Stadium. More than 1,200 drones will soar over the park as part of a “Harry Potter”-inspired production, which will also feature music, trivia and an appearance from the film’s Bonnie Wright (Ginny Weasley). Expect re-creations of “Potter” iconography such as Hogwarts Castle, magical creatures, the Sorting Hat and more. The hourlong show begins at 9 p.m. and Butterbeer will be on hand. Tickets start at $52.90 for adults.

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.

Last week I put out a call for Disneyland fans to share their Carousel of Progress memories. The theater attraction, centered around a rotating auditorium, debuted at the 1964 World’s Fair before making its way to Disneyland in 1967. It was moved to Florida’s Walt Disney World in 1975. The Walt Disney Co. announced recently that the Florida version would be undergoing a top-to-bottom overhaul, but its dedication to technological optimism throughout the decades would remain.

I’m thoroughly enjoying the remembrances. Many cited it as a favorite. “My father was a musician, and it became a family tradition that we’d sit in the back row and sing ‘[There’s] a Great Big Beautiful Tomorrow’ loudly at the top of our lungs from the very beginning of the ride, which I’m sure newcomers thought was weird and probably annoying,” wrote one reader. Another noted, “The mid-60s were exciting years to be a kid, as the future seemed so promising and exciting; the [Carousel of Progress] plugged right into that enthusiasm.”

Many shared similar sentiments. “The animated activities of the characters and their dialogue embraced the ‘Happiest Place on Earth” theme that was prevalent throughout Disneyland in those earlier days,” said one fan. A few, however, called out that the attraction was sponsored by General Electric, making it feel a bit like an advertisement. As one reader summarized: “It was incredibly clunky product placement, even to a kid’s ears.”