Entertainment
At D23, even Disney's biggest fans feel the pinch of high park prices
Clad in a two-tiered ruffled dress, Minnie Mouse ears and a folding fan, all made of recycled Disney parks merch bags, Patt Haro reminisced about the days, decades ago, when Disneyland’s annual pass was just $99.
Haro, 65, and her similarly decked-out husband, Richard, 66, have been annual pass holders for more than 40 years. The Fontana couple used to buy passes for loved ones as Christmas presents.
“Prices have definitely gone up,” said Haro, who also works as a travel planner specializing in Disney trips.
But that hasn’t stopped the couple’s tradition of visiting Disneyland every Sunday in coordinated, handmade outfits, similar to their get-up at the D23 Disney convention in Anaheim this weekend. For their most recent annual passes, known as a “Magic Key,” they paid about $1,600 — which Richard Haro estimates works out to $20 a day.
“It’s really worth it to us,” he said.
What keeps them coming back?
“The magic,” Patt Haro said, smiling.
Patt and Richard Haro, residents of Fontana, attend Disney’s D23 fan convention in Anaheim on Saturday. Patt spent a little over a year making the couple’s outfits from 120 recycled Disney parks bags.
(Samantha Masunaga / Los Angeles Times)
At Disney’s biennial fan event at the Anaheim Convention Center, even the biggest fans acknowledged the higher prices for theme park admission and grumbled about the move to paid line-skipping perks. But D23 attendees, a self-selecting group of superfans, were far from willing to cut out trips.
That is good news for the Burbank media and entertainment company, which last week reported relatively soft financial results in its experiences division, which includes the theme parks, cruise line and merchandise. The division reported a 2% increase in revenue for the fiscal third quarter, compared with a year ago, but a 3% decrease in operating income.
The segment dominated previous earnings reports and brought in about 70% of Disney’s operating income during the most recent fiscal year. For a while, the segment was a bright spot for the company as streaming lost billions of dollars while cannibalizing its cable networks and theatrical movie releases.
But company executives and analysts say pent-up demand for travel since the COVID-19 pandemic is starting to subside. Moreover, the company told financial analysts to expect “flattish” revenue for the experiences division for the next fiscal quarter and for several quarters after that. The company cited signs of softening demand among U.S. consumers, a sign that economic stress might finally be weighing on people’s travel plans.
That’s led to questions about whether Disney has priced out lower- or middle-income visitors and how the park will handle consumers increasingly squeezed by inflation. These days, a family of three could expect to pay at least $700 just to get in the turnstile with Park Hopper tickets at the Disney theme parks in Anaheim.
“It is not news that a Disney trip is expensive, but the magnitude and speed of price increases over roughly the past five years was jarring to many respondents, and we do not believe similar increases over roughly the next five years are feasible,” wrote Ric Prentiss, managing director at Raymond James, in a note to clients about results from a survey of 20 Disney superfans, travel agents and local business owners.
A Disney spokesperson said in a statement that the company offers a range of prices starting from $106 at Disneyland Resort in Anaheim and $109 at Walt Disney World in Orlando, Fla., which “gives guests the opportunity to visit during periods when they can get even greater value.” The spokesperson also noted that a typical trip to a Disney theme park can last 10 to 16 hours, and that guest experience ratings are trending higher.
“Over 70 years, Disney parks have navigated through many economic cycles like this before,” the spokesperson said. “We firmly believe in a bright future for our business, and we’re committed to investment and expansion around the world.”
To keep Disney parks competitive with rivals, including Universal’s soon-to-open Epic Universe park in Orlando, the company plans to invest $60 billion over 10 years into its experiences division, including a development of at least $1.9 billion at Disneyland Resort.
On Saturday night, company executives unveiled plans for a new “Avatar”-themed section and a new “Coco” boat ride in Disney California Adventure, as well as a villains-themed land in Disney World’s Magic Kingdom, “Encanto”- and “Indiana Jones”-themed attractions in Orlando’s Animal Kingdom and a “Monsters, Inc.” land at Disney’s Hollywood Studios.
Many questions remained, including when those attractions would open and where, exactly, in the parks they’d be located, but Josh D’Amaro, chair of the company’s experiences division and a potential successor to current Chief Executive Bob Iger, said all were in some stage of development.
“Disney’s plans are drawn,” he said onstage at Saturday night’s presentation at the Honda Center arena. “This means the dirt is moving.”
The more concrete plan of action was welcomed by fans, who groused at the last D23 convention in 2022 that Disney’s parks presentation was heavy on potential but light on actual details. Some fans said they wanted to see new attractions that would freshen things up. The last thing they want is to feel as if they’re paying more for the same old thing.
Wes Strickland, 27, said the parks have been “pretty stagnant” since the pandemic, which has been “kind of frustrating.”
Disney is “not adding enough in the parks to justify price increases, said Strickland, an Anaheim resident who worked at Disneyland for three years and is an annual pass holder. He also noted the paid line-skipping service, an option that was formerly free, as a concern.
Yet he still goes every other week. The park is too full of memories for him, as it reminds him of visiting as a child and of his first date with his now-fiancee.
“It’s a magical place for us, even though it’s too expensive,” said Strickland, who was wearing a purple button-down festooned with the creepy eyes from the wallpaper in the Haunted Mansion ride. “It’s top bar for theme parks.”
Friends Ryan Wenzel, 31, and Allie Ring, 31, both from Chicago, attend Disney’s D23 fan convention in Anaheim on Saturday, dressed as the now-defunct Disney FastPass.
(Samantha Masunaga / Los Angeles Times)
Wearing torso-sized replicas of the now-discontinued Disney FastPasses over their chests, longtime friends Ryan Wenzel and Allie Ring have resigned themselves to higher prices.
“I feel like inflation is everywhere,” said Wenzel, 31, from Chicago, wearing a giant replica of a FastPass for the Haunted Mansion ride. “I’ve always gotten the value out of the parks that I expect.”
“Everything has gotten more expensive,” added Ring, 31, who wore a Jungle Cruise FastPass.
The two, who have been best friends since high school and visit Disney parks multiple times a year, said they understood that Disney had to enact some changes in the parks. But the company seemed open to guest feedback, they said, citing adjustments to its paid line-skipping feature.
Others, though, voiced some frustration with recent visits to Disney theme parks, noting a particular feeling of being aggressively marketed to with merchandise.
“Buy ‘Coco’ stuff. Buy Avengers stuff. Buy ‘Avatar’ stuff,” said Marie Santos, 37, of San Francisco. Santos suggested a simple remedy for the company’s challenges: “Make new attractions.”
But the parks still hold a particular draw for Disney superfans, particularly at D23.
At a cosplay photo meet-up on Saturday, a cluster of people dressed up as the iconic Spaceship Earth ride at Epcot, an ax-wielding bride from the Haunted Mansion and unnamed animatronic characters from the Pirates of the Caribbean ride at Disneyland. One woman in a nightgown lugged around her own green shutters, cosplaying as a character in the ride who shouts to a man named Carlos.
That nostalgia keeps devotees coming back.
Darryl Paltao, 33, said that as the price of his annual pass price has gone up, he’s had to crunch the numbers to make sure he gets to Disneyland at least six times a year to get his money’s worth. He bemoaned some of the changes over the years to the parks, such as the advent of the pandemic-era reservation system that ended his spontaneous visits to Disneyland after, say, a dinner at Downtown Disney.
But he keeps coming back because it reminds him of family trips, when his grandfather would push him down Main Street in a stroller.
“It always brings back memories,” said Paltao, a Foster City resident.
He said he’d deal with the consequences to his wallet later.
Movie Reviews
Movie Review: Here comes “THE BRIDE!”, audacious and wild – Rue Morgue

That’s both a promise and a challenge she delivers, since what follows may rub some viewers the wrong way. Yet Gyllenhaal’s full-throttle commitment to her vision is compelling in and of itself, and she has marshalled an absolutely smashing-looking and -sounding production. The story proper begins in 1936 Chicago, which, like everything and everyplace else in the movie, has been luminously shot by cinematographer Lawrence Sher and sumptuously conjured by production designer Karen Murphy. Her involvement is appropriate given that her previous credits include Bradley Cooper’s A STAR IS BORN and Baz Luhrmann’s ELVIS, since among other things, THE BRIDE! is a nostalgic musical. Its Frankenstein (Christian Bale), who has taken the name of his maker, is obsessed with big-screen tuners, and imagines himself in elaborate song-and-dance numbers. (Considering the reception to JOKER: FOLIE À DEUX, one must applaud the daring of Warner Bros. for greenlighting another expensive film in which a tormented protagonist has that kind of fantasy life.)
THE BRIDE! may be revisionist on many levels, but its characterization of its “monster” holds true to past screen incarnations from Karloff’s to Elordi’s: His scarred appearance masks a lonely soul who desires companionship. Frankenstein has arrived in Chicago to seek out Dr. Cornelia Euphronious (Annette Bening), correctly believing she has the scientific know-how to create an appropriate mate for him. Rather than piece one together, Dr. Euphronious resurrects the corpse of Ida (Jessie Buckley), whose consorting with underworld types led to her brutal death. Previously chafing against the man’s world she inhabited in life, she becomes even more defiant and unruly as a revenant, apparently possessed by the spirit of Shelley herself, declaiming in free-associative sentences and quoting rebellious literature.
Buckley, currently an Oscar favorite for her very different literary-inspired role in HAMNET, tears into the role of the Bride (who now goes by the name Penny) with invigorating abandon that bursts off the screen. Unsure of her identity yet overflowing with self-confident bravado, she’s the opposite of the sensitive “Frank,” but they’re united by the world that stands against them. That becomes literal when a violent incident sends them on the lam, road-tripping to New York City and beyond, on a trail inspired by the films of Ronnie Reed (Jake Gyllenhaal), Frank’s favorite song-and-dance-man star.
With THE BRIDE!, Gyllenhaal has made a film that’s at once her very own and a feverish homage to all sorts of cinema past and present. It’s a horror story, a lovers-on-the-run movie, a crime thriller, a musical and more, and historical fealty be damned if it makes for a good scene (as when Penny and Frank sneak into a 3D movie over a decade before such features became popular). In-references are everywhere: It might just be a coincidence that the couple’s travels take them past Fredonia, NY (cf. “Freedonia” in the Marx Brothers’ DUCK SOUP), but it’s certainly no accident that the former Ida is targeted by a crime boss named Lupino, referencing the actress and pioneering filmmaker whose works included noirs and women’s-issues stories. Penny’s exploits lead legions of admiring women to adopt her look and anarchic attitude, echoing the first JOKER (while a headline calls them “Twisted Sisters”), and the use of one Irving Berlin song in a Frankensteinian context immediately recalls a classic comedic take on the property.
Whether the audience should be put in mind of a spoof at a key point in a film with different goals is another matter. At times like these, Gyllenhaal’s pastiche ambitions overtake emotional investment in the story. As strong as the two lead performances are (Bale is quite moving, conveying a great deal of soul from behind his extensive prosthetics), it’s easier to feel for them in individual scenes than during the entire course of the just-over-two-hour running time. The diversions can be entertaining, to be sure, but they also result in an uncertainty of tone. The dissonance continues straight through to the end, where the filmmaker’s choice of closing-credits song once again suggests we’re not supposed to take all this too seriously.
There’s nonetheless much to admire and enjoy about THE BRIDE!, and this kind of risk-taking by a major studio is always to be encouraged (especially considering that we’ll see how long that lasts at Warner Bros. once Paramount takes it over). Beyond the terrific work by the aforementioned actors, there’s fine support from Peter Sarsgaard and Penelope Cruz as detectives on Penny and Frank’s heels, with Sandy Powell’s lavish costumes and Hildur Guðnadóttir’s rich, varied score vital to fashioning this fully imagined world. Kudos also to makeup and prosthetics designer Nadia Stacey and to Chris Gallaher and Scott Stoddard, who did those honors on Frank, for their visceral, evocative work. Uneven as it may be, THE BRIDE! is also as alive! as any film you’ll likely see this year.
Entertainment
These 3 Disney movie songs, animated with sign language, are headed to Disney+
New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.
Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.
Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.
“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”
Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.
Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”
“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”
Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.
“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”
Movie Reviews
Maxime Giroux – ‘In Cold Light’ movie review
(Credits: Far Out / Elevation Pictures)
Maxime Giroux – ‘In Cold Light’
The action is relentless in the complex thriller In Cold Light, a tense combination of crime and fugitive tale and family drama. It is the third feature and first English language film by Maxime Giroux, best known for a very different kind of film, the critically acclaimed 2014 drama Felix & Meira.
The tension and high energy of In Cold Light almost overwhelm the film, but are relieved, barely, by moments of character development and introspection that keep the audience pulling for the restrained and outwardly cold main character.
Speaking at the film’s Canadian premiere, director Giroux admitted he found creating an action film a challenge. Part of his approach was using very minimal dialogue, especially for the central character, letting the action speak for itself, and allowing silence to intensify suspense. Giroux has said he likes the lack of dialogue and speaks highly of the importance of silence in cinema; he prefers using “physical aspects of communication” in his films.
Young Ava Bly (Maika Monroe) is a competent and businesslike drug dealer, working in partnership with her brother Tom (Jesse Irving) and a small team. As the film begins, Ava has just been released from a brief prison sentence. She is hoping to return to her former position, but her brother’s associates consider her a risk due to her recent incarceration. While she works to re-establish herself, a shocking encounter with a corrupt police officer sends Ava’s life into chaos and forces her to go on the run.
Ava’s fugitive experience introduces a new character, to whom Ava turns for help: her father, Will Bly, played by Troy Kotsur, known for his excellent performance in CODA. Their first interaction is handled in a fascinating way, as Will is deaf and the two communicate through sign language. This, of course, provides another form of the silent interaction the director prefers; he explained that much of the father-daughter interaction was rewritten with the actor in mind. Their conflict is nicely expressed through a scene in which their initial conversation is intermittently cut off by a faulty light which goes out periodically, making communication through sign momentarily impossible, nicely expressing the rift between father and daughter.
As Ava continues to evade danger, her escape becomes complicated by new information, placing her in a painful dilemma. We gradually learn more about Ava, her background, and her character through occasional flashbacks and glimpses of her dreams. The plot becomes more complex and more poignant, and gains features of a mystery as well as an action tale, as she is pressed to choose from among equally unacceptable alternatives.
The climax of her efforts to protect both herself and those close to her comes to a head as she meets with the director of a rival drug gang. Veteran actress Helen Hunt is perfect in the minor but significant role of Claire, the rival drug lord, who plays odd mind games with Ava in an intriguing psychological fencing match. It’s an unusual scene, in which Ava’s personality is made clearer, and Claire’s understated dominance and casual speech do not quite conceal the threat she represents.
The frantic pace and emotional turmoil are enhanced by the camera work, which tends to focus tightly on Ava, and by a harsh, minimal musical score that sets the tone without distracting from the action. Giroux chose to shoot the film in Super 60; he describes digital as “too perfect” for the look he was going for, and since “Ava is rough,” the film portrays her better. The director describes the entire movie as “rough,” in fact, and deliberately chose a dark, washed-out look for much of the footage, occasionally using light and colour, in the form of fireworks, lightning, or a colourful carnival, to both relieve and emphasise the darkness.
The dynamic, intense story holds the attention in spite of the lengthy, sometimes repetitive chase scenes and subdued dialogue. Ava’s predicament, and the difficult decisions she is forced to make, are made surprisingly relatable, from the initial disaster that starts the action to the surprising flash-forward that concludes the film, on as high a note as the situation could allow. Fans of action movies will definitely enjoy this one.
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