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 – SHAKA: A STORY OF ALOHA
Entertainment
Tommy Lee Jones’ daughter reportedly found dead at San Francisco hotel on New Year’s Day
Victoria Jones, the daughter of Academy Award-winning actor Tommy Lee Jones, was reportedly found dead at a hotel in San Francisco on New Year’s Day. She was 34.
According to TMZ, the San Francisco Fire Department responded to a medical emergency call at the Fairmont San Francisco early Thursday morning. The paramedics pronounced Victoria dead at the scene before turning it over to the San Francisco Police Department for further investigation, the outlet said.
An SFPD representative confirmed to The Times that officers responded to a call at approximately 3:14 a.m. Thursday regarding a report of a deceased person at the hotel and that they met with medics at the scene who declared an unnamed adult female dead.
Citing law enforcement sources, NBC Bay Area also reported that the deceased woman found in a hallway of the hotel was believed to be Jones and that police did not suspect foul play.
“We are deeply saddened by an incident that occurred at the hotel on January 1, 2026,” the Fairmont told NBC Bay Area in a statement. “Our heartfelt condolences are with the family and loved ones during this very difficult time. The hotel team is actively cooperating and supporting police authorities within the framework of the ongoing investigation.”
The medical examiner conducted an investigation at the scene, but Jones’ cause of death remains undetermined. Dispatch audio obtained by TMZ and People indicated that the 911 emergency call was for a suspected drug overdose.
Jones was the daughter of Tommy Lee and ex-wife Kimberlea Cloughley. Her brief acting career included roles on films such as “Men in Black II” (2002), which starred her father, and “The Three Burials of Melquiades Estrada” (2005), which was directed by her father. She also appeared in a 2005 episode of “One Tree Hill.”
Page Six reported that Jones had been arrested at least twice in 2025 in Napa County, including an arrest on suspicion of being under the influence of a controlled substance and drug possession.
Movie Reviews
Movie Review: “I Was a Stranger” and You Welcomed Me
Just when you think that you’ve seen and heard all sides of the human migration debate, and long after you fear that the cruel, the ignorant and the scapegoaters have won that shouting match, a film comes along and defies ignorance and prejudice by both embracing and upending the conventional “immigrant” narrative.
“I Was a Strranger” is the first great film of 2026. It’s cleverly written, carefully crafted and beautifully-acted with characters who humanize many facets of the “migration” and “illegal immigration” debate. The debut feature of writer-director Brandt Andersen, “Stranger” is emotional and logical, blunt and heroic. It challenges viewers to rethink their preconceptions and prejudices and the very definition of “heroic.”
The fact that this film — which takes its title from the Book of Matthew, chapter 25, verse 35 — is from the same faith-based film distributor that made millions by feeding the discredited human trafficking wish fulfillment fantasy “Sound of Freedom” to an eager conservative Christian audience makes this film something of a minor miracle in its own right.
But as Angel Studios has also urged churchgoers not just to animated Nativity stories (“The King of Kings”) and “David” musicals, but Christian resistence to fascism (“Truth & Treason” and “Bonheoffer”) , their atonement is almost complete.
Andersen deftly weaves five compact but saga-sized stories about immigrants escaping from civil-war-torn Syria into a sort of interwoven, overlapping “Babel” or “Crash” about migration.
“The Doctor” is about a Chicago hospital employee (Yasmine Al Massri of “Palestine 36” and TV’s “Quantico”) whose flashback takes us to the hospital in Aleppo, Syria, bombed and terrorized by the Assad regime’s forces, and what she and her tween daughter (Massa Daoud) went through to escape — from literally crawling out of a bombed building to dodging death at the border to the harrowing small boat voyage from Turkey to Greece.
“The Soldier” follows loyal Assad trooper Mustafa (Yahya Mahayni was John the Baptist in Martin Scorsese Presents: The Saints”) through his murderous work in Aleppo, and the crisis of conscience that finally hits him as he sees the cruel and repressive regime he works for at its most desperate.
“The Smuggler” is Marwan, a refugee-camp savvy African — played by the terrific French actor Omar Sy of “The Intouchables” and “The Book of Clarence” — who cynically makes his money buying disposable inflatable boats, disposable outboards and not-enough-life-jackets in Turkey to smuggle refugees to Greece.
“The Poet” (Ziad Bakri of “Screwdriver”) just wants to get his Syrian family of five out of Turkey and into Europe on Marwan’s boat.
And “The Captain” (Constantine Markoulakis of “The Telemachy”) commands a Hellenic Coast Guard vessel, a man haunted by the harrowing rescues he must carry out daily and visions of the bodies of those he doesn’t.
Andersen, a Tampa native who made his mark producing Tom Cruise spectacles (“American Made”), Mel Gibson B-movies (“Panama”) and the occasional “Everest” blockbuster, expands his short film “Refugee” to feature length for “I Was a Stranger.” He doesn’t so much alter the formula or reinvent this genre of film as find points of view that we seldom see that force us to reconsider what we believe through their eyes.
Sy’s Smuggler has a sickly little boy that he longs to take to Chicago. He runs his ill-gotten-gains operation, profiting off human misery, to realize that dream. We see glimpses of what might be compassion, but also bullying “customers” and his new North African assistant (Ayman Samman). Keeping up the hard front he shows one and all, we see him callously buy life jackets in the bazaar — never enough for every customer to have one in any given voyage.
The Captain sits for dinner with family and friends and has to listen to Greek prejudices and complaints about this human life and human rights crisis, which is how the worlds sees Greece reacting to this “invasion.” But as he and his first mate recount lives saved and the horrors of lives lost, that quibbling is silenced.
Here and there we see and hear (in Arabic and Greek with subtitles, and English) little moments of “rising above” human pettiness and cruelty and the simple blessings of kindness.
“I Was a Stranger” was finished in 2024 and arrives in cinemas at one of the bleakest moments in recent history. Cruelty is running amok, unchecked and unpunished. Countries are being destabilized, with the fans of alleged “strong man” rule cheering it on.
Andersen carefully avoids politics — Middle Eastern, Israeli, European and American — save for the opening scene’s zoom in on that Chicago hospital, passing a gaudily named “Trump” hotel in the process, and a general condemnation of Syria’s Assad mob family regime.
But Andersen’s bold movie, with its message so against the grain of current events, compromised media coverage and the mostly conservative audience that has become this film distributor’s base, plays like a wet slap back to reality.
And as any revival preacher will tell you, putting a positive message out there in front of millions is the only way to convert hundreds among the millions who have lost their way.

Rating: PG-13, violence, smoking, racial slurs
Cast: Yasmine Al Massri, Yahya Mahayni, Ziad Bakri, Omar Sy, Ayman Samman, Massa Daoud, Jason Beghe and Constantine Markoulakis
Credits: Scripted and directed by Brandt Andersen. An Angel Studios release.
Running time: 1:43
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