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At D23, even Disney's biggest fans feel the pinch of high park prices

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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.

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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)

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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.

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“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.

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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.

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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.”

Two friends wear giant replicas of Disney FastPass on their chests at D23 fan convention.

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.

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“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.”

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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.

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“It always brings back memories,” said Paltao, a Foster City resident.

He said he’d deal with the consequences to his wallet later.

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Movie Reviews

Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

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Movie Review: The Mortuary Assistant – HorrorFuel.com: Reviews, Ratings and Where to Watch the Best Horror Movies & TV Shows

Forget the “video game movie” curse; The Mortuary Assistant is a bone-chilling triumph that stands entirely on its own two feet. Starring Willa Holland (Arrow) as Rebecca Owens, the film follows a newly certified mortician whose “overtime shift” quickly devolves into a grueling battle for her soul.

What Makes It Work

The film expertly balances the stomach-churning procedural work of embalming with a spiraling demonic nightmare. Alongside a mysterious mentor played by Paul Sparks (Boardwalk Empire), Rebecca is forced to confront both ancient evils and her own buried traumas. And boy, does she have a lot of them.

Thanks to a full-scale, practical River Fields Mortuary set, the film drips with realism, like you can almost smell the rot and bloat of the bodies through the screen.

The skin effects are hauntingly accurate. The way the flesh moves during surgical scenes is so visceral. I’ve seen a lot of flesh wounds in horror films and in real life, and the bodies, skin, and organs. The Mortuary Assistant (especially in the opening scene) looks so real that I skipped supper after watching it. And that’s saying something. Your girl likes to eat.

Co-written by the game’s creator, Brian Clarke, the movie dives deeper into the demonic mythology. Whether you’ve seen every ending or don’t know a scalpel from a trocar, the story is perfectly self-contained. If you’ve never played the game, or played it a hundred times, the film works equally well, which is hard to do when it comes to game adaptations.

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Nailed It

This film does a lot of things right, but the isolation of the night shift is suffocating. Between the darkness of the hallways and the “residents” that refuse to stay still, the film delivers a relentlessly immersive experience. And thankfully, although this movie is filled with dark rooms and shadows, it’s easy to see every little thing. Don’t you hate it when a movie is so dark that you can’t see what’s happening? It’s one of my pet peeves.

The oh-so-awesome Jeremiah Kipp directs the film and has made something absolutely nightmare-inducing. Kipp recently joined us for an interview, took us inside the film, discussed its details and the game’s lore, and so much more. I urge you to check out our interview. He’s awesome!

The Verdict

This isn’t just a cash-grab; it’s a high-effort adaptation that respects the source material while elevating the horror genre. With incredible special effects and a powerhouse cast, it’s the kind of movie that will make you rethink working late ever again. Dropping on Friday the 13th, this is a must-watch for horror fans. It’s grisly, intelligent, and genuinely terrifying.

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

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Former Live Nation executive says he was fired after raising ‘financial misconduct’ concerns

A former executive at Live Nation, the world’s largest live entertainment company, is suing the company, alleging that he was wrongfully terminated after he raised concerns about alleged financial misconduct and improper accounting practices.

Nicholas Rumanes alleges he was “fraudulently induced” in 2022 to leave a lucrative position as head of strategic development at a real estate investment trust to create a new role as executive vice president of development and business practice at Beverly Hills-based Live Nation.

In his new position, Rumanes said, he raised “serious and legitimate alarm” over the the company’s business practices.

As a result, he says, he was “unlawfully terminated,” according to the lawsuit filed Thursday in Los Angeles County Superior Court.

“Rumanes was, simply put, promised one job and forced to accept another. And then he was cut loose for insisting on doing that lesser job with integrity and honesty,” according to the lawsuit.

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He is seeking $35 million in damages.

Representatives for Live Nation were not immediately available for comment.

The lawsuit comes a week after a federal jury in Manhattan found that Live Nation and its Ticketmaster subsidiary had operated a monopoly over major concert venues, controlling 86% of the concert market.

Rumanes’ lawsuit describes a “culture of deception” at Live Nation, saying its “basic business model was to misstate and exaggerate financial figures in efforts to solicit and secure business.”

Such practices “spanned a wide spectrum of projects in what appeared to be a company-wide pattern of financial misrepresentation and misleading disclosures,” the lawsuit states.

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Rumanes says he received materials and documents that showed that the company inflated projected revenues across multiple venue development projects.

Additionally, Rumanes contends that the company violated a federal law that requires independent financial auditing and transparency and instead ran Live Nation “through a centralized, opaque structure” that enables it to “bypass oversight and internal checks and balances.”

In 2010, as a condition of the Live Nation-Ticketmaster merger, the newly formed company agreed to a consent decree with the government that prohibited the firm from threatening venues to use Ticketmaster. In 2019 the Justice Department found that the company had repeatedly breached the agreement, and it extended the decree.

Rumanes contends that he brought his concerns to the attention of the company’s management, but his warnings were “repeatedly ignored.”

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Movie Reviews

‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

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‘Madhuvidhu’ movie review: A light-hearted film that squanders a promising conflict

At the centre of Madhuvidhu directed by Vishnu Aravind is a house where only men reside, three generations of them living in harmony. Unlike the Anjooran household in Godfather, this is not a house where entry is banned to women, but just that women don’t choose to come here. For Amrithraj alias Ammu (Sharafudheen), the protagonist, 28 marriage proposals have already fallen through although he was not lacking in interest.

When a not-so-cordial first meeting with Sneha (Kalyani Panicker) inevitably turns into mutual attraction, things appear about to change. But some unexpected hiccups are waiting for them, their different religions being one of them. Writers Jai Vishnu and Bipin Mohan do not seem to have any major ambitions with Madhuvidhu, but they seem rather content to aim for the middle space of a feel-good entertainer. Only that they end up hitting further lower.

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