It’s billed as the happiest place on earth so much so that millions flock to the various Disney theme parks each year. A place of magic and wonder; an escape from day-to-day life that so many hold dear. It’s not uncommon for visitors to comment about never wanting to leave, flinching at the very thought of ditching the mouse ears and returning to the day job. However according to long-established urban myths, some take the drive of not wanting to leave a little too literally.
It has long been speculated across the internet and subsequently ‘confirmed’ by those former-cast members (park employees) that it’s a common activity for individuals to scatter the ashes of loved ones throughout the grounds and on the rides themselves across Disneyland resorts.
It’s become such a phenomenon that Disney has spoken out it in the past, confirming that it is not permitted or tolerated.
In basic terms, it’s a violation of the Health and Safety Code to scatter human ashes on private property.
Disney is no stranger to urban legends, the sort of myths that are bound to circulate around a brand that is known for its ‘magic’ and its guarded approach to running the theme parks across the globe.
An approach that is in place in order to conceal the ordinary, keep the magic alive and allow for an all round special experience for guests.
Of course, this slight element of secrecy can allow scope for people’s imagination to run wild and the opportunity to reveal stories which may or may not be true.
If there are anywhere near as many attempted ashes scattering incidents across the theme parks as the internet, in particular Reddit, has us believe, then it appears that such an act has been carried out by visitors for a long time.
Treating any of the Disney theme parks as the final resting place of a loved one may be happening behind closed doors despite Disney’s efforts to stop this.
In fact, according to Insider in 2018, incidents of ashes scattering in on Disney property were occurring as often as once a month.
As with any long-established urban myth, there are intricate details including where the hotspots for ashes scattering are within the theme parks.
Reddit is convoluted of users claiming that hotspots include the Haunted Mansion ride, the Pirates of the Caribbean ride and the expanse of vividly coloured flowerbeds that the parks boast.
The Haunted Mansion ride for example, has its own cult following, a division of which supposedly believes that guests scatter the ashes of loved ones within the ride so that they can join the ghosts and essentially live on at Disneyland forever – creepy stuff.
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Today, Saturday July 3, 2021, legendary actor Tom Cruise turns 59-years-old. The American icon has appeared in countless films and has become one of the most recognisable Hollywood stars of all time. Perhaps his biggest cinematic franchise is the Mission: Impossible series. Before he was climbing up the world’s tallest building or jumping out of moving planes, however, he carried out a heist at the CIA’s headquarters.
WATCH THE INTENSE HEIST SCENE BELOW
This thrilling and tense scene involved Cruise being dangled from the safe room’s ceiling to hack into its computer terminal.
Cruise’s character Ethan Hunt had to avoid a number of motion sensors in the room, as well as a number of other safety measures, including temperature and sound detectors.
This all came to a nail-biting end when his colleague, Franz Krieger (Jean Reno), dropped Hunt before narrowly catching him just before he hit the floor.
What followed was one of the most iconic moments in the M:I franchise: Hunt hanging just centimetres from the floor.
BROOKLYN, New York City — A 4-year-old boy from Brooklyn purchased more than $ 2,600 worth of SpongeBob popsicles from Amazon without his mother’s knowledge.Noah Bryant ordered 51 cases with a total of 918 popsicles for a whopping $ 2,618.85, to be exact, all shipped to his aunt’s house.
Amazon would not take back the popsicles, meaning mother of three Jennifer Bryant, a social work student at NYU, is stuck with the bill.A GoFundMe page has been set up for the family, with more than $ 11,000 raised so far.
Amazon says they are in contact with Bryant family and will donate proceeds to a local charity.
Noah is on the autism spectrum, and the family says the additional funds will go towards his education.In an update posted to GoFundMe, Bryant wrote, “As a parent to a child living with ASD (autism spectrum disorder), all additional donations will go towards Noah’s education and additional supports. We cannot thank you enough. Truly.”
You know, I can’t decide if The Legend of Zelda: Phantom Hourglass is admirably brave, or lovably stupid. The handheld Zelda games have always been a little… weird, whether it’s Minish Cap’s “what if Tingle had a family” or Spirit Tracks’ “what if the bad guy was a train”, and that’s largely down to the fact that Nintendo can afford to go a bit wild on the Zeldas that aren’t on the big consoles. They fly a little under the radar, they aren’t always 100 per cent canonical, and as a result, they can easily play with the established formula a little more, since no one takes them quite as seriously as a full-fledged title.
Enter Phantom Hourglass: the sort-of-but-not-quite sequel to Wind Waker, in which the world is still A Big Wet, but Tetra the badass pirate is no longer trapped in the body of a blonde woman who’s stuck in a basement. It was quite a gamble – Wind Waker was a huge success, and is one of the most beloved Zelda games to this day, so to set a game in its world is a risky proposition.
For the most part – at least, in my opinion, which is what you’re about to get several hundred words of – Phantom Hourglass carried the torch well, but what it’s remembered for more than anything is its central dungeon. Let’s get into that first, eh?
The Temple of the Ocean King, AKA the Bane of the Video Game Player, is a temple dungeon divided into individual levels on each floor that must be done no less than five times. If you thought Ocarina of Time’s Water Temple was a pain in the bum, then you ain’t seen nothing yet. Each time you revisit The Temple of the Ocean King, you have to re-do many of the puzzles and stealth challenges you’ve already done – because, oh yeah, the whole thing is a stealth dungeon – although new items gained in the meantime will open up the occasional shortcut.
DID I MENTION THAT THE DUNGEON IS ALSO TIMED? No, I did not. But it is, and going over the time limit will deal damage to Link. Time limits, stealth, and repetition are perhaps my three least favourite game mechanics – and yet, I consider Phantom Hourglass one of my favourite Zelda games of all time. What gives?
Well, many things gives. To begin simply, it’s a fantastic use of the DS’ technology; the stylus is used for everything, from movement to combat to one particularly great moment where you have to map out an entire island on paper. Sure, that may have been a negative for some people, and I certainly don’t think I’d enjoy it quite as much today, what with all that tendonitis I have, but back then, it was a revelation.
Nintendo have always enjoyed experimenting with their console tech, and for the first few years of the DS, the Wii, and the 3DS, we were treated to some novel and creative uses of those technologies. For the Wii, it was games like Wii Sports and Okami; for the 3DS, Luigi’s Mansion and Super Mario 3D Land used the autostereoscopic feature as much as they could; on DS, very few games reached the stylus-use heights of Phantom Hourglass.
One of the greatest features of Phantom Hourglass was the way it let players doodle all over the map. Breath of the Wild’s map pins and stamps were but a limited replication of Phantom Hourglass’ note-taking, which would let you jot down where specific items, chests, and enemies were, or just draw a giant dong, if you wanted. Some dungeons revolve around the idea, and Bombchus in particular (which are far more useful in this game than any other) require drawing a precise path that doesn’t touch any walls. Pen-based gameplay? Heck yeah! Sign me up, baby.
But, for a chunky-looking handheld game that was trying to replicate a specific, cel-shaded style on a much more powerful console, Phantom Hourglass is also full of personality. Taking its cues from the cheeky, expressive Wind Waker Link, Phantom Hourglass has our hero pulling all sorts of goofy faces, with a huge deal of humour made possible by the animation, even despite his lack of spoken lines.
There’s also Linebeck – the love-him-or-hate-him sea captain introduced in Phantom Hourglass – who fulfils that satisfying trope of “washed-up treasure bastard with a heart of gold”, and Oshus, the loveable, grumpy old man who helps Link in his quest and then turns out to be a whale-deity. It’s always the ones you least expect. Every character in this game is brimming with personality, stories, secrets, and
Most fans of the game will remember its finest, and most frustrating moment above all others – the bit where you have to transfer a map to another map. For me, I discovered it entirely by accident, and I’m sure I’m not alone in that. After a confused 20 minutes of trying to draw, button-press, and logic my way to victory, I closed the console and stepped away – only to discover that that’s exactly what you’re supposed to do. Phantom Hourglass punched through the fourth wall and broke into the meta-game by insisting that you transfer details from the top screen to the bottom screen by folding your DS in half like a book.
There have been a bunch of games in the meantime (and before Phantom Hourglass) that used clever console trickery to force players into trying new things. There’s the (abandoned) Banjo-Kazooie Stop ‘N’ Swop feature, which required players to switch out cartridges while playing, or ‘s trick where you have to switch controller ports to stop the boss from “reading your mind”. These weird little fourth-wall-breaking tricks are annoying when you’re playing the game, for sure, but become legendary as time goes on, and nostalgia’s erosion rounds off the sharp edges.
Writing this has made me realise how much I miss stylus-based gaming. There’s nothing quite like the verisimilitude of a touchscreen, or the instantaneous way it lets you interact with things on-screen. With a brain, a finger, a button, and a game, there’s always a slight delay between each, but brain-touch-screen is satisfying in some deep-seated primal way. Don’t ask me why! I’m not a scientist, despite claiming multiple times to be good at science.
Look how much he loves boats! Give Link a boat game again, dang it!
Plus, as a gamer and person with a terrible attention span and a love of fiddling with things to stay focused, you can’t beat a stylus. You can draw little doodles with it, and some of my best work on Phantom Hourglass – as ephemeral as it was – was lovely to see, every time I would return to a map with a big Toon Link sketched across it.
Phantom Hourglass, overall, is both admirably brave and lovably stupid, you see. That’s why it’s so great: like many of the best Zelda games, it tries new things, and even though it often falls over its own feet like a puppy learning to chase a ball, you can’t help but smile. The repeated dungeon might not be the most fun, but it’s certainly interesting, and the riddles and puzzles are so frustratingly smart-yet-obvious that Professor Layton himself would be proud. It’s not the riskiest Zelda, and it’s not the most well-polished Zelda, but it’s so full of heart, charm, and wit that it stands alone as potentially the funniest of them all.
I hope, one day, that we get back some of what we lost after the heydays of DS-based Zeldas: the stylus controls, the goofs, and the freedom to doodle all over the map. We’ve done horses, boats, and trains, so how about, er, a Zelda game in a car? Or a plane? Hit us up, Eiji Aonuma. We’ve got some fantastic ideas.
The Beatles and The Rolling Stones were always considered rivals in the music industry. Although they grew up and performed around the same time, they were always pitted against one another in both the press and within the charts. Paul McCartney once recalled how the two bands would share equipment and help each others’ roadies with their gear. Their friendly relationship even progressed to the point where a member of the Stones featured on one of the Fab Four’s tracks, You Know My Name (Look Up The Number).
The track was released as a B-side on their hit song Let It Be on March 6, 1970.
The song has one lyric, its title, and continues chanting the words through an increasingly chaotic set of sounds.
McCartney once described it as “lounge-style music,” reminiscent of listening to an artist in a smokey underground bar.
John Lennon spoke about how he first came up with the idea long before he began recording it.
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Lennon said: “That was a piece of unfinished music that I turned into a comedy record with Paul.
“I was waiting for him in his house, and I saw the phone book was on the piano with you know the name, look up the number. That was like a logo, and I just changed it.
“It was going to be a Four Tops kind of song – the chord changes are like that – but it never developed, and we made a joke of it.”
In a final reveal, he added: “Brian Jones is playing saxophone on it.”
A month later, in 1969, Jones was found dead in his swimming pool aged just 27-years-old.
The guitarist’s inclusion on The Beatles track is one of the final songs released with his credit on.
Before Jones’ legendary addition to the song, McCartney revealed Lennon brought You Know My Name (Look Up The Number) to him at 15-minutes long.
He said: “It was John’s original idea, and that was the complete lyric.”
McCartney went on: “He brought it in originally as a 15-minute chant when he was in space-cadet mode, and we said: ‘Well, what are we going to do with this then?’
“He said: ‘It’s just like a mantra.’ So we said, ‘Okay, let’s just do it.’”
He later added: “We did it over a period of maybe two or three years. We started off and we just did 20 minutes and it didn’t work.
“Then we tried it again, and we had these endless, crazy fun sessions … And it was just so hilarious to put that record together.”
She added: “Life imitating art or art imitating life? I don’t know which. I just left.
“I didn’t tell anyone so I had a lot of frantic calls.”
Her departure from the popular BBC show comes after a “quite gruelling” five years, in which she used her time off to take on other projects, including focusing on her production company and attempted to finish a feature film.
Mealing told the PA news agency: “It has been a tough year, a tough year for everyone, and I think being on the show for a long time and a character that is inevitably in every scene, the work schedule is quite gruelling.”