Nick is joined by Lawrence from Bricking It, the podcast following the development of Universal's upcoming UK resor for a wonderfully wide-ranging chat about theme parks, immersive experiences and the ever-expanding world of themed entertainment.

Lawrence explains how Bricking It began when he and two friends started recording their thoughts on the Universal UK development near his home. With Lawrence and Mike bringing their enthusiasm for theme parks and Andy contributing his construction expertise, the trio have expanded their coverage to attractions across the UK and Europe!

Nick also shares some recent adventures, including a visit to Wake the Tiger - a sprawling interactive art experience bringing together 700 artists across 80,000 square feet! With hidden corridors, secret passageways, games, sustainability messages and a digital dog called Rex, it's an immersive world that has to be experienced to be believed. Lawrence is particularly enthusiastic about the attraction and what it represents for the future of immersive theming in the UK.

We also hear from Thomas Mack, who discusses the next chapter for Eatrenalin's innovative floating-table dining concept as it heads to Carls in Germany.

Things get decidedly darker as Nick recounts his visit to The Nightmare Realm, a new haunt set inside a real former training hospital in southeast London. With its atmospheric setting and a particularly effective jump scare in complete darkness, could this be one of the greatest scares Nick has ever experienced?

And finally, Lawrence introduces Thoozie, his own theme park-inspired game combining collectible cards with the competitive fun of Top Trumps. With almost 6,000 cards already traded - could this be the next big thing for coaster enthusiasts?

There's also plenty of chat about Bedford, a new Wetherspoons near the proposed Wixham station and the exciting developments surrounding Universal's upcoming UK resort.

Nick goes behind the scenes of The Nightmare Realm, a brand-new Halloween attraction making the journey from Ireland to London — and discovers that the locations are almost as terrifying as the haunts themselves!

Nick is given a guided tour by Creative Director Karl O'Connor, exploring two ambitious attractions currently being created in some very unusual spaces: an asylum-themed maze inside an old training hospital and a vampire-infested mansion inside an actual old mansion!

Karl talks Nick through the creative challenges and the unique opportunities that come with transforming historic buildings into immersive horror experiences. They also discuss the logistical nightmare of bringing an entire attraction over from Ireland to the UK from transporting the set and scenic elements to rebuilding the experience in its new home.

Trigger warning: this episode contains strong language and a lovely Irish accent!

As Disneyland Paris prepares to restore Space Mountain to its full glory Steve Bramson joins the Season Pass Podcast to take us back to where it all began.

Steve composed the original music for Space Mountain: De la Terre à la Lune which opened at Disneyland Paris in 1995. Now more than 30 years later the attraction is being given a new lease of life and Steve reflects on the music he created for one of Disney's most ambitious and distinctive attractions.

Steve reveals how he came to work on Space Mountain and the extraordinary challenge of composing what was one of the first fully synchronised soundtracks for a roller coaster. He explains how he mapped the music to the twists, turns and emotional beats of the ride and how the score had to be flexible enough to accommodate changes in ride timing.

He also discusses the influence of John Williams and E.T., the musical techniques he used to create a sensation of propulsion, falling and spinning and what it was like finally riding the completed attraction and hearing his music play as guests experienced it.

We talk about the four-part structure of the score, the technical challenges of synchronising music to a roller coaster and the changes that had to be made when concerns were raised about the ride's speed.

And with Space Mountain now returning to its original form Steve looks back at a piece of music that has survived for more than three decades and considers what it means to hear that score return to the attraction for which it was written.