American sparks debate after calling popular Scottish waterpark ‘creepy and abandoned'
A TikToker known for exploring spooky attractions around the world has baffled Scottish viewers after claiming the Time Capsule in Coatbridge is a 'creepy abandoned waterpark.'
US-based content creator @whyjordie, who describes herself as the 'submechanophobia queen' and specialises in animatronics and ocean-themed fears, recently shared a video featuring old photos of the Lanarkshire waterpark. The clip, which has drawn more than 2,000 comments, focuses on the dinosaurs that once roamed the attraction in the 1990s, Glasgow Live reports.
The video is titled: 'This indoor water park that is now abandoned; at one point had a T-Rex statue in the pool, very submechanophobia coded and the fact that it's abandoned now is horrifying.'
In the short voiceover, she speculates: 'Just knowing this waterpark is still there but abandoned, probably completely closed off to the public, in the complete darkness, possibly still with water in it – who knows? With this giant T-Rex in it. Also why does it have like the B-word in its mouth? The red stuff.
'Imagine going down this little slide and just being in front of this T-Rex in water? Why would they do this?!'
For many Scots, the images immediately evoked memories of the dinosaurs that made the Time Capsule famous when it first opened in the early 1990s. While locals often admitted the T-Rex slide, complete with its blood-red mouth, was unsettling, the idea that the attraction now lies abandoned has been met with bemusement.
TikTok users in Scotland were quick to defend the leisure centre in the comments. One wrote: 'The Time Capsule is abandoned? Since when? Last night when it closed?'
Another added: 'Never in my life did I expect to see an American on my fyp talking about Time Capsule.'
Not everyone disagreed with the American TikToker's eerie interpretation, however. One commenter admitted: 'This what started my submechanophobia, I went when I was about 3/4 and lasted about 5 mins in the water.'
While the dinosaurs disappeared more than a decade ago, the Time Capsule is far from abandoned. In fact, it has just reopened following a significant refurbishment programme.
The popular family attraction closed earlier this year to allow for essential upgrade work, which has now been completed.
Improvements include new pumps and blowers for the waterfalls and river rapids, along with more than a mile of new wiring to modernise the electrical systems.
Join the Daily Record WhatsApp community!
Get the latest news sent straight to your messages by joining our WhatsApp community today.
You'll receive daily updates on breaking news as well as the top headlines across Scotland.
No one will be able to see who is signed up and no one can send messages except the Daily Record team.
All you have to do is click here if you're on mobile, select 'Join Community' and you're in!
If you're on a desktop, simply scan the QR code above with your phone and click 'Join Community'.
We also treat our community members to special offers, promotions, and adverts from us and our partners. If you don't like our community, you can check out any time you like.
To leave our community click on the name at the top of your screen and choose 'exit group'.
If you're curious, you can read our Privacy Notice.
Visitors can now also enjoy colour-changing underwater LED lights, designed to enhance the atmosphere of the pools.
Safety and comfort have been prioritised with the installation of soft rubber flooring at Splashdown Island and Coral Cove.
Repairs have also been made to the river rapids and tiles throughout the complex, while the shower facilities have been upgraded to provide a fresher experience for guests.
Not every feature is back in use just yet. The much-loved tipping bucket and the yellow flume remain closed while further developments take place. However, the purple flume is ready and open to the public.
Hashtags
Try Our AI Features
Explore what Daily8 AI can do for you:
Comments
No comments yet...
Related Articles
Daily Mirror
6 minutes ago
- Daily Mirror
Meghan Markle sends telling 'message' to royals with bold move in Netflix show
Meghan Markle has sent a subtle message to the Firm about her royal status with her daring wardrobe choice in the trailer for the second series of With Love, Meghan Meghan Markle has sent a subtle message to the Firm about her royal status with her bold wardrobe choices in the trailer for the upcoming second series of her Netflix show, according to a style expert. The Duchess of Sussex showed off her "quiet luxury" wardrobe of tailored staples in the trailer for With Love, Meghan as she cooked alongside a range of celebrity guests. While Meghan has long been known for her stunning wardrobe choices, a style expert believes her looks for the Netflix programme are sending a message to the royal family about how she feels about her royal role. It comes after Prince Harry's secret royal move speak volumes after 'peace talks' with top aides. California-based personal stylist, Cynthia Kennedy, said that Meghan's style on season two of her Netflix show is sending a clear message that she no longer needs to dress a certain way to fit with her role as Duchess. Instead, she says Meghan is dressing in a more down to earth, relaxed way that will resonate more with the viewers of her lifestyle programme. The stylist explained: "Her revamped style is sending everyone a message that I don't have to dress like a duchess anymore. I get to dress like myself, and be more approachable, modern, authentic and real." The stylist also described the different looks worn by the Duchess between season one and season two of Meghan's show. She explained: "Her choices feel deliberate and more like a conscious move toward comfort, vulnerability, relatability, and ease without losing that sense of polish that keeps her aspirational. It's a careful balance and I think she's hitting it." In season one, Cynthia observed that Meghan dressed in "put-together looks that were almost 'Duchess-lite', clean tailoring and muted neutrals", whereas in season two, her style felt "softer, relaxed, effortless, and more lived-in." The expert suggested: "It signals that she's not trying to perform 'royalty' anymore, but instead connect with people as a modern woman, wife, and mother." The upcoming second series of With Love, Meghan will once again feature the Duchess of Sussex welcoming friends and celebrities to a stunning California estate, where she imparts tips on cooking, gardening, and hosting. The celebrity line-up for the second series features model Chrissy Teigen, fashion guru Tan France, and acclaimed chefs including José Andrés, David Chang, Samin Nosrat, Clare Smyth and Christina Tosi. The second series comprises eight episodes, which will all be released on Netflix on August 26th at 8am for viewers tuning in from the UK.
Time Out
15 minutes ago
- Time Out
This beloved Bushwick boutique has transformed into a 'Golden Girls' wonderland for the show's 40th anniversary
It feels like only yesterday the world first met, fell in love and feasted on cheesecake with saucy Blanche Devereaux (Rue McClanahan), strong-willed Dorothy Zbornak (Bea Arthur), sweet Rose Nylund (Betty White) and sarcastic Sophia Petrillo (Estelle Getty). But, in fact, it's been 40 years since the classic sitcom debuted on NBC, spanning seven seasons from 1985 to 1992. And to celebrate the big 4-0 (don't worry Blanche, you don't look a day over 25), Brooklyn-based boutique Zero Waste Daniel has brought Miami Beach to Bushwick, transforming its flagship store (257 Varet Street) into a palm-filled dreamscape fit for our beloved foursome. Part fashion destination and part fan tribute, the Golden Girls-inspired store makeover will run through Wednesday, September 17—extended from August 17 by popular demand—and will bring the "energy of each of The Golden Girls to life with bold visuals, emotionally resonant design, and a deep well of references for fans to discover." That means an immersive shopping experience with pastel-hued interiors, banana-leaf wallpaper, retro lounge furniture, a shoppable thrift section (styled in homage to the girls' iconic looks) and vignettes inspired by fan-favorite moments from the series. On the clothes racks, you'll find the brand's limited-edition Golden Girls x Zero Waste Daniel capsule collection (which is available in store and online at the Zero Waste Daniel website), including signature items like 'St. Olaf 40' varsity jackets, cheesecake-covered sweatshirts, palm leaf-printed bomber jackets and cheeky graphic tees declaring "I'm a Blanche" and "I'm a Sophia," among others. 'The Golden Girls were a North Star to me growing up,' says designer and founder Daniel Silverstein, a.k.a. Zero Waste Daniel. 'They're funny, fearless, wildly fashionable, and they showed up for each other in ways that felt groundbreaking, teaching a lifelong lesson of what it means to be a chosen family. As a child, I felt the warmth of their love and friendship. As an adult, I can see clearly that they are trailblazers, tackling tough topics with heart and humor in ways that are poignant and still resonate today. To be entrusted with honoring their 40th anniversary is one of the greatest privileges of my career. This collection is a thank you for all the laughter, lessons and late-night cheesecake.'
New Statesman
an hour ago
- New Statesman
It-girl literary heroines are all cannibals now
What has happened to the literary woman? She used to slouch listlessly towards Bethlehem. Now she is eating people. Chelsea G. Summers' 2020 novel A Certain Hunger follows a food writer who is in prison for murdering, cooking and eating several sex partners. In Ainslie Hogarth's 2022 novel Motherthing, a woman deals with the Freudian fallout of her mother-in-law's death by cooking a personal enemy. In Monika Kim's 2024 thriller The Eyes Are the Best Part, a Korean-American protagonist gets her own back on white men who fetishise Asian women, by stockpiling and eating their eyeballs. This year's Victorian Psycho by Virginia Feito reads like a gory take on Agnes Grey and has its central governess joke about eating the children under her care. There is more. Lucy Rose's bestseller The Lamb, published earlier in 2025, is a misery lit-adjacent tale of childhood abuse with a twist: the young protagonist must come to terms with her mother's taste for lost hikers. Catherine Dang's What Hunger, out later this year, promises to '[follow] the daughter of Vietnamese immigrants… as she grapples with the weight of generational trauma while navigating the violent power of teenage girlhood.' This violent power comes, as the reader may guess, with 'an insatiable hunger for raw meat.' And in the Young Adult sphere there is Maika and Maritza Moulite's 2025 novel The Summer I Ate the Rich, which uses its Haitian-American zombie protagonist to '[scrutinise] the socioeconomic and racial inequity that is the foundation of our society.' Inequity is the largest constant in this emerging genre. Almost every female literary cannibal resorts to cooking and eating people because of trauma in her past, and in each case the trauma is indexed to a larger political concern. Lucy Rose 'explores how women swallow their anger, desire, and animal instincts.' One of the women in The Lamb has her first brush with cannibalism after she is denied an abortion. 'My body was a stranger,' she says, 'but my father wanted me to bring the baby to term… I gobbled him up in one bite.' The protagonist of A Certain Hunger has no socio-political 'hook' and little discernible trauma. Instead she is off at us from the first page about the 'class privilege' emanating from the hotel bars where she finds her prey, the nature of femaleness ('as abjectly capitalist as a Big Mac') and for-profit prisons, which have been taken over by 'agribusiness.' 'I'm white and educated,' she writes from jail, 'and these privileges get you as far in the incarcerated world as they do in this one.' The Eyes Are The Best Part is about the red-hot intersection of race and hereditary trauma. 'Generational trauma' is a 2020s buzzword. Kim gives us long family dinners, beleaguered parents and stories of Japanese occupation; we even get our customary helping of over-mystified etymology. ('In Korean, the word for 'fortune' is palja,' goes one chapter opening, going on to illustrate a concept of 'fortune' basically the same as our own). Cannibalism is a welcome intrusion. But when our heroine gets down to business we realise her bloodthirsty anger is just another bit of the literary furniture, a convenient 'trope' around which to hang a novel. There is 'rage' and then there is 'female rage' – one of the latest, and also most condescending, literary buzzwords. Penguin Random House offers an online listicle of books that 'explore the depths of female rage, offering catharsis and understanding in a disturbing world.' Their female characters lash out at colonialism and domestic abuse and the expectations of motherhood; Kim's protagonist Ji-won is only driven to pluck out white men's eyeballs because of constant background racism. We get the picture: women are only allowed their explosive excesses of sex and violence if they have some outside justification to feel particularly angry. Nobody placed the same expectation on Sade, who went about spanking and pontificating as he liked. There are few female fetishists in literature; the entirety of A Certain Hunger, with its qualifications and get-out clauses, proves how difficult it is to murder and eat for the joy of it. Subscribe to The New Statesman today from only £8.99 per month Subscribe All of this rage and killing and hunger is difficult to square with the mechanics of the literary world. Female readers have spent years subjected to the waverings of Sally Rooney-style heroines, who are never able to formulate a proportional response to the S&M sex they suffer at the hands of indifferent men. The best answer we have had is in Ottessa Moshfegh's My Year of Rest and Relaxation, the Ur-text of what is now called 'messy girl literature': a young woman, scarred by the death of a parent, simply takes a lot of sleeping pills and watches passively as her life spirals out of control. So we get cannibalism, which is symbolically ambiguous enough to work as an acceptable stand-in for all other literary sensuality. Some of the most enthusiastic sex writing of our time is actually about eating people. 'I'm whimpering like a dog,' says Monika Kim's eyeball-eating heroine, as she chews on cartilage. 'But I can't help it… I am in ecstasy.' The food writer in A Certain Hunger relishes 'the satisfying heft of the ice pick in my hand, the balletic arc of my arm, the cinematic spurt of blood.' When we get to our final, sensual standoff, we are allowed to forget all the rest of it. Perhaps the real point of our new bloodthirsty heroine is that she isn't plugged in at all. [See more: Sally Rooney is the conscience of a generation] Related
