burbank

The exterior of the two-story, beige-colored building looks like any other drab office space near the Hollywood Burbank Airport. But on a recent weekday afternoon, the inside was bustling with activity: hairstylists carried brightly colored wigs between soundstages, a prop artist was building a fake leg for an upcoming video and YouTube stars gathered in a lobby, fidgeting with their phones while they waited to film their next scene.

They were among more than 100 employees of Smosh Productions, which this spring moved into the 32,000-square-foot facility, from a much smaller location in the city, to accommodate their programming needs.

It’s the latest creator-run company deepening its roots in Burbank, a neighborhood long defined by such iconic studios as Disney, Warner Bros. and Universal Pictures.

Other influencer-led companies that have expanded production footprints in the city include Rhett McLaughlin and Link Neal’s Mythical Entertainment and Alan Chikin Chow.

Internet content production is one of the few growth categories left in a Los Angeles production landscape that keeps shrinking.

“Being ‘Media City’ is a part of Burbank’s tagline. And it’s still true; we are just a different kind of media,” said Katelyn Hempstead, Smosh’s executive coordinator, on a tour of the new facility.

The company, owned by pioneering YouTubers Ian Hecox and Anthony Padilla, produces up to 10 hours of internet content weekly across five channels. Its programming ranges from sketch comedy to games and challenges for their fans.

Shoot days for digital productions rose 47% in the second quarter to 661 compared with the same period a year ago — even as the overall number of on-location shoot days dropped 13% during that period, according to FilmLA, the nonprofit group that tracks local filming.

“When people have an opportunity to work for a few days on a vertical series or [when] they make an income out of being an influencer and producing regular content for their various social channels, that does help the economy,” said Philip Sokoloski, a spokesman for FilmLA. “They still purchase things. They still utilize equipment. They may rent things from local supply houses.”

Cameras inside the “Who Meme’d It?” studio at Smosh Studios in Burbank.

(Kayla Bartkowski / Los Angeles Times)

Burbank has more than 1,000 media and entertainment companies that generate about 66,000 jobs.

Although the city does not give a breakdown of jobs by category, the creator economy has fueled some of the growth in the city’s entertainment employment over the last six years, said Patrick Prescott, Burbank’s community development director.

Most occupy flexible industrial space in the Airport district, leasing space for $1.65 to $2.81 a square foot, he said.

“It’s definitely a transitional period,” Prescott said. “There’s still something really valuable about sitting in a theater with a bunch of other people. But there’s also a lot of scrolling going on. Who’s generating that content? A lot of it’s generated here.”

Filmmakers work in the theater set at Dhar Mann Studios.

(Jason Armond / Los Angeles Times)

Due to anemic production activity, soundstages across L.A. have struggled to fill their studio spaces. That has opened up opportunities for new types of internet productions to fill at least some of the gap, said Sam Glendon, an industrial broker who’s handled several such deals. Creators building out their own space can pick up a discounted soundstage as a result, he said.

“There’s been this big supply-and-demand imbalance,” Glendon said. “It’s still a very niche type of clientele, but I’m certainly searching YouTube much more for who these people are and how many followers they have. Five years ago, I never did that.”

Controlling a studio matters to creators because it lets them move fast without a major studio’s bureaucracy, and platforms such as YouTube reward a steady, frequent posting cadence.

Alan Chikin Chow, behind the scripted YouTube high school drama series “Alan’s Universe,” moved his 13-person operation into a 10,000-square-foot Burbank facility in 2024 after outgrowing his Koreatown apartment.

“YouTube creators are the new trendsetters, and so we wanted to be associated with the big media in Burbank,” said Moris Zingman, the show’s lead producer. Proximity to the Warner Bros. lot helps land celebrity guests, too — Jacob Moncrief, Mythical’s studio president, said it’s an easy sell for shows like “Last Meals” when guests are already a few minutes away.

Filmmakers rehearse a scene in the restaurant set at Dhar Mann Studios.

(Jason Armond / Los Angeles Times)

Traditional media have taken note. Mythical Entertainment and Alan Chikin Chow both struck deals with Netflix in July. “Good Mythical Morning,” “Mythical Kitchen,” “Last Meals” and “Alan’s Universe” are all set to stream there alongside their YouTube releases starting later this year.

Dhar Mann Studios, one of Burbank’s biggest creator-run operations, added a deal with Disney last week for 20 episodes of family-oriented programming — its second major-studio partnership after a 40-title vertical-video deal with Fox Entertainment earlier this year.

Mann, 42, started making YouTube content in 2018 under the Dhar Mann Studios banner, centered around morality and motivational videos. The company now runs a 125,000-square-foot, three-soundstage facility with roughly 220 employees producing rotating sets — restaurants, school hallways, a courtroom, jail visitation rooms — designed to mimic a small town.

But Dhar Mann Studios doesn’t own its Burbank building — it leases the space — and this month the company bought a 108,000-square-foot production campus in Chatsworth for $23 million, with plans to relocate there by 2027, the Real Deal reported.

It’s the same pattern playing out across L.A.’s creator economy.

“The scale that creators have gotten to is ginormous,” said Sean Atkins, Dhar Mann Studios’ chief executive. “Media companies are always looking at what the next thing is. The answer isn’t that they become us or we become them. It’s somewhere in the messy middle, of which nobody knows right now.”

Most internet content work is mostly non-union and typically pays less than traditional film and TV jobs. SAG-AFTRA and the Motion Picture Editors Guild have started drafting new-media-specific contracts in response.

Even so, some workers welcome the opportunity.

Austin Scott, an editor who built a career cutting reality shows like “MasterChef” and “Dancing With the Stars,” recently landed his first big gig after three years of being unable to find post-production work, editing a YouTube series for Kevin Hart’s Hartbeat. Over eight weeks, he’ll work 12-hour days for $3,500 a week — below the $5,000 to $6,000 a typical TV editing job pays.

“My expectations are that it’s going to be harder work, longer hours, more notes, less money,” Scott said. “But there’s no work, so people are kind of forced to take what they can get.”

While we might look to other eras, or, you know, epochs (hi, Paleo people) for wellness inspiration, none is quite as dramatic and as “Princess Bride”-esque as LA.’s fencing community. At its center is Swordplay LA. The Burbank-area club is sporty but approachable, leaning into fencing’s cultural impact — and its fantasy — by extending a pointed invitation (see what I did there?) to make friends, be merry and break a sweat.

Alex Blugerman suits up with protective gear before a class at Swordplay LA.

Since the 12th century BC, fencing has been a source of both combat and entertainment. Egyptians in antiquity engaged in sword combat for warfare, but also for competition — Romans utilized swords in gladiator events, rituals and duels. During the Renaissance, Italians refined fencing into its modern form, and soon fencing schools began popping up all over Europe. Fast forward to the 1800s, when fencing’s popularity was so widespread that it became one of the five original games at the 1896 Olympics, where it continues to be a beloved summer event.

And yes, while the Olympics are one point of public familiarity, that’s just one small part of our collective cultural consciousness around the sport.

“Everyone has some kind of relationship to fencing,” said Mary Sola Spohn, the owner of Swordplay LA. “It’s mostly like, my kid saw this movie, or I love this character. It’s the stories around fencing that bring people in.”

Spohn cites “Game of Thrones,” “Lord of the Rings,” “Dungeons & Dragons,” “Star Wars” and even “The Parent Trap” as some of the more popular cultural inspirations for newbies. While clearly rooted in some serious history and tradition, according to Spohn, fencing’s representation in media is its most powerful draw.

Swordplay LA owner Mary Sola Spohn shows off the gym’s fencing gear. Spohn has trained the likes of Academy Award-winning actors and Olympic athletes.

“And ‘Wednesday,’” Spohn adds, of the influx of interest after the Netflix series debuted. “I’m not gonna say that ‘Wednesday,’ you know, saved the day, but, it is very interesting how certain things in pop culture kind of influence the interest level.”

Spohn should know. As a 7-year-old, she was mesmerized by the swordplay in “Hook” and “Peter Pan.” A native Angeleno, she started taking classes at Swordplay LA and soon became a nationally-ranked fencing youth. She participated in the U.S. Olympic trials and was recruited to Northwestern University’s Division 1 fencing team. After college, she worked as a stunt actor, fight choreographer and action designer specializing in European weapons. Spohn was training famous actors, athletes and Olympians (one of her favorite experiences was teaching Charlize Theron rapier for the film “Old Guard 2)” when she was given the opportunity to own the very business where her love of the sport began — and she took it.

Seven years later, Spohn is less interested in high competitive stakes than she is in fostering an all-inclusive, supportive community for her students at Sportsplay L.A. Participants come from all over Los Angeles and range in age from 7 to 85 years old. And she’s succeeded: nearly 170 members and hundreds of classes later, Swordplay LA is now one of the longest established fencing clubs in Los Angeles, with diversified offerings like stunts, pro-wrestling and historical European martial arts (or HEMA, for short) that offer some of the most unique workouts in the city.

Alex Blugerman, left, and Aiden Kelly duel during a class at Swordplay LA.

En garde! Inside the sword-fighting gym

Entering Swordplay LA’s large Burbank headquarters, I was worried I was in over my head. Like many beginners, I had no idea about the reality of fencing: the rigorousness, the gear, the clientele. Would I be the only woman there? Would I injure myself, or someone else? Should I have dressed preppier, like the quick-reflexed, collegiate fencing villains in the movies?

Immediately, my worries were assuaged — there were, in fact, women there. There was also a weapons wall, “Game of Thrones”-style wood accents and a prominently placed map of Middle-earth. While it’s definitely sporty, Spohn has carefully curated Swordplay LA’s atmosphere to be about storytelling — acknowledging the books, TV and films that inspire the club’s clientele.

“I put a lot of thought into the way this place looks and feels. I wanted it to still feel like an athletic facility, but with a creative, artistic side to it. Leaning into what brings people here,” she said.

Everyone was extremely friendly and on the fashion front, no popped collars in sight — only gym clothes and cool-looking fencing gear: mask, chest protector and underarm protector.

Swordplay LA participants Jonathan Proft, left, and Traviss Nguyen strike their weapons.

I did, in fact, feel cool when I put on said gear. I felt even cooler holding my sword, knees bent, feet wide, ready and waiting in my “advance” stance.

While we see lots of depictions of fencing, the rules are, in fact, fairly intuitive: Staying in the narrow playing area, or “piste,” two athletes wield their swords, trying to be the first to make contact with the other while avoiding being hit (and yes, you do get to shout “en garde,” before you advance). Like yoga or dance, the experience is a workout that feels in alignment with the body’s natural movements, at an intensity appropriate to wielding an ancient weapon.

“There are so many natural elements to it,” Spohn assured me during our lesson. “You know, in a very basic sense, how to hold it, what to do with the sword. Everyone has a vision of what that looks and feels like, and people get it.”

At the end of our 30-minute intro class, we actually engaged in combat. Empowered, I leaned in, like a sweaty extra in Nolan’s “The Odyssey,” feeling none of the danger but all of the drama.

Vibe: Boxing gym meets “Game of Thrones.”

Effort: It’s an hourlong full-body workout that, for beginners, can be a bit more intense on the hands and wrists; the gear can be hot and take some getting used to. But the combat happens in short spurts, allowing a fair amount of downtime for recuperation, conversation and enjoyment of the sport.

X factor: It’s uniquely cool to be wielding weapons with so much history, whose use has been perfected over thousands of years. There’s also an immense amount of drama to the sport; leaning into that truly transports the student away from a club experience and into a kind of delicious, LARP-y fugue state.

Swordplay LA

Where: 130 W. Isabel St., Burbank

Cost: $40 for a single drop-in class, memberships range from $50-$450 per month

Info: splafencing.com