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By day, you’d be forgiven for walking past the newest theater in downtown L.A.

It isn’t hidden in an alley or obscured via a nameless door. No, this performance space is essentially a theater in disguise, as it’s designed to look like an electrical box — a fabrication so real that when artist S.C. Mero was installing it in the Arts District, police stopped her, concerned she was ripping out its copper wire. (There is no copper wire inside this wooden nook.)

Open the door to the theater, and discover a place of urban enchantment, where a red velvet door and crimson wallpaper beckon guests to come closer and sit inside. That is, if they can fit.

With a mirror on its side and a clock in its back, Mero’s creation, about 6 feet tall and 3 feet deep yet smaller on its interior, looks something akin to an intimate, private boudoir — the sort of dressing room that wouldn’t be out of place in one of Broadway’s historic downtown theaters. That’s by design, says Mero, who cites the ornately romanticized vibe and color palette of the Los Angeles Theatre as prime inspiration. Mero, a longtime street artist whose guerrilla art regularly dots the downtown landscape, likes to inject whimsy into her work: a drainage pipe that gives birth, a ball pit for rats or the transformation of a dilapidated building into a “castle.” But there’s just as often some hidden social commentary.

With her Electrical Box Theatre, situated across from the historic American Hotel and sausage restaurant and bar Wurstküche, Mero set out to create an impromptu performance space for the sort of experimental artists who no longer have an outlet in downtown’s galleries or more refined stages. The American Hotel, for instance, subject of 2018 documentary “Tales of the American” and once home to the anything-goes punk rock ethos of Al’s Bar, still stands, but it isn’t lost on Mero that most of the neighborhood’s artist platforms today are softer around the edges.

Ethan Marks inside S.C. Mero’s theater inside a fake electrical box. The guerrilla art piece is near the American Hotel.

“A lot of galleries are for what can sell,” Mero says. “Usually that’s paintings and wall art.”

She dreamed, however, of an anti-establishment place that could feel inviting and erase boundaries between audience and perfomer. “People may be intimidated to get up on a stage or at a coffee shop, but here it’s right on street level.”

It’s already working as intended, says Mero. I visited the box early last week when Mero invited a pair of experimental musicians to perform. Shortly after trumpeter Ethan Marks took to the sidewalk, one of the American Hotel’s current residents leaned out his window and began vocally and jovially mimicking the fragmented and angular notes coming from the instrument. In this moment, “the box,” as Mero casually refers to it, became a true communal stage, a participatory call-and-response pulpit for the neighborhood.

Clown Lars Adams, 38, peers out of S.C. Mero’s theater inside a fake electrical box. Mero modeled the space off of Broadway’s historic theaters.

A few days prior, a rideshare driver noticed a crowd and pulled over to read his poetry. He told Mero it was his first time. The unscripted occurrence, she says, was “one of the best moments I’ve ever experienced in making art.”

“That’s literally what this space is,” Mero says. “It’s for people to try something new or to experiment.”

Marks jumped at the chance to perform for free inside the theater, his brassy freewheeling equally complementing and contrasting the sounds of the intersection. “I was delighted,” he says, when Mero told him about the stage. “There’s so much unexpectedness to it that as an improviser, it really keeps you in the moment.”

A downtown resident for more than a decade, Mero has become something of an advocate for the neighborhood. The area arguably hasn’t returned to its pre-pandemic heights, as many office floors sit empty and a string of high-profile restaurant closures struck the community. Mero’s own gallery at the corner of Spring and Seventh streets shuttered in 2024. Downtown also saw its perception take a hit last year when ICE descended on the city center and national media incorrectly portrayed the hood as a hub of chaos.

Artist S.C. Mero looks into her latest project, a fake electrical box in the Arts District. Mero has long been associated with street art in the neighborhood.

“A lot has changed in the 13 years when I first got down here,” Mero says. “Everybody felt like it was magic, like we were going to be part of this renaissance and L.A. was going to have this epicenter again. Then it descended. A lot of my friends left. But I still see the same beauty in it. The architecture. The history. Downtown is the most populous neighborhood in all of L.A. because it belongs to everybody. It’s everybody’s downtown, whether they love it or not. And I feel we are part of history.”

Art today in downtown ranges from high-end galleries such as Hauser & Wirth to the graffiti-covered towers of Oceanwide Plaza. Gritty spaces, such as Superchief Gallery, have been vocal about struggles to stay afloat. Mero’s art, meanwhile, remains a source of optimism throughout downtown’s streets.

At Pershing Square, for instance, sits her “Spike Cafe,” a mini tropical hideaway atop a parking garage sign where umbrellas and finger food props have become a prettier nesting spot for pigeons. Seen potentially as a vision for beautification, a contrast, for instance, from the nature intrusive barbs that aim to deter wildlife, “Spike Cafe” has become a statement of harmony.

Elsewhere, on the corner of Broadway and Fourth streets, Mero has commandeered a once historic building that’s been burned and left to rot. Mero, in collaboration with fellow street artist Wild Life, has turned the blighted space into a fantastical haven with a knight, a dragon and more — a decaying castle from a bygone era.

“A lot of times people are like, ‘I can’t believe you get away with that!’ But most people haven’t tried to do it, you know?” Mero says. “It can be moved easily. It’s not impeding on anyone. I don’t feel I do anything bad. Not having a permit is just a technicality. I believe what I’m doing is right.”

Musician Jeonghyeon Joo, 31, plays the haegeum outside of S.C. Mero’s latest art project, a theater in a faux electrical box.

After initially posting her electrical box on her social media, Mero says she almost instantly received more than 20 requests to perform at the venue. Two combination locks keep it closed, and Mero will give out the code to those she trusts. “Some people want to come and play their accordion. Another is a tour guide,” Mero says.

Ultimately, it’s an idea, she says, that she’s had for about a decade. “Everything has to come together, right? You have to have enough funds to buy the supplies, and then the skills to to have it come together.”

And while it isn’t designed to be forever, it is bolted to the sidewalk. As for why now was the right time to unleash it, Mero is direct: “I needed the space,” she says.

There are concerns. Perhaps, Mero speculates, someone will change the lock combination, knocking her out of her own creation. And the more attention brought to the box via media interviews means more scrutiny may be placed on it, risking its confiscation by city authorities.

As a street artist, however, Mero has had to embrace impermanence, although she acknowledges it can be a bummer when a piece disappears in a day or two. And unlike a gallerist, she feels an obligation to tweak her work once it’s out in the world. Though her “Spike Cafe” is about a year old, she says she has to “continue to babysit it,” as pigeons aren’t exactly known for their tidiness.

But Mero hopes the box has a life of its own, and considers it a conversation between her, local artists and downtown itself. “I still think we’re part of something special,” Mero says of living and working downtown.

And, at least for now, it’s the neighborhood with arguably the city’s most unique performance venue.

Walking up a winding trail in the Dobratsch nature park in Carinthia, surrounded by picturesque snowy slopes dotted with pines, we hear shrieks coming from round the corner. The path is as wide as a one-way street but Birgit Pichorner, the park ranger I’m taking a tour with, motions for me to move to the side, where we watch a couple with wide grins glide past on a wooden toboggan.

We have seen families out hiking with young children and speed walkers pacing for the summit, while on a trail above us, four skiers are zigzagging up one of the nature park’s designated ski touring routes. For residents of Villach, the southern Austrian town at the foot of Dobratsch, this is very much their Hausberg, a much-loved “locals’ mountain”, says Birgit.

Until 2002, it was a ski resort – Birgit points out the slopes where she learned and later taught her kids to ski – but after successive bad winters at the turn of the century, the town faced the same choice as many ski resorts across the Alps today, as the climate crisis brings higher temperatures and reduced snowfall. Bring in the snow guns and supplement your natural snow offering with the fake stuff? Or chart a different path?

The environmental cost of Maschinenschnee, as the Austrians call artificial snow, is high – it’s energy- and water-intensive, with many resorts pumping water up from the valleys to service their slopes. It also negatively affects these fragile ecosystems by introducing potentially pathogenic and stress-tolerant bacteria to the snow, meltwater and soils, according to the hydrologist Prof Carmen de Jong.

At Dobratsch, residents were worried about the effects the Maschinenschnee would have on the cleanliness of their drinking water, which is funnelled through the mountain’s karst limestone system. They decided it wasn’t worth the risk, so closed the ski resort and instead developed a community-focused nature park.

Along with providing affordable year-round outdoor recreation for local people and tourists – accessed by a €5 bus from Villach or by paying a slightly higher fee at one of the parking spots – the nature park designation protects the local flora and fauna. This includes mountain hares, chamois, ptarmigan and black grouse, with schoolchildren regularly taking part in educational classes on the mountain.

Visitors are encouraged to avoid specific “nature zones” and stick to the trails, which are prepared for them daily. There are three winter hiking routes, ranging from 30 minutes to two hours, depending on how hard you want to work; four ski touring routes, ranging from an-hour-and-a-half to three hours; plus a cross-country circuit and a toboggan slope.

We plan to hike a two-hour route to the summit (2,166m) via the Dobratsch Gipfelhaus, though we modify our route slightly when the fog comes in – depriving us of views of nearby Slovenia and Italy – and visit another hut near the summit instead, which used to house the old ski lift. It’s such a beautiful wintry landscape and a treat to be hiking on real snow. There isn’t enough to require snowshoes today – I’m in snowboard boots, though Birgit is fine in walking boots – but the snow still makes that lovely squeaking sound under my feet, making me feel nostalgic for winter holidays past.

The problem with fake snow, aside from its environmental and financial impact (the cost of producing it has forced many ski resorts to push up their prices), is that it’s not very nice to walk on, let alone ski or snowboard on; it’s more like ice and much harder and heavier than natural snow. Before I came to Carinthia, I spent a few days in St Anton in the west of the country, where the whirr of multiple snow cannons puffing out clouds of white mist like dragon’s breath was a constant, even at night.

I had the discombobulating experience of snowboarding down ribbons of white pistes surrounded by muted-green hills, and riding through the mist feels unlike any weather I’ve ever experienced; it’s lighter and less powerful than rain but grittier than real snow. When it lands on your jacket it has none of the intricate beauty of a snowflake and disappears almost instantly.

But it’s easy to see why ski stations are resorting to snow cannons to keep the lights on. St Anton had last seen proper snow in November yet was almost fully open for the New Year holiday crowds, which is no mean feat, and many local businesses will, of course, depend on that tourist spend.

I visit the small mountain village of Mallnitz, about 50 minutes on a scenic train from Villach, for a day’s snowboard touring with Klaus Alber, a mountain guide who also runs the Hotel Alber. The hotel has been in his family for four generations, and Klaus, who greets me in lederhosen despite the temperature hovering at -10C, has noticed the dramatic effects of the changing climate on the valley first-hand.

Pointing to the hotel windows, he tells me the snow used to pile up to halfway most winters, but in recent years it’s barely covered the pavement. “Now we get long periods of cold, dry weather with no snow,” he says. The village’s small ski resort Ankogel, which doesn’t yet have snow cannons, is closed due to a lack of snow.

“Guests come because they want to ski, but we encourage them to be flexible and enjoy the nature as it is. If there’s no snow in December, we can hike to a summit, that’s still a very nice thing to do,” he says, adding that it forces him to be more creative and find new activities for guests, such as snow touring, where you hike up a mountain using adhesive “skins” for grip, then ski or snowboard down.

We set out in the Hohe Tauern national park, amid a wild, high mountain snowscape of extraordinary beauty. Klaus thinks we may find some good conditions for touring, as there was a recent dusting of snow, which has softened the snow that fell earlier in the season, and he’s right.

Climbing across a series of gentle spines, with sweeping views of a dramatic amphitheatre-like range to our left, it’s clear we have this entire glacial valley to ourselves – the polar opposite of factory farm skiing at a purpose-built ski resort. But it’s not just the setting; the true pleasure of the day comes from being in this landscape with wonderful natural snow all around. It looks so much brighter than its human-made equivalent, dazzlingly so under blue skies and sunshine.

After a couple of hours, we reach the Hagener hut at 2,446m, and Klaus points to an area of snow-covered wilderness that was nearly turned into a ski resort in the late 1960s, before the area became a national park – a resort that today would no doubt be debating the choice between snow cannons or closure.

After snacks and hot sweet tea, we begin our descent with no tracks in the snow ahead – Klaus thinks we’re the first people to do the route this winter. The snow will become bare and patchy lower down, but it feels amazing to be making swooping turns in this upper section, where it’s deep enough to spray in arcs across my face, a holy grail in snowboarding, but so rare these days if you only go to the mountains once a year.

It’s an experience you can only have with snow that’s fallen from the sky, and one that could never be approximated by a machine. The tears behind my goggles aren’t just from the cold.

This trip was provided by Visit Villach, National Park Region Hohe Tauern and Austria Tourism. A snowshoe hike at the Dobratsch nature park with a ranger costs €30 including snowshoe and pole rental, naturpark-dobratsch.at. A day’s ski or splitboard touring with Klaus Alber in the Hohe Tauern costs €240 a person (minimum two people, then €60 per extra person), tauernclimb.com

Sam Haddad writes the newsletter Climate & Board Sports

WASHINGTON — President Trump shared a short video clip on social media late Thursday depicting former President Obama and former First Lady Michelle Obama as apes, drawing immediate public backlash that the White House characterized as “fake outrage.”

The image, which Trump posted on his official Truth Social account around midnight, was included toward the end of a one-minute video clip that promoted a conspiracy theory about voting irregularities in the 2020 presidential election. In it, the Obamas are portrayed as apes as “The Lion Sleeps Tonight” plays in the background.

The White House said the clip was taken from “an internet meme video,” in which Trump is depicted as a lion and several high-profile Democrats — including former President Biden, former Vice President Kamala Harris, U.S. Sen. Adam Schiff and California Gov. Gavin Newsom — are rendered as giraffes, turtles, antelopes and other animals. The clip, which was shared by a social media account in October, is captioned: “President Trump: King of the Jungle.”

Only the image of the Obamas is included in the clip shared by Trump.

“Please stop the fake outrage and report on something today that actually matters to the American public,” Karoline Leavitt, the White House press secretary, said in a statement Friday.

The post, however, quickly drew fierce criticism from Democrats, some Republicans and civil rights organizations. The imagery was condemned for echoing long-standing racist tropes that have historically been used to demean Black Americans.

“Trump posting this video — especially during Black History Month — is a stark reminder of how Trump and his followers truly view people,” the NAACP wrote on X. “And we’ll remember that in November.”

Newsom, a Democrat, said it was “disgusting behavior by the president” to amplify such an image.

“Every single Republican must denounce this. Now,” Newsom wrote on X.

Sen. Tim Scott, a Black South Carolina Republican who is the chairman of the National Republican Senatorial Committee, said the image was “the most racist thing I’ve seen out of this White House.”

“The President should remove it,” Scott wrote on X.

Love Island All Stars has descended into chaos after Belle Hassan confronted Lucinda Strafford in a heated villa clash

Love Island stars Lucinda Strafford and Sean Stone have been branded “fake” in an explosive All Stars row.

The third instalment of the popular spin-off returned to ITV2 last month, bringing back familiar faces from previous series for another shot at romance.

Over recent weeks, audiences have been treated to explosive rows, surprising eliminations and numerous bombshell entrances. The latest shake-up saw six American contestants arrive, alongside the unveiling of villa USA.

However, conflict wasn’t far away as Belle Hassan and Sean found themselves at loggerheads after Sean opted to pursue Lucinda whilst Belle was in the other villa. Tensions reached boiling point on Monday (February 2), when Sean and Lucinda shared their first kiss in the secret garden, reports OK!.

During Tuesday’s (February 3) instalment, an angry Belle confronted Lucinda as she attempted to make amends. Belle interjected, stating: “I don’t want to hear that because it’s not true, is it? You’re not sorry.”

Lucinda responded: “I feel like what’s happened with me and Sean, when I came in, he was my top pick and there’s no doubt about that.”

Belle wasn’t convinced, particularly given Lucinda’s decision to couple up with Ciaran Diaries when she first arrived, after she wanted to “throw the girls off” regarding her preferences.

Challenging her directly, Belle demanded: “What’s real, Lucinda? What is real?” to which a taken-aback Lucinda replied: “Don’t start coming at me.”

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Belle didn’t hold back, saying: “What’s real? If we’re going to have a conversation, let’s be open and honest. What’s real? And let me get one thing straight, you’ve not once gave a f*** about my feelings or [made] me feel comfortable in this, so don’t expect that same thing from me cause that isn’t gonna happen.”

She added: “So, if this conversation you’ve wanted to have all day was for me to validate your s*** behaviour, that’s not gonna happen… This nice girl image just doesn’t wash, I see through it.”

Lucinda hit back, responding: “I don’t really respect you talking to me like that.”

Undeterred, Belle went on: “I don’t respect the way you’ve behaved since the first day you got here, so evidently we’re not going to be on the same page ever… I don’t need to know you for any longer… All you think about is yourself and that has been evident.”

Hinting at her suspicions about Lucinda’s romance with Sean being disingenuous, Belle wrapped up: “We aren’t going to be cool… You do want you need to do, I’ll keep out of your way and that’s where we’re at. I think the whole situation is very fake.”

Viewers flocked to X (formerly Twitter) to applaud Belle’s no-nonsense approach, with one fan posting: “I wish I could handle conversations the way Belle does. I’m actually in awe watching her say it how it is with Lucinda.”

Another viewer observed: “Belle has officially clocked Lucinda’s behaviour and Lucinda couldn’t even defend herself,” whilst a third declared: “Belle calling out Lucinda for her nice girl act finaalllyy someone has had the courage to say it all to her face.”

Meanwhile, one confused fan commented: “What has Lucinda done wrong. I’m still trying to understand.” Will Belle and Lucinda be able to patch things up?

Love Island All Stars airs Sunday to Friday on ITV2 and ITVX at 9pm