L.A

The city of Los Angeles violated the state’s open meeting law when council members took up a plan to clear 9,800 homeless encampments behind closed doors, a judge ruled this week.

In a 10-page decision, L.A. County Superior Court Judge Curtis Kin said the City Council ran afoul of the Ralph M. Brown Act by approving the encampment strategy during a Jan. 31, 2024, closed session.

The encampment plan was part of a larger effort by the city to comply with a legal settlement with the L.A. Alliance for Human Rights, which had sued over the city’s handling of the homelessness crisis.

Kin, in his ruling, said the city is allowed under the Brown Act to confer with its attorneys in closed-door meetings to discuss legal strategy.

“However, what the City cannot do under the Brown Act is formulate and approve policy decisions in a closed session outside the public eye merely because such decisions are in furtherance of a settlement agreement,” Kin wrote.

Karen Richardson, a spokesperson for City Atty. Hydee Feldstein Soto, said her office had no comment on the decision, which was issued earlier this week.

The ruling delivered a victory to the Los Angeles Community Action Network, which advocates for homeless residents and had sued the city over the closed-door deliberations.

Lawyers for LA CAN have warned that the city’s goal of removing 9,800 encampments over four years has created a quota system that could make sanitation workers more likely to violate the property rights of unhoused residents. Under the agreement, the city must reach its encampment removal target this summer.

“The City Council approved an extremely controversial plan to clear almost 10,000 encampments entirely in secret,” said Shayla Myers, the group’s attorney. “They never disclosed the plan before they voted on it, or even after, and the only one they disclosed the plan to was the business community.”

Lawyers for the city have offered contradictory explanations for what transpired during the Jan. 31, 2024, meeting. Now, LA CAN is seeking a court order requiring that the city produce all records — including audio of the closed-door deliberations — to show what transpired.

The city’s strategy for clearing 9,800 encampments has become a major sticking point in its long-running legal battle with the LA Alliance. U.S. District Court Judge David O. Carter ruled that a tent discarded by sanitation workers can only count toward the city’s numerical goal if its owner has been offered housing or shelter first.

Feldstein Soto’s legal team, in a memo to the council, said later that the judge had “reinterpreted” some of the city’s settlement obligations.

In this week’s ruling, Kin found that the city violated the Brown Act a second time in May 2024, when the council went behind closed doors to take up another agreement — this one between the city and L.A. County on the delivery of homeless services.

The LA Alliance first sued the city and county in 2020, alleging that too little was being done to address the homelessness crisis, particularly in Skid Row. The city settled the case two years later, agreeing to create 12,915 new shelter beds or other housing opportunities by June 2027.

After that deal was struck, the city began negotiating an accompanying agreement with the LA Alliance to reduce the number of street encampments. Those talks dragged on for more than a year.

The LA Alliance ran out of patience, telling Judge Carter in February 2024 that the city was 447 days late in finalizing its plan and should be sanctioned. The group submitted to the court a copy of the encampment removal plan, saying it had been approved by the City Council on Jan. 31, 2024.

Video from that day’s meeting shows that council members went behind closed doors to discuss the LA Alliance case. When they returned, Deputy City Atty. Jonathan Groat said there was nothing to report from the closed session.

LA CAN demanded that the city produce any vote tally on the encampment plan. The city declined to do so, saying there was no vote.

“To this day, [we] still don’t know who voted for it, or even if a vote was taken at all,” Myers said.

Lawyers for the city have argued that they were not required to issue any report from that closed session meeting. They also have said that the Brown Act allowed the two agreements — the one on encampment removals and the other with the county — to be discussed behind closed doors.

Carter ruled last year that the city had failed to comply with the terms of its settlement agreement with the L.A. Alliance. On Tuesday, he ordered the city to pay $1.6 million to cover the group’s legal fees.

The judge also instructed the city to pay about $201,000 for fees incurred by LA CAN and the LA Catholic Worker, which have intervened in the LA Alliance case.

On Thursday, lawyers for the city notified the court that they intend to appeal the order to pay the various groups.

In some ways, it was just another campaign coffee: Los Angeles mayoral candidate Austin Beutner in a roomful of voters talking about his career and life accomplishments.

But this was no ordinary meet-and-greet. Beutner was standing inside a partially rebuilt house — with no doors, no windows and no drywall — in an area leveled by the Palisades fire. In the living room, about a dozen people spoke about what they had been through, from the frantic evacuation to the sight of smoldering ruins to the battle to get rebuilding permits.

Allison Holdorff Polhill, who owns the home, introduced Beutner — a former L.A. school superintendent — as the civic leader she would turn to first in a crisis.

“We were in the worst disaster that L.A. has ever experienced,” she told the group. “And we needed a leader that has experience with disasters and emergencies.”

The catastrophic Palisades fire, which destroyed thousands of homes and left 12 people dead, has redefined the L.A. mayor’s race, expanding the field of candidates and creating a political minefield for Karen Bass as she seeks a second four-year term.

When the fire broke out on Jan. 7, 2025, Bass drew criticism for being in Ghana on a diplomatic mission. Once she returned, she was at odds with her fire chief and unsteady in her public appearances.

More recently, she has faced scrutiny over her handling of the recovery, as well as fire officials’ watering down of an after-action report that was supposed to identify mistakes in the firefighting effort.

The Times found that LAFD officials failed to fully pre-deploy engines to the Palisades amid forecasts of dangerously high winds and that a battalion chief ordered firefighters to leave the scene of a Jan. 1 blaze, even though it wasn’t fully extinguished. That fire rekindled a week later to become the Palisades fire.

Fernando Guerra, a political science professor at Loyola Marymount University, said he expects the disaster will be the No. 1 issue in the June 2 mayoral primary, resonating with voters well beyond Pacific Palisades.

To wage a competitive campaign, each of Bass’ challengers will need to make the fire and its aftermath “a reflection of what’s wrong with city government,” he said.

“It really does reflect on the readiness of the city, the responsiveness of the city, how is government working at the most basic level,” said Guerra, who also runs the Center for the Study of Los Angeles.

So far, Bass’ major challengers are embracing that strategy.

Beutner, who ran the L.A. Unified School District early in the pandemic, has accused Bass of failing to take responsibility for the city’s failures before and after the fire. On Monday, appearing with fire victims in Pacific Palisades, he called on the mayor to form a citizens commission to examine what went wrong.

Rae Huang, a community organizer who is challenging the mayor from the left, has expressed disappointment in what she called Bass’ “finger-pointing” — a reference to the mayor’s criticism, and ouster, of Fire Chief Kristin Crowley last year.

Then there’s reality TV star Spencer Pratt, an outspoken Bass critic, who launched a campaign rooted in his fury over the city’s handling of the fire — and the loss of his family’s home in the flames.

“I’ve waited a whole year for someone to step up and challenge Karen Bass, but I saw no fighters,” Pratt said in a social media post Wednesday. “Guess I’m gonna have to do this myself.”

Still unclear is whether two formidable public figures will jump in — L.A. County Supervisor Lindsey Horvath and real estate developer Rick Caruso, who lost to Bass in 2022. On Wednesday, Caruso said he will decide in the next couple of weeks whether he will run for mayor or governor.

Asked whether he might stay out of both races, Caruso responded: “I think that option is pretty much off the table now.”

As the city marked the one-year anniversary of the fires this week, Bass mostly kept a low profile, addressing the Pacific Palisades Democratic Club over the weekend and joining a private vigil at the Self-Realization Fellowship Lake Shrine.

While Pratt and hundreds of demonstrators were staging a “They Let Us Burn” rally in the Palisades, Bass stood solemnly outside City Hall as police officers lowered flags to half-staff. Bass spoke about grief and loss, but also the fact that more than 400 homes are being rebuilt.

“You see signs of hope everywhere,” she told the crowd.

Bass’ political team has taken a tougher approach, accusing her most outspoken critics — including Pratt, who is releasing a book later this month — of exploiting the disaster for political or even financial gain.

“For the first time ever we saw a major wildfire politicized by MAGA leaders and monetized by social influencers making tens of thousands of dollars per month and hawking books on the backs of a devastated community,” Bass campaign strategist Doug Herman said in a statement.

For much of the past year, Bass has faced criticism over the Fire Department’s deployment decisions and its failure to put out the Jan. 1 fire. She also has taken hits over the recovery, with residents saying she has not delivered on promises to waive permit fees for rebuilding homes lost in the fire.

Now, the focus has turned to a new and unsettling question: Did the city undermine its own effort to assess the Fire Department’s mistakes?

The Times reported last month that LAFD officials made changes to the after-action report that were so significant that its author, Battalion Chief Kenneth Cook, declined to endorse it.

“The fact that [Cook] is not willing to sponsor, or support, or endorse the report says a hell of a lot about the fact that there is no trust and clear leadership,” Huang said.

Bass told The Times on Wednesday that she did not work with the Fire Department on changes to the report, nor did the agency consult her about any changes.

Horvath, who is running for a second four-year term as county supervisor, has also ripped the city over the report, saying wildfire victims feel “gaslit” — and deserve answers.

The supervisor, whose sprawling district includes the Palisades burn area, said she has been hearing from people asking her to run for mayor. She said she would prefer to continue in county office. But she voiced concern about the city’s future — not just its handling of the wildfire, but also the budget, the homelessness crisis and the delivery of basic services.

“I think people are hungry for a different kind of leadership,” she told The Times.

Pacific Palisades has not been a political stronghold for Bass. Although she won her 2022 race against Caruso by a 10-point margin, she trailed him by double digits in the Palisades.

Like many people across the region, the major mayoral candidates were directly impacted by the January fires or have family who lost homes — or both.

Beutner’s home was severely damaged in the Palisades fire, forcing him to live elsewhere for the past year. His mother-in-law’s home, also in the Palisades, was completely destroyed.

Bass has spoken repeatedly about her brother, whose Malibu home was destroyed in the Palisades fire. Huang’s 53-year-old cousin lost her Altadena home in the Eaton fire. Pratt, who is suing the city over the Palisades fire, said on social media that the flames consumed not just his home but also one owned by his parents.

Caruso, still a candidate-in-waiting, managed to save Palisades Village, the shopping center he opened in 2018, in part by securing his own private firefighting crew. But the inferno nevertheless destroyed the homes of his son and daughter, who are 26 and 29.

On the night the fire broke out, Caruso voiced his fury on live television about empty fire hydrants and the overall lack of water to douse the flames. Since then, he has offered a steady stream of criticism about the rebuilding process, including the mayor’s decision not to select a replacement for Steve Soboroff, who served 90 days as her recovery czar.

Caruso has spoken favorably in recent weeks about a few aspects of the recovery, including the reopening of classrooms and the quick removal of fire debris. He credited L.A. Unified and the U.S. Army Corps of Engineers, respectively, for those accomplishments — not the city.

“Frankly, the bright spots are under the leadership of other people,” he told The Times.

Beutner has been equally blunt. At last month’s campaign coffee, he said the city needs to convene a citizen panel similar to the Christopher Commission, which was formed weeks after the 1991 police beating of Rodney King. The panel assessed the LAPD’s handling of discipline, misconduct complaints, excessive force by officers and other issues.

“If you have a tragedy, you have public hearings, you have leaders who are empaneled with the money they need to ask tough questions of everybody — the mayor, her staff, the acting mayor, police, fire” and the Department of Water and Power, Beutner told the group. “What did you do, and what would you have done differently?”

Clara Karger, a spokesperson for Bass, said the city is already participating in a state investigation, which is being overseen by the Fire Safety Research Institute, into the Palisades and Eaton fires.

On top of that, she said, the fire department is commissioning an independent investigation into its response to the Jan. 1 fire that reignited into the Palisades fire. That blaze, known as the Lachman fire, was mentioned only briefly in the department’s after-action report.

“Mayor Bass wants all the information to ensure accountability and to continue implementing needed reforms, many of which are already underway from LAFD,” Karger said.

Gov. Gavin Newsom used his final State of the State address to underscore California’s jaw-dropping crime figures — stats that he said refute the president’s claims about widespread murder and mayhem.

To put in perspective some of the numbers cited by the governor on Thursday:

The last time homicides were this low in Oakland, Rev. Dr. Martin Luther King Jr. was visiting Joan Baez at Santa Rita Jail to commend her on her recent arrest in protest of the Vietnam draft.

Killings haven’t been so rare in San Francisco since superstar Marilyn Monroe wed baseball legend Joe DiMaggio at City Hall.

And violent deaths in the city of Los Angeles fell to rates not seen since the Beatles played Dodgers Stadium, their penultimate public show.

“We have seen double-digit decreases in crime overall in the state of California,” Newsom said. “We’ve got more work to do, but to those with that California derangement syndrome, I’ll repeat — it’s time to update your talking points.”

The governor’s remarks follow reporting by The Times that showed L.A.’s homicide rate is nearing a record low, mirroring trends in other cities nationwide.

With the counts based on data from the LAPD and other law enforcement agencies, President Trump’s insistence that crime in California is out of control has come to seem increasingly bombastic. Recently, the president has modified his message to warn of a possible crime resurgence.

“We will come back, perhaps in a much different and stronger form, when crime begins to soar again,” Trump said on Truth Social in a post announcing an end to his legal battle to maintain National Guard troops in L.A., Portland and Chicago. “Only a question of time!”

In his speech Thursday, Newsom credited the stark drop in violence to a flood of crime-fighting cash unleashed by the California Legislature.

“No one’s walked away from public safety,” Newsom said. “We didn’t turn a blind eye to this, we invested in it. We didn’t talk about it, we leaned in.”

But experts said the reality is more complicated. Those who study the root causes of crime say that it may take years, if not decades, to disentangle the causes of the pandemic-era surge in violence and the precipitous drop that has followed.

Trump hammered lawlessness in California’s streets during the 2024 presidential campaign and throughout his first year back in the White House. He rarely names Newsom without invoking crime and chaos, and regularly threatens to surge armed soldiers back into into the streets.

At the same time, the Trump administration has slashed hundreds of millions in federal funding from school safety grants, youth mentoring programs and gang intervention networks that experts say have been instrumental in improving public safety.

Proponents worry those cuts could threaten L.A.’s patchwork of alternative crisis response programs aimed at easing the city’s reliance on law enforcement. In recent years, scores of groups have sprung up to assist people dealing with homelessness, drug addiction and the symptoms of untreated mental health disorders — all of which can heighten the perception of crime, even when actual numbers go down.

Looming cuts in federal spending could hinder efforts to scale up these initiatives, some warned.

“I just don’t know how we can continue to trend in the right direction without continuing to invest in things that work,” said Thurman Barnes, assistant director of the New Jersey Gun Violence Research Center.

According to data published by the Major Cities Chiefs Assn., homicides were down in San Francisco, San José, Sacramento and Oakland. Other violent crimes, including rape, aggravated assault and robbery, also dropped, with a handful of exceptions.

Property crime was also down, the governor said Thursday.

Street-level disorder and perceptions of widespread lawlessness helped topple progressive administrations across California in 2024 and earned Trump an unexpected windfall in some of the state’s bluest cities.

Those concerns are “at the core” of California voters’ frustrations, Newsom acknowledged Thursday.

“We’re seeing results, making streets safer for everyone,” the governor said.

Jeff Asher, a leading expert in the field of criminology, said it’s hard to say whether the perception gap is closing “because we don’t necessarily track it super systematically.”

But he pointed to a Gallup poll from late last year that showed less than half of Americans believed that crime had gone up — the first time in two decades that that number had dipped below 50%.

“The pandemic broke us in a lot of ways, and we’re starting to not feel as broken,” he said.

Newsom also touted sharp declines in the number of people living on the streets.

Unsheltered homelessness dropped 9% in California and more than 10% in Los Angeles, the governor announced — data he sought to contrast with an 18% rise in homelessness nationwide.

The sight of encampments and people in the throes of psychosis in the streets drives perceptions of lawlessness and danger, studies show. Lowering it soothes those fears.

But California’s overall homeless population remains stubbornly high, with only modest reductions. Federal funding cuts could hamper efforts to further reduce those numbers, experts warned.

Rather than dig into the complexities of crime, Newsom sought to portray the president himself as the driver of lawlessness, calling the first year of his second term a “carnival of chaos.”

“We face an assault on our values unlike anything I’ve seen in my lifetime,” the governor said. “Secret police. Businesses being raided. Windows smashed, citizens detained, citizens shot. Masked men snatching people in broad daylight, people disappearing. Using American cities as training grounds for the United States military.”

“It’s time for the president of the United States to do his job, not turn his back on Americans that happen to live in the great state of California,” Newsom said.

A snapshot of fire-ravaged Altadena is laid out before me, hovering like a diorama. My eyes zero in on a red door, its frame one of the few surviving remnants of a home. I pull it closer to me, and in moments I see a fraction of the house as it once was — now I’m in a cozy kitchen with blurred but welcoming pictures in the background and a grandfather celebrating a birthday. A voice-over tells me that it was Alexander, a grandfather, who painted the door red.

It’s as if a memory has sprung to life and exists solely in the ether in front of me. But in seconds it’s gone, and I see only rubble — scattered bricks and tiles, tree branches and wooden boards.

I shed a tear, but it’s obscured by the virtual reality headset I’m wearing. I am experiencing a work-in-progress segment of the multimedia documentary “Out of the Ashes,” which will be previewed Friday evening at a Music Center event demonstrating how emerging technologies can help people process collective experiences such as the L.A. fires.

Filming is continuing on the project, which began just days after the flames ignited. Filmmaker, academic and virtual reality pioneer Nonny de la Peña secured media access to the burn zones for her and a small team via her role as the program director of narrative and emerging media at Arizona State University, which she operates out of offices in downtown Los Angeles. “I knew that this was going to be transitory type of situation, that it was going to change quickly,” says De la Peña, co-director on the film with Rory Mitchell. “I’ve covered enough disaster stories to know how huge this was.”

De la Peña has long been at the forefront of merging immersive technologies and journalism. Her 2012 project “Hunger in Los Angeles,” for instance, was the first VR documentary to screen at Sundance. “I think this technology is unique,” De la Peña says. “I’ve seen a lot of helicopter footage, but when you’re right there in it, it’s a different perspective as to what happened.” For this documentary, she partnered with Mitchell, an independent filmmaker, whose augmented-reality tabletop experience “The Tent” premiered at SXSW last year.

In my preview of “Out of the Ashes,” one segment whisks me to the coastline. If I angle my head down, I see the glistening lights of the Santa Monica Pier. Look up ever so slightly, however, and the sky is charred red and black. I hear a cello, and soon musician David Low stands before me, recounting the day the flames began and the rush to remove his young son from school to help rescue a smattering of heirlooms.

The family saved a few plushies and a couple prized musical instruments, but in the urgency to leave, not much else. He sits at a kitchen table, reconstructed in VR from family photos, but the rest of the home has vanished. As I see glimpses of Low’s home before and after the fires, I again feel as if I’m standing in a liminal space, a remembrance but also a reminder. Low exists only as a 3D figure before me, but I wish I could reach out my hand.

The instinct to extend a hand feels natural in virtual reality, as it’s visceral and creates a sense of presence. And it also seems a part of the mission for “Out of the Ashes,” a work as much about the effects of the fires as it is a vessel for collective grief and empathy. “Sometimes, you just need someone to say, ‘Hey, I’m sorry that happened to you.’ Sometimes you just need someone to hug you,” says De la Peña. “When you lose that much, it’s sometimes hard to fathom.”

Adds Mitchell, “We understand the numbers and acreage,” he says before rattling off a host of fire statistics. “But it’s only through story that we can begin to wrap our hearts and brains the scale of the emotional devastation, and the psychic pain that the city has gone through. Maybe this can provide a way into this collective pain and a way to talk about it.”

Another aspect of “Out of the Ashes” is augmented reality, which will also be shown at the Music Center event. The tech is used to capture short snapshots of scenes from Altadena and the Palisades.

Retired professor Ted Porter, for instance, recalls buying a loaf of his late wife’s favorite bread when the winds first started, thinking he may need something to nibble on if the power went out. Melissa Rivers talks of grabbing photos of her late father, and running for her mother’s Emmy, recalling how meaningful the award was to Joan. “I don’t know why I grabbed what I grabbed,” Rivers says. “It’s just what I did.” They’re short scenes in which a small item floats before us, and they’re reflective of life’s unpredictability, but also how, in times of stress, our minds race to the symbols that truly matter to us.

“Part of what this process is, is trying to provide a space for the folks directly affected by it, who are trying to rebuild their lives and explain to their children what happened,” Mitchell says. “Everyone is going to process at difference speeds and in different ways, but to do that collectively and communally is the hope with this.”

The Friday event, officially dubbed the Music Center’s Innovation Social: Reflections on Loss, Hope and Renewal, will also include a live musical performance by survivors of the Eaton fire. Guests will additionally have the ability to learn how to use 3D scanning tools via their smartphones to begin to create their own short, memory-filled clips. Acorns will also be given away as representations of resilience, and audio interviews of those who experienced the fires will be collected into a sound collage.

De la Peña and Mitchell say they have more work to do on the film, which, when completed, can be brought to festivals or become its own touring exhibition. “We want people to know what we’ve gone through,” Mitchell says.

And what we continue to experience. One virtual reality segment centers on landscape architect Esther Margulies discussing the effects of climate change and the importance of planting California live oaks — “ember catchers,” says Mitchell — rather than palm trees. In the headset, we see Mitchell standing amid fire-burned trees, a stark, dreadful landscape. This contrasts soon, however, with the surviving oaks, shown standing grandly among empty, otherwise deserted streets. Amid much despair, they’re framed as one small symbol of hope.

A year ago, we were all glued to our phones, namely the Watch Duty app, as we watched fires rip through beloved neighborhoods and landscapes. We braced ourselves for the death toll, the number of homes lost and what was harmed in our beloved mountains.

The Eaton and Palisades fires were the beginning of a crushing year for L.A.

I don’t believe in closure or want to push the idea of resilience, concepts too often forced in these kind of post-disaster narratives. But I do believe in pausing to discern what we have learned over the past year.

I recently spoke with trail crew volunteers, including two who lost their houses in the fires, to get their takes.

They each shared what’s helped them move through this past year, including what we can learn from the regrowth and recovery of our local forests. I left these conversations feeling inspired by both the natural and human spirit. I hope you will be too.

Lesson 1: Humans are adaptable like the trees and plants

After the devastating 2018 Woolsey fire, which burned much of the Santa Monica Mountains, photographer Jane Simpson made regular pilgrimages to Malibu Creek State Park to document the renewal process. She saw the hillsides start to green, and lupine and other flowers (and mustard) start to bloom.

It helped give her a baseline for what to expect when she started returning to the mountains scorched by the Palisades fire.

Simpson is a member of the Sierra Club Angeles Chapter’s Santa Monica Mountains Task Force trail crew, known often by their nickname, the Trailies.

In November, Simpson worked alongside other Trailies on the Bienveneda and Leacock trails in Topanga State Park. The area was badly burned, but still Simpson noticed green sprouts peeking out of the ashy soil and from the branches of trees that the average passerby might assume were dead.

“I just want to think that the trees, the flowers, the [landscape] are not just responding blindly and dumbly — we know they’ve learned to adapt, and humans are learning to adapt as well,” said Simpson, who joined the Trailies in 2017.

Simpson has been forced to adapt. Her home in the Palisades Highlands was among thousands that burned in the Palisades fire, and she alongside her neighbors are grappling with whether to rebuild. Simpson grew up in Mandeville Canyon, and as a kid, she’d head out the door with a sack lunch and friends for a day of unsupervised adventures. It’s hard to imagine not living there.

Before the fire, Simpson could walk out her front door and quickly take one of about five nearby trailheads. She and a neighbor would often “just head out the door and go anywhere,” she said, like the many times they headed along Palisades Drive to Temescal Ridge Trail to Radio Peak, a local name for Temescal Peak.

Those trips helped them learn the local plants and how they changed with the seasons, like how the ceanothus would blossom with blue blooms in early spring. And in Santa Ynez Canyon, Simpson loved spotting the Humboldt’s lilies, knowing the perennials would come back every year.

Even after the devastation of the Palisades fire, she’s seen those lilies return to the same spot they’ve always been.

“A fire-scarred landscape may look dead, but spotting a familiar flower is like seeing old friends,” she said. “It’s reassurance — that some kind of normal is possible. Of course, when it is your own property, there is no normal there, but there is reassurance that for the earth, the wildlife, plants, things will go on, even if I don’t return.”

Lesson 2: We have our own ecological role to play

Trailie crew member Ron Dean is drawn to trail work for creativity. Every 10 minutes, there’s seemingly a new problem the trail crew faces, like, “Where should we put the trail? Should we put the rocks over here? Does this need a drain? How can we move this thing out of the way? It’s wonderful,” he said.

When I asked Dean, who joined the crew 12 years ago, to describe his relationship with the Santa Monica Mountains, he was quick to answer.

“When I’m out in the mountains, I feel like I’m hanging out with my best friend,” Dean said.

Dean moved from Wisconsin to L.A. in 1970 for a job and stayed for the climate and landscape. Every Sunday for the past several years, Dean and his son Josh would hike in the Santa Monica Mountains, leaving Dean’s home in the Palisades and often hitting a loop trail to Goat Peak, also referred to by some locals as High Point. After the hike, they’d have brunch and watch football.

That home, which was built in 1951, burned in the Palisades fire. Similar to how he approaches trail work, Dean is looking at how to create a better home for today’s climate, adding solar panels, backup batteries, water recycling and a heat pump system.

Dean is comfortable tackling problems that seemingly have no end. He’s known among his fellow Trailies as the “mustard man” because whenever he sees invasive black mustard — the yellow flowers that cover L.A.’s hillsides in the spring before drying into quick-burning brown twigs — he yanks it out. “Will I win? Of course not,” Dean said.

This is the kind of acceptance Dean has learned from our local mountains — that we can all do our part for as long as we’re here.

Lesson 3: Restoration is a form of reciprocity

In 2012, Rubio Canyon Trail Crew member Sean Green made it his personal mission to restore the Lone Tree Trail in Rubio Canyon. The path, built more than 100 years ago, was constructed so that workers from a municipal water company could reach the utility’s water intakes far into the canyon, Green said.

The trail had been abandoned for decades, but was rediscovered after the 1993 Kinneloa fire ripped through the area. “I decided I loved that trail and I restored it,” Green said.

The trail crew’s work is part of a long history of give and take between humans and the canyon.

The lush landscape of chaparral, coast sage scrubs and creek beds was once a stop on the Mount Lowe Railway. The “railway climbed the steep Lake Avenue and crossed the poppy fields into the Rubio Canyon,” according to a local history website. “This part of the trip was called the Mountain Division. At this juncture stood the Rubio Pavilion, a small 12-room hotel. From there the passengers transferred to a cable car funicular which climbed the Great Incline to the top of the Echo Mountain promontory.”

The Rubio Cañon Land and Water Assn. has pulled water from the canyon since the 1880s, delivering it to nearby residents in Altadena. But in the late ’90s, in a still-debated controversy, the water company completed a construction project that sent thousands of yards of debris into the canyon, burying at least three waterfalls.

“Whether by nature’s hand or man’s, with time or with money, Rubio Canyon’s waterfalls will return,” Pasadena Star-News journalist Becky Oskin wrote at the time.

It appears that time has finally come.

Green said heavy rains pushed debris away from the once-covered Maidenhair Falls, a 30-foot cascade named after the Maidenhair ferns that once surrounded it.

The Rubio Canyon Trail Crew, which has worked in the area for more than 25 years, is busy bringing the rest of the canyon’s trails back too.

The Eaton fire ripped through the Rubio Canyon Preserve, seriously damaging the canyon’s chaparral, coast sage scrub and riparian habitats.

Green said his crew has almost finished restoring the Loma Alta Trail and has put in several hours on the Gooseberry Motorway, which takes hikers up and over a ridgeline, eventually into Angeles National Forest. The motorway was originally built by Southern California Edison to install electrical towers, Green said.

The crew has started seeing wildflowers, trees and wildlife all return to the canyon.

“The land is recovering,” Green said. “The Eaton fire caused a lot of damage, burning many houses down and burning the vegetation, but nature is very resilient and it will come back. … The canyon itself is going to take awhile to look like a vegetated canyon bottom because of all the debris that came down, but the rest of Rubio Canyon is going to regrow. It’s going to look pretty, and we’re going to get the trails in shape.”

Lesson 4: Hard work pays off

The hiking trails of Angeles National Forest, as a whole, are in far better shape than they were 10 years ago. In spite of repeated wildfires — the Bobcat fire in 2020, the Bridge fire in 2024, the Eaton fire last year — and heavy rains, the trails remain.

I was so focused on the damage of the past year from the Eaton fire and heavy rainfall, I hadn’t zoomed out to consider the bigger picture until I spoke to Rob Pettersen, a founding board member of the Lowelifes Respectable Citizens’ Club.

The Lowelifes are among a dedicated coalition of trail crews that dedicate hundreds of hours every year to reestablishing damaged trails by lugging out fallen and dead trees, moving soil and rock, and more.

“We are moving forward, but Mother Nature has other ideas sometimes,” Pettersen said. “There’s no silver bullet for fixing these trails. They just need constant attention. It’s just the nature of our geology.”

Pettersen has volunteered on trail work crews off and on for the past 20 years, most consistently after Lowelifes was founded in 2019. Pettersen enjoys living in Los Feliz, but like most of us, is drawn to the solace and peace that the mountains provide.

After the 2020 Bobcat fire, which burned through Big Santa Anita Canyon and several other beloved places, the Lowelifes focused several months on restoring the Idlehour Trail, a six-mile jaunt through lush woodland.

“This time last year, Idlehour was in some of the best shape it’s ever been — and then it got melted” in the Eaton fire, Pettersen said. “It’s a very popular [and] special place for Lowelifes folks individually, and the fact we had just completed a lot of work there is kind of brutal.”

This ebb and flow of fire and flood, exacerbated by human-caused climate change, he said, is why the Lowelifes focus on restoring trails to a quality that can withstand harsh conditions.

“Even though we’ve had multiple years now where we’ve done a bunch of trail restoration work and then got hit by several inches of rain in 12 hours,” Pettersen said, “the vast majority of the trail mileage holds up because we do good work so the trail isn’t gone. But the trouble spots — the heavy drainages, the cliffy areas — those are always impacted by debris flow. So it’s a bummer, but it also feels good to be making a difference and doing good work for the community.”

Several Lowelife crew members lost their homes or livelihood in the Eaton fire, including Lowelifes president Matt Baffert. Additionally, the fire also burned up the crew’s tools, which were stored at Baffert’s home.

A year later, though, Baffert and others are rebuilding and moving back, Pettersen said.

That’s in large part because the community rallied behind the Lowelifes. The group received several grants and donations, and the Lowelifes as a nonprofit came out of the fire more financially secure than before. Pettersen said so many volunteers showed up to help that the Lowelifes had to turn people away because they couldn’t safely fit everyone who showed up on the trails to work.

“It’s amazing seeing how many people care about our Lowelifes individually and about our trails and our Angeles National Forest,” Pettersen said. “People care about trails, people care about public lands; that’s been positive and we want to keep building on that.”

This month, the Lowelifes plan — rain and snow permitting — to head back to the Idlehour trail.

The work continues.

3 things to do

1. Volunteer as a hiker guide in L.A.
Hearts For Sight and the Sierra Club Angeles Chapter will host their monthly White Cane Hike at 8:30 a.m. Jan. 18 in Griffith Park. Volunteers are needed to guide blind and visually-impaired hikers on a gentle hike from Franklin’s Cafe & Market to a heliport in the park. The hike is free, and lunch is provided. To register, call Hearts for Sight at (818) 457-1482.

2. Make new friends hiking in Elysian Park
LA for the Culture Hiking Club will host a beginner-friendly, free community hike at noon Saturday in Elysian Park. The group will meet at the Grace E. Simons Lodge parking lot before heading onto the Elysian Park West Loop, which offers stunning views of the city. Register at eventbrite.com.

3. Commune with nature and a notebook near Calabasas
California State Parks and Santa Monica Mountains Nature Journal Club will host a nature journaling meetup from 10 a.m. to 12:30 p.m. Sunday at Malibu Creek State Park. Participants who are new to nature journaling are invited to take a free introductory course while experienced nature journalers can head into the park. The group will reconvene at noon to share their experiences. Guests are invited to bring a potluck dish to share. Register at eventbrite.com.

The must-read

One of the first places I go to research a trail is The Times archives because we’ve been writing about the trails and campgrounds of Angeles National Forest for more than 100 years. In all that time, we haven’t slowed down enough to write a comprehensive guide of the forest — until now. I spent the past few months researching and writing what is a part love letter/part guide to help you explore every corner of the 700,000-acre national forest playground that sits right in our backyard. I hope you save this guide and use it for many of your future adventures! I know I will.

Happy adventuring,

P.S.

After the recent rain and snowfall, there are new and serious hazards on our local trails that you must consider before heading out. We have already lost at least three hikers locally this winter. As I’ve written previously, you often need crampons and an ice axe, equipment you need to be experienced using, before heading into a snow hike with elevation gain. I have seen several images on social media of hikers celebrating at the snow-covered Mt. Baldy summit, the highest point in the San Gabriel Mountains, but anyone headed up Baldy needs to understand how dangerous the hike is in winter conditions. As Kyle Fordham, a 36-year-old experienced hiker, told my colleagues, the Devil’s Backbone trail is typically considered the easier option, but it becomes “a death slide” in the winter. “It basically becomes a giant ice cliff,” Fordham said. “If you don’t know what you’re doing, you can very easily die on it.” If you do run into a fellow hiker in need, please help however you can. It can sometimes be the kindness of a stranger that saves a life. Stay safe out there, friends!

For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.

Spencer Pratt, a reality television star who lost his home in the Palisades fire and then emerged as a sharp critic of Los Angeles Mayor Karen Bass and Gov. Gavin Newsom, announced Wednesday that he will run for mayor.

The former star of “The Hills” has spent much of the last year firing off social media posts blaming the mayor and governor for the Palisades fire, which killed 12 people and burned more than 6,800 homes.

Pratt made his announcement at the “They Let Us Burn” event in Pacific Palisades on the one-year anniversary of the fire.

“We’re going to expose the system. We’re going into every dark corner of L.A. politics and disinfecting the city with our light,” he said to a crowd of hundreds, many of whom cheered.

Former L.A. schools Supt. Austin Beutner, who is running against Bass, has also attacked the mayor’s performance on the fire, saying she has not accepted responsibility for the city’s failures.

Community organizer Rae Huang, who is running from Bass’ left, has offered her own critique, saying the mayor has engaged in too much finger-pointing.

Still unclear is whether real estate developer Rick Caruso — another outspoken critic of Bass on the fire — will launch a second mayoral bid. Bass defeated him in 2022 by a comfortable margin.

L.A. County Supervisor Lindsey Horvath, who represents the areas that burned in the Palisades fire and who has also criticized the city’s response to the fire, said Monday night that she is still considering her own run for L.A. mayor.

Speaking with CNN’s Elex Michaelson, Horvath said she is “listening to a lot of the people who are encouraging me to get into this race, people who are looking for a different kind of leadership.”

“You know, there are a lot of people who are asking me about running for mayor,” Horvath said. “And I think it’s because they see that we are setting up in the county a different structure of accountability, and that’s long overdue for the region.”

The Palisades fire has become a serious political liability for Bass as the mayoral race gains momentum. She was out of the country on a diplomatic mission to Ghana when the fire ignited.

Since then, she has faced criticism over a series of issues surrounding the city’s emergency response, including LAFD deployment, the fact that the Santa Ynez reservoir was empty, and the Fire Department’s failure to put out a New Year’s Day fire that eventually rekindled into the Palisades fire.

Bass, for her part, said Tuesday that she is using the full extent of her mayoral powers to “restore the Palisades community and return families home as quickly and safely as possible.”

Bass’ campaign team did not immediately respond to an inquiry about Pratt’s announcement. But earlier this week, they took direct aim at Pratt and other critics, accusing them of using the disaster for their personal benefit.

“For the first time ever we saw a major wildfire politicized by MAGA leaders and monetized by social influencers making tens of thousands of dollars per month and hawking books on the backs of a devastated community,” said Bass campaign spokesperson Doug Herman. “While some may choose to divide people and tear down the progress that’s being made, Mayor Bass will continue to work to unite people and focus on doing everything that she can to get everyone in the Palisades back in homes, business re-opened, and beloved community spaces up and running again so that the Palisades can once again thrive.

Pratt and his wife, reality television personality Heidi Montag, sued the city in January after their Palisades house burned down, arguing that the Santa Ynez reservoir should not have been offline and empty when the fire erupted.

As recently as Tuesday, Pratt posted on X saying he was “shocked that 7% of Angelenos have ‘a great deal of confidence’ in their city and state government.”

“Have they looked around?” he wrote.

In the past, Pratt has also hinted at a run for governor. On his website, he still advertises “Spencer for Governor” shirts for $20, at a more than a 50% discount.

Pratt became famous in the aughts for his role on “The Hills,” where he was known as Montag’s boyfriend-turned-husband. He has also appeared on “Celebrity Big Brother” and “The Hills: New Beginnings.”

The line at Holbox during the midweek lunch hour has become a cultural sensation, a queue of locals and visitors trailing past the automatic doors and around the parking lot like devotees angling for the latest iPhone series or limited-release sneakers. Believe the lauds, including ours when we named Holbox as The Times’ 2023 Restaurant of the Year. Gilberto Cetina’s command of mariscos is unmatched in Southern California – his ceviches, aguachiles and tostadas revolutionary in their freshness and jigsaw-intricate flavors. The smoked kanpachi taco alone — clinched with queso Chihuahua and finished with salsa cruda, avocado and drizzles of peanut salsa macha — is one of the most sophisticated things to eat in Los Angeles.

Holbox could be considered for the top ranking on its own strength. But in a year when disasters tore at our city, honoring the power of community feels more urgent than ever. Cetina’s seafood counter doesn’t thrive in a vacuum. Holbox resides inside the Mercado La Paloma in South L.A. The mercado is the economic-development arm of the Esperanza Community Housing Corp., a nonprofit organization founded in 1989 that counts affordable housing and equitable healthcare among its core missions. When the mercado was in the incubation stage, Esperanza’s executive director Nancy Ibrahim interviewed would-be restaurateurs about their challenges and hopes in starting a business. Among the candidates was Cetina’s father, Gilberto Sr., who proposed a stall serving his family’s regionally specific dishes from the Yucatán. Their venture, Chichén Itzá, was among the eight startups when the mercado opened in a former garment factory nearly 25 years ago, in February 2001.

Step into the 35,000-square-foot market today, and the smell of corn warms the senses. Fátima Juárez chose masa as her medium when she began working with Cetina at Holbox in 2017. Komal, the venue she opened last year with her husband, Conrado Rivera, is the only molino in L.A. grinding and nixtamalizing heirloom corn varieties daily. Among her deceptively spare menu of mostly quesadillas and tacos, start with the extraordinary quesadilla de flor de calabaza, a creased blue corn tortilla, bound by melted quesillo, arrayed with squash blossoms radiating like sunbeams.

Wander farther, past the communal sea of tiled tables between Holbox and Komal, to find jewels that first-timers or even regular visitors might overlook.

Taqueria Vista Hermosa, run by Raul Morales and his family, is the other remaining original tenant. Order an al pastor taco, or Morales’ specialty of Michoacan-style fish empapelado smothered in vegetables and wrapped in banana leaf. The lush, orange-scented cochinita pibil is the obvious choice next door at still-flourishing Chichén Itzá, but don’t overlook crackling kibi and the brunchy huevos motuleños over ham and black bean puree. The weekends-only tacos de barbacoa de chivo are our favorites at the stand called Oaxacalifornia, though we swing through any time for the piloncillo-sweetened café de olla and a scoop of smoked milk ice cream from its sibling juice and snack bar in the market’s center. Looking for the comfort of noodles? Try the pad see ew at Thai Corner Food Express in the far back.

The everyday and the exquisite; the fast and the formal (just try to score a reservation for Holbox’s twice-a-week tasting menu); a food hall and sanctuary for us all. Mercado La Paloma embodies the Los Angeles we love.

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Meow Wolf likes to say that its upcoming Los Angeles exhibition is focused on the art of storytelling — why it matters, what it means and how stories transform.

“This exhibition is about the inevitability of change,” says creative director Elizabeth Jarrett, “and how the stories that we tell ourselves and others have the ability to affect the way we perceive change and the way we experience it.”

That also means that Meow Wolf, known for its large-scale, explorable installations in Las Vegas, Denver, Houston, the Dallas suburbs and its home base of Santa Fe, N.M., will double down on its experiments with other media. Throughout the Los Angeles show, guests will encounter mixes of live action and animation, shadow boxes, games and even a mini escape room, only here guests have to break into rather than out of a secret room.

The Times spent two days in Santa Fe late last year to preview Meow Wolf’s Los Angeles exhibition, set to take over part of the Cinemark complex at Howard Hughes L.A. near the end of this year. Here are five fast things to know about the experience.

The House Judiciary Committee on Tuesday released a report after its own investigation into FireAid, the charity founded by Clippers executives that raised $100 million for wildfire relief efforts in Los Angeles last January.

The investigation — led by Rep. Kevin Kiley (R-Rocklin) under committee chair Jim Jordan (R-Ohio) — began in August when Kiley “sent a letter to FireAid requesting a detailed breakdown of all non-profits that received money from FireAid.” Kiley expressed concern that the money had gone toward local nonprofits rather than as more direct aid to affected residents.

FireAid promptly released a comprehensive document detailing its fundraising and grant dispersals. After reaching out to every named nonprofit in the document, The Times reported that the groups who successfully applied for grants were quickly given money to spend in their areas of expertise, as outlined in FireAid’s public mission statements. A review conducted by an outside law firm confirmed the same.

The new Republican-led committee report is skeptical of the nonprofit work done under FireAid’s auspices — but cites relatively few examples of groups deviating from FireAid’s stated goals.

Representatives for FireAid did not immediately respond to request for comment on the report.

Out of hundreds of nonprofits given millions in FireAid funds, “In total, the Committee found six organizations that allocated FireAid grants towards labor, salaries, or other related costs,” the report said.

The committee singled out several local nonprofits, focused on relief and development for minorities and marginalized groups, for criticism. It named several long-established organizations like the NAACP Pasadena, My Tribe Rise, Black Music Action Coalition, CA Native Vote Project and Community Organized Relief Efforts (CORE), whose activities related to fire relief they found “unclear,” without providing specific claims of misusing FireAid funds.

The report — while heavily citing Fox News, Breitbart and New York Post stories — claims that “FireAid prioritized and awarded grants to illegal aliens.” Yet its lone example for this is a grant that went to CORE, citing its mission for aiding crisis response within “underserved communities,” one of which is “undocumented migrants” facing “high risk of housing instability, economic hardship, exploitation, and homelessness.”

The report said that $500,000 was used by the California Charter Schools Assn., Neighborhood Legal Services of Los Angeles County, Los Angeles Regional Food Bank, LA Disaster Relief Navigator, Community Clinic Assn. of Los Angeles County and LA Conservation Corps “towards labor, salaries, or other related costs,” which the committee said went against FireAid’s stated goals.

Yet the examples they cite as suspicious include NLSLA using its FireAid grant to pay salaries to attorneys providing free legal aid to fire victims, the Community Clinic of Los Angeles “expanding training in mental health and trauma care” through grants to smaller local health centers, and the L.A. Regional Food bank allocating its funds to “mobilize resources to fight hunger.”

The report singled out one group, Altadena Talks Foundation, from Team Rubicon relief worker Toni Raines. Altadena Talks Foundation received a $100,00 grant from FireAid, yet the report said Altadena Talks’ work on a local news podcast, among other efforts, “remains unclear” as it relates to fire relief.

The report’s claims that “instead of helping fire victims, donations made to FireAid helped to fund causes and projects completely unrelated to fire recovery, including voter participation for Native Americans, illegal aliens, podcast shows, and fungus planting” sound incendiary. Yet the evidence it cites generally shows a range of established local nonprofits addressing community-specific concerns in a fast-moving disaster, with some small amounts of money possibly going toward salaries or overhead, or groups whose missions the committee viewed skeptically.

FireAid still plans to distribute an additional round of $25 million in grants this year.

If journalism is the first draft of history, TV news is a rough, improbable sketch. As last year’s wildfires multiplied, still 0% contained, field reporters — tasked with articulating the unintelligible on camera — grieved alongside Los Angeles in real time.

“What are you supposed to say when the entire community you were born and raised in is wiped off the map, literally burning to the ground before your eyes?” Jacob Soboroff writes in “Firestorm,” out in early January ahead of the Palisades and Eaton fires’ first anniversary. “I couldn’t come up with much.”

Viewers saw that struggle Jan. 8, 2025. Soboroff, then an NBC News national correspondent, briefly broke the fourth wall while trying to describe the destruction of his former hometown, the Pacific Palisades.

“Firestorm,” the first book about the Great Los Angeles Fires of 2025, pulls readers inside Soboroff’s reporter’s notebook and the nearly two relentless weeks he spent covering the Palisades and subsequent Eaton wildfire. “Fire, it turns out, can be a remarkable time machine,” he writes, “a curious form of teleportation into the past and future all at once.”

The book argues the future long predicted arrived the morning of Jan. 7. The costliest wildfire event in American history, so far, was compounded by cascading failures and real-time disinformation, ushering in what Soboroff calls America’s New Age of Disaster: “Every aspect of my childhood flashed before my eyes, and, while I’m not sure I understood it as I stared into the camera…I saw my children’s future, too, or at least some version of it.”

In late December, Soboroff returned to the Palisades Recreation Center for the first time since it burned. Tennis balls popped from the courts down the bluff. Kids shrieked around the playground’s ersatz police cars, ambulance and fire trucks — part of a $30-million public-private rebuild backed by City Hall, billionaire real estate developer Rick Caruso and Lakers coach JJ Redick, among others.

The sun peeks through the morning marine layer as Soboroff stops at a plaque on the sole standing structure, a New Deal-era basketball gym. His parents’ names are etched at the top; below them, family, friends, neighbors. It’s practically a family tree in metal, commemorating the one-man fundraising efforts of his father, the business developer Steve Soboroff, to repair the local play area. It was also the elder Soboroff’s entry point into civic life, the start of a career that later included 10 years as an LAPD police commissioner, a mayoral bid and a 90-day stint as L.A.’s’ fire recovery czar.

“All because my dad hit his head at this park,” Soboroff says with a smirk, recalling the incident that set off his father’s community safety efforts.

He checks the old office where he borrowed basketballs as a kid. “What’s happening? Are people still coming to the park?” he asks a Recreation and Parks employee, slipping into man-on-the-street mode.

On a drive down memory lane (Sunset Boulevard), Soboroff jokes he could close his eyes and trace the street by feel alone. Past rows of yard signs — “KAREN BASS RESIGN NOW” — and tattered American flags, grass and rose bushes push through the wreckage. Pompeii by the Pacific.

At the corner where he once ran a lemonade stand, Soboroff FaceTimed his mother on national television to show her what remained of the home he was born in. Before the fires, he had never quite turned the microphone on himself.

During the worst of it, with no one else around but the roar of the firestorm, “I had to hold it up to myself,” he says. “That was a different assignment than I’ve ever had to do.”

Soboroff is a boyish 42, with a mop of dark curls and round specs, equally comfortable in the field and at the anchor desk. J-school was never the plan. But he got a taste for scoops as an advance man to New York City Mayor Michael Bloomberg. MTV News once seemed like the dream, but he always much preferred the loose, happy talk of public television’s Huell Howser. MSNBC took notice of his post-grad YouTube and HuffPost spots and hired him in 2015.

Ten years later, he was tiring of breaking news assignments and stashed away his “TV News cosplay gear” to ring in 2025. But when he saw the winds fanning the flames in the Palisades from NBC’s bureau at Universal Studios, he fished out a yellow Nomex fire jacket and hopped in a three-ton white Jeep with his camera crew.

The opening chapters of “Firestorm” read like a sci-fi thriller. All-caps warnings ricochet between agencies. Smoke columns appear. High-wind advisories escalate. Soboroff slingshots the reader from the Palisades fire station to the National Weather Service office, a presidential hotel room, toppled power lines in Altadena, helitankers above leveled streets and Governor Newsom’s emergency operations center.

Between live shots with producer Bianca Seward and cameramen Jean Bernard Rutagarama and Alan Rice, Soboroff fields frantic calls from both loved ones and the unexpected contacts, desperate for eyes on the ground. One is from Katie Miller, a former White House aide who cut contact after the reporter published “Separated,” his 2020 book on the Trump family separation policy. Miller, wife of Trump advisor Stephen Miller, asks him to check on her in-laws’ home. “You’re the only one I can see who is there,” she writes. Soboroff confirms the house is gone. “Palisades is stronger than politics in my book,” he replies. For a moment, old divisions vanish. It doesn’t last.

He returns home to Frogtown, changes out of smoke-soaked clothes and grabs a few hours’ sleep before heading back out. “Yet another body blow from the pounding relentlessness of the back-to-back-to-back-to-back fires,” he writes. Fellow native Palisadian and MS Now colleague Katy Tur flies in to tour the “neighborhood of our youth incinerated.”

After the fires, Soboroff moved straight into covering the immigration enforcement raids across Los Angeles. He struggled to connect with others, though. Maybe a little depressed. The book didn’t crystallize until April, after a conversation with Jonathan White, a captain in the U.S. Public Health Service Commissioned Corps, who is now running for congress.

Fire, White tells him, has become the fastest-growing threat in America and, for many communities, the most immediate. Soboroff began tracking down people he’d met during the blaze — firefighters, scientists, residents, federal officials — and churned out pages on weekends. He kept the book tightly scoped, Jan. 7–24, ending with President Trump’s visit to the Palisades with Gov. Newsom. He saved the investigative journalism and political finger-pointing for other writers.

“For me, it’s a much more personal book,” Soboroff says. “It’s about experiencing what I came to understand as the fire of the future. It’s about people as much as politics.”

Looking back — and learning from the fire — became a form of release, he said, as much for him as for the city. “What happened here is a lesson for everybody all across the country.”

Rudi, an L.A. native, is a freelance art and culture writer. She’s at work on her debut novel about a stuttering student journalist.

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, dishing up the latest on city and county government.

It’s not hyperbole to say that 2025 was a terrible year for Los Angeles.

Wildfires ravaged huge stretches of Pacific Palisades, Altadena, Malibu and other communities. Federal immigration raids tore families apart and disrupted the economy, prompting furious protests in downtown and elsewhere. L.A.’s political leaders, facing a brutal budget year, signed off on cuts while working to stave off layoffs of public employees.

Now, we’re heading into a year of uncertainty — one with the potential to bring fresh faces both to City Hall and the county’s Hall of Administration, while also ushering in bigger, structural changes.

Here are a few of the political issues we’ll be tracking over the next twelve months, in this newsletter and elsewhere:

1) WILL HE OR WON’T HE? It’s January, and we still don’t know if real estate developer Rick Caruso will seek a rematch against Mayor Karen Bass in the June 2 primary election. A second Caruso run would deliver a jolt to the campaign, complicating Bass’ attempt to win a second four-year term in a single shot. He’s got to decide soon!

Per Mike Murphy, a political strategist and longtime Caruso friend: “He is close to a decision.”

Caruso, a fierce critic of the city’s handling of the Palisades fire, lost to Bass by 10 percentage points in 2022. If he jumps in, he would join a long list of challengers that includes former L.A. schools superintendent Austin Beutner, community organizer Rae Huang and an assortment of unknowns.

The larger the field, the tougher the road Bass will have in trying to avoid a November runoff — and winning her election overall.

2) WILL THE COUNCIL GET BIGGER? The Charter Reform Commission, which is made up of a dozen or so citizen volunteers, is heading into the home stretch as it works on a plan to update the City Charter, the governing document for L.A.

The commission’s report, due in April, is expected to say whether voters should expand the number of City Council members, scale back the duties of the elected city attorney and grant the city controller additional authority. There are also some smaller proposals, including a move to a two-year budget process.

The council will then decide which of those proposals will go on the November ballot. Raymond Meza, who chairs the commission, sounded optimistic about the prospects.

“There’s been a lot of serious public input and energy behind this process, and we think the council is going to thoroughly consider our recommendations,” Meza said.

3) WILL CITY HALL KEEP MOVING LEFT? Eight council seats are up for grabs this year, with bruising campaigns looming on the Eastside, on the Westside, in the west San Fernando Valley and in South L.A.

Councilmembers Eunisses Hernandez and Traci Park are among those battling for a second term. Voters also must find replacements for Curren Price and Bob Blumenfield, each of whom is facing term limits after a dozen years on the council.

Ground Game LA, Democratic Socialists of America and other groups inspired by the victory of New York City Mayor Zohran Mamdani are looking to keep pulling the Overton window in their direction on public safety, tenant protections and other issues.

The ballot will also feature two other citywide contests, with City Atty. Hydee Feldstein Soto and City Controller Kenneth Mejia both seeking reelection.

4) CAN L.A. AFFORD MORE COPS? Bass has been pressuring the council to free up the money to hire more officers in the new year. She’s not likely to let up, even as she begins preparing her newest citywide budget.

Still, a fight over LAPD hiring could spur the council to take a fresh look at Bass’ other major policy initiative — Inside Safe, which has been moving homeless people indoors since she took office.

Amid growing concerns about the city’s financial stability, some council members have begun exploring the idea of paying the county to deliver homeless services — an idea that Bass panned in a Daily News opinion piece last month.

That op-ed drew some icy rebuttals from County Supervisor Lindsey Horvath, who called the city’s track record on homelessness “indefensible.”

5) WHITHER THE COUNTY? Speaking of the county, officials inside the Hall of Administration will likely spend the coming year trying to figure out how to prevent Measure J — which requires public spending on alternatives to incarceration — from being struck down by Measure G, the reform measure approved by voters in 2024.

(Measure G, which was largely about expanding the number of county supervisors and establishing an elected CEO, inadvertently set the stage for a pending repeal of Measure J, in what has been billed as an enormous bureaucratic snafu.)

We’ll also be watching as the county’s new homelessness department gets up and running. And we’ll monitor Sheriff Robert Luna’s bid for reelection, as well as the campaign for two supervisorial seats.

6) COULD WE SEE A BUILDING FRENZY? L.A. County’s fire-scarred communities are hoping to see a ramp up in the pace of rebuilding in 2026. But will fire victims stay put? Or will they sell their burned-out sites to developers? The stakes are high, not just for those communities but for the elected officials who represent them.

Of course, there are plenty of other issues to track in the new year beyond the big six. For example, there’s the proposed sales tax hike to fund Fire Department operations; the push for higher taxes to pay for park facilities; the gambit to slow down wage hikes for hotel and airport workers; and the movement to hike the city or county minimum wage.

Then there are the preparations, and behind-the-scenes negotiations, over the 2028 Olympic and Paralympic Games, which have huge cost implications for the city.

Are you exhausted yet? If not, we’ll see you next week.

State of play

— ‘HIGHLY UNPROFESSIONAL’: The author of the Fire Department’s after-action report on the Palisades fire declined to endorse it because of changes that altered his findings, according to an email obtained by The Times. “Having reviewed the revised version submitted by your office, I must respectfully decline to endorse it in its current form,” wrote Battalion Chief Kenneth Cook, about an hour after the report was made public. Cook also called the final version of the report “highly unprofessional.”

— PLAYING WITH FIRE: Two groups have sued the city of L.A., alleging that agencies ignored state wildfire safety regulations while signing off on development in areas with severe fire hazards. The State Alliance for Firesafe Road Regulations and the Federation of Hillside and Canyon Assns. offered what they described as 75 examples of building permits and other plans that violate the state’s “minimum firesafe regulations.”

— DIGGING INTO DTLA: It’s been a tumultuous year for DTLA Law Group, which grew from a small firm focused on car crash victims into a litigation powerhouse with thousands of sexual abuse claims against government agencies. The firm’s activities are now the subject of an investigation by the DA’s office, amid lingering questions about how DTLA amassed so many plaintiffs so quickly. The Times spoke with dozens of former clients and employees who described aggressive tactics to bring in new clients.

— RADIO SILENCE: L.A.’s parking enforcement officers were removed from the field last weekend after copper wire thieves damaged a key communications tower in Elysian Park, leaving some workers with inoperable radios.

— LUCKY NUMBER 13: The Charter Reform Commission might finally get its 13th member, just a few months before it wraps up its work. Councilmember Bob Blumenfield recently nominated Jason Levin, a onetime spokesperson for his office, to fill the seat after his previous pick, former Councilmember Dennis Zine, flamed out. Levin is an executive vice president at the firm Edelman, focusing on crisis and risk.

— NEW YORK STATE OF MIND: City Council President Marqueece Harris-Dawson and Councilmember Eunisses Hernandez flew to New York City this week for Mamdani’s inauguration. Hernandez, on Instagram, called the event “a reminder that the movement for dignity, justice, and humanity is bigger than any one city.”

— READY FOR SIGNATURES: The City Clerk’s office recently cleared the way for the firefighters’ union to begin gathering signatures for a sales tax hike to pay for fire stations, fire equipment and other emergency resources. The proposal comes amid complaints that department brass sought to cover up findings about the Palisades fire.

— YET ANOTHER WAGE HIKE: The fire tax proposal comes a few weeks after the city clerk cleared the way for another ballot petition — this one hiking the city’s minimum wage to $25 per hour. The proposal includes provisions to ensure that hotel employees are “paid fairly for burdensome workloads” and prohibit “the exploitative practice of subcontracting housekeeping work.”

— BIG DAY FOR THE VA: The U.S. 9th Circuit Court of Appeals upheld a lower court order requiring the federal Department of Veterans Affairs to build more than 2,500 units of housing on its West L.A. campus. “Rather than use the West Los Angeles VA Grounds as President Lincoln intended, the VA has leased the land to third party commercial interests that do little to benefit the veterans,” wrote Circuit Judge Ana de Alba.

— CHANGING CHAIRS: One of Harris-Dawson’s top aides, senior advisor Rachel Brashier, is switching offices at City Hall. Brashier, who frequently sits next to the council president as he presides over meetings, has taken a job with the mayor, according to Harris-Dawson spokesperson Cerrina Tayag-Rivera. Brashier will serve as a deputy chief of staff, per Bass’ team.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to combat homelessness did not launch any new operations over the holiday.
• On the docket next week: L.A. marks the one-year anniversary of the Palisades and Eaton fires with a number of events. Among them is “They Let Us Burn,” a demonstration in Pacific Palisades where community leaders plan to highlight their demands to city, county and state leaders.

Stay in touch

That’s it for this week! Send your questions, comments and gossip to LAontheRecord@latimes.com. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

One of the bummer parts of any awards season is how it leads to a narrowing down of what movies are getting talked about and subsequently remembered from any given year. There are always way more than five or 10 titles from any given year that deserve the spotlight.

Which is why it was so exciting this week when Envelope editor Matt Brennan chose Mona Fastvold’s “The Testament of Ann Lee” and Angus MacLachlan’s “A Little Prayer” as his favorite movies of the year. “A Little Prayer” first premiered at Sundance in 2023, but didn’t get a theatrical release until this past summer. The delicate jewel of a film features warm, tender performances by David Strathairn and Jane Levy as a man and his daughter-in-law both reconciling themselves to the fallout of problems in her marriage. The movie is available now on digital platforms and is well worth seeking out.

And we talked about “Ann Lee” here last week and will likely have more to say about it as awards season moves on. Matt’s list also included films such as “Sinners,” “One Battle After Another,” “Sentimental Value” and “Sirāt” along with “Sorry, Baby,” “Nouvelle Vague,” “Hedda,” and “The Alabama Solution.”

Meanwhile, with 2026 so fresh and new, it’s almost sacrilegious to start thinking about a future best-of-year list. But we’ve got one anyway: Here are the 14 movies we’re most excited to see in 2026. Christopher Nolan, Greta Gerwig, Steven Spielberg doing aliens again — at least on paper, there’s a lot of promise here.

4K premiere of Friedkin’s ‘Sorcerer’

On Friday night, the American Cinematheque at the Egyptian Theatre will host the West Coast premiere of a new 4K restoration of William Friedkin’s 1977 thriller “Sorcerer” scanned from the original camera negative.

The film was a notorious flop when first released, in part because it had the misfortune of opening a week after the first “Star Wars.” An adaptation of the same novel that spawned Henri-George Clouzot’s 1953 adventure “Wages of Fear,” “Sorcerer” follows four desperate men tasked with transporting a truckload of volatile nitroglycerine through a South American jungle.

Friedkin, who died in 2023, spoke to The Times’ Kenneth Turan in 2013 before receiving a lifetime achievement award from the Venice Film Festival. The only movie shown as part of the tribute was “Sorcerer.” As Friedkin said at the time, “Every one of the films that I made, even the ones that haven’t worked, are films that I had to envision, that I had to see in my mind’s eye. And ‘Sorcerer’ is the film that came closest to my vision of what I wanted to make.”

In a January 1977 interview conducted when he had just completed filming, star Roy Scheider said that working with Friedkin “was not always to my liking as an actor. He is organized and meticulous but difficult, opiniated and tough. He can even be cruel at times. When Friedkin works on a film, nothing gets in his way, including the actors.”

The film’s initial reception is perhaps well summarized by Charles Champlin’s originalLos Angeles Times review, in which he writes, “William Friedkin’s ‘Sorcerer’ is one of those movies that must make executives, no less than critics, shake their heads in stunned glum wonder. What the hell went wrong?

“A first-rate and proven piece of material. Executed with loving and meticulous care on a damn-the-cost basis by a prize-winning director with two large commercial successes behind him. But it all ends up a swollen, leaden and almost totally uninvolving disappointment that seems fairly unlikely to be saved commercially by its detonations, special effects and strenuous physical sequences.”

Champlin did seem to enjoy one element: the synthesizer score by Tangerine Dream (later of “Thief” and “Risky Business”), music that he calls “a new flavor, Latin Anxious, that works well.”

‘The Godfather Part II’

On Friday, Saturday and Sunday, an original I.B. Technicolor 35mm print of Francis Ford Coppola’s “The Godfather Part II” will screen at the New Beverly. It’s a rare and unusual way to see a great movie that can sometimes be flattened by overfamiliarity but remains as fresh and revealing as ever. The movie would go on to win six Oscars including best picture (the first sequel to ever do so).

The story cross-cuts between Al Pacino as Michael Corleone in the 1950s and Robert De Niro playing his father Vito Corleone in the early 1900s. The film shows the growth of the Corleone family empire and what it takes to keep it running.

In a January 1975 interview, Coppola talked about his motivations in approaching the sequel, saying, “The finished film makes what I consider a tough statement for a $13 million mass-audience picture. It says that this country is in danger of losing its soul, like Michael did. That power without humanity is destructive. … I didn’t want Michael to be destroyed by another gang or by a Senate investigation of organized crime. I wanted him to destroy himself. And to juxtapose his fall with flashbacks of his father’s rise a half-century earlier.”

Coppola, candid as ever, continued, “And, to be completely honest, there was the possibility of my making so much money I could bankroll some of my other projects.”

In his original Dec. 1974 review of the film, our Charles Champlin wrote, “In its way, ‘Godfather II’ is more daring than the original … The risks were worth taking, and the reward is that a single monumental segment of the American experience is neither glorified nor patronized, but made comprehensible and real, transmuted into drama of both scope and depth.”

Points of interest

‘The Birds’ in 35mm

On Monday the Academy Museum will show Alfred Hitchcock’s 1963 “The Birds” in 35mm. The film is showing as part of a series about nature’s revenge on humans — a fun group of titles that also includes “Jaws” and “Orca” (both playing in 35mm), “Creature from the Black Lagoon” in 3D, “Alligator” with director Lewis Teague in person and “The Revenant” in 4K.

Transporting Daphne du Maurier’s original story to the setting of Bodega Bay in Northern California, “The Birds” presents a classic, apocalyptic what-if scenario when humans are suddenly attacked from above.

Star Tippi Hedren, who turns 96 later this month, made her movie debut in the film and over the years she has been open about how difficult the process of shooting was for her. In an April 1963 interview with Hedda Hopper, she said, “The Humane Society was there to protect the birds but there was no one to protect me.”

In a March 1963 review, The Times’ Philip K. Scheuer wrote, “Are actors people? No matter. Alfed Hitchcock, who filmed ‘The Birds’ at Universal, was once widely quoted as saying he hated actors. After his 1960 ‘Psycho’ and now ‘The Birds,’ it must be fairly obvious that he has extended his abhorrence to the whole human race.”

Oliver Lax’s ‘Fire Will Come’

Spanish filmmaker Oliver Laxe’s “Sirāt” has become one of the most celebrated films of the year, popping up on critics list and making a strong showing on the recent Oscars shortlists. On Tuesday, Acropolis Cinema will present the Los Angeles premiere of Laxe’s 2019 film “Fire Will Come” at 2220 Arts + Archives (its original release was curtailed by the pandemic). Laxe is scheduled to attend in person.

In the film, Amador (Amador Arias) has just been released from prison for arson, after having started a wildfire that ravaged the local mountains. Living with his mother, he has to overcome the suspicions and distrust of everyone in the community.

Reviewing the film in 2020 for a digital release, Carlos Aguilar called the film “quietly phenomenal,” adding, “Its discourse on forgiveness simmers in one’s mind inextinguishably.”

Joachim Trier tribute

The American Cinematheque is launching a tribute to Norwegian filmmaker Joachim Trier this week. He will be appearing person with co-writer Eskil Vogt following screenings of “The Worst Person in the World” and his current movie “Sentimental Value.”

These are also rare opportunities to see two of Trier’s earlier films — his 2006 debut “Reprise” and 2011’s devastating “Oslo, August 31st” — in a theater.

“Sentimental Value” directly engages with the legacy of Scandinavian cinema, with Stellan Skarsgård playing an arthouse filmmaker trying to get a new project off the ground with his daughter (“Worst Person” star Renate Reinsve).

Going all the way back to “Reprise.” Trier has been making a case for a new kind of Scandinavian cinema: “I would hope young people would see this not as the old, dreary, dandruff-on-the-shoulders, slow European film,” he said in 2008. “I wanted to make something more sexy and relevant to people.”

Eric Neff’s tenure at the Los Angeles County district attorney’s office ended after he was placed on administrative leave in 2022 over accusations of misconduct in the prosecution of the CEO of Konnech, a software company that election conspiracy theorists said was in the thrall of the Chinese government.

Now, three years later, Neff is serving as one of the Trump administration’s top election watchdogs.

Late last year , his name began appearing on lawsuits filed by the U.S. Department of Justice’s Civil Rights Division, listed as “acting chief” of the voting section.

Neff’s appointment, first reported by Mother Jones, has prompted renewed scrutiny of his work at the L.A. County district attorney’s office.

The Times interviewed several of Neff’s former colleagues, who revealed new details about claims of misconduct that emerged from the Konnech case, and said they were alarmed that someone with almost no background in federal election law was named to a senior position.

Neff led the 2022 investigation of Konnech, a tiny Michigan company whose software is used by election officials in several major cities. In a criminal complaint, Neff accused the company’s CEO, Eugene Yu, of fraud and embezzlement, alleging the company stored poll worker information on a server based in China, a violation of its contract with the L.A. County registrar’s office.

Six weeks after a complaint was filed, prosecutors dropped the case and launched an investigation into “irregularities” and bias in the way evidence was presented against Konnech, the D.A.’s office said in a 2022 statement.

The county paid Konnech $5 million and joined a motion to find Yu factually innocent as part of a legal settlement.

The internal probe was focused on accusations that Neff misled supervisors at the district attorney’s office about the role of election deniers in his investigation, according to two officials with direct knowledge of the case who requested anonymity because they were not authorized to discuss it publicly.

Neff also allegedly withheld information about potential biases in the case from a grand jury, according to the two officials.

In a civil lawsuit filed last year, Neff said the internal review by the D.A.’s office cleared him of wrongdoing. The two officials familiar with the probe who spoke on the condition of anonymity disputed Neff’s characterization of the findings.

A spokesman for Dist. Atty. Nathan Hochman declined to comment or provide the results of the investigation into Neff, which the officials said was conducted by an outside law firm that generated a report on the case. Neff’s attorney also did not provide a copy of the report.

A Department of Justice spokesman declined to comment.

Neff’s attorney, Tom Yu — no relation to the Konnech CEO — said his client had no obligation to provide background information about the origins of the case to the grand jury.

Neff’s appointment comes as President Trump continues to remake the DOJ in his own image by appointing political loyalists with no criminal law background as U.S. attorneys in New Jersey and Virginia and seeking prosecutions of his political enemies, such as former FBI Director James Comey.

Trump has never recanted his false claim that he won the 2020 election.

When then-L.A. County Dist. Atty. George Gascón announced the charges against Konnech in 2020, Trump said the progressive prosecutor would become a “National hero on the Right if he got to the bottom of this aspect of the Voting Fraud.”

The Konnech case was centered on contract fraud, not voter fraud or ballot rigging. Six weeks after the charges were filed, the case disintegrated.

The D.A.’s office cited Neff’s over-reliance on evidence provided by True the Vote, the group that pushed the unfounded Chinese government conspiracies about Konnech and also appeared in a film that spread claims that the 2020 presidential election was stolen.

Gascón initially denied that True the Vote was involved in the case, but weeks later, a D.A.’s office spokesman said a report from the group’s co-founder, Gregg Phillips, sparked the prosecution. Phillips testified in court in July 2022 that it was Neff who first contacted him about Konnech.

The two officials who spoke to The Times said that Neff withheld True the Vote’s role from high-level D.A.’s office staff, including Gascón, when presenting the case.

Gascón declined an interview request, noting he is named in Neff’s pending lawsuit, which is slated for trial in early 2026.

Neff’s attorney insisted the case against Konnech was solid.

“He was let go because Trump tweeted a statement of ‘Go George Go’,” the attorney said. “That’s why Eugene Yu was let go. Because Gascón was so scared he was going to lose votes.”

Calls and emails to an attorney who previously represented Eugene Yu were not returned.

In his lawsuit, Neff claimed he had evidence that “Konnech used third-party contractors based in China and failed to abide by security procedures” to protect L.A. County poll worker data. The evidence was not attached as an exhibit in the lawsuit.

A DOJ spokesperson declined to describe Neff’s job duties. His name appears on a number of lawsuits filed in recent months against states that have refused to turn over voter registration lists to the Trump administration.

Neff is also involved in a suit filed against the Fulton County clerk’s office in Georgia seeking records related to the 2020 election, records show.

“We will not permit states to jeopardize the integrity and effectiveness of elections by refusing to abide by our federal elections laws,” Asst. Atty. Gen. Harmeet Dhillon, the California conservative who now leads the civil rights division, said in a recent statement. “If states will not fulfill their duty to protect the integrity of the ballot, we will.”

Dhillon declined to comment through a DOJ spokesman.

The voting section “enforces the civil provisions of the federal laws that protect the right to vote, including the Voting Rights Act,” according to the DOJ’s website.

It does not appear that Neff has any background working on cases related to federal election law. He first became an L.A. County prosecutor in 2013 and spent years handling local crime cases out of the Pomona courthouse. He was promoted and reassigned to the Public Integrity Division, which investigates corruption issues, in 2020, according to his lawsuit.

While there, he handled only two prosecutions related to elections. One was the Konnech case. The other involved allegations of election rigging against a Compton city council member.

In August 2021, Isaac Galvan, a Democrat, was charged with conspiring to commit election fraud after he allegedly worked to direct voters from outside his council district to cast ballots for him. Galvan won the race by just one vote, but was booted from office when a judge determined at least four improper ballots had been cast.

Galvan’s criminal case is still pending; he recently pleaded guilty to charges in a separate corruption and bribery case in federal court. A spokesman for the U.S. attorney’s office in Los Angeles said there was no overlap between the D.A.’s election rigging case and the bribery case against Galvan. Federal prosecutors are not reviewing the Konnech case, the spokesman said.

Court filings show Neff was involved in Galvan’s L.A. County case, but the prosecution was led by a more senior attorney.

Justin Levitt, a constitutional law professor at Loyola Law School who served in the civil rights division during the Obama administration, said section chiefs normally have decades of experience in the area of law they’re meant to supervise.

“The biggest problem with somebody with Neff’s history is the giant screaming red flag that involves filing a prosecution based on unreliable evidence,” Levitt said. “That’s not something any prosecutor should do.”

Neff’s attorney, Yu, scoffed at the idea that his client was not experienced enough for his new role in the Trump administration, or that he was selected due to his involvement in the Konnech case.

“Eric got the job because he’s qualified to get the job. He didn’t get the job for any other reason. He got the job because he’s an excellent advocate,” Yu said. “I think the Justice Department is very fortunate to have Eric.”

Times Staff Writer Seema Mehta contributed to this report.

It’s the second day of a brand new year, and I’d like to take a moment to look back at some of the towering talent we lost in 2025 through the appreciations and obituaries written by the arts staff.

A caveat: The Times strives to acknowledge significant figures in arts and culture when they die, but due to the fast-paced nature of daily news, we often miss people we wish we hadn’t, so this list is far from inclusive.

“Appreciation: Frank Gehry was the architect who changed music,” Times classical music critic Mark Swed on the unique way that Gehry’s designs interacted with — and elevated — sound.

“Diane Keaton, film legend, fashion trendsetter and champion of L.A.’s past, dead at 79,” Keaton, who appeared on Broadway in “Hair” and “Play It Again, Sam” before becoming a movie star, didn’t consider herself an artist, but she was a patron and published several books that captured her longtime interest in photography and collage-making.

“Appreciation: Richard Foreman, an auteur of consciousness, did things his way,” writes Times theater critic Charles McNulty of the experimental playwright.

“Playwright Richard Greenberg, the Mozart of verbal arias, brought an exquisite fluency to the American stage,” an appreciation by McNulty.

“Appreciation: Tom Stoppard reinvigorated the comedy of ideas,” McNulty on the genius of the playwright.

“Elizabeth Franz, Tony-winning ‘Death of a Salesman’ actor, dies at 84,” an obituary of the prolific stage actor whose career spanned more than five decades.

“Appreciation: Playwright Athol Fugard proved the pen could be mightier than the sword,” McNulty on the 92-year-old dramatist’s career and its deep impact on South Africa.

“Appreciation: Joe Goode beautifully blurred the lines of the art world,” Times art critic Christopher Knight on how the artist helped establish the vibrant Los Angeles art scene of the 1960s.

“Appreciation: Robert Wilson, who changed everything he touched, was the most influential theater artist of our time,” Swed on the lasting importance of the avante-garde theater maker who collaborated closely with Philip Glass.

“The lasting legacy of L.A.-born ceramicist Michael Frimkess,” a look at the legacy of the Boyle Heights-born artist who died at 88.

I’m arts and culture writer Jessica Gelt inviting you to join me on a journey of remembrance. Here’s your arts and culture news for the week.

The year in pictures

We recently shared The Times’ best entertainment photos of 2025 and the year in news photography. Here are some of the most interesting images we’ve captured this year in the arts world.

The SoCal scene

Art for 2026
The first big art event of the new year kicks off Wednesday when the 31st edition of the LA Art Show opens downtown. Galleries and institutions from around the world will exhibit art across the vast spaces of the Los Angeles Convention Center. This year’s program includes the debut of an invitation-only Latin American Pavilion, curated by Marisa Caichiolo, who also curates the DIVERSEartLA program. Among the other featured presentations are works by Israeli artist Yigal Ozeri and South African artist Esther Mahlangu, plus a solo exhibition of abstract paintings by Sylvester Stallone. The show continues through Jan. 11.

Culture news

That’s Sir Idris to you

Actors Idris Elba and Cynthia Erivo were among the more than 1,100 people on King Charles III’s annual New Year Honours List released this week. The British tradition recognizes people who have “made achievements in public life” and “committed themselves to serving and helping the UK.” Elba, known for television roles in “The Wire” and “Luther” and movies including “Beasts of No Nation” and “Thor,” was knighted for services to young people. “Wicked” star Erivo, a Tony and Grammy winner and three-time Oscar nominee, received a Member of the Order of the British Empire, or MBE, for services to music and drama.

Freedom from fascism
On a recent fall day, Catherine Rampell of the Bulwark was given a guided tour of the Norman Rockwell Museum in Stockbridge, Mass., by the artist’s granddaughter Daisy Rockwell. In an article published this week, “The MAGAfication of Norman Rockwell,” Daisy expressed her displeasure with the Trump administration’s misappropriation of her grandfather’s work to promote the U.S. Department of Homeland Security’s anti-immigrant operations. “Norman Rockwell was antifa,” Daisy told Rampell. “They used [the paintings] … as though his work aligned with their values, i.e., promoting this segregationist vision of America. And so of course we were upset by this, because Norman Rockwell was really very clearly anti-segregationist.” Through most of Rockwell’s career, he depicted American life largely through a white lens, but eventually came to a reckoning with some of his own views, chronicling some of the most significant moments of the civil rights movement. In November, the Rockwell family published a letter in USA Today detailing how the artist’s “efforts to eradicate prejudices both within himself and others led him to explore issues of racism, violence and segregation well into his 70s.”

Russia reopens Mariupol theater where hundreds died
In March 2022, a Russian air strike killed more than 600 civilians sheltering inside a historic theater in the Ukrainian city of Mariupol. This week, the Associated Press reported that Moscow-installed authorities in the now occupied region reopened the Donetsk Academic Regional Drama Theater with a gala concert on the building’s newly rebuilt main stage. Russian state media outlets shared images of the building’s marbled pillars and staircases as dancers, wearing kokoshniks, traditional Russian headdresses, performed. Mariupol’s Ukrainian city council, which left the city when it became occupied, denounced the “restoration,” calling it “a cynical attempt to conceal the traces of a war crime” in a statement on Telegram.

— Kevin Crust

And last but not least

Times television critic Robert Lloyd wrapped his year with an essay, “6 ways public broadcasting will improve your life. And that’s a promise.” One suggestion is to make a tax-deductible $5-a-month donation to PBS. That gifts gets you “PBS Passport,” public television’s all-access streaming platform, which offers an endless bounty of quality programming. Key among the offerings of interest to readers of this newsletter are programs such as “Great Performances,” “Austin City Limits” and “Artbound,” plus a rabbit hole of regional arts programming with something for every taste. As Lloyd wrote, “If you can’t find something to watch or listen to here, you are simply an incurious person.”

Pete Holmes understands the art of conversation — especially the way to get people to open up about their secret weird tendencies.

It’s what helped Holmes, known for his youth pastor aesthetic and wholesome jokes, build his more than 20-year-long comedy career (his next show is Jan. 21 at Largo at the Coronet) and create his semi-autographical HBO series “Crashing.”

In 2011, Holmes launched “You Made It Weird,” an interview-style podcast that delves into topics like the meaning of life, mental health, art and everything everything in between. More than 1,000 episodes later, he is celebrating the 14th anniversary of the show and has recently signed with podcast network Lemonada Media (which is also home to Julia Louis-Dreyfus’ “Wiser Than Me,” “The Sarah Silverman Podcast” and “Hasan Minhaj Doesn’t Know”).

“I’ve never for a second considered stopping, which is a good sign that you’re doing something you’re supposed to do,” says Holmes, whose guests have included John Mulaney, Maya Rudolph, Anna Kendrick, Kenan Thompson and Henry Winkler. Once a week, Holmes co-hosts the show with his wife of eight years, Valerie Chaney.

His nervous system also assures him that he’s found the right project. While Holmes says he feels “tense” before his stand-up sets, there’s a sense of comfort in sitting face to face with someone and simply having a conversation. “When I’m doing my podcast, especially in person, there’s very, very little tension,” he says. “It’s the thing in show business, I’ve found, that winds me up in a bad way the least.”

Here’s how Holmes would spend an ideal Sunday in L.A. with Chaney and their 7-year-old daughter, Lila.

This interview has been lightly edited and condensed for length and clarity.

8 a.m.: Visit a coffee shop with a sense of humor

My daughter and I are both morning people, which really works out because her mom is not a morning person. So we get up early and we’ll color, make breakfast, that sort of stuff. But if we were all getting up together — which is what my wife would want to do even though she doesn’t like it — we would go to Bru in Los Feliz. I love recommending Bru to people because it’s in an “I Think You Should Leave” sketch. Tim Robinson is leaving a job interview and he’s pulling the door, but it’s one that you have to push, and he doesn’t want to look stupid so he keeps pulling it. They actually have a little plaque up that says something cool about it without being too obvious. I like drinking espresso by itself, Val likes oat milk lattes and Lila would get a steamed milk because she wants to feel like a grown-up. It’s very cute.

10 a.m.: Read at least seven children’s books at Skylight

Afterward, we’d go to Skylight Books, which is nearby. I can tell you from experience, they’re incredibly generous with allowing you to read your kids seven books without any trouble. On principle, I’ll buy at least one of the books on our way out, because that’s exactly what people are talking about when they’re like, “Shop local.”

11 a.m.: Drink a terrible dark green juice

Then we’ll walk to the Punchbowl and I’m gonna get a terrible dark green juice that nobody wants and would make a goat go blind. I love it because I’m 46 and now I eat almost exclusively for how it’s going to make me feel. So it’s very uncool but that’s what I’m doing. My wife and daughter are going to get a smoothie called the honeybee, which is very sweet and delicious.

Noon: A pancake for the table at Kitchen Mouse

We would go to Kitchen Mouse in Highland Park. It’s really hip. The last time I was there, I ran into Phoebe Bridgers. Literally rock stars are at Kitchen Mouse and there’s a little kids area where my daughter can play with like a fake hamburger and a child she just met. I get the same thing every time: the breakfast sandwich and a snickerdoodle pancake for the table. If you and I went to breakfast together, I would never ask, “Do you want a pancake for the table?” because I don’t need you to be my accomplice. I know you want a pancake for the table because guess who wants pancakes? Everyone. This is going to reverse the juice that I had earlier, but it’s going to be worth it.

2 p.m. Enjoy an Angry Samoa donut at the park

We have friends who live in Highland Park, so we’d visit them and we’d all take a walk to Donut Friend, and eat the donuts at the little park nearby. The park has giant bugs and a tube slide. When you’re 46 and have kids, sitting down is your heroin. Not to keep mentioning veganism, but Donut Friend has really good vegan donuts. You gotta get the Angry Samoa, which is a Girl Scout cookie.

I once went to Donut Friend while I was tripping on LSD and it was the funniest thing that’s ever happened to me. I think it might’ve been my birthday and I was coming down. I’m not a crazy person. I just couldn’t believe that there was another person standing there with all of the donuts in the world. It felt so overwhelmingly loving that they were like “Which donut can I give you?” I was just floored by the generosity. I was probably making an a— of my myself like laughing in that sort of hippie way. Not like a drunk way but like a benevolent alien who couldn’t believe that this planet had donuts. They gave me one and I wish I could’ve seen myself eating it. My wife was there. She doesn’t do psychedelics, so she was just watching me, sort of babysitting me, to be honest. While I’m eating the donut, she was just laughing so hard at just how happy I was. I wouldn’t do that on a normal Sunday. That’s a rare thing for me, but that’s a true Donut Friend story.

4 p.m.: Feel fancy at the Huntington

The greatest hack of parenting is the Huntington. Speaking of Phoebe Bridgers, she mentions in her track “Garden Song,” jumping over the fence [at the Huntington], which I always think is a cute detail. I think they filmed “Beverly Hills Ninja” at the Japanese Gardens there. One of my favorite L.A. things to do is the white glove tea service. It’s not that expensive and you just feel fancy. We’ll also stop at the Chinese [garden] and get noodles there because every step of the way there’s just constant eating.

7 p.m.: Vegan food done right

If it were just Valerie and I, I would want to go to Crossroads [Kitchen]. I love it to death. When the pandemic happened, they would text us and ask if we were OK and if we needed food. We were like “What do you got?” and the manager brought it over. If anyone’s wondering if that’s like a famous thing, I really don’t think so. I really just think they’re really about serving the community because I’m not famous like that [laughs]. We’ve been there enough, we’ve had enough conversations and it’s a real staple for us.

It’s a vegan restaurant and I’ve had meat-eating friends say that their carbonara is their favorite. It’s not like one of those vegan places that’s trying to trick you or deep-fry their way around things. They’re just actually making you eat really delicious things that just happen to be like artichokes. I’ve had so many birthdays there and you can tell this is where people who are looking for the best food in L.A. are going.

9 p.m.: Catch whatever is playing at Largo

My favorite thing that I get to do once a month is Largo at the Coronet. I literally once had a dream about a magical venue that feels safe and the crowd is always good and you just felt warm. Like if twinkle lights became a venue. That’s Largo. It’s the only place where if somebody’s visiting L.A., I would say just go to Largo. It doesn’t matter who’s performing. One night it might be me, the next night it might be Chris Fleming, and then it might be Sarah Silverman. Then it might be improvised Shakespeare, and then it might be a live podcast. It doesn’t matter. If Flanny [Mark Flanagan] booked it, it’s exceptional. He’s from Belfast and he’s sort of mythic.

11 p.m.: Eat at Norms

Norms is literally one block away from Largo, and if Val and I were really having a kid-free night, she, Flanny, and I would go there to eat our celebration. Judd Apatow does the show a lot and he loves food, so he’d be there too. You get a milkshake or you get some fries, but it’s open for 24 hours. I think L.A. gets a bad rep for not having diners. Granted in New York, they’re everywhere.

Midnight: Enjoy “blue couch time”

It doesn’t matter what time it is when we get home, we have to watch at least one episode of something. “30 Rock” or right now we’re watching “Black Rabbit,” but that’s not a good wind down show. Our couch is blue so we call it “blue couch time” and it’s a ritual we just don’t miss. It doesn’t even matter what we’re watching. We just want to be on that couch, even if it’s just for 12 minutes. I can’t go from the car to the bed. I want to go from the car to something else, then to bed. That’s why houses have entryways or a mud room. There’s supposed to be a threshold that you cross over, take off your coat and your shoes. You’re entering a new space. For us, it’s the blue couch.

Actor Mickey Rourke faces eviction from his Los Angeles home after failing to pay rent.

Rourke, whose birth name is Philip Andre Rourke Jr., received a three-day notice to pay rent or vacate the premises on Dec. 18 and had failed to comply, according to court documents filed in Los Angeles Superior Court on Monday.

At the time of the notice, he owed $59,100 in unpaid rent.

A representative for Rourke did not immediately respond to a request for comment.

In March, Rourke signed a lease for the three-bedroom, 2.5-bath house for $5,200 a month; it was subsequently raised to $7,000 a month, states the court filings.

A Zillow listing describes the property as a “nicely upgraded Spanish bungalow” built in 1926. Raymond Chandler was said to have resided there for two years in the 1940s.

The property’s owner, Eric Goldie, is requesting compensation for attorney‘s fees and for damages. A lawyer for Goldie was unavailable for comment.

A former boxer, Rourke, 73, turned to acting with small roles in the 1980 film “Heaven’s Gate” and “Body Heat” a year later, before earning acclaim for his role in 1982’s “Diner.”

After a slate of leading roles in a number of movies including “The Pope of Greenwich Village,” “9 1/2 Weeks” and “Rumble Fish,” Rourke‘s film career took a nosedive, with his off-screen antics frequently overshadowing his acting.

“I lost everything. My house, my wife, my credibility, my career,” he told The Times in an interview in 2008. “I just all had all this anger from my childhood, which was really shame, not anger, and used it as armor and machismo to cover up my wounds. Unfortunately, the way I acted really frightened people, although it was really just me who was scared. But I was like this person who was short-circuited and I didn’t know how to fix myself.”

In 2005 he reemerged with the neo-noir action thriller “Sin City.”

Three years later, Rourke’s portrayal of aging, washed up wrestler Randy “The Ram” Robinson, in the Darren Aronofsky film “The Wrestler,” earned him a Golden Globe and an Oscar nomination for lead actor.

Rourke’s return to the big screen has not been an entirely smooth ride.

In April, he agreed to exit “Celebrity Big Brother UK” after producers warned him over the use of “inappropriate language and instances of unacceptable behavior,” according to a statement a spokesperson for the show released at the time.

His remarks allegedly included comments about JoJo Siwa’s sexuality

Following his departure from the reality show, his manager announced that he was pursuing legal action over a pay dispute, claiming that the show had disrespected her client by “publicly embarrassing him” and declined to pay him, according to People.

Clockwise from top middle: Tacos from Marvito, beef tartare from Monsieur Dior by Dominique Crenn, smoked bologna sandwich and fries from Mario’s Butcher Shop, spicy albacore with onigiri and seared scallops from OyBar, and a fish sandwich from Bopomofo cafe.

(Stephanie Breijo / Los Angeles Times, Ron de Angelis / For The Times, Philip Wang)

The National Guard will be withdrawn from Chicago, Los Angeles and Portland, Ore., amid legal challenges to their use and a Supreme Court ruling against the Chicago deployment, President Donald Trump said on Wednesday. Photo by Bonnie Cash/UPI | License Photo

Dec. 31 (UPI) — The National Guard will be leaving Chicago, Los Angeles and Portland, Ore., but they likely will return, President Donald Trump said on Wednesday.

Trump announced the withdrawals after the Supreme Court ruled against a National Guard deployment in Chicago and amid legal challenges in California and Oregon.

The Supreme Court last week ruled the federal government cannot take control of respective state National Guard units to protect federal agents as they enforce immigration law, CNN reported.

We are removing the National Guard from Chicago, Los Angeles and Portland, despite the fact that crime has been greatly reduced by having these great patriots in those cities, and only by that fact,” Trump said in a Truth Social post on Wednesday.

Portland, Los Angeles and Chicago were gone if it weren’t for the federal government stepping in,” the president said.

He predicted the National Guard will return to those cities, though.

“We will come back, perhaps in a much different and stronger form, when crime begins to soar again,” Trump said, adding: “Only a question of time!”

Similar National Guard deployments in New Orleans and Memphis would not be affected because the respective governors in those states have okayed the deployments.

The National Guard has been deployed in Memphis to help reduce violent crime there, and National Guard units began arriving in New Orleans ahead of New Year’s Eve, the annual Sugar Bowl and Mardi Gras.

Local, state and federal law enforcement and the Louisiana National Guard seek to prevent a repeat of last year’s lone-wolf attack by an ISIS supporter, WWLTV reported.

Shamsud-Din Jabbar, 42, was a U.S. citizen from Texas who drove to New Orleans and shot and killed 14 during the early morning hours on Jan. 1.

An ISIS flag was found in his truck, along with weapons and a potential improvised explosive device, but local police shot and killed him before he could cause more harm.

He had placed two IEDs on Bourbon Street, where he also opened fire with a rifle and killed 14 before being shot and killed to end the attack.

Federal investigators found bomb-making materials in a rental home that Jabbar briefly occupied and tried to set on fire to conceal his crimes.

It was the last story I wrote before everything changed.

It was Jan. 5, 2025, and I was marveling at the Rams gumption in their short-handed loss to the Seattle Seahawks.

“It was weird,” I wrote. “It was wild.”

I was so witty. I was so wrong.

Two days later, I was fleeing for my life, steering my car down narrow Altadena streets with a fireball at my back and a nightmarish future sprawled across the smoke-filled streets ahead.

Now that was weird and wild.

The year 2025 was more tumultuous than any silly football game and its accompanying overwrought metaphors. It was a year that knocked me flat, tearing me apart from so many things that once anchored me, setting me afloat in a sea of guilt and despair and ultimate uncertainty.

Today, I have a home but no home. My days are filled with the beeps and growls of bulldozers. My nights are draped in the silence of emptiness. What was once one of the coolest secrets in Los Angeles has become a veritable ghost town, the vast empty spaces populated by howling coyotes and scrounging bears.

And I’m one of the lucky ones.

A lot has changed in the 12 months since the Eaton Fire spared my house but destroyed my Altadena neighborhood. I say a daily prayer of thanks that I did not endure the horror of the 19 people who lost their lives and thousands more who lost their homes. I am beyond fortunate to live in what was left behind.

But virtually nothing was left behind. Venerable manicured homes have been replaced by weed-choked vacant lots. Familiar local businesses are now empty parking lots. There is the occasional sighting of new construction, but far more prevalent is “For Sale” signs that have seemingly been there for months.

After living in the limbo of hotels and Airbnbs for two months while my home was remediated, I was blessed to return to four walls and running water, but beset with the guilt of having a front-row seat to the pain of so many who lost everything. I was spared, but nobody in Los Angeles was spared, and it wasn’t until halfway through the year that I noticed a consistent light from the strangest source.

Every night, I would watch the Dodgers. At least once every couple of weeks, I would attend a Sparks game with my daughter, MC. Soon, there would be Saturdays with one of our college football teams, then Sundays with the NFL then, the baseball playoffs, leading to the insane Game 7 and morphing into the annual Lakers winter drama.

By the final weeks of December, I realized that one thing has consistently kept my spirits strong, perhaps the same thing that has helped keep our city upright through trials much tougher than mine.

Sports.

The highs, the lows, the dramatics, the desperation, it was all there when nothing was there, it was the feeling that even with everything gone, you still belonged to something.

From Dodgers exhilaration to Laker despair, from USC football frustration to UCLA women’s basketball greatness, sports has been the bright wallpaper on a year of Southland darkness.

It is sports that kept me grounded, kept me steady and somehow kept me believing.

In the worst year of my life, it was sports that saved me.

The path back to normalcy began two weeks after the Eaton fire, when I left my temporary hotel room to attend a press conference for the Dodgers’ latest Japanese import, Roki Sasaki.

“Invincible,” I wrote about the team’s rebuilt roster, a word that was so comforting during such a time when everything in life felt tenuous.

I came back to the hotel after the press conference, wrote my story then, like thousands of others in my situation, packed up and moved to another hotel.

Soon thereafter I was awakened late one night with the news of the Lakers stunning acquisition of Luka Doncic. I wrote this column from a rental house while preparing to move to yet another new place. My clothes were in a plastic grocery bag. My house was still in shambles. In Doncic, as least, there was hope.

Several days later I attended the Doncic press conference, asked a question, and Doncic asked me to repeat it. Turns out, it wasn’t a language barrier, it was a sound barrier. I was speaking too softly. It was then I noticed that the trauma from the fire had exacerbated my Parkinson’s Disease, which affected my voice, one of the many symptoms which later led me to acknowledging my condition in a difficult mid-summer column.

Yeah, it was a helluva year.

Good news returned in early March when it was announced that the Dodgers had made Dave Roberts the richest manager in baseball, giving him a new four-year, $32.4 million contract. In a bit of dumb luck that hasn’t stopped me from bragging about it since, 10 years ago I was the first one to publicly push for Roberts’ hiring. In such unstable times in our city, Roberts had become the new Tommy Lasorda, and his presence became a needed jolt of smile.

In early April, I wrote a column I never thought I’d write — that Bronny James had been transformed from circus to contributor. I also wrote a column that I maybe wish I hadn’t written so soon, that JJ Redick was a Laker success.

By then, writing stories about Laker conflicts was a refreshing respite from dealing with fire hassles. We were back in the house, but were we safe? Did we test enough for toxins? And how can we look our next-door neighbor in the eye when she comes to examine the giant empty scar where her house once stood?

In late May I sadly said goodbye to my second family when I wrote about the end of my 22-year run on ESPN’s popular “Around the Horn” game show. It wasn’t the first time in 2025 that a column brought me to tears, witness the video immediately after the fire. Agreed, I spent the year showing so much emotion for someone who had gotten so lucky. But I’m guessing I wasn’t alone.

Two weeks later I wrote about my new family, the group of boxers I have joined in my fight against Parkinson’s. That was the toughest column I have ever written, as I was acknowledging something I refused to admit for five years. But the fire had seemingly set the disease ablaze, and I could hide it no longer.

The year continued with columns about the soon-to-be-retiring Clayton Kershaw, the greatest Dodger pitcher with the greatest entrance song. Hearing “We Are Young” when he took the mound consistently gave me hope that, through the treacheries of a summer that marked the escalation of those insane ICE raids, we can continue to strive for rebirth.

That’s what sports consistently provided in 2025, the hope that from beneath the rubble, we could all fly again.

I voiced this hope in a Rams preview column that predicted they would go to the Super Bowl. I later wrote a Rams column predicting they would actually win the Super Bowl. I stand by my stories.

All of which led to a series of Dodger playoff columns that hopefully reflected the building energy of a town enthralled. After their Game 7 victory against the Toronto Blue Jays, I was so spent that I hyperventilated for what felt like an hour.

“In the end, they not only ran it back, they sprinted it back, they slugged it back, and then, finally, they literally Will-ed it back,” I wrote.

In hindsight those words could have been written not only about a team, but a city, fighting back, staying strong, the results of its struggle mirroring the Dodgers’ consecutive championships, punching through desperation, from struggle to strength.

In 2025, sports showed me that life can get better, life will be better, that if we hang in there long enough we can all hit that Miggy Ro homer, make that Andy Pages catch, stay forever young.

And thus I offer a heartiest and hopeful welcome to 2026.

Bring it on.

“Oooh, look at this trash!”

Alicia Piller was giddily flitting around her Inglewood live-work studio holding up resin-coated balls of detritus, showing off tiny fossil fragments, and pulling out plastic trays filled with random thingamajigs that had been organized by color.

The assortment is all part of her eclectic jewelry-making arsenal. She clusters recycled textiles, found items, donated castoffs and gemstones to create handmade wearable art that she describes as “science bohemian.”

Piller juxtaposes opals, garnets and pearls with less conventional materials such as tile fragments, snakeskin, bits of lava from a trip to Iceland, and bullet casings, all bound together with strips of leather or vinyl. Lately, she’s been working with 3-D printed waste that her friends, a pair of costume-based performance artists, started delivering to her in giant garbage bags.

“I am always thinking about some aspect of recycling,” she said, “seeing the value in these things that we deem ‘trash.’”

One wall of her studio is lined with metal racks stacked with bins and boxes labeled “clay,” “metal” and “scraps.” The room is cluttered, yet curated.

“There’s a little bit of hoarding mentality,” Piller laughed, “but I use it!”

From her “controlled chaos” come intricate, ornate, one-of-a-kind necklaces, earrings, brooches and rings. While Etsy is her main retail hub, she previously sold her wearables at L.A.’s Craft Contemporary museum and the Houston Center for Contemporary Craft. She’s also provided flair for the likes of Phylicia Rashad, Jill Scott and Ciara.

Her creations give nods to nature, at times skew extraterrestrial, and have Afro-futuristic undertones. One pendant evokes the sea with its swirl of mother-of-pearl, spiral seashells and rivulets of pale gray leather arranged above a piece of bleached coral. A crystal-festooned collar necklace calls to mind a pair of Blue Morpho butterfly wings. And a jasper-studded pin resembles a Ghanaian mask at first glance.

The undulating layers and microcosms that make up her jewelry’s signature “biomorphic” look extend into her fine art practice, as well.

Piller received an MFA from Cal Arts and now teaches sculpture as an adjunct professor at UCLA and UC Irvine. Her maximalist mixed-media artwork has shown at Track 16 (the L.A. gallery that represents her), as well as institutions across Southern California, including the Brick and the Orange County Museum of Art. Both the Hammer Museum and the California African American Museum have her pieces in their permanent collections. Next summer, she’ll unveil a new monument as part of West Hollywood’s Art on the Outside public art program.

In her studio, multiple towering sculptures are ensconced in cardboard and bubble wrap, while others — works in progress — sit on plinths, lean against walls, or hang from the ceiling. There’s a stark contrast between these 9-foot-tall pieces and her smallest makes, a pair of one-inch post earrings. But toggling from the massive to the minute comes naturally to her.

“It’s about the microscopic and the macro,” she explained. “I like being able to see the tiniest detail, then letting it expand out into the cosmos. I’m thinking about those two scales constantly and about where we fit between those scales.”

While she addresses such weighty topics as police brutality and climate disasters in her large-scale works, making wearables provides comfort.

“The jewelry is much more free-form and fun versus the more serious stuff that feels heavy to me,” she said. “It’s not always full of activism and all these ideas about humanity and the world. It’s more of a joyous, less stressful task.”

She added, “I also just love to adorn myself in the things that I make.”

This has been true since childhood.

During the studio tour, the artist pulled out a piece of brass wire bent to spell out her name, a keepsake from when she was 12. She’s kept all manner of adolescent mementos, such as beads she fashioned out of tightly-rolled magazine pages or colorful pieces of clay. Her future as an artisan was a foregone conclusion.

Growing up in Chicago, Piller and her mother performed as clowns at birthdays and company picnics. From ages 7 to 14, it was her job to create balloon figures for partygoers — sculpting skills that would come in handy. She gained an appreciation for nature and anthropology from mother-daughter fishing excursions and regular visits to the Field Museum, which focuses on natural history. Her affinity for biology comes from her father, who attended medical school when she was young.

“I had all these books around me that had the insides of bodies,” she recalled, “so there was a fascination with the inside.”

Piller went on to study anthropology and painting at Rutgers University, making jewelry in her spare time. During breaks, she’d work at a Chicago bead store, where she learned about global jewelry-making practices. After graduating in 2004, she moved to Manhattan, spending weekends hawking accessories and hand-painted clothing from a sidewalk table. She later relocated to Santa Fe, N.M., where she worked at a store selling fossils, minerals and semi-precious stones.

“That’s when I really understood that in all these materials there’s a spiritual side, an energy,” she said. “There’s a beauty in the fusion of all of these materials together.”

Piller moved to Inglewood in 2019. Asked if L.A. has impacted her work the way previous cities had, she said, “[My] storytelling, narrative side has come to the forefront. There’s definitely been a shift, in terms of thinking about how an object can tell a story.”

For example, enamored of Pasadena-born author Octavia Butler, she began referencing the sci-fi legend’s writing and using her likeness, both in sculptural form (as with her 2024 piece “Mission Control. Earthseed.”) and in her jewelry. She also started incorporating images of other inspiring women, including her maternal forebears and the Cuban American sculptor Ana Mendieta.

L.A. has shaped her aesthetic in more literal ways, too.

“A big part of what I do is walking and doing urban hikes,” she said, noting that she’s trekked through nearly 20 countries. She’s walked from her studio to Watts Towers or westward to Torrance, collecting things she finds on the ground along the way and eventually transforming them. For instance, a pair of jewel-toned beetles she picked up made an ideal centerpiece for a regal bib necklace.

“There’s that side of me that really gets excited about looking at those objects, then creating my own sort of cosmology, my own artifacts, if you will,” she said. “I’m using ‘high’ gemstones to ‘low’ plastic and elevating all of them, fusing them into one work that then creates this energy, this power.”

Hello! I’m Mark Olsen. Welcome to another edition of your regular field guide to a world of Only Good Movies.

Even as the year winds down, there are still some exciting new releases hitting theaters.

Few films this year are arriving on quite the wave of expectation behind Josh Safdie’s “Marty Supreme,” in part because of the unhinged, go-for-broke promo push from its star Timothée Chalamet. The film tells the story of Marty Mauser, a shoe salesman in 1950s New York who dreams of becoming a champion table tennis player and will stop at nothing to make it happen.

As Amy Nicholson put it in her review, “Like Marty, Chalamet was raised in New York City, and since he arrived on the scene, there’s never been a doubt he’ll win an Oscar. The only question is, when? To Chalamet’s credit, he’s doing it the hard way, avoiding sentimental pictures for pricklier roles about his own naked ambitions. … The movie’s moxie makes it impossible not to get caught up in Marty’s crusade. We’re giddy even when he’s miserable.”

The surprise winner of the Golden Lion at this year’s Venice Film Festival, Jim Jarmusch’s “Father Mother Sister Brother” is a gently enigmatic film revolving around, as the title suggests, parents and siblings. Told in three separate stories — set in New Jersey, Dublin and Paris — the film stars Adam Driver, Tom Waits, Mayim Bialik, Cate Blanchett, Vicky Krieps, Charlotte Rampling, Luka Sabbat and Indya Moore.

In his review, Tim Grierson wrote, “The film’s persistent brittleness may make some viewers antsy. That’s partly the point, but hopefully, they’ll soon be swept away by the movie’s melancholy undertow. … Eventually, we learn to look past Jarmusch’s deceptively mundane surfaces to see the fraught, unresolved issues within these guarded families. The characters occasionally expose their true selves, then just as quickly retreat, fearful of touching on real conflict.”

Tim Grieving spoke to composer Daniel Blumberg, who won an Oscar earlier this year for “The Brutalist,” about his work on “The Testament of Ann Lee,” director Mona Fastvold’s portrait of the founder of the Shaker religious movement. Singing and dance were an integral part of the Shakers’ spiritual practice, so the music for the film was of special importance.

“Ann Lee was very radical and extreme,” said Blumberg, “and Mona is as well.”

De Los also recently published a list of the 25 best Latino films of 2025 as picked by Carlos Aguilar. His favorites include Amalia Ulman’s “Magic Farm,” Pasqual Gutierrez and Ben Mullinkosson’s “Serious People,” Diego Céspedes’ “The Mysterious Gaze of the Flamingo,” Petra Costa’s “Apocalypse in the Tropics” and Kleber Mendonça Filho’s “The Secret Agent.”

All three of this year’s Envelope roundtables are now available to watch: actors, actresses and directors.

New Year’s Eve at the movies

When people talk about holiday films, they typically mean Christmas. But what if the movies that featured a New Year’s Eve scene were sneakily better? To judge by the titles playing around town this week, an argument could be made.

Take for example Kathryn Bigelow’s “Strange Days.” An exciting techno-thriller set during the last two days of then-future 1999, it’s about a hustler (Ralph Feinnes) who finds himself in way over his head. The film builds to a huge millennial New Year’s Eve street party filmed in downtown Los Angeles. Still something of a rarity on streaming, “Strange Days” will be showing in 35mm at the New Beverly on Friday afternoon and then at the Aero on Wednesday 31, early enough in the evening to leave time for more fun after.

Then there is Paul Thomas Anderson’s achingly romantic and bitingly funny “Phantom Thread,” in which the controlling fashion designer Reynolds Woodcock (Daniel Day-Lewis) initially refuses to leave the house on New Year’s Eve, but then races to be with his muse and lover Alma Elson (Vicky Krieps) after she goes out without him. The movie will be showing on New Year’s Day in 70mm at the Aero.

Anderson’s 1997 “Boogie Nights,” which will show in 35mm at Vidiots on the afternoon of Dec. 31, features a very different take on New Year’s Eve. In a pivotal sequence, many of the film’s characters converge on a NYE party to ring in the transition form 1979 to 1980. It does not go well.

Billy Wilder’s “The Apartment” will play in 35mm at the New Beverly on Saturday and Sunday and also at the American Cinematheque’s Los Feliz Theater on Dec. 30. In the film Jack Lemmon is a lonely office drone who finds his complex relationship with a co-worker (Shirley MacLaine) ultimately coming to a head on a fateful New Year’s Eve.

Rob Reiner’s 1989 “When Harry Met Sally…” will likely be playing several times over the next weeks in tribute to the filmmaker. Starring Meg Ryan and Billy Crystal as two friends trying to figure out if their relationship can (or should) be something more, the film features not one but two memorable New Year’s Eve scenes. It will be playing at the New Beverly on Tuesday, Wednesday and Thursday.

Doug Liman’s “Go,” from a screenplay by John August, is not strictly speaking a New Year’s Eve movie, but it does take place in the sort of liminal zone of ongoing partying that occurs during holiday time. With a cast that includes Sarah Polley, Katie Holmes, Timothy Olyphant and many more, the film revolves around a few grocery store co-workers, some low-stakes drug dealing, questionable choices and a lot of miscommunication. The movie shows at Vidiots on Tuesday.

In a review of the film, Kevin Thomas wrote, “When all is said and done, ‘Go’ is a film about people going too far, which works precisely because its makers know when to hold back. ‘Go’ keeps us guessing … but it never forgets it’s a comedy; if it was too serious it would burst like a bubble. So uniformly skilled and talented is the film’s cast, which has 15 featured players, that it is impossible to single out any one. ‘Go’ is perfectly titled: Exhilarating and sharp, it never stops for a second.”

Points of interest

The Marx Brothers’ eternal comic mayhem

It has become a tradition around town for theaters to show Marx Brothers movies at the holidays, and who are we to argue with that? For pure whimsy and comedy that hits somewhere deep in the unconscious, the Marx Brothers are still pretty much unbeatable.

The New Beverly played some Marx Brothers movies on Christmas Day. For those who still want more, Vidiots will be showing 1935’s “A Night at the Opera,” directed by Sam Wood and including the famous stateroom scene in which more and more people cram into a single room on an ocean liner.

On New Year’s Day, the Aero will show 1933’s “Duck Soup,” directed by Leo McCarey, in which the brothers take over the fictional nation of Freedonia. That will be followed by 1930’s “Animal Crackers,” directed by Victor Heerman, in which Groucho Marx plays African explorer Rufus T. Firefly.

Eric Rohmer’s ‘The Green Ray’

Initially released as “Summer” in the U.S., Eric Rohmer’s “The Green Ray” won Venice’s Golden Lion in 1986. The film follows Delphine (Marie Rivière, who co-wrote the script with Rohmer), a single woman in Paris, as she struggles to find someone to go on a holiday trip with her, leading to a series of serio-comic misadventures. The film will show Thursday in 35mm at the American Cinematheque’s Los Feliz Theater.

Reviewing the film in 1986, Michael Wilmington asked if watching a Rohmer film is really, to quote Gene Hackman on Rohmer movies in “Night Moves,” like watching paint peel? “Not at all,” Wilmington wrote. “‘Summer’ is one of the masterpieces of 1986. It’s one of the most finely wrought, stimulating films of an erratic year. It’s intellectual in the best sense: engaging you emotionally and mentally. It moves faster, wastes less time, and has more to offer than most movies now on view — and those who are skipping it are missing one of the year’s real treats.”

John Slusher shouldn’t admit this. When the former Nike executive signed on to oversee LA28’s commercial operations last year, he looked at the private organizing committee’s lofty financial goals with some concern. Sales were “incredibly slow.” There was momentum around the first Olympics in L.A. in more than 40 years, but not many results.

Yet.

Weeks after celebrating his one-year anniversary with the group responsible for organizing and delivering the 2028 Games, Slusher and his team delivered a $2-billion present.

After announcing 15 partnerships in 2025, LA28 met its goal of reaching $2 billion in corporate sponsorship by this year, which Slusher said puts the group well on track to meet or exceed its $2.52-billion goal for domestic partnerships that serves as the largest line item funding the 2028 Games.

“Each avenue of commercial, whether it’s sponsorship, licensing, ticketing, hospitality, they’re all just kind of smoking hot, if you will, right now,” Slusher said in a recent interview with The Times. “I think there’s a lot of momentum and a lot of excitement around driving the business. And I think we’re all super focused on delivering an amazing, financially responsible Games.”

Since its bid for the Games began in 2016, LA28 has promised to deliver and operate the event with private funds. The estimated budget is $7.15 billion for L.A.’s first Olympics since 1984. After last year’s Paris Olympics, focus has shifted to the United States as the country begins a major decade of major sports events, including the 2026 FIFA World Cup, the 2028 Olympics and the 2034 Winter Olympics held in Salt Lake City.

“There is still much work to do and I can assure you the team is not resting,” U.S. Olympic and Paralympic Committee Chief Executive Officer Sarah Hirshland said during a media conference call. “But the reality is that this success puts the LA28 Games on track to be very successful while building significant commercial value for Team USA for many years to come. We couldn’t be more pleased with where we sit.”

Slusher, the chief executive officer responsible for revenue for LA28 and U.S. Olympic and Paralympic Properties, said the group is still selling for major sponsorship categories, including quick service restaurant, retail, tech and finance. Ticket registration begins on Jan. 14 with 14 million tickets available for the Olympics and Paralympics, which would break the record for Games tickets sold. Volunteering opportunities connected to LA28 in the community have already begun and volunteer applications for the Games open in the summer of 2026.

From record commercial growth to launching volunteer and community ticketing programs earlier than ever, our north star continues to be delivering a fiscally responsible Games with meaningful impact for L.A. and beyond,” LA28 CEO Reynold Hoover said in a statement. “We’re working day in and day out to make the Games more accessible than ever to the millions of people who want to get involved in a meaningful way.”

LA28 announced a ticket donation program with hopes of making tickets accessible to local fans through community groups. The Rams were the first participants, donating $5 million. Tickets will begin at $28 and LA28 plans to have one-third of tickets under $100.

Ticketing and hospitality is supposed to cover $2.5 billion of LA28’s total budget, the second-largest source of revenue for the Games.

A study done by the Southern California Assn. of Governments estimated the Games will generate between $13.6 billion and $17.6 billion in additional gross domestic product across a six-county region between 2024-2029. The study considered LA28’s $7.15-billion budget, estimated visitor spending and a portion of Games-related transportation infrastructure investments.

While only four of the Olympic venues are outside of L.A. County, the study estimates that five other Southern California counties — Orange, Riverside, San Bernardino, Ventura and Imperial — could still enjoy roughly 33% of the economic benefit because of visitor spending and work provided elsewhere in the region. Orange County, which will host the volleyball competition at Honda Center and surfing at nearby Trestles, could draw between $2.88 billion and $2.44 billion in gross domestic product from the Games, the second-most behind L.A.’s range of $8.96 billion and $11.97 billion.

The study was limited to only short-term gains up to five years after the Games, which does not take into account any “legacy effects.” The 2028 Games will have no permanent venue construction, but the planning agency notes that transportation infrastructure built to support the Games could benefit the region for decades in the future.

Transportation updates are largely the responsibility of the city, which is relying on federal grants to expand the Metro rail system and add more buses for the Games. Improvements to Los Angeles International Airport have been plodding: The People Mover train’s opening date has been delayed again to June 2026.

Outside of money used for infrastructure improvements, L.A. is also at risk to foot the first $270 million in potential overruns from LA28. If the private organizing committee’s debt goes further, the next $270 million would go to the state and anything remaining would return back to the city.