L.A.s

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s David Zahniser, with an assist from Noah Goldberg, giving you the latest on city and county government.

It was a move this week that drew immediate blowback: Council President Marqueece Harris-Dawson pulled Councilmember Nithya Raman off of her position as chair of the city’s housing and homelessness committee, just as Raman enters the homestretch in her campaign to unseat Mayor Karen Bass.

Raman quickly suggested that she was being punished for challenging Bass, a Harris-Dawson ally. On a video titled “Bass’ Ally Removed Me as Chair,” she portrayed the move as retribution for saying City Controller Kenneth Mejia should audit the mayor’s homeless programs.

“Mayor Bass and her allies are protecting what we all know is a deeply broken status quo, one that is not serving any person here in the city of Los Angeles,” she said.

For months, many at City Hall had expected Raman to make a stink if she was yanked from her post, transforming herself into a martyr. So what exactly was Harris-Dawson thinking?

In an interview Friday, Harris-Dawson said the removal of Raman as committee chair was simply one piece in a larger effort to make the council’s committees work better — and not punishment at all.

“If I were trying to punish her, I would have moved her off [her post] the day after she filed to run for mayor” back in February, he said.

Harris-Dawson said he split Raman’s committee into two — one focused on housing, the other on homelessness — because the two subjects were simply too big for a single committee to handle effectively. He said he and Raman had talked extensively about that idea, disagreeing on whether the two topics should have been combined.

The homelessness committee needs someone who can focus their undivided attention on the ongoing crises surrounding homeless services — including the Trump administration’s effort to strip hundreds of millions of dollars in federal funding, Harris-Dawson said.

“We’ve got to be able to move, and move in the most efficient manner possible,” he said.

Councilmember Nithya Raman attends a city council meeting at City Hall in downtown Los Angeles on August 14, 2026.

(Genaro Molina / Los Angeles Times)

As part of the reshuffling, Harris-Dawson picked Councilmember Ysabel Jurado, who represents Skid Row, to lead the now renamed homelessness and health committee. Jurado will also sit on the new three-member housing committee, which will be chaired by Councilmember Imelda Padilla.

Councilmember Hugo Soto-Martínez, fresh off his reelection victory, will head up the council’s economic development committee, replacing Councilmember Curren Price, who leaves at the end of the year.

Even Councilmember Monica Rodriguez landed a spot in charge of the committee that deals with parks, a pet issue of hers. Harris-Dawson stripped Rodriguez of her committee seats last year, after she criticized his leadership.

The new assignments could give Harris-Dawson a base of support the next time there’s a vote on his presidency. Harris-Dawson dismissed the idea that there was any connection, calling such speculation “completely inaccurate.”

The committee assignments take effect next month.

Raman will continue serving on the five-member homelessness committee, just not as its chair. She will head the council committee dealing with immigration and civil rights. She even broadened her portfolio in some ways, securing a seat on the public safety committee, which deals with police and fire responses.

“If you’re on a committee, you definitely can get things done, and you don’t have to be the chair,” Harris-Dawson said.

Raman offered a different take, telling reporters on Friday that a committee chair simply has more authority, setting the agenda.

“You also have some more power in trying to get the departments to reply — although even my best efforts to get the departments to reply to report-backs didn’t work,” she said.

Not happy with the homeless count

The hot potato that is homelessness now heads to Jurado, at a critical time for the city and her district.

Jurado’s district, which takes in downtown and parts of the Eastside, saw a 23% increase in unsheltered homelessness, according to this year’s homeless count. On top of that, The Times recently reported that the Los Angeles Homeless Services Authority, which runs the count, failed to tally hundreds of residents at a Skid Row shelter in 2024 and 2025, skewing this year’s citywide numbers.

Jurado voiced frustration over those issues, saying city officials shouldn’t have to spend time and money verifying data that “should have been accurate from the start.”

She isn’t the only one voicing displeasure.

Harris-Dawson questioned the accuracy of the count in his own South L.A. district, where LAHSA reported a 127% increase in unsheltered homelessness.

Harris-Dawson thinks the big increase may stem from a single census tract south of Manchester Avenue between Normandie and Van Ness avenues. In that area, LAHSA said it found 277 unsheltered homeless people.

Last year, the agency counted 19, Harris-Dawson said.

“A jump of this magnitude in a single corridor strongly suggests a data collection or processing error rather than an actual change on the ground,” according to a motion signed this week by Harris-Dawson that calls for an explanation.

LAHSA officials didn’t respond to requests for comment.

Sherman Oaks Smackdown, Part II

It was the most personal of the mayoral debates staged last spring: Bass and Raman going mano a mano in front of an audience at the Sherman Oaks Homeowners Assn.

During that 90-minute back-and-forth, the two took shots at each other over homelessness, police hiring and their respective leadership styles, among other things.

Now, with the Nov. 3 runoff approaching, Bass and Raman are set for a Valley rematch on Wednesday, which will again feature Fox11’s Phil Shuman, as well as a panel of representatives from Sherman Oaks community groups.

Reservations have been filling up for in-person attendance. The event will also be live streamed on www.soha914.com and aired on LAist 89.3, organizers said.

State of play

— HITTING HUD: In a scathing order, a federal judge blocked the Trump administration from taking control of federal funding for homelessness programs across L.A. County. In his preliminary injunction, U.S. District Judge David O. Carter said the Department of Housing and Urban Development acted arbitrarily and capriciously when it suspended LAHSA from managing federal funds.

— LOATHING LAHSA: Federal officials also denounced LAHSA as corrupt and incompetent during an appearance at the Dream Center, a faith-based residential treatment center. LAHSA pushed back, saying the federal government has failed to provide evidence of graft or abuse.

— RETURN ENGAGEMENT: The mayor’s Inside Safe homelessness program is spending more and more time going back to the same locations. Data reviewed by The Times showed that, in the fourth quarter of 2025, four out of every five Inside Safe operations were carried out in places already visited by its outreach teams. The repopulation problem has been especially pronounced along the 110 Freeway in South L.A.

— WAREHOUSE WOES: City leaders have accused Lineage, whose warehouse in Boyle Heights was destroyed by fire, of blowing past the city’s 45-day deadline for removing millions of pounds of rotting food from its property. Lineage reported Friday that the task was 94% done. Bass wants the city’s lawyers to take Lineage to court and impose penalties.

— RISKY BUSINESS: A divided City Council finalized an agreement aimed at controlling the city’s costs during the 2028 Summer Olympic Games, amid complaints that the event poses a major financial risk.

— TRAIN IN VAIN: Despite months of test runs, the Automated People Mover train is facing new uncertainty, with a bond rating downgrade and a legal battle between the city and the contractor.

— ZEROING IN: City Controller Kenneth Mejia told The Times he’s planning to use his auditing authority to examine spending by LA28, the privately run committee that is staging the Games.

— BUMMER NUMBERS: Euthanasia rates for cats and kittens are up in a big way in L.A. this year, according to the city’s latest stats.

— LICENSE TO CARRY: The federal government and the county’s Sheriff’s Department have reached a settlement over what prosecutors alleged was a pattern of delaying applications for permits to carry concealed firearms. The Sheriff’s Department has cut its waiting times and now complies with statutory deadlines, officials said.

— END OF THE PARTY: A mansion in Encino, located in the western end of Raman’s district, has become a massive party house, drawing a neighborhood outcry.

QUICK HITS

• Where is Inside Safe? The mayor’s signature homeless program went to the area around Bessemer Street and Cedros Avenue in Van Nuys, an area represented by Padilla.
• On the docket next week: As we mentioned earlier, Bass and Raman go head to head in Sherman Oaks on Wednesday. Tune in!

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.

Boney Island, a much-loved, homemade, skeleton-centric L.A. Halloween attraction for more than 20 years, will now be a ghost.

Creator Rick Polizzi — known to many for his 1996-2009 role as a producer of “The Simpsons” — announced on social media Monday that Boney Island is coming to an end.

The reason: A planned move to Santa Clarita has run into “unforeseen permitting and production challenges.” Polizzi said the county-wide slump in TV and film production is partially to blame.

After a string of venue changes, Polizzi said he was in talks to rent a set of soundstages at Santa Clarita Studios, and a large amount of Boney Island sets, props and other materials had already been moved to Santa Clarita.

But several logistical challenges proved hard to solve, and one element was the studios’ decision to reduce their inventory of soundstages. As a result, Polizzi said, “the rug was kind of pulled out from under us.”

Santa Clarita Studios President Mike DeLorenzo said that this fall, the studio will let go of leases on three of its 35-plus soundstages. Of Boney Island, DeLorenzo said that “we truly wanted this to happen, but it just didn’t make sense financially.” By the tally of FilmLA, on-location production days for film and TV in greater Los Angeles fell by 46% from 2022 to 2025.

With no other remedies in sight, Polizzi and company put out word on Instagram and Facebook, saying that after carefully considering locations, city permitting costs and storage, “we have made the difficult decision to officially bring Boney Island to an end” and sell the collection.

Reaction was quick, sad and peppered with family memories. “Thank you for creating so much magic for my family as well as so many others,” wrote one admirer on Instagram. “My kids and myself will forever walk around in a squeaky voice reciting: “Help meeee…I feeel like a yo-yo.”

Former “Simpsons” producer Rick Polizzi in his Sherman Oaks treehouse, known as “Boney Island,” in 2025.

(Juliana Yamada / Los Angeles Times)

Boney Island, a playful homage to Coney Island, was born in the late 1990s when Polizzi set out to build a Halloween attraction in his Sherman Oaks front yard for his family and neighbors. He was joined by “Aqua Dazzle” owner Rex Danyluk and friends as they designed an immersive, imaginative experience without a haunted house, a maze or jump scares. Instead it featured cavorting skeletons, magic acts and water shows.

“It’s not all the gore and horror stuff that everything else is,” Polizzi said. “I started it for my daughters.”

Eventually, the yard’s tall treehouse and growing crowds each Halloween led to permit disputes and the prospect of criminal charges.

“We were a victim of our own success, because it got so crowded we had to hire traffic control,” Polizzi told Spectrum News in 2025, adding that “one neighbor across the street always hated it.” Polizzi estimated that he’d spend more than $50,000 trying to get proper city approvals before dismantling the treehouse in 2025.

“I had the cool experience of actually ascending into the treehouse,” said Kim Cooper, co-owner of Esotouric tours and former visitors to the treehouse. “You look at this thing and you think: Wait a minute. That’s possible?”

Polizzi, in 2025, flips through a scrapbook he made about Boney Island.

(Juliana Yamada / Los Angeles Times)

Boney Island’s red-tape battles with the city of Los Angeles, Cooper said, show that “there is sadistic, demented element in the city [government] that does not like to see people who have an independent sense of élan and freedom.”

Still, Boney Island seemed likely to live on elsewhere. While the red-tape battles were being fought, the attraction moved from Polizzi’s yard to Griffith Park in 2018, went dark for several years, then resurfaced at the Natural History Museum of Los Angeles in 2023 and 2024, drawing tens of thousands of people. But the Exposition Park location proved difficult for many guests, Polizzi said, and the event went dark again last year while organizers searched for a new location, preferably a gated space with at least 70,000 square feet. Polizzi said he explored many options, including the L.A. Zoo, another corner of Griffith Park, Descanso Gardens, the L.A. County Arboretum, but none quite fit. Some of those spots host elaborate holiday light displays that require set-up in late October.

The best option seemed to be the soundstages at Santa Clarita Studios. “It was going to be challenging to have it inside to begin with, but I was looking forward to it,” Polizzi said.

At this point, he added, it would take a last-minute location discovery to change things.

“I would love to keep it going, I just don’t have a place for it,” Polizzi said.

Benjamin Bycel, a civil rights attorney, law school dean and university president who took on the task of cleaning up Los Angeles politics as the city’s first ethics officer, died Aug. 2 in Santa Barbara. He was 84.

His son, Josh Bycel, said the death was due to complications from Parkinson’s disease.

Born in Brooklyn in 1942, Bycel moved to Huntington Park when he was 5. The son of a boxing manager and a teacher, he spent much of his childhood accompanying his father to downtown boxing gyms and the Olympic Auditorium. After graduating from Huntington Park High School, he earned a master’s in history from San José State University.

Bycel served with the Peace Corps in Uganda, taught at Manual Arts High School in L.A. and reported for the Associated Press in New York. As a law student at UC Davis, he was a press aide for San Francisco Mayor George Moscone’s campaign for governor of California.

After earning his law degree, Bycel worked as an attorney for the American Civil Liberties Union in Sacramento. As a civil rights lawyer in Santa Barbara, he successfully argued a landmark California Supreme Court case, which upheld the right of adults unrelated by blood, marriage or adoption to live together as a family. In 1986, Bycel took on the role of dean for the Santa Barbara and Ventura Colleges of Law, helping steer the ship after the former dean was accused of misappropriating funds.

Five years later, he took on his most high-profile role as founding director of the Los Angeles Ethics Commission.

The Times called it “a Herculean task.” The commission was created in 1990 after a wave of political corruption scandals engulfed Mayor Tom Bradley’s administration. When the City Council initially declined to pass tough anti-corruption laws, voters overwhelmingly passed Proposition H to create an independent watchdog tasked with enforcing a tough new set of regulations governing city officials’ conduct.

“The idea of getting paid to reform the system and make it better is a thrill,” Bycel told The Times when he was selected. He vowed not to “conduct any witch hunts.”

There was controversy from the get-go. In the commission’s first year, The Times reported, investigators raided the offices of City Attorney James K. Hahn after getting a tip that city workers were engaged in political activities. When the district attorney later dropped the investigation, citing lack of evidence, Hahn publicly condemned Bycel.

Zev Yaroslavsky, a former L.A. politician who served then as a City Council member representing district 5, said the new ethics role represented a “dramatic, profound cultural change in municipal government.” Bycel, he said, rose to the occasion.

“Institutionally, he was a new power, a new person with influence over the vitals of elected officialdom, and I thought he did an excellent job,” Yaroslavsky said, noting that Bycel did not go in with guns blazing. “He was very judicious and even-handed and he gave the new institutional credibility out of the starting gate.”

Still, some complained Bycel was a publicity hound, and he made powerful enemies. In 1995, Bycel told The Times that he feared for his job: Mayor Richard Riordan’s new appointee as the ethics commission president, UCLA law lecturer Raquelle de la Rocha, he said, had told him that she had decided he should be fired. De la Rocha denied his claim, but said that she had called a closed personnel hearing on Bycel’s status.

A few weeks later, the commission fired Bycel, taking a vote in closed session. They refused to say why.

“Though outspoken and at times overly aggressive, Bycel has made an important contribution to political reform here in Los Angeles,” The Times said in an editorial. “Under his tenure, the commission staff has worked rigorously to enforce the toughest local ethics laws in the nation, including a gift ban and restrictions on lobbyists.”

Josh Bycel said his father reveled in the challenge of cleaning up L.A. politics and was frustrated by his abrupt ouster.

“Even though he felt he made great progress and they were doing good things, I think he felt that the job was not done … There were forces that did not want him to do the job.”

In 1997, Bycel was appointed president of the University of West Los Angeles, and in 2001 he moved to Washington to serve as the vice president of Common Cause, the national advocacy group. Later, he served as the executive director of the Connecticut Office of State Ethics before moving back to Santa Barbara to practice law.

Bycel died at a memory center in Santa Barbara he had moved into just a few weeks earlier, Josh Bycel said. He was surrounded by his beloved longtime partner, children, grandchildren and dog, he said, in a room filled with photos and quotes of his longtime hero, boxing champion, Muhammad Ali.

“For good or for bad, my dad was a fighter and someone who would speak his mind,” Josh Bycel said, noting that was probably what got him in trouble at the ethics commission. “He always believed that you had to fight the righteous fight.”

Los Angeles police Officer Daniel Flores may have broken the law when he secretly recorded his colleagues making ugly, unacceptable comments that were variously racist, homophobic, misogynistic or otherwise gross and unprofessional at best.

So L.A. County Dist. Atty. Nathan Hochman is right to take this, or any, violation of the law by a badge-wearing member of our police force seriously, no matter what Flores’ intent was.

But Monday, Flores was arraigned on 16 felony counts that could lock him up in state prison for 13 years (he pleaded not guilty).

That court hearing was preceded by an unusual and disturbing summary of the case filed with the court by Hochman. It seemed like an inappropriate attempt to smear Flores as a money-grubber with a convoluted plan to sue taxpayers into a sweet retirement (as opposed to intending to expose misconduct), while simultaneously giving an aw-shucks, it-was-all-in-good-fun defense of the ugly commentary of the recorded officers.

Regardless of what Hochman’s intent is in throwing the book at Flores, the result is one that will haunt this city for years to come: a police force in which the officers are clear that if you rat out the cops for misconduct, you get what you get.

“The message to everyone in the police department is keep your mouth shut,” said David A. Harris, a law professor at University of Pittsburgh and an expert on police misconduct. “You cannot stand up for principle or even for the policy of the police department, except at the risk of your own career and your own well-being, and perhaps your freedom.”

Hochman spoke with me for nearly an hour about his reasons for what many, myself included, see as his prosecutorial overreach in this case. Before I tell you the reasons why I think Hochman has it wrong — dangerously wrong — in the decision to charge Flores’ so harshly, I’ll tell you where we agree.

First, we agree that cops shouldn’t do things such as refer to Black people as “monkeys,” as my colleagues Libor Jany, James Queally and Richard Winton reported allegedly happened in this case.

Cops, we concur, should not call women “bitches.” They also should not call women “rapeable,” even if, as Hochman’s filing assures us, “the use of the phrase ‘rape’ was not in a sexual context.”

I am not sure what the nonsexual context of rape is, but OK.

Cops should not make fun of, in no particular order, people with disabilities; candidates applying for jobs; co-workers; Asian people; Hispanic people; or people who may be overweight — as the officers in this case allegedly did.

“These comments are deplorable. They’re despicable. They’re racist. They’re homophobic. They’re sexist,” Hochman told me. “There’s no place in our society for them, and they should be punished.”

So Hochman and I agree that Flores may have broken the law, and that the comments of his fellow officers are unacceptable.

And now the roads diverge.

Because faced with those competing truths, Hochman could have used prosecutorial discretion — the art of tempering the law with the mores and ethics of the community.

He could have used that discretion to cut Flores a break, charge him at a lower misdemeanor level or not at all, and put the focus where it belongs — on the officers who disgraced their badge with their behavior, and what is seemingly a culture of disrespect and degradation within the unit charged with choosing the next generation of officers.

These are the officers charged with recruiting the officers of the future, so the stakes here are high. This is misconduct that the people of L.A. need to know about, because if these officers are so casual in their hateful comments, can we trust their judgment on hiring?

“On one hand, being a whistleblower doesn’t give a person the right to violate the law,” said Erwin Chemerinsky, the dean of UC Berkeley’s law school, who did an investigation on police culture in the LAPD in 2000 in the wake of the Rampart scandal. “On the other hand, I would hope that the district attorney would take context into account. And 16 felony charges seems really excessive.”

LAPD Officer Daniel Flores, left, listens as his attorney Alan Jackson speaks to reporters Monday.

(Libor Jany / Los Angeles Times)

But Hochman argues that a “message has to be sent” because it’s a police officer who broke the law.

“If you don’t hold police officers accountable, it’s very hard to hold anybody accountable,” Hochman said. “I believe that no, we’re not going to let the ends justify the means, even if the ends may be laudable, like exposing bigotry, because it leads us down a very slippery slope.”

Hochman said Flores simply could have taken notes on the inappropriate comments and turned them in to superiors or the independent inspector general, which strikes me as either sweetly naive or disingenuous.

“The officer would be shunned; his career would be over, and he would probably find himself on the receiving end of some kind of retaliation,” Harris, the law professor, said of the likely outcome of that plan.

Chemerinsky said retaliation against whistleblowers has long been a part of the culture of the department. Make a complaint, his report in 2000 found, and an officer might get “freeway therapy,” transferred to someplace far from where they lived to send a message, or even find themselves without backup in a dangerous situation.

This decision to treat Flores so harshly, Chemerinsky said, comes off as “part of that long history of LAPD trying to very much crack down on whistleblowing.”

Hochman told me that he wants to make it “crystal clear” that “nothing in this prosecution should be read that we are in any way trying to chill whistleblowers.”

He added that he did use discretion.

“I hope you note in your article that the district attorney could have brought 122 felony charges, or 122 misdemeanors, or some combination of felonies and misdemeanors up to 122,” Hochman said.

Flores made 122 total recordings of 16 people. Hochman charged on the number of people recorded, not the number of recordings, he pointed out.

So sure, we can count that as discretion, I guess?

This is where Hochman has his messages dangerously backward. Sure, hold Flores reasonably accountable for taking matters into his own hands, if he broke the law in doing so. Certainly, Flores knew there would be consequences to his actions.

But that Hochman is trying to frame this as a fair and reasonable prosecution, while protecting the officers who made the comments by giving us their weak-sauce excuses about having no ill intent, does not provide this city the justice it expects and deserves.

Hochman, you may recall, replaced George Gascón, a prosecutor who was accused of forcing his own values on the city.

Now, Hochman seems to be doing the same with his heavy-handed approach to Flores.

Hammering on Flores does not reflect the values of the majority of the Los Angeles community that wants a police force in which integrity and respect are fundamental, impunity is the outcast, and whistleblowers aren’t attacked, even if it turns out their motives aren’t pure.

Personally, I don’t care what Flores’ intent was in making the recordings. I don’t care if the officers caught on tape didn’t intend to offend, and I don’t care what Hochman intends the message to be with his vast over-charging of Flores.

I care about the result: a city in which misogyny and racism are just locker room talk, but breaking the blue wall of silence is a serious crime.

Last things first: Eve Babitz is a major minor L.A. writer who died five years ago at age 78. She spent nearly a quarter-century as a recluse, having suffered in 1997 a shocking and disfiguring accident while striking a match to light her Tiparillo. Her thin Indian skirt caught fire searing her panty hose into her flesh, leaving her with third-degree burns over more than half her body. She never published again, though many championed her gifts, including me. At the time of her misfortune, I was book editor of the Los Angeles Times. I had long admired her, especially the rollicking and indispensable “Slow Days, Fast Company,” first published in 1977, a charming and insightful series of stories bursting with pluck and sass. I recommended to John Carroll, the then-editor of the paper, that he make her a columnist and urged Babitz to write him directly. She did, and that letter from October 2000 is the last included in “Too L.A.: Letters Never Sent (But Some Were),” a book of letters expertly edited and chosen by Lili Anolik. Babitz tells Carroll that “what the paper needs is some writers that cause such an uproar, people will have to read it in order to stay abreast of the edge.” Babitz knew what she was talking about. She’d been living on that edge since she was a teenager at Hollywood High in the late 1950s.

The posthumous resurrection of Babitz’s writings is most welcome. Yet there is a risk of overpraising her merits. She was an unabashed booster of the glossy L.A. that became synonymous with a rising creative elite whose élan and narcissism she found irresistible.

Lili Anolik makes the case in her perfervid introduction: “The letters are everything you could want” and often “profound” and “frequently brilliant, invariably amusing.” She says they deserve to be put on the short shelf next to Virginia Woolf’s imperishable “A Room of One’s Own” for they are “every bit as candid, every bit as lucid, every bit as brutal, every bit as delicate as Virginia Woolf’s celebrated manifesto.”

If only.

“Too L.A.: Letters Never Sent (But Some Were)” by Eve Babitz

(New York Review Books)

Regrettably, Anolik, who is almost singlehandedly responsible for Babitz’s literary exhumation, has so fallen in love with her subject as to almost blind her to Babitz’s defects, both with respect to her writing and to the life. With two previous books — “Hollywood’s Eve” (2019) and “Didion and Babitz” (2024) — prompted by Anolik’s riveting March 2014 Vanity Fair profile, Anolik has become Babitz’s greatest champion. Now with “Too L.A.,” a title taken from Babitz’s own over-oxygenated writing, she has gathered and edited a trove of letters. They brilliantly reveal Babitz’s eye for the deep shallow as well as explore the porous boundary between the largely self-inflicted injuries of her private life and the glittering sheen of her public persona. Babitz herself, on the strength of these 197 letters, only 30 of which she ever mailed, understood in a way Anolik doesn’t the limitations of her talents, even as she strives to slip the shackles of a mansplaining culture which at almost every turn tried to blunt her ambitions, both artistic and writerly, even as her editors and admirers sought (often with her ardent encouragement) to slip between her sheets.

Eve Babitz was born in 1943 to Hollywood neo-royalty. Her Brooklyn-born father, Sol, was first violinist for both the Los Angeles Philharmonic Symphony and then the 20th Century Fox Studio Orchestra. Sol would ultimately marry Lily Mae Laviolette, a beautiful Cajun Catholic shiksa willing to convert to Judaism. Eve’s godfather was Sol’s good friend Igor Stravinsky. When puberty burst upon her at age 14, Babitz’s blossoming made her a prime candidate for induction by the fast-track girls at Hollywood High who called themselves the Thunderbird Girls and cruised the Sunset Strip in their cool cars, looking for the main chance.

From left, Sol Babitz, Mae Babitz, Mirandi Babitz and author Eve Babitz gather at a launch party for her book “Slow Days, Fast Company” in 1977.

(Photograph by Paul Ruscha; courtesy of Mirandi Babitz / The Huntington Library)

At 20, Babitz posed nude playing chess with the fully clothed Marcel Duchamp to promote Duchamp’s retrospective exhibition at the Pasadena Art Museum. At the time, Babitz was having an affair with the museum’s 32-year-old married director, Walter Hopps, which perhaps explains Babitz’s reluctance to have her face photographed so as not to give the game away to Mrs. Hopps, who attended the opening. A month later, Babitz confides in an (unsent) letter: “Everything’s so fabulous for me now I can’t believe it. There’s nothing like two boyfriends to do it for you every time. There are such fabulous boys around and they take you out on dates and to movies and I feel just like a teenager. (I’m recapturing my lost youth.) I get to get dressed up and I flirt outrageously and put people on and I do things like look soulfully out the window and man it’s just too hoozie for words. … If only all of this could last forever — not that it will, but I can.”

She spent the rest of her life torn between the excitements of everyday life — cruising the hangouts du jour (Barney’s Beanery in the early 1960s where she met many of L.A.’s up-and-coming artists — Ed Kienholz, Billy Al Bengston, Laddie Dill, Peter Alexander, and the Ruscha brothers, Ed and Paul, both of whom she’d bed, Paul becoming an on-again, off-again boyfriend whose bisexuality made for a sometimes tenuous connection; and after seducing Jim Morrison before he became famous and later the Troubadour in the late 1960s which was a happy hunting ground — Steve Martin, Glenn Frey, Don Henley, J.D. Souther, Country Joe Mcdonald, Jackson Browne, to name only a few, and then Ports restaurant where she anchored a corner table) — and the seductions of drugs — uppers, acid (which she seemed to ingest with an alarming frequency), pot, of course, and then by the mid-1970s, tragically, an Everest of cocaine. She had entered what she aptly called the era of “squalid overboogie.”

Eve Babitz and her frequent companion Paul Ruscha celebrate the 1977 release of Babitz’s seminal “Slow Days, Fast Company.”

(Photograph courtesy of Mirandi Babitz / The Huntington Library)

The name-dropping is relentless and if, like me, you have an insatiable appetite for hoovering them up, this volume will not disappoint. Still, there are many pages of vapid jottings — “I cleaned the house, did the laundry, and vowed to quit smoking” — that suggest why Babitz was a failure as a novelist (see her dud “Sex and Rage”) and a superb writer of short stories and essays that stylishly plumbed the depths of her own sensibility precisely in the degree to which she was uninterested in other people.

Nearly 30 years after she stripped to please her married lover and startle the unsuspecting Duchamp, the father of Dada, and eight years after she joined AA in 1982 — the year her beloved father died of Huntington’s disease at age 70 which ultimately would also kill her — and gave up drugs and alcohol and (almost entirely) writing as well, which had always been seen by her as enabled by dope of one kind or another, she boasted that, looking back, “Everybody wanted to be me — they looked at me with yearning faces, and said, ‘Boy, you sure had fun.’ ” She was not entirely wrong. She had struck many admirers both then and now, as the quintessential California girl, a daughter of Dionysus, whose devotion to pleasure was free of misgiving or regret. She detested the East Coast avatars of apocalypse, like Nathanael West, who saw only doom and gloom in sunny L.A. Babitz, by contrast, saw things sunny side up. If Joan Didion was unsettled and made anxious by the hot Santa Anas that regularly kicked up, Babitz luxuriated in them, recalling how she and her sister would as young girls rush to embrace them, spinning madly round and round. In a 1977 unsent letter to Joseph Heller, who had championed her work when she had sent him an unsolicited fan letter after having read “Catch-22” when it was first published and she was barely 20, she declares proudly: “I’m a gossip storyteller who likes L.A. rather than hates it.” She refers to her “shallow nature,” writing that “I feel like an upstream salmon, determined to reach the shallow water, no matter how fast the river is running the other way.”

Eve Babitz, the ultimate Hollywood reveler, on Sunset Boulevard in 1980.

(Los Angeles Times)

On the evidence of these letters, she had two great loves: Ahmet Ertegun, a principal founder of Atlantic Records, and Tom Dowd, renown recording engineer and producer who worked for Ertegun. Of the two, Ertegun had the edge, if for no other reason than he came with buckets of dough, making possible assignations at his regular bungalow at the Beverly Hills Hotel with limo pickup and dropoff services, and the best champagne and other assorted stimulants. Ertegun was effortlessly elegant and erudite, and there was no one he didn’t know and who wouldn’t return his calls. He was married, age 45, 20 years older than Babitz, when they fell for each other in 1969. She began sleeping with him even as she agreed to profile him for Jann Wenner’s newly launched Rolling Stone. The writing didn’t go well. Wenner wanted a tougher piece than she was willing to write. Ultimately, she abandoned the assignment, claiming (not unreasonably) that she didn’t see how she could write objectively about a man she loved.

Babitz courted danger with heedless bravado and exemplary recklessness. She once had the moxie to rid herself of a would-be rapist: When told not to scream, she said with unimaginable sangfroid: “Why not?” The man bolted. It might be said of Babitz, as Oscar Wilde said of his life, that she spent her talent on her writing and reserved her genius for her life. Sculpting her natural gifts of wit and brazenness into a living artwork dazzled all who came within her orbit. Her lust for life was palpable. The letters are proof. She came at people without fear. She left them without apology. She was the boss of herself. She was the girl who seemed to have it all. The only thing she lacked was inexperience.

Wasserman, a former book editor of the Los Angeles Times, is publisher of Heyday Books, a nonprofit, independent publishing house founded in 1974 in Berkeley. He is the author of “Tell Me Something, Tell Me Anything, Even if It’s a Lie: A Memoir in Essays.”

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

I have been writing this newsletter, most weeks, for more than 10 years now. I wouldn’t even want to do the math on how many of them that would be, or just how many movies I have written about. That count is about to come to a close as this is the last one.

Don’t worry: I will still be covering the world-class scene of moviegoing in Los Angeles as well as writing about a broad swath of films and filmmakers, just finding new ways to go about it.

When this newsletter began, it was a catch-all for movie coverage and related events from The Times and eventually settled into a curated survey of the best new releases each week. We helped figure out what you should go see. As theaters reopened following the closures forced by the pandemic, the repertory scene in Los Angeles exploded, with new audiences turning out for old movies in astonishing numbers.

We followed their lead, flipping the focus of the newsletter to the rep scene while still keeping an eye on new releases. Venues around the city had a newly revived energy to match audiences’ enthusiasm. The Academy Museum opened with two gold-standard theaters, while the American Cinematheque expanded the number of screens it programs. (Just recently, it added the historic Village Theater in Westwood.) The Vista began bringing first-run films in 35mm and 70mm, along with classic movies. Vidiots opened in Eagle Rock, helping to redraw the map of L.A.’s movie-loving community.

The David Geffen Theater at the Academy Museum seats a thousand and is often fully attended.

(Ricardo DeAratanha / Los Angeles Times)

The city has also seen the rise of itinerant pop-up series such as Mezzanine, Acropolis Cinema and Hollywood Entertainment pulling off must-see events. Smaller venues such as Now Instant Image Hall, 2220 Arts + Archives, Eastwood Performing Arts Center, Brain Dead Studios and the Philosophical Research Society have made a home to all kinds of movies. The Laemmle and Landmark chains have continue to play traditional arthouse releases and international films, while the Frida and Gardena theaters bring great movies to the South Bay.

Entities such as Revival Hub and MovieTown do a vital job of collating extensive listings info. (We will also continue to give monthly overviews of the best movies to see.) This is simply an incredible time for going to the movies in Los Angeles, arguably the best ever.

My main takeaway from the experience of working on this newsletter is confirmation of my belief in the movies themselves and the community of people around them. I was recently at a sold-out screening of Akira Kurosawa’s “Ran” and the idea of sitting with nearly a thousand other people watching a Japanese movie from the 1980s, each connecting to the events on screen in their own way, was deeply inspiring.

Among my favorite recent developments is how many venues now name the show’s projectionists as part of a screening’s introduction, which is always met with an enthusiastic round of applause. It is a reminder that what this is really about is people, dedicated to something we love.

And since this isn’t really a goodbye, it seems fitting to turn to the movies once again, as another week demonstrates why the scene here in Los Angeles is so truly special.

A tribute to Sam Neill

Sam Neill and Nicole Kidman on the set of 1989’s “Dead Calm.”

(Michael Ochs Archives / Getty Images)

Anyone looking for an example of just how intimate the screening scene in Los Angeles can be should make their way to the New Beverly Cinema on July 24. The theater already had a three-night double-bill of Rob Reiner’s “Misery” and Phillip Noyce’s 1989 thriller “Dead Calm” booked when news broke last weekend that actor Sam Neill had died at age 78.

The New Bev quickly announced that it would make one of those screenings into a tribute to Neill, who co-stars in “Dead Calm.” Director Noyce, along with co-star Billy Zane and filmmaker Roger Donaldson (who worked with Neill on 1977’s “Sleeping Dogs”) will all be there to celebrate their friend and colleague.

“Dead Calm” is a tight thriller set within the confines of a small sailing boat. Reviewing the movie when it was first released in 1989, Sheila Benson wrote, “Neill is probably one of the screen’s most underrated actors … ‘Dead Calm’ was probably far and away his nastiest assignment physically, yet his presence, sexuality and all, is absolutely vital to the balance of the story.”

Remembering the actor as part of a rundown of his greatest performances, Glen Whipp described Neill in “Dead Calm” as “part Cary Grant, part MacGyver.”

Two by Ross McElwee

Documentary filmmaker Ross McElwee in his 1986 movie “Sherman’s March.”

(Music Box Films)

Documentary filmmaker Ross McElwee helped to reinvent the form with his 1986 film “Sherman’s March,” which comes with the explanatory subtitle of “A Meditation on the Possibility of Romantic Love in the South During an Era of Nuclear Weapons Proliferation.”

Ostensibly a film about Union General William Tecumsah Sherman’s campaign of destruction during the Civil War, the movie actually ends up being about McElwee revisiting old girlfriends and forging a few new ones along the way, reflecting on his own campaign of romantic misadventure. As charming as it is revelatory, the movie is being rereleased in a new 4K restoration.

McElwee’s latest film, “Remake,” reflects on the death of his son Adrian and whether the director himself had a detrimental effect on the boy’s life. Reviewing “Remake,” Tim Grierson calls it “especially revealing — both in terms of the glimpses we get of this father-son relationship and of unsolved mysteries that linger just outside the frame.”

A weekend with Robert Rodriguez

Quentin Tarantino, George Clooney and Salma Hayek in the horror movie “From Dusk Till Dawn.”

(Academy Museum)

The Academy Museum will present “A Weekend with Robert Rodriguez” to celebrate the 30th anniversary of “From Dusk Till Dawn” and the 25th anniversary of “Spy Kids.” It speaks to Rodriguez’s undersung range as a filmmaker that one movie is a bawdy, gory comedy about a criminals on the run who encounter an ancient den of vampires, while the other is a family-friendly tale of two siblings who discover their parents are secret agents and must rescue them from a supervillain.

Rodriguez will not only be present to talk about both movies, he will be performing music each day with a different band.

Reviewing “From Dusk Till Dawn,” which was scripted by Quentin Tarantino, Jack Matthews said it was “a film nerd’s fever dream, a Frankenstein’s monster of used movie parts, deliberately mismatched styles, and deliriously implausible characters.”

Elaine May’s secret success

Dustin Hoffman and Jessica Lange in the movie “Tootsie.”

(Everett Collection / Columbia Pictures)

One of the most exciting things about the ongoing revival of L.A.’s repertory scene is the upheaval of the notion of the “canon.” What are the most lauded movies of all time and who gets to do the lauding? Case in point is the now widely accepted coronation of Elaine May as a towering creative figure, no longer relegated to being merely a fringe character unfairly saddled with the commercial failure of “Ishtar.”

May is credited as director on only four feature films, though she’s an uncredited writer on a number of other projects, perhaps most notably 1982’s comedy “Tootsie,” starring Dustin Hoffman as a struggling New York City actor who finds success when he lands a part by secretly posing as a woman. Directed by Sydney Pollack, who also makes a tremendous turn as Hoffman’s agent, the movie will be playing at Vidiots on Saturday.

Finding new moves

Wiley Wiggins and Patrick Riester in the movie “Computer Chess.”

(Kino Lorber)

The very first thing I ever wrote under the banner of Indie Focus was about how independent filmmakers such as Andrew Bujalski and Alex Ross Perry were working on 35mm at a time when mainstream Hollywood was very much forcing the idea of shooting on digital. So it only seems appropriate that this final edition of the newsletter should include something on Bujalksi, who has long been one of my favorite contemporary American filmmakers.

“Computer Chess,” Bujalski’s oddball experiment in using antiquated video equipment to tell a heady, offbeat story about a weekend chess tournament in the early ’80s, will screen in a 35mm print at Brain Dead Studios on July 24, presented by Mezzanine. Bujalski will be present, along with Blair Barnes, a filmmaker who will be showing the L.A. premiere of his short “sitrep,” also shot on an analog-era tube camera.

New this week

Matt Damon and Zendaya in the movie “The Odyssey.”

(Melinda Sue Gordon / Universal Pictures)

Sure to be one of the biggest movies of the year, Christopher Nolan’s adaptation of “The Odyssey” opens today. Los Angeles audiences have multiple venues to choose from that are showing the film in Nolan’s preferred Imax 70mm format — these theaters are among only a small number across the world that are doing this. Presenting a movie in Imax 70mm isn’t the easiest endeavor. Eloise Rollins-Fife has a report on how that’s actually done. Get your epic on.

Reviewing the movie, Amy Nicholson wrote, “Nolan refuses to tremble before the canon. Grabbing mighty scissors, he cuts and rejiggers Homer and a bit of Virgil to transform these classical texts into his type of tale: one fixated on memory, self-identity, destructive genius and the slippage of time. As ever, it’s light on sex, heavy on wine-dark angst.”

Kenneth Turan spoke to Nolan about the movie’s origins, saying, “I’ve been telling this story in all my films for years. It’s a family story, a love story, a revenge story, a war story, a coming-of-age story. It’s a very strong foundational text for me.”

For nearly a century, Sparkletts bottled its water in a vast building on Lincoln Avenue designed to look like a Moorish palace, or maybe an industrial oasis.

Now Sparkletts has moved out, the owners aren’t talking and L.A. city officials, hoping to save the building, have named the site a historic-cultural monument.

“We’ve always had an eye on the building because it’s such an icon in the community,” said Frank Parrello, Landmarks and Advocacy chair for the Eagle Rock Valley Historical Society. “We want to make sure that whatever happens in the future, the building is considered.”

The plant, which drew water from subterranean springs and bottled it for distribution through Southern California, went up in 1929 on E. Lincoln Avenue along the Eagle Rock-Highland Park border, filling the block between N. Avenue 45 and N. Avenue 46. Designed by architect Richard D. King, its main building features arches, towers and domes, a white-washed brick exterior and wrought-iron lanterns.

The L.A. Conservancy calls it a bold example of Moorish Revival industrial style and a prime illustration of “the industrialization of drinking water in Los Angeles.”

Neighbors call it “the Taj Mahal,” resident Anthony Carmona says.

The Sparkletts building, built in 1929, was designed in a Moorish Revival style. The building, idle since 2025, has been added to the L.A. City Historical-Cultural Monument list.

(Christopher Reynolds / Los Angeles Times)

Questions about the building’s future began to multiply in 2025, when Sparkletts ceased operations on the site. A 4.4-acre portion of the property was listed for sale, then for lease. The L.A. Conservancy warned that the building was “at risk of redevelopment.”

The Instagram site Save Iconic Architecture also sounded an alarm, saying the Sparkletts building “tells the story of Los Angeles’ innovation, design, and relationship with its most precious resource: water.”

Meanwhile, the Eagle Rock Valley Historical Society nominated the building as a historic-cultural monument, which led to a site visit and votes by the city of Los Angeles Cultural Affairs Commission and City Council.

On June 24, the council voted to protect the building as a monument. The designation “does not guarantee that the building cannot be demolished,” but it does allow city officials to delay demolition for up to 360 days “to allow for time to preserve the monument.”

The city Planning Department staff report on the historic monument nomination lists the owners as Sparkletts Drinking Water Corporation and Foremost Water Corporation. Neither commented to the city on the monument nomination and Primo Brands (Sparkletts’ parent company) did not respond to requests for information Monday.

The city’s staff report on the site says the architect may have been influenced by a Moorish design trend in the 1920s that included the film “The Thief of Bagdad” (1924). The El Capitan Theater on Hollywood Boulevard and Shrine Auditorium near USC, both completed in 1926, are also known for their Moorish features.

Architectural historians David Gebhard and Robert Winter included the Sparkletts building in their “Architectural Guidebook to Los Angeles,” noting its mosque-like presence and saying “the best remaining element” is the tiled mosaic oasis scene over the entrance.

The building has seen some changes. As the Eagle Rock Valley Historical Society nomination notes, the building’s largest Sparkletts sign was removed in July 2025. City records show that decades ago, in the course of repairs after the 1971 San Fernando earthquake, at least one minaret was removed.

The entrance, however, remains largely intact, featuring three arches and a set of steps framed by a pair of tall palm trees. Just above the front door and beneath a surviving Sparkletts sign hangs the tilework that Gebhard and Winter enjoyed.

Moreover, “it’s very impressive inside,” Parrello said. “It’s a big open industrial floor plan, which could be used for a lot of things.”

The Sparkletts building, idle since 2025, has been added to the L.A. City Historical-Cultural Monument list.

(Christopher Reynolds / Los Angeles Times)

If public agency or nonprofit is able to play a role in the property’s future, Parrello added, “it could become a housing complex, or a community center for a housing complex.”

A similar answer came from Carmona, 51, a restaurant worker who lives in an RV about a block away from the Sparkletts building. Carmona said he’d love to see it become a gathering place where neighbors can trade products, services, ideas, “lemons, oranges, whatever.” In a perfect world, Carmona said, “there should be free water for everyone, but of course that’s not going to happen.”

The city of L.A. began designated historic-cultural landmarks in 1962 and has given that status to more than 1,000 buildings and other structures.

The closure of the Eagle Rock Sparkletts operation followed a 2024 merger between Sparkletts’ parent company, Primo Water, and another bottled water company, BlueTriton, to from Primo Brands.

At the beginning of Mary H.K. Choi’s wildly entertaining presentation for her new novel “Pool House’” at Skylight Books, she reveals she won’t be reading.

“Readings are boring,” she says, tapping her Prada loafers. “It’s like you’re watching someone else play video games.”

Instead, she and Yasi Salek, host of the hit podcast “Bandsplain,” spend the evening riffing on literature, coolness, autism diagnoses and a literary perennial: unrelenting pain.

“How is your mother wound?” Salek asks in her signature vocal fry most often heard ad-libbing about the band Weezer. Salek reveals she is in Jungian therapy, adding, “What Carl says, goes.”

Throughout the discussion, Choi describes her novel as a challenging read — calling it a “gross, decaying meat soup.” She jokes that her career as an author feels like a “Make-A-Wish Foundation wish,” bewildered by any attention her work has garnered. Yet dozens of eager readers have packed into the independent bookstore, spilling into the aisles with copies of the novel balanced on their laps.

“Publishing is so slow, it’s like giving birth to a lawn chair,” Choi remarks. Later, she professes tedium with the resurgence of an alt-lit scene.

“Don’t you find that everyone has to be cool right now? Why is everyone so cool?” Choi asks Salek.

Let’s be clear: Salek and Choi are very cool. Salek sits cross-legged, dressed in all black, with a heart tattoo on her forearm that reads “books.” Before “Pool House,” Choi authored three New York Times bestselling novels. Salek recounts dropping out of her MFA program at Bennington College in 2020 to start what would become a cult-classic podcast.

Book-themed sugar cookies sold at a past Little Literary Fair at Hauser & Wirth.

(Francine Orr / Los Angeles Times)

“I love that you started a podcast instead of getting an MFA,” Choi replies.

Like Skylight Books, independent bookstores across Los Angeles have become gathering places for readers and writers alike. Authors ranging from household names to debut novelists regularly draw enthusiastic crowds. Increasingly, bookstores are functioning not only as retail spaces but as community hubs.

A few blocks from Echo Park Lake, local favorite A Good Used Book has transformed Sunday mornings into one of the neighborhood’s liveliest recurring gatherings. Visitors browse used books while enjoying charcoal portraits, handmade jewelry and Hawaiian shaved ice. Buy a book and you might even end up on the store’s coveted Instagram Story — the hottest plug in town.

“It feels like in a city as big as Los Angeles, books are still underrepresented. So there’s a lot of room to grow, and that’s exciting,” says Chris Capizzi, who founded the bookstore in 2017.

Earlier this month, the Los Angeles Review of Books hosted its annual Little Literary Fair at SCI-Arc, drawing hundreds to literary panels and workshops on zine-making, publishing and finding an agent. Vendors from across California filled the space, representing independent presses, bookstores and literary magazines.

“I find writers based [in the L.A. area] to be socially incisive in equal measure as being experimental, innovative and just fun,” says Emily VanKoughnett, the events director at the Los Angeles Review of Books. “I love the L.A. lit scene because it invites people to explore pockets of the city and connect over writing.”

This summer, literary events across Los Angeles are continuing to draw readers into bookstores, community spaces and alternative venues alike. The city’s literary scene remains as weird, profane and sentimental as ever.

A federal judge has dismissed a lawsuit filed by the Trump administration that sought to block what it called L.A.’s “illegal” sanctuary city law.

In a weekend ruling, U.S. District Judge Fernando M. Olguin granted the city’s motion to dismiss the complaint, which alleged that the city ordinance violates the intergovernmental immunity doctrine by regulating and discriminating against the federal government.

Olguin ruled that the government’s allegations were “insufficient to establish that the Ordinance violates the intergovernmental immunity doctrine,” but granted the administration permission to file an amended complaint by July 3.

“The Ordinance does not directly regulate the federal government,” Olguin said in his ruling. “Rather, it ‘controls the actions of [the City’s] own agents and agencies.’”

The White House and the Department of Justice did not immediately respond to a request for comment.

Although the administration could refile its complaint, L.A.. City Atty. Hydee ‌Feldstein Soto celebrated the dismissal as a legal victory.

“This order reinforces the well-established principle that local governments have the authority to decide how to use their personnel and resources,” Feldstein Soto said in a statement.

The lawsuit, filed by the Trump administration in California’s Central District federal court last June, said the country is “facing a crisis of illegal immigration” and that its efforts to address it “are hindered by Sanctuary Cities such as the City of Los Angeles, which refuse to cooperate or share information, even when requested, with federal immigration authorities.”

The lawsuit came as immigration agents descended on Southern California, arresting thousands of immigrants and prompting protests across the region.

“The situation became so dire that the Federal Government deployed the California National Guard and United States Marines to quell the chaos,” the lawsuit states. “A direct confrontation with federal immigration authorities was the inevitable outcome of the Sanctuary City law.”

The law was proposed in early 2023, long before Trump’s election, but it was finalized in the wake of his victory in November 2024.

Under the ordinance, city employees and city property may not be used to “investigate, cite, arrest, hold, transfer or detain any person” for the purpose of immigration enforcement. An exception is made for law enforcement investigating serious offenses.

The ordinance bars city employees from seeking out information about an individual’s citizenship or immigration status unless it is needed to provide a city service. They also must treat data or information that can be used to trace a person’s citizenship or immigration status as confidential.

“The goal of this ordinance, and of LAPD’s immigration-related policies … is to encourage victims of and witnesses to crime to feel safe coming forward to seek help from LAPD regardless of their immigration status,” Feldstein Soto said in her statement. “It does not obstruct or impede lawful federal immigration enforcement operations.”

The government in its original filing said that Trump campaigned and won the 2024 presidential election on a platform of deporting “millions of illegal immigrants.” By enacting a sanctuary city ordinance, the City Council sought to “thwart the will of the American people regarding deportations,” the lawsuit states.

“The Supremacy Clause prohibits the City of Los Angeles and its officials from singling out the Federal Government for adverse treatment — as the challenged law and policies do — thereby discriminating against the Federal Government,” the lawsuit says.

Trump’s Department of Justice contends that L.A.’s sanctuary city ordinance goes much further than similar laws in other jurisdictions by “seeking to undermine the Federal Government’s immigration enforcement efforts.”

OK, I’ll admit it. I’m going to miss Spencer Pratt.

I had never heard of the former reality TV star before he said God wanted him to be mayor of Los Angeles. And now that he’s out of the race, he’s still serving up lazy fastballs down the middle of the plate, calling the top two vote-getters — Mayor Karen Bass and Councilmember Nithya Raman — dummies and morons.

Quick question for Pratt: If you’re on record claiming that 9/11 was an inside job and the Sandy Hook massacre was a hoax, and you run for office in a deep blue city with President Trump’s backing but not much of a plan or even a clue as to what a mayor can or can’t do, should you be calling other people morons?

And yet the pouting Pratt pulled more than 200,000 votes. So sore loser or not, he tapped into a lack of faith in elected officials and simmering frustration with City Hall, which happen to be the essence of today’s column.

I have five questions for Bass and Raman. They’re somewhat inter-related and have to do with matters I hear about regularly from readers:

Infrastructure (sidewalks, streets, etc).

Homelessness (billions of dollars spent, and a long way to go).

Parks (L.A.’s national ranking for quality and accessibility just dropped again).

Trash and blight (no explanation needed, right?).

And focus. (Do the candidates have a clear set of goals and a plan for achieving them?)

We’ve got five months to visit and revisit these topics, and today I’m going to focus on the first, so here we go.

Infrastructure:

A few days ago, I met with Earl Ofari Hutchinson of the Los Angeles Urban Policy Roundtable. Hutchinson is a longtime community activist and commentator, and he had just launched a torpedo in the direction of City Hall.

“There are hundreds of busted, dangerous sidewalks in South L A that have gone unrepaired for years,” he wrote to his network of followers. “They cause hundreds of injuries, and have resulted in massive numbers of claims and payouts in settlements. LA City Officials must act now to jumpstart a crash program to fix these sidewalks.”

On my way to meet Hutchinson, I traveled west along Florence Avenue and saw dozens of typical rough patches on the street and sidewalks. But if there were a contest to identify the all-time worst sidewalks in Los Angeles, Hutchinson’s discovery of the one at 71st Street and 11th Avenue would be a Hall of Fame contender.

For starters, it’s got the classic uplift, and the villain is the usual suspect — ficus tree roots. A 20-foot slab of sidewalk is pitched sharply, as if designed by trip-and-fall lawsuit lawyers. Way back in 2014, in my early days on sidewalk patrol, I was able to crawl under a similarly ruptured sidewalk in West L.A., and I could’ve done the same at 71st and 11th.

But I thought better of it after Hutchinson peered into the opening and said it looked like a comfy home for rats and other vermin.

The homeowner, Sharon Kelly, can’t use her front gate because of the lopsided sidewalk. She let me borrow her tape measure, which revealed a 16-inch rise in the pavement.

“It keeps rising,” Kelly said. “But it was already lifted when we came here.”

That was in 1997. I asked if she’s called the city for help.

“Several times,” she said, and the only response was a slapdash temporary asphalt patch.

Hutchinson said residents have responded in force to his call for emergency sidewalks repairs, just as they did when he crusaded for a crackdown on widespread illegal dumping.

“Dozens of residents have come out of the woodwork, and here’s what they all say: ‘We have called our city council person and various city departments repeatedly, over and over again.’”

And the response?

“Nothing,” Hutchinson said.

While we were talking, two people with walkers steered clear of the worst spot near Kelly’s property. Charles McQuarn, 77, said traversing the neighborhood means zigzagging around all the hazards.

“I gotta come out into the streets, too,” he said.

When he was a teenager, McQuarn said, he worked for a community group that fixed sidewalks. I mentioned that Councilmember Monica Rodriguez has been using Conservation Corps youths to do the same, but it’s time to scale up that program and come up with other remedies to speed the process.

The city is fixing about 600 sidewalks each year, the backlog of requested repairs stands at about 30,000 and if you get onto the waiting list, you’re looking at about 10 years before help arrives.

When we were done on 71st Street, Hutchinson led me over to a nearby stretch of Florence where, for blocks and blocks, it appears as if there have been volcanic eruptions around the trees. Large chunks of cracked sidewalk form mounds, one after another. The Hutchinson Himalayas are a site to behold — a mile-long museum of municipal neglect.

And it’s been like this, Hutchinson said, “for years.”

The question for Bass and Raman: What will you do to speed the repairs?

Homelessness:

Voters have been generous when it comes to repeatedly taxing themselves more, and more, to address homelessness. There’s been Measure H, Measure A, Measure ULA and Proposition HHH.

Yet although billions of dollars have been spent and tens of thousands of people have been helped and housed, more than 40,000 people are homeless in the city and roughly 70,000 in the county. In her primary victory speech, Bass said families shouldn’t have to step around encampments, and Raman has said greater urgency is needed.

Questions for Bass and Raman: Why haven’t taxpayers gotten more for their money with the two of you at the helm, what are you going to do to speed progress and create more accountability, and what distinguishes you from each other?

Parks:

In the annual rankings by the National Trust for Public Lands, Los Angeles has dropped from 90th to a tie for 93rd in park investment and accessibility among the nation’s 100 most populous cities.

The City Council is about to consider a motion to increase park funding through charter reform (with dozens of community groups in support), and progress is ridiculously slow on an agreement to use schools as after-hours playgrounds.

Question for Bass and Raman: Do you support the charter reform, and what else are you going to do to address the sad state of the city’s parks?

Trash and blight:

In downtown L.A., vandalism, shuttered storefronts and post-COVID abandonment have crippled what was a vibrant, revenue-generating economy that benefited the whole city.

In Hollywood, a resident hired her housekeeper to help report illegal dumping of goods that are often used to construct more homeless encampments, leading to all sorts of problems.

On the south lawn of City Hall, a graffiti-tagged monument and fountain have been out of commission for most of the last six decades.

Question for Bass and Raman: At the very least, can you fix the fountain?

Focus:

Like any big city with great assets and unlimited challenges, many residents have a love-hate relationship with L.A. But years ago, someone told me he loves Los Angeles because it’s a messy, multi-cultural work in progress, set on a dramatic landscape between mountain and sea, trying to figure out what it wants to be.

Question for Bass and Raman: Whether in the realm of basic services or grand visions, what three or four primary objectives do you have over the next four years?

In other words, what do you want L.A. to be?

steve.lopez@latimes.com

When Republican Spencer Pratt burst into Los Angeles politics, venting a torrent of online fury against Mayor Karen Bass’ handling of the Palisades fire, he pitched his mayoral campaign as a full-bore challenge to L.A.’s political status quo.

The former reality TV star, who lost his home in the blaze, started as a long shot but emerged as a national story, with the ability to harvest social media attention, rally a base and dominate the news cycle.

But in a city overwhelmingly Democratic, where Republicans make up just 15% of registered voters, even some of his supporters wondered how far he could rise. In the end, voters selected Bass, a Democratic centrist, and democratic socialist City Councilmember Nithya Raman, who ran to Bass’ left, to face off in the runoff.

Still, for many of the 200,000 Angelenos who voted for Pratt, his brash, social media-fueled campaign was not just a long exercise in trolling. Pratt gave voice to their discontent with the system of one-party rule and said things they too often felt uncomfortable saying.

And now, they face a difficult choice of who to support in November.

“I know a lot of people who are disappointed,” said Meghan Daum, an L.A. writer and podcaster and former Los Angeles Times columnist who endorsed Pratt. “They are saying, ‘OK, now what? What can we do?”’

While Pratt did not make the runoff, political experts said his candidacy tapped into Angelenos’ dissatisfaction with the Democratic establishment and resonated with a sizable number of Angelenos who are rarely represented in L.A. politics.

“He identified a previously invisible level of anger and frustration,” said Dan Schnur, a longtime politics professor at USC, UC Berkeley and Pepperdine University, of Pratt. “The question going forward is whether he, or someone else, can shape that raw emotion into a movement.”

Pratt has yet to put out a statement conceding the race or contesting the results. As a stream of Republicans, including President Trump, made unfounded allegations of election fraud in California, the campaign’s most online candidate was conspicuously absent on X and Instagram.

Some Democrats in L.A. urged Pratt to make good on his promise to leave the city if Bass or Raman were elected. Late night TV host Jimmy Kimmel, a prominent Democrat, told Pratt he had rented him a U-Haul.

Despite the snark from Democrats, political observers say Pratt changed the terms of L.A.’s mayoral debate.

“He forced the more conventional candidates to talk about the issues in a way that would not have been the case if he weren’t in the race,” Schnur said.

“For the first time in years, there is a critical mass of citizens who are done pretending that what they see before their eyes isn’t really there,” Daum wrote on her Substack. “The people in charge will have to answer to those citizens.”

In the final weeks of the campaign, Pratt became ubiquitous in the national media. There were profiles in high-end publications, podcast interviews and regular reports from Fox News. But the results show he fell short of persuading enough Angelenos to make the runoff.

“It doesn’t appear that he’s impacted the political underpinnings of a deep blue city like Los Angeles,” Schnur said. “His impact was less ideological than attitudinal. He wasn’t convincing the voters to become more conservative, he was convincing them that it was OK for them to vent their anger in an unconventional way.”

Dissatisfaction is building in L.A. as the city’s cost of living mounts and a new generation of young Angelenos are unable to buy homes. Many are concerned about the lack of visible progress on street homelessness. Some are angry at what they see as city leaders’ poor preparation and response to the Palisades fire.

Ultimately, the momentum for change in Los Angeles was divided. As Pratt challenged Bass from the right, Raman tacked to the left of Bass on homelessness and policing and made affordability a key plank of her campaign.

Whatever their concerns about the status quo in L.A., many Angelenos were unwilling to vote for a Republican.

During the course of the campaign, Daum said she had numerous conversations with Angelenos who said: “I can’t associate with anybody who voted for Trump. I can’t have them in my house. I can’t have a conversation with them. I want nothing to do with them.”

A 42-year-old millennial who became famous on “The Hills” and owns a business selling “healing” crystals, Pratt had no political experience when he entered the mayoral race. He didn’t even appear to have a campaign manager.

“The system in Los Angeles isn’t struggling, it’s fundamentally broken,” Pratt said as he launched his campaign on Jan. 7, the anniversary of the fire. “It is a machine designed to protect the people at the top and the friends they exchange favors with while the rest of us drown in toxic smoke and ash.”

Bombastic and full of braggadocio, Pratt critiqued what he saw as Bass’ failure to prepare for and respond to the wildfires. He berated city leaders for not doing enough to get unhoused people off the streets. He railed against the city’s challenges with public safety, potholes, and the abuse of dogs on Skid Row. He even seized on a comment Bass made on the campaign trail about using taxpayer money to fund dental care for meth users.

As Pratt talked about homelessness, his message resonated with Marissa Comstock, 36, a stay-at-home mom and former software engineer in Eagle Rock.

“It’s totally obvious to me,” she said. “We need to get these people off the street.”

Last year, Comstock said she and her husband had a negative encounter at Griffith Park as they pushed their daughters around in strollers. Just a few minutes into their hike, she said, they were accosted by an unhoused person who screamed at them and threatened to cut off their daughters’ legs.

Since that incident, Comstock said, she takes her daughters only to places like the Huntington or Descanso Gardens that require membership to be admitted.

“I don’t feel comfortable even being on regular streets,” she said. “If there’s some crazy homeless person, what am I supposed to do?”

Pratt did extraordinarily well in capturing attention and developing a message, said Paul Mitchell, vice president of the Sacramento-based bipartisan firm Political Data Inc. Many Angelenos, he noted, had a better sense of Pratt’s viewpoint than they did of much more deeply funded California gubernatorial candidates, like Matt Mahan or Xavier Becerra.

During his campaign, Pratt did not express support for Trump or the Make America Great Again movement. He insisted he was a nonpartisan candidate running on local issues.

“I’m going to show everybody that I’m their mayor,” Pratt said on election night.

But even if Pratt was not explicitly MAGA, his reality TV theatrics mixed with antiestablishment populism were so MAGA-coded that he struggled to persuade disaffected liberal Angelenos. He referred to the homeless as “fentanyl zombies.” He railed against California’s “socialism.” He called Bass “Basura,” Spanish for trash.

When Trump spoke of Pratt, telling reporters “I heard he’s a big MAGA person,” Raman was quick to share Trump’s remarks on social media, warning Angelenos that Pratt was wildly out of step with their views.

While Pratt impressed some political observers with his performance in a May 6 televised debate with Bass and Raman, others said he alienated a significant portion of Angelenos with some of his social media antics.

“He could have talked about the drug use and the risks and the filth and the fire risks and all that,” said Rob Stutzman, a GOP political strategist, of Pratt’s zombie rhetoric, “but then paired that with, ‘My God, these liberals are leaving these people out here to die,’ and expressed some humanity towards the population that’s on the streets.”

Ultimately, Daum said Pratt was a “terrible candidate.”

“He did a million things wrong,” she said. “The whole time, I was yelling on Twitter about how he’s got to stop it: the AI videos are gonna hurt him, the Basura stuff, the zombie stuff. Like, stop it! Stop it!”

As Pratt’s campaign came to an end, Stutzman said, it is not clear that he represents any kind of lasting political movement.

“The question remains: Did he create a political movement or did he exploit the opportunity to run for mayor to restoke his diminishing fame?” Stutzman said. “He’s in the mold of a Kardashian: He’s just found ways to be famous without ever really doing anything important. I suspect that this was more about him acting out as to what he is as a reality celebrity versus becoming a leader of a political movement in L.A. We’ll see.”

When Angelenos go to the polls in November, there are several paths for Pratt voters.

Some, Mitchell said, will probably sit the election out entirely.

“You’ll get some Republicans who vote for Raman because they’re like, ‘Well, she’s a socialist and I can’t stand her, but I’m just voting no on Bass.’ And then you’ll have a lot of Republicans who are like, ‘OK, Raman’s a socialist.’”

After Raman made it to the runoff, Bass’ campaign slammed the city council member for voting against hiring more police and blocking efforts to keep homeless encampments away from schools. Meanwhile, Raman positioned herself as the anti-status quo candidate.

In a statement celebrating her advance to the general election, Raman did not mention Pratt or his supporters, but railed against “powerful interests” in City Hall.

“Working people pay the price in higher rents, depleted services, and a city that has stopped working for them,” she said. “If you’re as frustrated by the broken status quo as I am, I hope you’ll join our movement to build a city that works for everyone.”

Even as Daum felt depressed that Pratt’s campaign was not continuing, she said she felt more engaged in L.A. politics than she had ever been. She planned to vote in November and would be watching both Bass and Raman to see how they responded to Angelenos’ concerns about street homelessness.

“If Karen Bass said, ‘OK, I get it, “housing first” is not the panacea that I’ve been thinking it is. Seriously, I’m gonna put together a task force of people who are going to actually think this through.’ … I would be following that. I would be very curious,” Daum said. “Same if Nithya said that, too. I’m open to either of them, I guess.”

Comstock said she would probably vote for Bass in the runoff.

“Nithya Raman is just way too far on the socialist scale for me and will likely do more damage, rather than Karen Bass’ ineffectualness,” she said. “I don’t want to go any farther left.”

I live in Santa Barbara and I’m interested in photography. Where are some historical places to take pictures in Los Angeles? I’m interested in old movie palaces, movie and TV show locations, historic homes and buildings, World War II–related sites and airplane museums. — William Lemons

Looking for things to do in L.A.? Ask us your questions and our expert guides will share highly specific recommendations.

Here’s what we suggest:

It’s cool to hear that you’re interested in capturing the beauty and history of Los Angeles through your camera lens, William. Given that you’ll be traveling from out of town, I am recommending spots that you can visit in a single day, if you’d like. They’re mostly in and around Downtown L.A.

First off, if you don’t feel like driving and paying for parking all over town, I’d suggest taking Amtrak from Santa Barbara to L.A. You can take take photos of the gorgeous view along the way and once you step off the train, you’ll already be at the first historic site on the list: the true stunner that is Union Station.

Open since 1939, it’s one of the country’s last great train stations and considered to be the largest railroad passenger terminal on the West Coast. Designed by father-and-son architect team John and Donald Parkinson, it blends Art Deco, Spanish Colonial and Streamline Moderne styles. Travel writer Christopher Reynolds, a.k.a. the person in the newsroom that everyone goes to for trip advice, tells me, “With its clock tower, big arches and high ceilings, Union Station feels like a secular church.” He notes that security guards will often shoo you off if you use a tripod without advance approval, so it’s best to bring a handheld camera instead.

Next, walk across the road to Olvera Street, one of the oldest streets in L.A. It’s part of El Pueblo de Los Angeles Historic Monument that’s been fighting to stay open since the pandemic. As you stroll through the area and take pictures, check out the Mexican marketplace, capturing the pottery, clothing and art along the way, and grab some authentic cuisine. Times food editor Daniel Hernandez swears by Cielito Lindo, a taquería that’s been around since the 1934, and still makes the most “perfectly rolled taquitos.” (The family-owned restaurant is currently raising funds to stay open due to economic hardship.)

Next, hop on an e-scooter or take a quick bus ride to the Historic Broadway Theater District, which has 12 stunning movie theaters — all of which were built between 1910 and 1931. The Los Angeles Conservancy even hosts walking tours of the famous district. You can register online for the next ones on June 6, 13, 20 and 27.

You’ll probably be hungry after the tour, so you might as well visit Grand Central Market, the city’s largest and oldest public market. Open since 1917, the market has more than 40 food stalls including China Cafe (open since 1959), Villa’s Tacos, Egg Slut and more. Afterward, take a brisk walk to L.A.’s most beautiful library, the L.A. Central Library, which turns 100 this year. Grab your camera and marvel at the exterior of the Art Deco-style building, which draws inspiration from Egyptian and Mediterranean Revival architecture. Then head inside on the second floor rotunda to see the marvelous California history mural and the breathtaking globe chandelier.

Now for some rapid-fire suggestions across L.A.: There’s Frank Lloyd Wright’s 1920s-era Hollyhock House at Barnsdall Art Park in East Hollywood. (If you go here, I suggest stopping by nearby Ululani’s Hawaiian Shave Ice for a delicious sweet treat.) Or check out any one of L.A.’s most iconic TV houses including “The Brady Bunch” home in Studio City, “The Golden Girls” residence in Brentwood and the “Seinfield” Koreatown apartment building. (These are private residencies, so you won’t be able to go inside but you can snap a photo of the exterior.) If it’s architecture you’re into, peruse this guide to L.A.’s iconic homes that you can tour IRL, including the Adamson House in Malibu, the Eames House in Pacific Palisades and the Lummis Home (El Alisal) near Mount Washington. Finally, if you’re open to joining a group of fellow photographers, I suggest following Instagram pages for collectives like L.A. Photo Club and the 85 Mil Photo Walk Series, which host meetups and walking tours regularly.

L.A. is filled with so many beautiful historical sites, so I hope that these suggestions help get you started, and most importantly, that you continue taking awesome pictures. Have a great time!