L.A

The Lucas Museum of Narrative Art, which is moving at light speed toward its Sept. 22 opening, announced Thursday that it will give free annual passes to its South L.A. neighbors living in the 90037 ZIP Code. The 300,000-square-foot, $1-billion museum located in Exposition Park will also host a special community preview day on Sept. 13, more than a week before the general public gets to step inside.

The 90037 ZIP Code has a population of more than 65,000 and is bordered roughly by the 110 Freeway to the west, Slauson Avenue to the south, Central Avenue to the east and Martin Luther King Jr. Boulevard to the north. Residents can register for passes at lucasmuseum.org/lm37 and will be alerted in August when the program launches. Pass holders can reserve tickets for themselves and one guest.

Tickets for non-pass holders go on sale July 21. They cost $25 for adults and $21 for seniors. Kids 17 and under are free.

“Storytelling has the power to bring people together and create a sense of community,” said Lucas Museum Chief Executive Tracey Bates in a news release about the program. “Through LM37, we are inviting our South Los Angeles neighbors to make the museum part of their lives and take their own path of discovery through the art, programs and experiences that will help shape this new cultural hub for Los Angeles.”

The community preview day is designed to give local business owners, community partners, civic leaders and registered LM37 pass holders a sneak peak of the 10,000 square feet of exhibition space, as well as the expansive gardens with 11 acres of park space.

The opening programming, curated by co-founder George Lucas, features 20 inaugural exhibitions across more than 30 galleries, including one titled “Star Wars in Motion,” containing vehicle designs, high-speed racers, flying vessels, props, costumes and illustrations from the first six films in the beloved franchise.

More than 1,200 objects will be on display from Lucas’ personal collection of narrative art. Highlights include work by Norman Rockwell and Dorothea Lange, as well as a variety of manga, children’s book illustrations and comics.

For half a century, Deidre Hall has taken on every kind of disaster in the drama-packed town of Salem, Ill., as a star of “Days of Our Lives.”

There was the time — actually, it happened twice — when her character, Dr. Marlena Evans, was famously possessed by the devil and even levitated.

Or the time a serial killer, who was actually Marlena under hypnosis, seemed to kill several beloved characters. The long-running show’s storylines have become legendary, and in March, while promoting “Hail Mary,” actor Ryan Gosling even gave Hall a shout-out, admitting he was a fan, praising the hard work of soap opera actors and calling her an “OG acting inspiration.”

But Hall’s real life in Santa Monica is much quieter than her character’s, and she likes it that way.

“When I bought my house in Santa Monica, I didn’t realize how great it would be to live near Montana Avenue,” says Hall, 78, about the popular shopping spot. Every day, she walks to the main street with her golden retriever, Riley, and enjoys Pilates, art and good food along the way. “The owners of the Farms Market even keep dog biscuits, so guess where the dog wants to go every time we walk — the Farms, of course,” she says, laughing.

When she isn’t filming the daily soap opera, which airs on Peacock, Hall enjoys raising monarch butterflies, exploring the shops and restaurants on Montana, and hosting movie nights at home with her two sons.

Here’s what a perfect day in L.A. looks like for her.

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

7 a.m.: Breakfast and dog walk

I usually kick off my day with a protein shake, feed our golden retriever and take her out for a walk. She’s a phenomenal girl. When we adopted her, her name was Riley, but I did think about naming her after Mrs. Hughes from “Downton Abbey.”

10 a.m.: Church and garden time

After I walk the dog and go to church, I like to spend some time in my yard. I’m not a natural gardener, but I really enjoy it. I started raising monarch butterflies because my identical twin sister, who played my twin on the show, planted a butterfly garden. Monarchs are amazing because they are transitional. Every year, they travel from Mexico to southern New England, but it’s getting harder for them. Their numbers have dropped by about 80%. To help, I plant milkweed, which is what they need to survive. I buy my milkweed from the Staghorn Garden on Wilshire Boulevard in Santa Monica. Julie, who owns the nursery, is delightful and has a wide variety of milkweed. The monarchs always seem to find my garden. Julie was raising some caterpillars too, and she cared a lot about them. We talked about how important it is to help the butterflies. That’s why I do this. Sometimes I get milkweed with eggs already on it, and Julie knows her butterflies are going to a good home.

1 p.m.: Walk to Montana Avenue for some lunch

I live near Montana and love taking long walks, going to Pilates and trying out the great restaurants nearby, like R+D Kitchen and La La Land. I’m a big fan of the waffles at the Courtyard Kitchen. Just a few days ago, I had a chicken salad on raisin bread with an Arnold Palmer, and it was delicious. It is right on Montana and has a nice outdoor seating area. It’s one of my favorite spots. La La Land always has a long line in the morning, which is perfect if you want coffee. They serve coffee, doughnuts, croissants and avocado toast. There’s plenty of outdoor seating, and you can even bring your dog.

2 p.m.: Peek inside a clock shop

There’s a small clock shop on Montana Avenue that’s closed on Sundays, but if you walk by, you’ll see all kinds of clocks — standing, table and wall clocks. The owner is great at fixing them. Once, I bought a wall clock from MacKenzie-Childs, but it didn’t work. And I was really upset because it matched everything else on my countertop. I brought it to the owner and said, “I love this, but I can’t make it work.” He fixed it right away. His name is John, but I call him Geppetto. And we all know why. He really does have a magic touch.

2:30 p.m.: Visit a neighborhood art gallery

Ten Women Gallery is run by 10 artists, all of whom show their work there. I was drawn to some watercolors there, bought a few cards and spoke with one of the artists. She told me, “You seem to love watercolors,” and mentioned that the artist who painted them, Pamela Harnois, lives in Los Angeles and teaches nearby. I got Pamela’s name and found out she taught at the Brentwood Art School. I was so inspired by her gift that I started taking private lessons with her on Saturdays. That gallery is where I discovered my love for watercolor painting.

3 p.m.: Grab some ice cream at Rori’s

The other day, my longtime girlfriend wanted to get ice cream and told me, “We are walking to Rori’s Artisanal Creamery.” It’s a small shop on Montana near Lincoln. They make everything themselves, using local ingredients from grass-fed cows with no added hormones. The place is family-owned and probably has the healthiest ice cream you’ll find. They switch up their flavors often, but my favorite is the salted caramel.

6 p.m.: Family dinner and movie night at home

R+D Kitchen is always packed, so my sons, who are 31 and 33, do the cooking. They come over, and together we make salads and cook dinner. There’s a neighborhood grocery store called the Farms, off Montana, a small family-run place that has everything we need. Everyone knows each other there, and people bring their dogs. We try to have movie night every Sunday. Sometimes the day changes, but we always make sure to have one night a week where we cook a meal and sit down as a family. Keeping that tradition has become really important to us. My sons are great cooks, which is funny because they definitely didn’t get that from me. [Laughs]

9 p.m.: Take Riley for one last walk and visit neighbors

After dinner, I take my dog for a walk. It’s a great way to meet neighbors. We always go around the same block. We’ve met so many people, and since she’s a golden retriever, she loves meeting everyone.

10 p.m.: News, knitting and bedtime

I am a news junkie, so I usually watch whatever is on the news before I go to bed. I have a long-standing passion for knitting. Lately, though, the news would make me drop a stitch.

The L.A. Zoo’s elephants are now in Tulsa, and the zoo’s longtime nonprofit partner is now in bankruptcy court.

The litany of woes at the L.A. Zoo grew longer last month as the city’s nonprofit partner, the Greater Los Angeles Zoological Association, filed for Chapter 11 bankruptcy, citing “incessant litigation” from the city of Los Angeles as the cause.

The city sued GLAZA — its partner for more than half a century — in 2024 over a $50 million endowment that each side argued was theirs to steward.

The city won a preliminary injunction in Los Angeles Superior Court that barred GLAZA from keeping the money when its contract with the zoo ended last year. Following the split and lawsuit, GLAZA dwindled in size from 42 full-time employees to just four part-time employees.

Now GLAZA says it owes its creditors, including more than $300,000 that it needs to pay a law firm that has represented the nonprofit in its legal battle with the city.

“The City has designated an army of eight attorneys to overwhelm GLAZA with endless discovery, depositions, and court filings all to run up GLAZA’s legal fees,” the nonprofit said in a statement shared with The Times. “As a result, GLAZA has been left with no options other than to seek protection from the bankruptcy court to ensure the survival of GLAZA and the protection of its donors.”

Following its separation from the city, GLAZA executives hope the nonprofit can work in the animal conservation efforts in Southern California.

On July 1, the City Council approved $250,000 in outside lawyers related to the bankruptcy case.

The zoo is facing headwinds as membership has declined precipitously and facilities have deteriorated, according to an Los Angeles County civil grand jury report.

The city attorney’s office didn’t respond to a request for comment on GLAZA’s bankruptcy.

Pratt’s new frontier

Former mayoral candidate Spencer Pratt was far from Los Angeles as he took a meeting with President Trump in Washington, D.C., a few days ago.

Pratt, who came up short of the Nov. 2 runoff by a few percentage points, met with the president in the Oval Office, posting a photo of the rendezvous to social media Tuesday.

“I will never stop fighting for my community,” he wrote.

Pratt paired the visit with an announcement of a new media endeavor he plans to launch called “WAR.” He said the foundation will fight against political corruption, advocate for transparency in government and “restore common sense.”

The website for the foundation doesn’t have additional details, just a link to contribute and a link to a website selling Pratt merch.

The White House didn’t respond to a request for comment.

Pratt also posted a 9-minute video Wednesday calling out California’s election system, claiming that the results of the June 2 primary were skewed by fraud.

Representatives for Pratt’s campaign didn’t respond to a request for comment.

Phoning it in

After the flag salute and brief comments, L.A. City Council meetings kick off with a public comment period, during which crusading citizens often let loose on city officials as the council members quietly listen, leave the room or chat among themselves.

It’s not always L.A.’s finest hour, as certain commenters often resort to slurs and ad hominem attacks about the council members’ race, ethnicity and even physical appearance.

On July 1, public comment expanded as new state law, SB 707, went into effect, requiring the council to take telephonic public comment.

The council also had to verbally state the amendments they make to motions due to the new law, Council President Marqueece Harris-Dawson noted. Historically, the council has affixed amendments to a bulletin board in council chambers.

After frequent speaker Armando Herman used the N-word at the July 1 meeting, Harris-Dawson noted that the state legislature had done nothing about offensive comments at public meetings.

“Our friends in the state legislature made the decision to require us to have telephonic public comment. They did nothing, zero, about what we just heard. Since they want to intervene in our meetings, I’d call on them to do something about what they just heard,” he said.

The council did ban commenters from using the N-word and C-word last year. Speakers who use those words receive a warning and are booted from the meeting if they do it again.

Harris-Dawson said the new state law was “problematic” and noted another issue.

“We can’t verify if calls are bots or foreign agents, which poses a security risk,” he said in a statement to The Times.

State of play

— BOYLE-ING OVER: Mayor Karen Bass, Councilmember Ysabel Jurado and County Supervisor Hilda Solis were roundly booed and heckled by Boyle Heights residents during a town hall Thursday about the Boyle Heights fire. The three officials struggled to speak over the irate audience.

— SOLAR FLARE: Before the Boyle Heights warehouse fire, Lineage representatives lobbied City Hall over the rooftop solar array. The company says it was seeking a safer alternative to rapid shutdown devices.

— FISCAL EDUCATION: The Los Angeles Unified School District is facing “severe” indications it could be insolvent as soon as next year and has 45 days to fix its budget or risk an outside takeover. The Los Angeles County Office of Education has projected a $231 million cash shortfall by 2027.

— HIT THE STREETS: The LAPD is considering shutting down its police academy for part of 2028 to allow hundreds of officers to hit the streets for the Olympics, according to department sources. The move could lead to a drop in police hiring.

— LEGEND GONE: Billy G. Mills, one of the first Black men elected to L.A.’s City Council, died June 27. Mills was a civil rights leader before being elected to the legislative body in 1963, the same year Tom Bradley was elected to be a council member.

— IT TAKES A VILLAGE: Billionaire developer Rick Caruso’s Palisades Village will reopen in August after more than $100 million in renovations following the January 2025 wildfire.

— EVICTION BENEDICTION: Thousands of formerly homeless people whose housing subsidies will expire in December are no longer at risk of eviction, local housing officials announced Thursday. An infusion of new funds approved by Congress this year and a waiver of eligibility procedures have staved off a potential crisis that would have left 4,200 back on the street.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program had no operations this week.
• On the docket next week: The City Council remains on recess until Aug. 4.

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.

World Cup tourists are coming to L.A. for the soccer, but they’re staying for the $21 smoothies and Double-Doubles.

As the last Los Angeles FIFA World Cup event ended Friday, soccer fans were eating like locals and famous chains from the region were cashing in.

In the weeks that L.A. has hosted the World Cup, international soccer enthusiasts have flocked to big brands from the area, often in large groups wearing their countries’ jerseys.

It is a phenomenon seen at many of the host cities. In Dallas, giant gas station Buc-ee’s is the main attraction. For people visiting New Jersey, deli shops have been a hot ticket. In L.A., the place to be between matches was Erewhon.

Thirsty international sports fans gathered for pictures outside different Erewhons, wandered their aisles smiling, and, of course, picked up pricey smoothies.

While Erewhon would not comment on its business, mobility data company Arity, which uses phone data to track consumers, said Erewhon visits at the outlets around SoFi Stadium were quadruple what they were a week earlier on June 12, the day of the U.S. national soccer team’s opening match there.

Arity looked at what stores people visited within a 10-mile radius of SoFi that day and also found surges in visitors to nearby El Pollo Loco and Trader Joe’s.

Locals have spotted groups of people in Korea jerseys huddled together, trying to decide what to order at In-N-Out.

Some complained on social media that international tourists at Trader Joe’s were buying up all the mini canvas tote bags.

Soon after the Belgium vs. Spain quarterfinal ended Friday, the In-N-Out near SoFi had a long line of soccer fans stretching out the door in bright red and yellow and black jerseys and matching striped hats and scarves.

One of the workers said he had to explain “spread” and “animal style” to foreign football fans.

“I didn’t know this place existed,” a fan from Romania said while waiting in line.

Los Angeles and other cities and states that have hosted the event need the soccer fans to spend money to make the event worth all the time, effort and money it requires.

A rosy 2024 report projected the World Cup could bring more than $800 million to the L.A. region as 180,000 people converge on the area to sleep, eat and spend.

There were early concerns people weren’t turning up for the event because of the high ticket prices and the difficulty of obtaining visas for citizens of some countries.

However, at least for some L.A. hotels, there was a surge of last-minute visitors which pushed up occupancy and room rates.

While sports fans are not in the region to shop, they do make time for it.

World Cup customer spending is also apparent in beer sales. Andrew Heritage, the chief economist at the Beer Institute said beer purchases at entertainment and attractions in L.A. – outside of World Cup spaces – were up around 10% from normal.

“That tells me that fans in the L.A. area have decided to extend their stay and take in all the other things that the area has to offer, rather than just the match itself,” he said.

On social media, the purpose of these shoppers is clear: grab a quick souvenir or local specialty and take a selfie.

The data from Arity suggests that fans are very efficient when they spend at local spots, diving in, getting what they want and getting out as soon as possible, said Jeff Schlitt, a director at the company.

“Normally you’re there for an hour. They’re going to be there for 15, 18 minutes,” he said. “Why is that? Because they were purpose-driven shoppers.”

For some travelers, the more popular American chains aren’t unfamiliar. But some of the native L.A. fare still comes as a surprise.

As one Belgium-Spain matchgoer from the Netherlands stood taking a picture of the In-N-Out sign after the game, he said he’d never had a burger like the one he’d just tried.

“We only have McDonald’s and Burger King,” he said. “It’s way better.”

Chunky platform sandals, fitted baby tees, butterfly clips on perfectly crimped hair, brightly patterned skirts and tons of sparkles. Pure Y2K-fueled nostalgia filled the Kia Forum on Wednesday night in celebration of all things Hilary Duff.

Duff graced the stage at the Inglewood venue as part of her Lucky Me tour, her first global headlining tour in nearly two decades. And her fans couldn’t have been more thrilled. The pop singer and actor, who released her sixth studio album “Luck… or Something” in February, performed two back-to-back sold-out shows.

Before the final L.A. show, we caught up with fans to talk about their outfits (many of which were inspired by Duff’s most famous roles such as Sam in “A Cinderella Story” and the title role in “The Lizzie McGuire Movie”), the memories her music brings up for them and why her work still resonates with them. Here’s what they had to say.

Tristan Hallam, 36, of Chicago

Tell us about your outfit.

This is my wedding dress that I had stuffed in a suitcase. She’s been in a suitcase for 10 years, and I still fit into her, which is nice. People ask me why I keep stuff and this is exactly why: You might get divorced and use it as a costume. My outfit is inspired by “A Cinderella Story.” It’s my favorite Hilary Duff movie. She plays diner girl Cinderella. She disguises herself with a mask and a L.A. Dodgers cap. I did have a tiara, but I didn’t bring it because I didn’t want to be too much. So I figured, you know what, why not buy an apron and a little black crop top, and rep L.A.

I have a tattoo of her signature. It’s a little faded because it’s like 10 years old, maybe older than that now. It was at a book signing at Barnes and Noble at like the Grove or something. I asked her if she would initial my wrist, and I got it tattooed the same night. I literally drove to the tattoo shop on Hollywood Boulevard with my arm out the window because I’m so clumsy and I didn’t want to smudge it. Then the next time I saw her, she asked me, what did your parents say? I said, “My mom asked me how long I kept the Sharpie on so long.”

How long have you been a fan?

I think I was like 8 or 9 years old when I saw “Casper Meets Wendy” for the first time. My grandma took me to like a K-Mart or something, and told me that I could get any movie that I wanted. Then I was into “Lizzie McGuire,” but as soon as Hilary started doing all her like movies and independent work, obviously the music is great. I used to live in L.A., so I went to a bunch of her book signings. I’ve done a lot of meet and greets for her concerts, and right now I’m traveling around. I’m going to 18, technically 19 shows now, and I’m gonna see her in New Zealand, Australia and some other places. I’m actually really excited because one of my friends, I met her in a Hilary Duff fan club chat room in 2005 on MSN Messenger, and we are still friends, so we are going to a ton of shows together.

Why does her work still resonate with you today?

The fact that we’re around the same age, there’s been a lot of relationship similarities. I don’t have any kids, but the struggles with family, with your dad, with your siblings. She’s got some songs that are more mature and relatable for people our age. People who have gone through ups and downs in relationships, struggles with family and figuring out who your real family is, not just by blood but who your chosen family is. I think that’s really important.

Leilanie Martinez, 30, of South Gate

Tell us about your outfit and the inspiration behind it?

It’s my quinceañera dress. It’s supposedly very traditional to wear a white dress, like young women coming of age. For mine, I wanted to wear something that I didn’t see a lot of people wearing and I was very firm that if I didn’t find the love of my life, I was going to wear a white dress and this was my moment. My quinceañera was such a precious time. It really was a labor of love, and I think it’s one those memories I hold very near and dear. I think it’s an ode to her history, her legacy.

How long have you been a fan?

I remember I was 5 and I was running around in my neighborhood, playing with Barbies and watching “Lizzie McGuire.” I’m here today with my neighborhood and childhood friends. We used to watch it together and now we’re reliving our nostalgia and childhood.

Thinking back on when you first fell in love with her work, why does it still resonate with you today?

There’s a lot of power in her being a woman and she’s going through so many milestones that a lot of people my age are going through like having children and growing her career. Sometimes I think people “wash out” and I think it’s wonderful how she’s combating that narrative in so many ways, and that people are out here supporting her. I think there’s a lot of beauty in being able to be together as young women and relive some of these memories, but also cheer her on as she continues developing further.

Crystal Chesher, 33, of Mar Vista and Isabella Sanchez, 33, of Culver City

Tell us about your outfit.

Sanchez: We’re channeling “The Lizzie McGuire Movie.” My actual name is Isabella. She gives more Lizzie vibes and I give more Isabella vibes. It’s funny because I’ve literally saved [looks] of Isabella and Lizzie on my Pinterest board and I’ve always wanted to dress up like this. It’s not 100% of what I wanted, but it’s giving what it’s supposed to.

How long have you been a fan?

Chesher: Since I was little. I remember watching “Lizzie McGuire” since the age of 10 at the very least so I’ve been growing up with her movies and shows. She’s definitely my idol.

Sanchez: Same. Growing up, I was bullied so she was a very big part of me being more positive about myself. I can relate to her and she really helped me. It just feels full circle to be able to see her at 33 when I wanted to see her when I was like 10.

Thinking back on when you first fell in love with her work, why does it still resonate with you today?

Chesher: She has a heavy influence in the LGBT community as well especially with the [anti-gay speech campaign]. I loved that. With her movies and her music, it’s all relatable and it resonates with you, the lyrics, the storyline and even her new album that just came out.

Sanchez: She’s just that girl. I’ve never even met her, but I feel like she’s so genuine and real and she’s always stayed consistent with who she is. She’s not like your typical celebrity. She’s just awesome. I’m literally probably going to tear up seeing her on stage.

Lucca Petrucci, 33, of Santa Monica

Tell us about your outfit.

This is a last-minute choice. It’s very like ’70s or retro. I feel like I’ve seen her wear something like this. I’m wearing wide-legged pants, Doc Martens, platform, new haircut, facial. The inspiration for this fit was elegant pop star like confidence, grounded, a baddie. I’m a baddie who knows my worth and that’s what I wanted to embrace. I feel like she’s like doing that. She has a lyric that’s like ‘I look in the mirror, like I’m a bad b—.”

How long have you been a fan?

Since third grade. I thought she was my crush, but I think I just wanted to be her. So many of my core childhood memories are with her.

Why was tonight a non-negotiable for you?

I wanted to experience with my bestie and her sister. I feel like as a kid I didn’t allow myself to fully embrace it because it would be too girly, too much, too gay. So I feel like as a 33-year-old, I’m reclaiming that experience. I’m so excited just to hear everybody in the Forum sing “So Yesterday” and “Come Clean.” She has always been my number one pop star, to this day, and I’ve never seen her perform.

Why does her work still resonate with you today?

I feel like, especially when she was on “Lizzie McGuire,” she was figuring out who she was, but was open to being her authentic self. So I think that just like hit me when I was like in third and fourth grade, like figuring out myself. I felt so seen by her, and her music just brings back like such good feelings. Younger version of me, life wasn’t always great, but, I don’t know, she made things better.

Liv Guardado, 8, Priscilla Cruz, 38, Ava Guardado, 10 and Jezelle Velasco of Costa Mesa

Tell us about your outfit.

Cruz: We went thrifting for the first time for this. I’m plus-size, so thrifting is not easy in my size, so we did what we could. We got some overalls from Goodwill. And then we got some cowboy boots because we just wanted to be comfy.

Velasco: I probably stressed the most. I ordered so many pieces and it just kind of came together. I think the nails took the longest. One of my friends did my nails. It took some time but we got it done.

How long have you been a fan?

Velasco: Probably since I was their age. I never got to go to a concert, so this is my first time seeing her live.

Cruz: I definitely got inspired around middle school. I had a friend who was like Lizzie, and I was the best friend, Miranda. People would always say I was Miranda. I was a little older than [my girls], but I definitely have kept tabs on her life, and we love her.

Why does her work still resonate with you today?

Cruz: It definitely feels like memories and home when you think of her music from back then. And now she’s obviously stepped into a different phase of her life, and it matches where we’re at in our phase too so it’s nice.

Velasco: It just brings back the nostalgia from back when we were younger and now being parents, and being able to relate to her and her new music.

Paige Beard, 34, and Tayler Nelson, 27, of Bakersfield

Tell us about your outfits.

Beard: I was supposed to be wearing purple and she was going to wear green, and we were going to do the Isabella and Lizzie look at the end of “The Lizzie McGuire Movie.” It turned out more pink, but we ran with it.

Nelson: I was all about that performance, so I was like green. Gotta go green. We’ve been planning for a while, like two months.

How long have you been a fan?

Beard: I’ve been a fan for a long, long time, probably since “Casper Meets Wendy.” I was also a really big “Lizzie McGuire” fan, so I got into her acting as well as her music.

Nelson: Same. I was all about the Cinderella movie though, so it’s probably been 10 years for me.

Why does her work still resonate with you today?

Beard: I was telling my sister that I really liked “Lizzie McGuire” because it was one of the first times I saw somebody’s inner dialogue acted out in cartoon form. It showed me that I’m not too much. She’s a little bit older than me and I see her crying on stage and I’m like “OK, it’s OK.”

Nelson: “The Lizzie McGuire Movie” was a big turning point for me. I just loved how she expressed herself with what she wore and how she acted. I feel like I understood her in different ways. I enjoyed the dancing and the singing for sure. She felt free and I’m like, “Dang, I want that.”

Freddy Lopez, 38, and Raymond Lockwood, 36, of San Bernardino

Tell us about your outfits.

Lopez: Just a ’90s vibe. I guess a little old-school.

Lockwood: The outfits are a little last-minute because we were like we should’ve done diner girl [from “A Cinderella Story”] or one of her other movies, but we chose the little cartoon character from the show.

How long have you been a fan?

Lopez: I’ve been a fan since “Lizzie McGuire” and her movies.

Lockwood: For the past 20 something years. We grew up watching “Lizzie McGuire” and got introduced to Hilary Duff when she started singing.

Why was tonight a non-negotiable for you?

Lopez: We don’t know if she’s going to come back after this, so you’ve gotta take every opportunity. There’s other artists who cannot come back to perform right now. So when she said I’m coming back, we had to.

Lockwood: We’re healing our inner child. As a kid, we didn’t know she was having tours or we couldn’t afford to come out. Now, we’re like we don’t have to ask our mom and dad for anything.

Why does her work still resonate with you today?

Lockwood: For me, it’s being a teenager, watching the “Lizzie McGuire” show and watching the movie and then learning her songs. My favorite song is from the movie, “What Dreams Are Made Of.” It’s just us getting to live back in the past and kind of understanding it a little bit more. As a kid, our dreams are not what they realistically are today. I ended up becoming a nurse. As a kid, I didn’t sit on the couch like “Oh, I’m going to be a nurse,” but that’s what my dream ended up being.

Stephanie Rodriguez, 32, High Desert

Tell us about your outfit.

If you ask my fiancé, I was hunting for outfits and last-minute I was like, “I’m just gonna order something on Amazon.” When I saw this, I was like, “That’s it.” Total nostalgia with “13 Going on 30.” We went shoe shopping at the South Coast Plaza over the weekend. The metallic is pulling it all together and the butterfly clips.

How long have you been a fan?

Probably since I was like 8 or younger, pretty much very much obsessed. All of my holiday gifts were Hilary Duff. I had her K-Mart home products. Any magazines she was in, I got. Any outfits that I could try and replicate, I would. My first Hilary show was either Wango Tango or a Jingle Ball with KIIS-FM, so it was just a festival with a bunch of different artists but I went specifically for her.

Why does her work still resonate with you today?

I think a lot of us feel like we grew up with Hilary, so all of her music resonated with us then, and now, now that we’re older, through relationships or divorces or motherhood. It’s pretty cool to see just how we’re all kind of growing up together. The first time I think I found out about her was at the Glendale Galleria. I was recently telling my fiancé that my dad had me on his shoulders because she did a meet and greet and the entire mall was packed.

Kelsie Wagner, 35, of Temecula and Tyler Walsh, 35, of Long Beach

Tell us about your outfit.

Wagner: I’m channeling Lizzie McGuire. My favorite part is the butterfly clips.

Walsh: This is from Company D, which is a discount store for Disneyland. I was like let me get the biggest shirt and make it into a dress, but I’m wearing shorts — it’s still appropriate. I have like six authentic Disney pins here. This is about $200 on my hat. I was like I have to do something that represents. It’s a big hobby, pin trading, that I picked up in 2023. Then I wore my Lisa Franks. I figured I would channel everything from the ’90s and 2000s.

How long have you been a fan?

Wagner: Whenever the “Lizzie McGuire” show came out.

Walsh: I remember going to sleepovers with all of my friends and we would do Lizzie nights. I was on a soccer team and on Saturday nights, we’d go watch the newest episode. It was just so fun because I feel like I had a little clan that loved Lizzie. We went to her concert at the Grove together and it was back when you paid $50 to get in. We were front row and we like smelled her. It was wonderful.

Why does her work still resonate with you today?

Wagner: For me, especially her new album, she talks about marriage, relationships, motherhood, so it’s still relatable in that sense of that stage of life that we’re in.

Walsh: For me, it’s just nostalgia, because I’m not married, I have no kids, like I’m that fun aunt. And I will say, like, because she goes to Disneyland a lot, so I luckily got to meet her too. I asked her for a picture, and she’s like “Yeah, of course, honey.” It’s the most embarrassing photo of me ever though.

Wagner: I told her she should get it printed and wear it to the concert.

Walsh: I should have.

For its upcoming Los Angeles venue, experiential art firm Meow Wolf will focus on the art of storytelling, with a specific eye toward spoofing our city’s moviemaking magic. To help bring that vision to life, Meow Wolf has entered into a creative partnership with Titmouse, one of L.A.’s most renowned independent animation houses.

The Hollywood-based studio behind popular series such as “Big Mouth” and “Star Trek: Lower Decks” will create animation that will be shown throughout the West L.A. venue, which is on target for a late 2026 opening at the Howard Hughes entertainment complex.

It’s a move that represents a shift for Santa Fe, N.M.-based Meow Wolf. Over the last decade-plus, the art collective has grown beyond its anything-goes, punk-meets-psychedelic roots into an organization with full-scale, maximalist installations in its hometown, Denver, Las Vegas, Houston and the Dallas suburbs. In the past, Meow Wolf kept most of its media in-house.

As part of its larger-than-life participatory art installations, Meow Wolf L.A. will feature a mix of live action and animation, the former filmed by Meow Wolf in its Santa Fe studio. Meow Wolf’s James Stephenson, a senior VP with the company and its creative director of emerging media, said the degree to which the L.A. exhibition will lean into various animation styles necessitated an outside partner. Titmouse’s work, in development by a number of directors with contrasting tones, will be shown on a variety of formats, ranging from cinema screens to full-room projections.

“I really believe in animation as an art form, and I know the Titmouse folks do too,” Stephenson says. “Animation is made by artists. It’s made by artists with their own hands. It’s something that is still very rooted in craft.”

Meow Wolf’s L.A. space is set in a former cinema complex, and will champion its location, taking guests on a journey through a converted movie house and beyond, into a sci-fi-inspired fantasyland with sentient spaceships and a 30-foot-tall mushroom tower. Meow Wolf creatives have spoken of the fantastical movie theater as one that will feature animated, self-aware candy before attendees enter the main exhibition space, making Titmouse’s work some of the first art guests will encounter. Titmouse co-founder Chris Prynoski has said the studio has lined up at least six directors for the exhibit.

Titmouse, says Stephenson, is the right partner because “they’re known less for a house style, and more for a house vibe.” Over the years, Titmouse has been behind such diverse shows as “Scavengers Reign,” owning a Jean Giraud influence rooted in French and Spanish surrealism, the lively “Jentry Chau vs. the Underworld,” with an unique color palette that took inspiration from anime and Chinese mythology, the exaggerated comic book feel of Adult Swim’s “Metalocalypse,” and the approachable yet expressive tone of “Star Trek: Lower Decks.”

“Meow Wolf’s vibe is similar to Titmouse’s vibe,” Stephenson says. “It’s artist-first, artist-driven, independent and kinda edgy. They are always trying to find the edge of what’s possible. They try to see how far they can go, and it’s done for fun and in the spirit of taking risks.”

Prynoski says working with Meow Wolf will give Titmouse a sense of artistic freedom it doesn’t always have when delivering content for more traditional Hollywood partners. He says the multi-director approach is a callback to the early days of Warner Bros. Animation, when individual creators put their own stamp on Looney Tunes material.

“I use Bugs Bunny as an example,” Prynoski says. “You’ve got a Friz Freleng Bugs Bunny short. You’ve got a Chuck Jones Bugs Bunny short. You’ve got a Tex Avery Bugs Bunny short. They’re all different versions of Bugs Bunny, and people who are really paying attention can tell which director directed each one. Even though to the layman, these are all Bugs Bunny, but if you lined them up, they are drawing in different styles, sensibilities and techniques.”

Prynoski says that was a centerpiece of his pitch to Meow Wolf, noting that characters will reappear in multiple installations, each handled by a different artist. Meow Wolf L.A., in fact, will be the firm’s most character-driven exhibition, as guests will follow the storylines of three main protagonists throughout the space.

In announcing the partnership, Meow Wolf and Titmouse released an image from an animated work directed by Luca Vitale. It features a key character having a moment with a hummingbird and it’s done in an elegant, slightly anime-influenced style. It’s an image full of movement, reflecting a character in transition with inviting pastels and bold dashes.

“I like that image because I think it captures some of the sense of wonder that we want people to feel,” Stephenson says. “The character is having an encounter with the elusive nature of creativity and reality in a way that makes them have a different perspective of what’s possible.”

Other contributing animation directors to Meow Wolf L.A. include Space Dawg, Felix Colgrave, Alexander Vanderplank and Philémon Martin, and Jun Ioneda.

Titmouse’s partnership with Meow Wolf will extend beyond the L.A. exhibition. The two will be working on the development of Meow Wolf New York, which is slated to open some time after Los Angeles, and are collaborating on a planned animated series, which Prynoski is spearheading.

Meow Wolf exhibits are the result of sometimes hundreds of disparate artists coming together in a shared space. Distilling that into a signature, singular style for a series could be a challenge. Stephenson pinpoints some guiding principles.

“You really need to feel the hand of the artist,” he says. “You need to feel a DIY aesthetic. You need to feel the materiality. Those are very specific to what we are.”

The San Fernando Valley has lost many of the great spots that made it a hot dog mecca over the years — among them, the Weiner Factory, Rubin’s Red Hot, Vicious Dogs, QT Chicago Dogs and the Infield, late home of the fried Twinkie dog. It was a relief, then, to find Fab Hot Dogs in Reseda still open and thriving. Best of all, the shop still makes an excellent Bald Eagle Ripper, the original owner’s homage to New Jersey’s Rutt’s Hut, “home of the ripper.” The dogs are deep fried just until the casing rips and on top, is a version of Rutt’s mustard relish, which at Fab is browner and said to include Hatch chile powder, shredded cabbage and carrots, garlic, oregano, onions, celery seeds, cider vinegar, and Düsseldorf mustard with sweet relish. Fab’s ripper dogs first got the attention of this paper’s late restaurant critic Jonathan Gold not long after it opened in 2008 and then Guy Fieri for a 2009 Food Network segment. Since then, Fab has become known not only for the ripper but for its many dog variations, including a very good Chicago dog with the right pickle, neon relish and sport peppers; several bacon-wrapped franks (with jalapeños and peppers on the L.A. Street dog; barbecue sauce and cheddar on the Kansas City dog, and Swiss cheese and baked beans on the Boston dog). A rotation of whiteboard specials includes a Santa Fe dog with Hatch green chiles and cotija cheese, and even a mac ‘n’ cheese dog. Together they make up what Gold once called a display of “the American frankfurter diaspora.”

It looks like cream top beverages are sticking around L.A.’s coffee scene.

“You can’t open a coffee shop in L.A. without having a cream top, fortunately or unfortunately,” said Ryan Solomon, director of wholesale at the Little Marionette, on bringing the cafe from Sydney to L.A. in 2024.

A whipped topping typically made from condensed milk or heavy cream, fans of embellished beverages can’t get enough of the now-standard flourish that local coffee shops add to iced coffee and matcha drinks. The trend evolved from the Austrian Einspänner coffee drinks that first overtook Seoul’s coffee scene in 2016 before landing in L.A. not long afterward.

The verdict on cream tops is split among cafe owners, with some claiming that the rich, luscious topping can overpower the flavors of carefully curated coffee drinks. Last year, prominent L.A. cafes Maru Coffee and Mandarin Coffee Stand limited the add-on on their menus, with Mandarin Coffee Stand owner Sherry Gao saying that the trend went “a little bit out of control.”

But for Arian Behboodi and Jared Sielski, co-owners of Lynx Coffee in Sherman Oaks, the pros outweigh the cons.

“We appreciate the cream top drinkers, and we appreciate the coffee fanatics, and we really do try to have a little bit of both,” Behboodi said.

Now, local cafe menus are evolving beyond neutral cream top flavors and offering whipped toppings that pull inspiration from all parts of the world, such as an iced honey latte garnished with a Vegemite cream top at a Palms coffee shop and a cajeta cream top that recalls the gooey Mexican caramel sauce at a new cafe in Hermosa Beach.

“We’re putting on social, immersive figure drawing events for neurodivergent, queer nerds,” says Jennifer Martina, the producer at Nest of Friends, the nonprofit production company that stages biweekly figure drawing at Geeky Teas & Games in Burbank.

Martina and artist Sketkh Williams, Sketch by Sketkh’s host, provide a welcoming atmosphere across identities, skill levels and nerdy interests, while also playing to their own backgrounds in theater. The sessions feature dramatic lighting, staging and soundtracks, and use professional cosplayers as models. Embodying characters from “Star Wars,” video games, anime and other IP, these pros don’t just dress the part, they take pains to hit their characters’ canonical stances for attendees to capture.

For Martina and Williams, the events are an alternative to nude or more traditional figure drawing sessions. “That just doesn’t interest us,” says Martina. “We’re both theatrical people, so for us part of putting on a show is seeing characters, some cool costume design and a theme.”

• Best for: Practiced amateurs with nerdy interests
• When: Every other Thursday at 7:30 p.m.
• Ticket price: Starts at $23.18

My dinner course is served. It is a Campbell’s-inspired soup can, lightly angled so strands of broccoli are peeking out. I lift the can to uncover a slow-braised short rib and mashed potatoes. An American dish to represent an American artist, here Andy Warhol.

The room is overtaken with projections, scenes of bustling New York traffic paired with bachelor-pad-like guitar riffs. Shown on a wall above a dinner table is a selection of Warhol silkscreens. It’s a Friday night in West Hollywood, and I’m surrounded by a mix of out-of-towners and those celebrating an anniversary. And while this is a special occasion, we’re urged to get a little messy with our food — to use our hands, to paint with a salad, to draw on a cookie.

Play is the primary side dish at “7 Paintings,” a tech-infused dinner theater that aims to be a crash course in fine art. That selection of veggies paired with multiple mini cups of colorful dressings? Guests are encouraged to mix and match the vinaigrettes into a mess of hues, a nod to abstractionist Jackson Pollock. And yellowfin tuna with dashes of avocado and taro chips? That’s an edible tribute to Banksy, of course. What does raw fish have to do with stenciled street art? It’s bold, heavily angled and has a short shelf life? Maybe? Perhaps don’t overthink it.

“Have you ever eaten a painting before?” says Nadine Beshir, the Dubai-based creator of “7 Paintings.” “We try to get people out of their comfort zones and eating paper. I want to bring out the child in them.”

“7 Paintings,” held at Sunset House L.A. through the end of August, is the latest example of immersive dining to arrive in this city. These experiences often involve guest participation and are accentuated with advanced multimedia technology and sometimes theatrical elements.

Worldwide, there have been standouts. For instance, Eatrenalin at Germany’s Europa-Park, a dining room-meets-ride where participants are whisked around the space on trackless “floating chairs,” has just received a coveted Michelin star. Ibiza’s Sublimotion has similar haute ambitions, pairing 12 diners together in a room that will come alive with otherworldly projections and performers. At times, diners will win don virtual reality headgear.

But tech-driven immersive dining experiences have never quite taken off in Los Angeles as a trend. Last year, the Gallery, where fantastical cityscapes and projections surrounded downtown L.A. diners, stood just a couple months before the concept was abandoned.

“The economics of a restaurant are not the same as the economics of theater and the challenge of combining the two lies in thinking outside the box with respect to pricing and cost structure, such that the customer perceives high value from both the food and the experience,” says the Gallery co-founder Daren Ulmer.

Entrepreneurs keep aiming for that careful balance. “Le Petit Chef and Friends” is currently running at Tangier at downtown’s Hotel Figueroa, an event in which a fully animated film is projected on our plates and tables. Long-running pop-up event Fork N’ Film leans more dinner and movie, pairing dishes directly inspired by what is happening on screen. Upcoming films include “Ratatouille” and “Lilo and Stitch.”

The field comes with challenges. “The costs are very high,” says Joanna Garner, an immersive designer and former creative director with experiential art firm Meow Wolf. Garner has been experimenting herself with communal, immersive dinner events, and her next, the flirtatious “Please Open Your Mouth,” is set for July 11. (No tech there, as Garner is after a more sensual, adult-focused gathering.) Tickets for her event are $150 and a spot in the “7 Paintings” dining room runs $175, priced on par with a number of city’s most acclaimed restaurants.

There is also the reality that all public dining is in some fashion immersive, usually requiring varying combinations of engagement, communication and presentation. And then, are all these added elements distracting?

Throughout “7 Paintings,” for instance, an animated Mona Lisa, situated on the wall next to the main dinner table, will provide brief biographical details of each artist represented.

“Being able to nail the food, and nail the story, those are two very difficult threads to weave,” Garner says. “I do think, ultimately, people come to a dinner table to talk to the people at the table and to have intimate experiences. To have an experience where you’re constantly being taken away from the food, I’m not so sure if that’s what people are looking for.”

Food is framed as a star of “7 Paintings” but tasting it is just one component. At one point, we must uncover a cheese course in a tiny treasure chest, the code for the lock hidden in the projections (don’t stress, it’s not a hard puzzle). Beshir highlights the Pollock-inspired salad course, which is accentuated with a jazz soundtrack, as the thesis of the evening.

“This course is really about getting people to free their minds from preconceived ideas,” Beshir says. “Like, you have to eat with a fork and knife, or the salad comes and then the dressing. No, the dressing comes and then the salad, and it’s trying with big brushes to paint the way he did. A lot of people do not understand Abstract Expressionism, and they think it’s people just splashing colors around. But when you understand the link between the rhythm of the music and painting, you live it. We give you time to paint with your salad dressing.”

In L.A., Beshir has partnered with nightlife impresario Kim Kelly, who is plotting a “Sleep No More”-inspired walk-around theatrical show for the Sunset House venue later this year. “7 Paintings,” however, is fully seated, and purposefully a little silly. Beshir and Kelly have been evolving it during its L.A. run, recently adding a stronger painting component by giving guests their own canvas to work on throughout the evening. Each night crowns a winner.

“Everyone comes over to look at their art,” Kelly says. “It just kind of changed the whole thing, to be honest. People are now being creative throughout the entire evening. Instead of just watching and occasionally painting, you’re now painting the whole time.”

As for what, perhaps, soba noodles with edamame and mushrooms have to do with Pablo Picasso, or why Salvador Dali gets an unexpected dessert course of a white chocolate potato souffle, Beshir clarifies the goal of the evening. While the animated Mona Lisa will provide backstories on each painter, this isn’t an educational night. “It’s fun dining, not fine dining,” Beshir says.

And by the end of my night, strangers were socializing, showing off their painted cookie creations, sharing Banksy tidbits and asking for recommendations on various vinaigrette combinations. Ultimately, it’s an evening of discovery, packed with surprises like finding an entire course hidden under a canvas.

“We try not to have too much sophistication, like fried ants or something. I’m personally very adventurous in how I eat, but if I want to have this in 100 cities around the world, I cannot be too meticulous.”

And Beshir has big goals.

“I want this be your movie and dinner thing,” Beshir says. “I want people to be waiting for our next show, and to be able to afford to come every couple months.”

And to come home not with leftovers, but perhaps a painting of their own.

Welcome to the Sports Report, our weekday morning newsletter covering L.A. sports. To sign up to receive it via email (it’s free), go here.

Four former Kings elected to our Hall of Fame

The next ballot we sent out for the L.A. Times Sports Report Hall of Fame was the Kings/Ducks ballot, with 20 names appearing. People were able to vote for up to 10 candidates.

Reminder: Whoever is named on at least 75% of the ballots will be elected. The five people receiving the fewest votes will be dropped from future ballots for at least the next two years. A person must be retired to appear on the ballot.

There were 4,183 ballots cast in the Kings/Ducks voting, and four candidates received at least 75% of the vote.

Inductees

Wayne Gretzky, 90.4%

Marcel Dionne, 87.5%

Luc Robitaille, 83.7%

Anze Kopitar, 76.1%

Didn’t make it, but will remain on ballot

Jonathan Quick, 70.2%
Rogie Vachon, 69.7%
Bob Miller, 66.5%
Teemu Selanne, 53.3%
Dave Taylor, 50.2%
Rob Blake, 48.2%
Paul Kariya, 41.4%
Dustin Brown, 39.9%
Ryan Getzlaf, 21%
Bernie Nicholls, 19.7%
Darryl Sutter, 18.4%

Bottom five, dropped from ballot for two years

Scott Niedermayer, 15.4%
Jean-Sebastien Giguere, 13.1%
Charlie Simmer, 12.9%
Nick Nickson, 12.8%
Randy Carlyle, 1.8%

Thanks to everyone who voted! There is still time to vote in our other active categories.

To vote in the other colleges ballot, click here.

To vote in the other sports/teams ballot, click here.

Inductees so far

Dodgers/Angels
Don Drysdale
Clayton Kershaw
Sandy Koufax
Vin Scully
Fernando Valenzuela

Lakers/Clippers
Kareem Abdul-Jabbar
Elgin Baylor
Kobe Bryant
Chick Hearn
Magic Johnson
Jerry West

Rams/Chargers/Raiders
Eric Dickerson
Deacon Jones
Merlin Olsen

UCLA
Lew Alcindor
Arthur Ashe
Ann Meyers
Jackie Robinson
Bill Walton
John Wooden

USC
Marcus Allen
Cheryl Miller

Kings/Ducks
Marcel Dionne
Wayne Gretzky
Anze Kopitar
Luc Robitaille

Until next time…

That concludes today’s newsletter. If you have any feedback, ideas for improvement or things you’d like to see, email me at houston.mitchell@latimes.com. To get this newsletter in your inbox, click here.

In New York, the Brooklyn Bridge went up in flames briefly during a fireworks display. In Washington D.C., stormy weather delayed a grievance-filled speech by President Trump.

And here in Los Angeles? On Saturday night, tens of thousands of Angelenos joined voices peacefully at the L.A. Memorial Coliseum to sing along with Chris Stapleton as the country star compared a lover to Tennessee whiskey.

A unifying cultural figure beloved by both liberals and conservatives, Stapleton was the headlining act at a Fourth of July benefit concert that also featured Smashing Pumpkins, Chaka Khan, Maren Morris and Queen Latifah. (I’d be surprised if those five names had previously appeared together in the same sentence.) The show, with tickets priced at $17.76, was presented by America250, a bipartisan commission that Congress created in 2016 to plan celebrations for the country’s 250th birthday; proceeds went to Feeding America, which calls itself the largest domestic hunger-relief organization in the United States.

“No politics — just purpose” is how America250 Chair Rosie Rios described the night in remarks from the stage, and it wasn’t hard to interpret the distinction she was seeking to draw between her group and Freedom 250, Trump’s rival semiquincentennial initiative that organized Saturday’s windblown event on the National Mall (not to mention an earlier concert by Vanilla Ice that was called off due to the threat of rain).

But here’s the thing: Compared with the president’s celebration, where he complained about his treatment by the justice system and suggested we should refer to his current term as his third, the show at the Coliseum really did feel like a politics-free zone — the somewhat rare occasion these days when folks from different walks of life come together just to listen to music and drink overpriced micheladas.

Said Stapleton not long into his set: “I won’t waste time talking.”

America250’s success was hardly a sure thing. Despite the relatively low price, tickets moved slowly in the weeks before the concert; one guy I talked to Saturday told me he’d paid six bucks for a discounted pass. Yet to my eyes the Coliseum was close to full by the time Stapleton came on.

The country singer was as solid and soulful as always, snarling gently through “Bad as I Used to Be,” then trading loving harmonies with his wife, Morgane, in “Millionaire.” He closed with “Tennessee Whiskey,” of course — a trusty yet somehow un-shopworn piece of Americana that’s earned a place on the shelf next to Ray Charles’ “Georgia on My Mind” and Willie Nelson’s “Angel Flying Too Close to the Ground.”

Smashing Pumpkins was perhaps a stranger fit for an explicitly patriotic event — “The world is a vampire,” frontman Billy Corgan sneered in “Bullet With Butterfly Wings” — yet the band sounded sharp and punchy in the ’90s alt-rock hits that have brought zoomers and even Gen Alpha kids into its audience.

Billed not inaccurately on the concert’s poster as “the legendary Chaka Khan,” the 73-year-old funk doyenne flexed her vocal chops in jammy renditions of “Ain’t Nobody” and “Tell Me Something Good” and got people hoisting their drinks for “I’m Every Woman.” Morris, who’d flown in from New York after attending her pal Taylor Swift’s wedding on Friday night, made an improbably smooth segue between her and Zedd’s synthed-up “The Middle” and the rustic “My Church.”

As the show’s host, Queen Latifah dispensed uplifting thoughts about American idealism throughout the evening but also got a slot of her own to do her classic “U.N.I.T.Y.” with help from a rambunctious drum line. It’s an unapologetic message song about demanding respect, and what was moving about hearing it here is that nobody seemed put off by that idea.

I’ll wave a flag for that.

Here are more photos from Saturday’s concert:

I’m Laurie Ochoa, general manager of L.A. Times Food, with a packed summer vacation edition of Tasting Notes.

On a roll

Norway is not only the land of the Viking Row, one of the most captivating national fandom displays to emerge during this year’s World Cup — and certain to be seen when Erling Haaland and the Martin Ødegaard-led team battle five-time champs Brazil. Norway is also home to one of the world’s greatest cinnamon rolls.

Until I went to Oslo recently, the best cinnamon roll I’d ever eaten was in Chicago — at the venerable Swedish-American diner Ann Sather, where a milky sugar glaze used to be drizzled onto the still-warm, pillowy pastry right at the table. (These days the rolls are glazed in the kitchen after they’re baked.)

Los Angeles, of course, also has show-stopping cinnamon rolls. This spring, Food senior editor Danielle Dorsey, with help from Stephanie Breijo, Jenn Harris and Angela Osorio, put together a guide to 11 of L.A.’s most intriguing cinnamon rolls, including the hip-hop-inspired over-the-top creations at All About the Cinnamon, the sweet-savory buns with honey and sesame seeds at Modu and the tallboy “cinnamon goo”-filled rolls topped with caramel-toffee sauce from SweetBoy. Harris also recommends the especially decadent cinnamon roll served during brunch at Baltaire in Brentwood, where the cake-size roll is wheeled out on a cart and “slathered with frosting at the table.”

In Oslo, however, I discovered a cinnamon bun that stripped away the excess and let the essence of the spiced dough reveal itself.

Daegens, a tiny cafe and bakery hidden away in Oslo’s pretty Lilleborg neighborhood, is run by Anta Stinnerbom, a young entrepreneur who spent several months sharpening his coffee knowledge and barista skills at the acclaimed roastery Tim Wendelboe and is now deep into his explorations of sourdough baking. It’s the sourdough, in fact, that gives the Daegens cinnamon bun its character.

Even more than Stinnerbom’s cardamom bun — which some praise as the best in Oslo — the more elemental cinnamon notes, enhanced with lemon zest and juice, allow the sourdough’s multifaceted dimensions to come through. Not just tang, but the taste of time.

The discovery of a great sourdough cinnamon bun is just one of the reasons I love to travel.

Lately, I’ve been absorbed in the world of Norwegian writer Karl Ove Knausgaard, both for his most recent novel, “The School of Night,” which features a grand-scale narcissist captured in a Faustian downfall, and for “So Much Longing in So Little Space,” which documents the author’s search for the meaning of art through his encounters with the work of Edvard Munch. At Oslo’s boldly vertical, 13-story Munch museum and Bergen’s more contemplative Munch collection at the Kode museum’s Rasmus Meyer galleries, I was able to see for myself the wild stylistic leaps taken by the artist before and after “The Scream,” including the paintings he did for the women’s cafeteria at Oslo’s Freia chocolate factory.

But it was only after the first of many good meals in Oslo that I started to get a feel for the city. As I wrote in the introduction to our new collection of summer vacation dining guides, traveling with an eater’s mindset gives us a deeper understanding of places we’ve read about in cookbooks and novels or seen in movies and paintings. Wandering markets, eating at food stalls, sitting among locals and fellow travelers at the restaurants that embody a city or its surrounding countryside … these are the ways we absorb the rhythm of a place. Its flavors and ways of living are revealed to us over dinner or even a simple morning coffee accompanied by a beautifully baked cinnamon bun.

If you go …

For those of us lucky enough to write about food for a living, each vacation is a chance to add one more spot on our individualized maps of the world’s great places to eat. And this year, we’re sharing our personal maps and notes on places we’ve loved during our wanderings with readers.

Restaurant critic Bill Addison explored Melbourne, whose “modern dining moment,” he says, “derives from the immigrant communities that have rooted in the city since its founding,” making it “innately familiar to Angelenos, and also something wholly distinct to experience.” Then he shared 25 Melbourne restaurants, coffee shops and bars that showed the ambition of its dining scene.

Addison, restaurant critic Jenn Harris, deputy food editor Betty Hallock and I shared a personal list of 33 Paris restaurants and bars we love. Reporter Stephanie Breijo and senior food editor Danielle Dorsey wrote about their 15 favorite London pubs, food halls and bake shops. Addison and Hallock detail 17 splendid Tokyo dining suggestions. I detail 9 reasons Michelin-ignored Lima is one of the world’s greatest restaurant cities and came back from Hong Kong with 10 great eating experiences. And food editor Daniel Hernandez filed three reports from Mexico: an updated guide to 17 new and old favorites in Mexico City, a to-do list for exploring often-overlooked Colima, Mexico’s smallest state, and a fascinating look at how palm wine from Colima is at the heart of “a flourishing culinary movement rooted in its 250 years of trade with the Philippines.”

Given that these suggestions are not meant to be definitive — they are our personal favorites — we know that there are many other worthy places to explore. We’d love to hear from you if you have your own personal picks. We’ve built a form for entering your favorites from around the world and will publish the results in the coming weeks.

And if you’re staying closer to home, check Danielle Dorsey and Stephanie Breijo’s guide to the 23 best new L.A. bars, Dorsey’s choices for the best new L.A. rooftops for drinking and eating and the entire food team’s picks for 50 essential L.A. dining experiences.

We’ve also introduced a new way to save your favorite recommendations and build your own custom guides. Times senior product manager Jeff Poirier explains the new feature, which includes maps and is as simple to use as hitting the “save” button on any individual entry.

Introducing …

We are thrilled to introduce our new cooking editor Cody Reiss, who learned most of what he knows about cooking professionally at Alice Waters’ Chez Panisse Cafe in Berkeley and did time behind the counter at Murray’s Cheese in New York. He also had a part in Eva Victor‘s “Sorry, Baby” and played himself in the very funny “narrative cooking short” “Breakfast for Liz.” Read more about Cody in his hello to readers, which describes the teaching approach he’s aiming for in the food videos he’ll be doing. And check out the videos he released this week on why you should throw away your salt shaker and how to cut a tomato. Finally, with Cody taking over our Cooking Newsletter — which is moving from Sundays to Fridays so that you can have more time to plan your weekend cooking — now is an excellent time to sign up for the free weekly dispatch if you’re not already a subscriber. This week, he provides two crucial lessons on salt and why you might be using it wrong.

Chilaquiles heaven

Restaurant critic Jenn Harris’ latest review is about Pico Rivera’s Taquearte, which happens to be one of my favorite places to get chilaquiles and a loaded Mexico City-style taco campechano, which made our 101 Best L.A. Tacos list. I first heard about Taquearte from my mom and her friend Pablo. (She went to high school in Pico Rivera and lives in nearby Whittier.) Harris bookmarked the place when Eater’s Bill Esparza wrote about the chilaquiles as L.A.’s best. Harris wholeheartedly agrees and loved how “the chips … were noticeably thin, delicate but sturdy enough to retain their crunch. They hovered in a magical state of limbo between wet and dry, crisp and wilted.”

More restaurants recommendations: 7 L.A. spots for bandeja paisa, Colombia’s classic lunch platter by Angela Osorio, 9 great places to try Midwest-style tavern pizza in L.A. by Kelly Dobkin and the best places to eat and drink in July, according to our Food writers.

The loss of two trailblazers

Joshua Gil, who “helped recontextualize and reimagine Mexican food in L.A.,” as reporter Stephanie Breijo wrote, died last week after a four-year fight with cancer.

Gil, who is credited with helping the late Joe Miller‘s now-closed Joe’s Restaurant in Venice gain a Michelin star, and went on to co-found the much-missed Tacos Punta Cabras and Hamburguesas Punta Cabras, as well as the pop-up Supper Liberation Front, established the Alta California restaurants Mírame in Beverly Hills, which closed in 2023, and the still-running Mírate in Los Feliz, which Gil left after a legal dispute. He also established the rooftop raw bar Mother of Pearl, which is closed at the moment, and the teppanyaki restaurant Maison Kasai, both at the downtown L.A. dining collection Level 8.

In an extensive story about Gil opening the now-closed Three Flames in the midst of cancer treatment and his drive to continue mentoring chefs, such as Macheen‘s Jonathan Perez, he told Breijo, “I’m a very stubborn a—. I like telling people, ‘I’m Mexican. I don’t know how to give up.’”

Late last week, we also got word that Katsuya Uechi, the sushi master whose name has become synonymous with the global Katsuya brand, has died at the age of 67.

“The Okinawa-born chef altered the DNA of the L.A. sushi scene with his innovative, genre-bending creations,” writes Melody Xu of the chef who first came to prominence for many L.A. diners at Sushi Katsu-ya in Studio City, which he opened in 1997. “Spicy tuna crispy rice, which he debuted in the early 2000s, has since become a modern staple in sushi restaurants across the U.S.”

Also …

• Many were hoping that the World Cup would provide an incentive for downtown Los Angeles’ city leaders and other stakeholders to invest in the area’s infrastructure. But it’s sobering to read reporter Angela Osorio’s look at the sad state of downtown’s once-bustling Olvera Street — with even taquito mecca Cielito Lindo facing a precarious financial situation that has left it shuttered … we hope only temporarily.
• Melody Xu talked with the owners of some of L.A.’s prominent Venezuelan restaurants about how they are connecting people and fundraising for survivors of the twin earthquakes. At publication time, the parents of Full Arepas’ Kelly Montano, writes Xu, “who were on vacation in La Guaira when the quakes happened, [were] among the more than 40,600 people still unaccounted for.”
• “For the first time in its history,” writes Stephanie Breijo, the Michelin Guide awarded a Mexican restaurant three stars.” That honor went to Val Cantú‘s Californios in San Francisco. Breijo has all of the news from the announcement of Michelin’s California guide, including the new two-star designation for Los Angeles’ Kato.
• More from Breijo: As the Boyle Heights fire burned, restaurants depended on which way the wind blew.
• The legal fight over who can sell a white nectarine variety, reports Claire Rush, led central California farmer Cesar Mora to give away more than 100,000 pounds of the fruit.
• And Hailey Branson-Potts has the story of the beer queen of Mendocino County, Lost Coast Brewery’s Barbara Groom, one of the country’s first female microbrew owners, who turns 80 this year.

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

Los Angeles voters won’t get a chance to increase the size of the City Council. They won’t take up a plan to give noncitizens the right to vote, either.

These and other proposed ballot measures got put on the back burner, delayed for a future year as the council scrambled to finish its work before its summer break.

One proposal did survive the sometimes blunt vetting process: decreasing the number of council meetings.

On Tuesday, council members sent voters a measure for the Nov. 3 ballot that would only require a single council meeting per week. The City Charter currently mandates a minimum of three.

Councilmember Tim McOsker was among those pushing for the change, saying it will make the council more efficient and effective.

“It will also allow council members to take care of more business in their districts,” said McOsker, who represents neighborhoods stretching from Watts to the Port of Los Angeles.

The council, which voted 12-0 to place the measure on the ballot, has been thinking about cutting back on the number of meetings for a few years.

In 2024, McOsker and Councilmember Katy Yaroslavsky tried to place a measure before voters that would have made the same change. But other council members were not prepared to put it on the ballot.

Yaroslavsky said at the time that much of the city’s public comment period was occupied by “15 people screaming racist, misogynistic, antisemitic epithets.”

Any change to the City Charter would not preclude the council from scheduling additional special meetings.

The proposal drew sharp criticism from Rob Quan, an organizer with Unrig LA, who spent much of the past year tracking the effort to rewrite the charter. He fears that a reduction in meetings will also lead to a decrease in opportunities for Angelenos to address their council representatives.

One of the reasons council members, who each make $244,727 a year, don’t get as much business done is that they frequently use their Friday meetings for ceremonial activities — honoring civic leaders, community groups, youth sports teams, Dodgers superstar Shohei Ohtani and beloved bands from the 80s.

“Do we really need that? Not necessarily,” Quan said.

Quan said the proposal to cut the number of meetings received zero vetting from the council. The 13-member Charter Reform Commission, which spent nearly a year examining various changes to city government, took up the idea and rejected it.

If voters approve the change, council meetings could end up resembling those of the Los Angeles County Board of Supervisors, which meets most Tuesdays at 9:30 a.m. The supervisors frequently don’t finish their business until well after 5 p.m.

Former prosecutor will stay away from Lee case

We told you last week that Councilmember John Lee is suing the city Ethics Commission over a $138,000 fine he received for allegedly violating city gift laws — a case that stems largely from a notorious 2017 trip to Las Vegas. The council responded to that lawsuit by voting to retain the law firm Hecker Fink to defend the Ethics Commission, at a cost of $120,000.

As it turns out, at least one Hecker Fink lawyer knows plenty about that Vegas trip.

Mack Jenkins, who heads the firm’s L.A. office, was one of the federal prosecutors who brought the criminal case against Lee’s onetime boss, Councilmember Mitchell Englander, in 2020. That case stems from the duo’s trip to Sin City in 2017.

Federal prosecutors said Englander and Lee, listed in court filings as Staffer B, were plied with fancy meals, expensive alcohol and other freebies by people seeking to do business with the city. Englander went a step further, walking into a casino bathroom and picking up $10,000 cash in an envelope from a Los Angeles-area businessman. He later pleaded guilty to providing false information to investigators.

The city’s lawyers say they cannot represent the Ethics Commission because Lee is one of their clients. But does Jenkins’ history with the case create any type of conflict for Hecker Fink?

Nancy Jackson, a spokesperson for the Ethics Commission, says no. In an email, she said Jenkins will be walled off from Hecker Fink’s work on the matter.

“That former prosecutor is recused from the case and will have no involvement in the case,” she said.

What went wrong with the lighting assessment?

Property owners resoundingly rejected a recent request to pay more to fund streetlight repairs. One of the reasons might have been the wording on their ballot.

The city mailed letters asking if they would like to increase the yearly assessment, using language that didn’t offer a lot of explanation.

In the section where property owners had the option to vote yes, the ballot read: “Yes I am in favor of the proposed maximum assessment for Fiscal Year 2026/2017 and the proposed annual cost of living increases as described in the attached notice beginning Fiscal Year 2026/2027.”

Councilmember Eunisses Hernandez, who chairs the council’s Public Works Committee, said the phrasing could have been a lot more persuasive — and better explained the need for additional money.

“Some of the language that was put out was not written in a way for us to be clear about what we were doing, and instead used language that really turned people off,” she said.

The assessment, which has not changed since 1996, currently generates about $45 million a year. For the average single-family home, the current payment is $58 annually.

The increase would have brought the average annual bill to $117, generating an additional $80 million a year as the city faces a backlog of broken streetlights due to stagnant funding and a rise in vandalism and theft.

After the vote failed to pass, the council approved a motion directing city staff to identify $6.6 million for the Bureau of Street Lighting. Without that money, the city will face “an immediate threat to public safety and our infrastructure at large,” the motion said.

“There will be a 15% cut in field workforces by the end of July 2026, making the timeline for streetlight repair to reach 2 years when the City had previously been able to do this work within 7 days,” said the motion authored by Hernandez and Yaroslavsky.

Hernandez voiced frustration over the defeat of the assessment. She took aim at Proposition 218, the state law that restricts how local governments can raise money, saying it disenfranchises renters who have to “live with the conditions that property owners choose for them.”

She added that the ballot measure’s wording, which she said was crafted by the City Attorney’s Office, failed to capture the reason for the increase.

“People really think that the main reason our lights are out is copper wire theft,” she said. “But the fact is that over 60% of our street lights are out because of lack of maintenance, because we just do not have the money to do that work.”

Hernandez said that next time, she would push for more community engagement so voters understand why the increased funding is needed. She also raised the possibility of reforming Proposition 218.

“No matter what, I’m going to get these streetlights on, and if that’s figuring different things out until we can get a significant effort to do another assessment, then we will do that,” she said.

State of play

— COLD FEET: The L.A. City Council decided against putting two major measures on the Nov. 3 ballot. One measure would have provided a pathway for noncitizens to vote in local elections, while the other would have given the council more authority over the LAPD.

— COSTLY COLLISION: The city of Los Angeles will pay $20 million to settle a lawsuit brought on behalf of a teen who lost his leg in a 2023 hit-and-run in Boyle Heights. The lawsuit blamed the city for an intersection lacking signage, lighting and other traffic controls.

— LAHSuit: The Los Angeles Homeless Services Authority, also known as LAHSA, sued the Trump administration Monday to stop it from suspending the agency from receiving hundreds of millions of dollars in funding. LAHSA argued that the decision would put thousands of people at risk of losing their government funded housing.

— FORWARDING ADDRESS: The only post office in Skid Row abruptly closed in January due to repeated break-ins and damage to employee property, according to the U.S. Postal Service. The closure has frustrated residents and business owners.

— BUILDING BLITZ: Senate Bill 79, the historic housing bill, took effect across the state on Wednesday. The law could bring townhomes, row houses and other developments to 57 neighborhoods across the city.

— AIRBORNE TOXIC EVENT: A preliminary analysis showed that the recent inferno at a Boyle Heights warehouse contaminated the air with high levels of smoke and soot, rivaling the pollution that filled the region during the 2025 wildfires.

— MORE MEGA PROJECTS: Two large scale developments grabbed the attention of downtown Los Angeles this week. One, approved by the council, is slated to add 1,500 residences to Skid Row. The second, proposed this week, would transform the World Trade Center building into a 512-unit affordable housing complex.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to combat homelesssness went to the area near Olympic Boulevard and Menlo Avenue in Pico Union on Friday in Hernandez’s district, bringing 24 people indoors.
• On the docket next week: The City Council will be on summer recess until Aug. 4.

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.

It was a traumatic moment for much of Southern California, as federal immigration agents snatched undocumented workers from car washes, garment factories and Home Depot parking lots.

Angelica Salas, who heads one of Los Angeles’ most influential immigrant rights groups, met regularly last summer with City Councilmember Hugo Soto-Martínez — himself the son of Mexican immigrants — as they formulated a response. The two kept circling back to a singular issue: the lack of political power wielded by noncitizens.

“A lot of this is happening because immigrants don’t have the right to vote,” said Salas, executive director of the Coalition for Humane Immigrant Rights.

Those conversations helped fuel Soto-Martínez’s decision in late April to push for a ballot proposal aimed at giving noncitizens the right to vote in city and school district elections. The proposal quickly gained momentum, with two-thirds of the council voting in mid-June to draft a measure for the Nov. 3 ballot.

But the effort collapsed on Tuesday, with the council reversing course and sending the proposal to a committee for more study. Before the vote, Soto-Martínez acknowledged that he had not performed sufficient outreach, particularly to the city’s Black community leaders.

By then, critics were accusing the council of failing to do its homework, leaving voters to fill in the blanks on such questions as whether undocumented immigrants would be covered by the expanded franchise. Some worried the proposal would endanger the very people it was designed to help, making them a fresh target for the Trump administration.

Even community leaders who have worked on civil rights issues were urging the council to slow down.

Mobilizing Preachers and Communities, a national nonprofit that represents clergy and civil rights advocates, asked for a delay, citing concerns about President Trump. Rev. K.W. Tulloss, the group’s western regional director, said he was also hearing concerns from Black residents and their religious leaders about the potential for weakening Black voting representation.

That, in turn, could reduce the overall number of Black elected officials in Los Angeles, he said.

“That’s a major concern among our community,” Tulloss said. “And we can’t be afraid to have that dialogue.”

In L.A., Black residents make up about 8% of registered voters, according to the Sacramento-based firm Political Data, Inc. That figure has been gradually declining over the past few decades. An influx of noncitizen voters — Latinos, Asians and others — could cause it to shrink even more.

At the end of the year, L.A.’s 15-member City Council will have two Black representatives, down from three, all in South L.A.-based districts. Two Latinos are running in this year’s election to replace Councilmember Curren Price, who is Black and retiring after serving the maximum three terms.

The county’s five-member Board of Supervisors has one Black member. Voters have given the go-ahead to add four more members, which some fear could leave the board with one Black member out of nine.

Tulloss said his organization supports creating a pathway to citizenship for the city’s undocumented immigrants. At the same time, he worried that Soto-Martínez’s proposal could in the short term divide Black and brown residents, who share a common struggle on a wide range of issues.

“At the end of the day, we don’t want any type of deal that will be divisive in the community,” he said.

Soto-Martínez, who represents an Echo Park-to-Hollywood district, said in an interview Wednesday that noncitizen voting was part of his platform when he first ran for City Council in 2022. He said he first thought about the issue seriously a decade ago, when San Francisco voters passed a measure allowing noncitizen parents to cast ballots in school board elections.

Since its formation, the United States has repeatedly redefined the right to vote, broadening it to include women, Black people and other groups, he said.

“To me, it just seemed very natural to expand it,” he said. “It’s part of our history.”

The idea of noncitizen voting has been circulating in L.A. for years. School board member Kelly Gonez persuaded her colleagues to begin exploring it in 2019. But the effort was set aside after the onset of COVID-19, which caused massive disruptions across the Los Angeles Unified School District, said Michael Trujillo, a political strategist for Gonez.

Last summer, as the Trump administration was launching immigration raids across Southern California, the city was convening a 13-member citizens commission to come up with proposals for rewriting the City Charter, L.A.’s governing document.

The commission took up noncitizen voting in March, narrowly rejecting it. Several commissioners said they were worried about unintended consequences, like the Trump administration taking aim at newly registered voters, said Raymond Meza, who served as the commission’s chair.

“I thought those concerns were not fully addressed,” Meza said, “so I actually switched my vote” and opposed the proposal.

A month later, with the deadline for placing items on the Nov. 3 ballot fast approaching, Soto-Martínez introduced a motion calling for a two-step process for expanding voting rights. First, voters would be asked to give the City Council the authority to grant noncitizens the right to vote.

The council would then examine the details surrounding the change before passing an ordinance expanding those voting rights.

Soto-Martínez said his motion was based on a simple idea: Those who live in the city, raise their families there and pay taxes “deserve to have a voice” in local decision-making. He did not offer many specifics, saying those would be worked out at a later date.

Critics, and even some supporters, said Soto-Martínez was making his move at the wrong time. Councilmember Monica Rodriguez, who voted against the proposal in mid-June, voiced fears that the list of noncitizen voters would immediately be seized by federal immigration authorities.

Former Los Angeles Mayor Antonio Villaraigosa said he opposes noncitizen voting in city elections. He does favor it for L.A. Unified — but only for parents of children attending those schools.

Villaraigosa, who led the city from 2005-13 and recently ran for governor, argued that this is not the right time to make even that change.

“With Trump ferreting through every record he can find looking for undocumented people, I just think it’s the wrong time,” he said. “I think these people would be exposing themselves to deportation, and the well-intentioned would be exposing them as well.”

Soto-Martínez portrayed such arguments as “fear mongering,” saying undocumented immigrants take risks every day in their quest to create a better future for their families.

Salas, the head of CHIRLA, echoed that idea.

“At end of day, we are already targets,” she said. “This is not going to make it worse. Don’t tell me voting against this was for the protection of immigrants.”

The Trump threat was not the only reason council members hesitated.

Rodriguez, who has expressed some interest in the proposal, said city leaders had not determined how county election officials would issue separate ballots for voters who would be barred from state and national contests. They also had not determined the cost of such a service, she said.

Twenty-two local jurisdictions across the country have approved and implemented noncitizen voting, according to Megan Dias, who is co-author of “Immigrant Voting and the Movement for Inclusion in San Francisco,” a report examining that city’s push to allow immigrants to vote in school board elections.

Dias said that backers of noncitizen voting need to build a broad coalition — grassroots organizations, election officials, lawyers for the city — before taking the proposal to voters.

Council President Marqueece Harris-Dawson said he is confident that noncitizen voting will get a much more extensive review in the coming months, and make the ballot in 2028. First, he said, the council will need to provide voters with specifics on how the changes would work.

Harris-Dawson said he heard from people who wanted more time to understand the proposal, to “make sure that it was done in a way that protected Black voting districts in particular.”

During the deliberations on the proposal, it also was not clear whether the change would apply to green card holders, recipients of Deferred Action on Childhood Arrivals or other categories of noncitizens.

“When something goes to the ballot, we need the details to be figured out — like how much something is going to cost, exactly how it’s going to work, and what the parameters are,” Harris-Dawson said. “All of that needs to be defined.”

A hypnotizing deep dish of star wattage, family meltdowns, racial tensions and Texas-sized steaks served for breakfast, George Stevens’ 1956 drama was taken extremely seriously in its moment — 10 Oscar nominations seriously. The most notable of those were for Rock Hudson and, competing against him in lead actor, a posthumously honored James Dean. Taken together, the two represent a fascinating dichotomy that was happening in screen acting, a burrowing into psychology that was leaving other more traditional stars behind. (Elizabeth Taylor and Mercedes McCambridge make for another great pairing in the movie.) Roughly 25 years later, the film would inspire the TV series “Dallas,” even down to having a main character with the initials J.R. Go luxuriate in the original epic.

“Giant” is playing Sunday at the Academy Museum. Tickets here.

Ken Marino loves living in L.A.

Living here has certainly been good for his acting career. Though he broke into the business as a member of NYC-turned-MTV sketch comedy group the State in 1994, he moved to L.A. in the fall of 1997 when he landed a role in the second season of “Men Behaving Badly,” an NBC sitcom. Marino shot just 13 episodes before the show was canceled. Still, he stayed in L.A., landing roles in much-loved shows like “Veronica Mars,” “Party Down,” “The Residence” and “Running Point.” He’s also co-written a few things, including “Role Models” and “Gail Daughtry and the Celebrity Sex Pass,” out July 10, which was filmed in and around Los Angeles.

“Working around L.A. and running around to jobs is how I got to understand L.A.,” Marino says. “It’s just a very comfortable city to live in. I just think it’s fun to be able to bounce around and do anything you feel like doing.”

Here’s how Marino would spend his perfect, carefree Sunday in Los Angeles.

This interview has been edited for length and clarity.

6 a.m.: Dog walking, coffee and flowers

We have two dogs. They need to go outside in the morning and eat, and they are very vocal about it. For a while, every morning at 5:58 my one dog, Dot, would start whining and moving around until I’d go “yeah, OK, let’s feed you.”

In our family, I’m the one who feeds the dogs and takes them out, because I’m a morning person. I enjoy it when it’s not fully light out, maybe making myself a coffee or taking a walk to this place called Project Bloom Coffee. It’s a little mom and pop kind of place and they have terrific coffee and breakfast sandwiches. They’re also a florist. Sometimes they even use this cool paper holder with a handle where, on one side you put the coffee and then on the other side you put your beautiful flower display. So then you get to walk home with your coffee and your flowers together and it’s something I’ve never seen anywhere else.

7:30 a.m.: Online chess

After I go get my coffee and walk the dogs, I’ll still be the only person up so I’ll get on my computer and get a couple of games of chess in. I play people from around the world online on Chess.com, and I usually either get frustrated or feel like I’m the best chess player in the world. Anyway, I’m getting my rating up on the app and I’m very excited about it. I’ve gone down the rabbit hole of chess tutorials on TikTok and YouTube that teach me how to play better.

9 a.m.: More coffee and “911”

If I go to Project Bloom, I’ll bring my wife a coffee and some flowers but if not, we have a little espresso and cappuccino maker so I’ll use that to make her a cappuccino, which I’ll bring to her in bed. She’s always very happy about that and then I’ll go try to wake my [16-year-old] daughter up, which usually takes about two or three tries until I take her phone, set the timer for five minutes, and then put it on the other side of her room so she has to get out of her bed to turn it off when it sounds.

She and I have been religiously watching “911” recently. We started with Season 1 and now we’re about six or seven seasons in so I’ll make her breakfast — maybe a Nutella crepe with some little cherry tomatoes on the side, which is weird but she likes it or maybe some oatmeal — and then we’ll watch “911” and talk about our favorite characters, like Buck, Chimney and Bobby.

Noon: Lunch on the Westside

We have a little apartment in Marina Del Rey that’s right by the beach so sometimes I’ll go out there with the dogs, just to sit for a while and enjoy. I usually walk between the Venice pier and Washington Street, but sometimes I’ll go further north and walk along Venice Beach if I want to hang out with some freaky deakies.

When I’m over on that side of town, there’s a couple of places that I might go for food, like this Italian restaurant called Ospi that’s in Venice. They’re incredible. They make their own homemade pasta and it’s delicious. There’s also this chain called Guisados, and I love their tacos so sometimes I’ll do that too. Venice Ramen is good too, and they do these things called jumbo gyoza that are absolutely delicious. They’re like 2.5 times bigger than a normal gyoza, like palm-sized, and I really like them.

2 p.m.: Play practice and a pint

My daughter is in two plays right now at this place called the Morgan-Wixson Theatre in Santa Monica, so it’s my responsibility to take her over there and drop her off for practice. When I do that, if it’s a Sunday, I might want to grab a Guinness somewhere and watch basketball. There’s a bar called Weary Livers down the street that has a lot of board games and it feels like you’re in somebody’s basement, which is good. It’s also right next to the Brixton, which is another nice bar that I’ll go to from time to time if I’m waiting for my daughter to finish rehearsal because it’s a lot of driving otherwise.

4 p.m.: Garage band practice

Typically on Sunday, we’ll also have a rehearsal for the Middle Aged Dad Jam Band. [Editor’s note: Marino co-founded the group with David Wain, whom he’s known since “The State” and who co-wrote “Wet Hot American Summer.”) We’ll play for a couple of hours in David’s garage, trying out new songs and working out what we’re going to do at our next live show.

6 p.m.: Guerilla promotion

Right now, David [Wain] and I are trying to figure out different promotional things we can do for our movie, “Gail Daughtry and the Celebrity Sex Pass,” so maybe we’d do some more of that. It’s a really funny movie and we sold it at Sundance.

Anyway, two Sundays ago we walked around with our friend Frank Barrera, who is also one of the camera operators on “Gail Daughtry.” We went to the Hollywood Walk of Fame and we shot promos for the movie where we were talking to different people and pretending that the Gail Daughtry cinematic universe is vast and has been around for decades, like we were asking people what their favorite Gail Daughtry movie is. It confused a lot of them, but every once in a while somebody would say something so we’re using those for promo spots.

I also spent some time just running up and down the street being very overly enthusiastic and screaming “the new Gail Daughtry movie is coming out!” and then we shot people’s reactions, which were typically “confusion” and “not caring.” Like, “Stop yelling at me, weirdo.”

7:30 p.m.: Thai takeout

On weekends, my wife and I like to order from a specific Thai place that’s won many awards. It’s called Luv 2 Eat Thai Bistro and it’s absolutely fantastic. The crab curry is so delicious and they do these street food sausages that we crave. They come with ginger and peanuts and garlic, plus a big slab of raw cabbage and some hot peppers and we’ll eat them like popcorn, just throwing them in our mouths while we catch up on “Survivor.” The flavor is just insane, and we think about how good they are all the time.

9:30 p.m.: Checkmate

After we watch “Survivor,” usually what happens next is that we’ll end up going, “Should we watch a movie?” Then we’ll look around for a movie for a while and then my daughter will be like, “Hey, Mom! Come in here and watch this YouTube show with me” so my wife will get pulled away, and I’ll immediately pick up my computer and start playing chess again. I like to bookend my day with a quiet chess game in the morning and another quiet game at night. It’s a nice way to wind down.

I’ll typically play a minimum of about three games before my eyes start to close because they’re trying to fall asleep. That’s when I’ll quit because I’ll be making stupid moves and it affects my rating, like “Oh, I just lost that game because I fell asleep while my computer was on,” so that’s how I know when I’m done.

The historic 1920s tower that once housed the beloved Ace Hotel is entering a new era just in time for the summer.

Two years after opening in the iconic Spanish Gothic building on South Broadway, Stile Downtown Los Angeles has unveiled its multimillion-dollar renovation and its expansion from a limited-service hotel to a full “creative hub.” The makeover adds a 24/7 membership-based creative lab with state-of-the-art music studios, co-working lounges, an updated rooftop bar called Somewhere Special, a restored theater and a curated retail shop for the community.

Throughout the space are throwback touches — for instance, hotel guests can borrow a Walkman and browse the curated cassette library with titles like Sade’s “Promise,” Paula Abdul’s “Forever Your Girl” and the Isley Brothers’ “Between the Sheets.”

Behind the massive overhaul is South Korea-based AJU Continuum, which purchased the property in 2019 but didn’t change the name until 2024. The project marks the investment company’s first U.S. expansion.

“We don’t really want to call it just a hotel — it’s more of a hub,” says Jaisun Ihm, CEO of AJU Continuum, which is best known for its culture-forward Ryse Hotel in Seoul. With Stile, Ihm says their mission was to “connect L.A. to Seoul.”

Ryse, Ihm says, encapsulates today’s eclectic lifestyle hotel: “It’s grounded in street culture. We say it’s iconoclastic. It’s youthful in nature.”

AJU Continuum teamed up with L.A. architecture and interior design studio Design, Bitches — the group behind the chic Checker Hall in Highland Park and Verve Coffee Roasters in the Arts District. Ihm didn’t care that it was Design, Bitches’ first hotel venture. After working with several firms over the years, he was tired of seeing the same aesthetic everywhere and wanted to work with a team that would bring a “bold” perspective, he says.

When the creatives at Design, Bitches got the invitation, they were all in. “I’ve always wanted to do a hotel,” says RA Rudolph, the studio’s co-founder. “I love hotels and I have opinions,” she adds laughing.

For Angelenos who frequented the Ace Hotel, a maverick venue that helped revitalize downtown L.A. for a decade beginning in 2014, walking through Stile will feel both familiar and new. While the building’s bones remain intact — a requirement of its historic-cultural monument designation — the space has an industrial-modern twist inspired by L.A.’s creative spirit.

For example, the United Theater on Broadway, which was once the 1927 flagship movie palace for the influential United Artists collective (Mary Pickford, Charlie Chaplin, Douglas Fairbanks and D.W. Griffith), now features fresh carpet, modernized sound and stage equipment and roughly 125 new light fixtures inspired by the lobby’s original Spanish Revival-style chandelier. As a nod to the building’s legacy, where Hollywood’s earliest icons broke away from major studios to control their own work, AJU Continuum has launched its own in-house booking team for the live entertainment venue. Also, the giant neon “Jesus Saves” sign that has sat atop the building since its days as a church is still there — and the owners have no plans to remove it.

Some of the most significant changes can be found in the hotel lobby, which features a curated convenience store called the Goodie Shop, which is adorned with throwback boomboxes. Located next to the front desk, which was significantly condensed, the store is filled with a selection of California-sourced snacks and beverages, lifestyle goods, Stile-branded merch and travel essentials (phone chargers, toothpaste, hair care, etc.).

On the opposite side of the lobby is SparkHouse, a private members club and creative hub for up-and-coming musicians and creatives. The two-story space features professional recording studios, podcast and video suites, co-working lounges and meeting spaces, which are slated to open by early next year once permits are approved, Ihm says. SparkHouse’s cafe and bar is open to the public and sells tea, coffee (try the honey matcha latte), wine, beer cocktails and small bites. Ihm says programming at SparkHouse will include listening sessions, live showcases and even a mentorship program for rising artists.

The rooftop bar, which offers stunning skyline views of the city and a pool, is now called Somewhere Special. The design team removed about 90% of the plants that used to pack the area to maximize space for dancing and mingling. Also, the pool area, now painted in a playful shade called Carrot Orange, has more seating and a photo booth nearby.

All 182 guest rooms were given a fresh coat of dusty rose paint, new custom carpet, furniture and upgraded bathrooms. In each room, you’ll find Korean amenities like face masks, a custom robe by a local brand called Room Service Los Angeles and books from the former Los Angeles University Cathedral that occupied the space from 1991 to 2011. With the hotel motto being “stay by your own rules,” Rudolph says it was important for them to make the rooms adaptable to each guest’s needs and to prioritize comfort. The result is uncommon room layouts like the tri-suite king room equipped with two twin-sized beds and a king bed split by a privacy divider that doubles as a playful art installation. Rudolph, who used to travel often with her now-adult children, says that’s the type of room she always wished had existed.

Stile’s arrival comes at a precarious moment for downtown L.A. In recent years, the neighborhood’s once buzzy hospitality and nightlife scene has experienced dwindling foot traffic, slow pandemic recovery and increased vacancies. Some business owners say crime and neglect are driving away customers. Nearly 1,000 businesses left downtown in 2024. Launching a high-concept lifestyle hotel is a bold gamble.

But Ihm says he hopes that Stile will help rejuvenate the area and create an ecosystem that will support neighboring businesses as well. Rudolph says she’s already starting to see that change.

“It’s been nice to see that in the last year that I’ve been coming here to work on the project, it’s livened back up again,” she says. “Especially this block, it feels better.”

ESPN is pulling up stakes from downtown Los Angeles and heading to the NFL’s headquarters at Hollywood Park in Inglewood.

“We look forward to all of ESPN’s L.A. based studio content, originating from a single location, further enhancing creativity and collaboration with expansion possible in the future,” the Walt Disney Co.’s sports media unit said Wednesday in a statement.

ESPN produced “NBA Today” and “WNBA Countdown” out of the L.A. Live location, which opened in 2009. A late night edition of “SportsCenter” was produced there until last year. The productions will move into the NFL’s Los Angeles headquarters near SoFi Stadium.

ESPN’s local radio outlet, KSPN, will continue to broadcast out of the L.A. Live location adjacent to Crypto.com Arena.

The NFL took a 10% equity stake in ESPN last year. As part of the deal, ESPN oversees the NFL Media, including the NFL Network and the RedZone channel, which has its production facilities at the Hollywood Park location that opened in September 2021.

The moves, expected to be completed by early September, come ahead of ESPN producing its first Super Bowl, which will air on ABC in February 2027 from SoFi Stadium.

Although a new round of layoffs is reportedly expected at ESPN, a person familiar with the matter who could not comment publicly said there will be no job cuts related to the move to Hollywood Park.

About 160 employees work at the L.A. Live location. People involved in ESPN’s productions will relocate to Hollywood Park while others will move to a Disney location in Glendale, Calif.

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Years as manager: 1976-1996

Record: 1,599-1,439, .526 win pct

After serving as the team’s third base coach for four seasons, Lasorda took over as manager late in the 1976 season when Alston announced his retirement. He led the Dodgers to the National League pennant in his first two full seasons, losing both times to the Yankees in the World Series. He won his first World Series in 1981, knocking off the Yankees, and rallied his team to a surprise title in 1988 in which the Dodgers beat the heavily favored Athletics. Lasorda was inducted into the Baseball Hall of Fame in 1997, his first year of eligibility.

A fiery and vibrant presence who spent 71 years with the Dodgers, Lasorda managed nine players who won the NL rookie of the year award. The Dodgers also opened the Japanese player pipeline on his watch. Hideo Nomo, the first Japanese big leaguer to permanently relocate to the U.S., joined the Dodgers in 1995. Three decades later, the team features Shohei Ohtani and Yoshinobu Yamamoto on its star-studded roster.

The Los Angeles City Council voted Tuesday to pull a measure from the Nov. 3 ballot that would have created a pathway to allow noncitizens to vote in local elections.

The council, on a unanimous vote, sent the draft ballot language to a committee for additional study after several councilmembers said it had not been properly vetted.

Councilmember Hugo Soto-Martínez acknowledged that he had not done enough outreach on the proposal, and had received letters from members of the Black community voicing concerns.

“I grew up in South Central Los Angeles. The Black and Brown solidarity is deep to me, and means something to me, and I don’t want this to be something that gets pushed through that is seen as a negative, something negative for the city of Los Angeles,” he said.

Soto-Martínez said he would keep pursuing the proposal in a future election so that when it passes, the city can have a “big celebration.”

The noncitizen voting proposal was not the only one dropped by the council at the 11th hour.

In a separate vote, the council scrapped plans for a Nov. 3 ballot measure that would have given council members power over policy at the Los Angeles Police Department. The Board of Los Angeles Police Commissioners, whose members are appointed by the mayor, currently have that responsibility.

The council voted 8-6 to further study the ballot proposal after the Los Angeles Police Protective League, the union representing rank-and-file members, threatened to sue the city, saying labor negotiators failed to meet and confer with them over the proposal.

The plan for expanding voting rights for noncitizens was unveiled by Soto-Martínez two months ago, It would have authorized the City Council to pass an ordinance allowing noncitizens to cast ballots in L.A. city and school board elections.

But many of the details had not yet been worked out, such as which groups would receive the franchise and whether Los Angeles County election officials would be capable of adopting such a system.

These questions were raised again Tuesday by Councilmember Traci Park, who voted “yes” on the proposal two weeks ago, but said this time that too much is still unknown about how it would work. She voiced fears about the city’s ability to protect noncitizen voters if federal immigration agents show up at polling places.

“My concern here is that if this goes to the ballot, the voters won’t really know what they’re voting for, because we don’t really know either,” she said. “These are things that should be figured out well in advance before we put anything in the charter at all.”

Councilmember John Lee held up a print-out of a warning on the San Francisco elections website. San Francisco allows noncitizens to vote in school board elections, and the website includes a notice stating: “Any information you provide to the Department of Elections, including your name and address, may be obtained by Immigration and Customs Enforcement (ICE) and other agencies, organizations, and individuals.”

“Given the experience of the only California city that currently allows noncitizen voting, it is not fear mongering to raise these concerns,” he said. “They are real issues that must be addressed before Los Angeles asks voters to approve a similar system.

Soto-Martínez said he viewed the warnings from Lee and Park as fear mongering, noting that immigrant rights groups were ready to move forward with his proposal.

“This country was created by people taking courage and pushing so that everyone can have the right to vote,” he said.

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.

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.”

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.