L.A

Just past noon, a young man appeared on the north side of San Vicente Boulevard, a block west of Hauser, and eyeballed the flow of westbound traffic.

When he saw an opening, he slid across to the median strip, where he waited for eastbound traffic to let up before crossing over to the south side of San Vicente to pick up some takeout food. And then he retraced his steps across the 150-foot wide thoroughfare that knifes through the heart of the city along what once was the Red Car line of the Pacific Electric Railway.

He should have used the nearby crosswalk, but there aren’t enough of those on the boulevard, so pedestrians routinely skitter and scoot across the street like they’re in a game of Frogger.

I watched this drama the other day from Dam Good Coffee, where I met with two guys who live in the neighborhood and, in their spare time, have been doing a lot of thinking. They’re fine-tuning a pitch to reengineer the boulevard, reduce traffic, improve access to two new transit lines and transform the Mid-City portion of San Vicente Boulevard — from the Beverly Center on the west to just past La Brea on the east — into a 3-mile, 30-acre linear park.

Ambitious. Outlandish. Insane.

From left, Catherine Geanacouras, Oren Hadar and Michael Wacht of the San Vicente Park Foundation have a plan to turn a stretch of San Vicente Boulevard into a greenway.

(Christina House / Los Angeles Times)

It’s all of that and a longshot undertaking, given the countless obstacles that can derail their dream. But Oren Hadar, a sound engineer, and Michael Wacht, an architect, are serious, along with a small coalition of neighborhood believers.

“One of the things I always say is L.A. needs to get back into the business of taking big swings,” Hadar said. He is motivated in part by the fact that his two young kids don’t have a nearby park to play in.

The big swing comes at a time when Los Angeles has just fallen from 90th to 93rd in terms of park acreage, investment and accessibility in the annual Trust for Public Lands ranking of the 100 largest cities in the U.S. You’d think a city with great weather and thousands of apartment dwellers with little or no outdoor space would fight its way into the top 10 rather than settle for sinking to the bottom of the heap.

“What if L.A.’s next great park was already here, hiding in plain sight?” a narrator asks in a video that appears on the group’s San Vicente Park website.

Local resident Jo and her dog Elle carefully cross San Vicente Boulevard in Los Angeles on Wednesday, June 17, 2026.

(Christina House/Los Angeles Times)

Sun-baked asphalt would give way to turf. Pedestrians and cyclists would have more breathing room. There’d be far less traffic.

“You can put in micro forests,” Wacht said. “You can do farmers markets. You can do growing areas. You can do fountains. Playgrounds.”

Catherine Geanuracos, a CicLAvia board member who was an advocate for turning the Silver Lake Reservoir into an aquatic park, joined our conversation and called the idea “eminently feasible.”

“I think this is what makes L.A. great,” Geanuracos said. She’s lived in New York City and San Francisco and thinks there’s greater opportunity here for engaged residents to advance their civic improvement ideas.

The advocates said they’d gotten some encouragement from Councilmembers Heather Hutt and Katy Yaroslavsky, whose districts include the area of the proposed park. Hutt’s office sent me a statement saying she supports “effrorts to create more walkable, green communities.” She said she has encouraged the group to keep exploring the vision, and she looks forward to hearing input from various other neighborhood groups.

Hadar writes a blog called The Future Is L.A., which is part love letter to Los Angeles and part lament on unmet potential.

“Just about every other major American city has a policy and research think tank dedicated to pursuing ideas that could make the city better,” Hadar recently wrote, calling for L.A. to have its own.

I don’t want to say the park idea’s chances are slim, but let’s look at a few hurdles.

Traffic passes through the intersection of San Vicente Boulevard and La Brea in Los Angeles on.

(Christina House / Los Angeles Times)

L.A. city government has trouble managing existing parks and even the open spaces around City Hall, so how can it build and care for another 30 acres of greenery?

The cost would be in the millions, and the cup does not runneth over.

And then there’s the biggest pothole of all on the road to pastoral wonder:

Creating the park would mean squeezing off one or two lanes of traffic in each direction of San Vicente. That would dump more cars onto surrounding streets and set up another road diet clash that pits car culture against growing demand for a city that is safer and more inviting for those who walk, bike and use transit.

All of this would be examined in a feasibility study the advocates are raising money for. But the supporters claim San Vicente is lightly traveled compared to Wilshire, Pico and Olympic, so stealing traffic lanes wouldn’t be catastrophic.

I mentioned that I’d think twice about sending kids to play in a median strip park. But the supporters said San Vicente would become more of a neighborhood service street than a thruway, with safer crossings into the new park, which by the way already has plenty of full-grown trees.

When I took a walk and polled people on the park idea, I got mixed reactions.

“That’s a bad idea,” said a man who was walking along the median strip. He said he thought that after the addition of bike lanes a few years ago squeezed vehicular traffic, San Vicente became more dangerous, and the idea of a park between lanes of traffic sounded disastrous to him.

Miguel Lopez looked like he was trying to bring the park vision to life. He sat on the median strip reading a book and smiled when he was shown a rendering of San Vicente Park.

Blanca Vanburian practices tai chi in her yard along San Vicente Boulevard on Wednesday.

(Christina House / Los Angeles Times)

Blanca Vanburian, who was doing a variation of Tai Chi on the lawn outside her apartment building, had several good questions, including one about whether the city could be trusted to maintain a new park. She said a lot of residents would be concerned about new traffic flows through side streets, and she wondered if the park would attract more homeless people.

Hadar told her the feasibility study would probe all of that, and the more she heard, the more Vanburian came around to the idea of the park.

“It’s up to us how we use public space,” Wacht said, looking out on a particularly unattractive stretch of roadway that generates so much exhaust and serves as a barrier, dividing two neighborhoods. “I get disappointed when I see so much of it devoted to this, and it’s keeping us from being more of a cohesive neighborhood.”

Margaret Free walks three basset hounds, named Bob, Doris and Ruth, along San Vicente Boulevard in Los Angeles on Wednesday.

(Christina House / Los Angeles Times)

Margaret Free was walking three Basset hounds — Bob, Doris and Ruth. She said she and the dogs could be counted as four votes in favor of the park.

A woman named Jo safely managed a Frogger crossing with her dog, Elle. Jo said she was absolutely in favor of a park and doesn’t think losing lanes of vehicle traffic is a bad thing, but she feared backlash from drivers who disagree and asked me to withhold her last name.

Joshua Mock, owner of Dam Good Coffee, said everyone would benefit from the park, especially neighborhood children. “It’d be dope,” he said, “and good for business.”

For all the doubters, the advocates point to several projects around the country where public spaces were repurposed, including the New York City High Line. And they note that several local projects are in the design or construction phase, including the L.A. River master plan, the Broadway-Manchester streetscape project and the park under the Sixth Street bridge.

If you have ideas for remaking your neighborhood, send them my way.

And take big swings.

steve.lopez@latimes.com

Netflix Inc. is under contract to buy Radford Studio Center, a historic Los Angeles movie studio space, for a fraction of its 2021 $1.85-billion sale price after lenders including Goldman Sachs Group Inc. repossessed the property.

The price is close to $400 million, according to two people with knowledge of the transaction, which is expected to close in the third quarter.

The Times reported in April that Netflix had plans to buy the studio property.

The one-time silent movie lot has been home to many popular TV series over the decades, including “Gunsmoke,” “Gilligan’s Island” and “Seinfeld.”

Netflix wants to consolidate its real estate footprint in one place and has been considering relocating from a group of Hollywood buildings it leases from Hudson Pacific Properties Inc. The Hudson Pacific leases expire in 2031.

Radford’s current owner, Hackman Capital Partners, defaulted on $1.1 billion of bondholder debt and turned the property over to lenders led by Goldman after it was unable to reach a refinancing deal last year. The sale will wipe out close to two-thirds of the debt.

The value of Los Angeles studio real estate has tumbled since interest rates climbed and production plummeted following strikes in 2023 by unions representing writers and actors. Landlords unaffiliated with studios, such as Hackman, have been hit particularly hard as production moved to space owned by the entertainment giants. Occupancy of L.A. soundstages fell to 62% in the first half of last year, according to FilmLA, a local permitting group.

Representatives of Goldman and Netflix declined to comment. A Hackman representative didn’t immediately provide a comment.

Netflix, which has historically leased rather than owned real estate, has stepped up investing in studio lots. It’s currently developing a $1-billion production center in Fort Monmouth, N.J. The streaming service reported $12.3 billion in cash and equivalents in its most recent quarter. Netflix was paid a $2.8-billion breakup fee by Paramount Skydance Corp., which won a bidding war for Warner Bros. Discovery Inc.

Before the recent slowdown, Hackman went on a buying spree of movie lots, banking on ever-growing demand for streaming TV production. In March, Deutsche Bank AG sued Hackman to foreclose on its Kaufman Astoria Studios in New York. Hackman-owned Television City in Los Angeles and Manhattan Beach Studios in nearby Manhattan Beach are both being marketed after lenders led by Deutsche Bank pushed for the sale, Bloomberg reported in May.

Brokerage Cushman & Wakefield Ltd. is selling the $240-million loan on the 22-acre Manhattan Beach property, which it describes in a marketing document as “one of the most strategically positioned opportunities in coastal Los Angeles, combining an institutional-quality operating asset with some of the most irreplaceable underlying land in the South Bay.”

The Radford Studio lot was only 71% leased as of March, according to mortgage filings.

Gittelsohn writes for Bloomberg.

Patton Oswalt is an avid reader. When he thinks about his ideal Sunday in the Valley, where he has lived for more than a decade, bookstores come up more than a few times, particularly ones like the neighborhood staple the Iliad, which encourages patrons to sit and read for hours.

Currently, the 57-year-old comedian says he is rereading Mo Daviau’s 2016 time-travel/rock-nerd novel “Every Anxious Wave,” the plot to which he “truly can’t describe,” adding: “It’s about, especially for me, how does Gen X grow old? And how do they try to dodge growing old? It’s pretty f— brilliant. Imagine a day just killing two or three hours in the Iliad just reading it. Oh, it’s the best.”

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Not that Oswalt always has time to sprawl out with a novel. Like any touring comedian of his caliber, he admits that his schedule is constantly in flux. Not only did he spend last summer and fall promoting his 10th stand-up hour, “Black Coffee and Ice Water” (out now on Audible), but he is constantly at work on new material. On June 9, he’s launching “Tea & Scotch” on YouTube, which delves into more observational comedy subjects such as ghost-seeing cats, AI paranoia and parenting a teenager. (Oswalt tells The Times that his daughter usually does her own thing on weekends, but sometimes they’ll journey to Burbank and hit the vintage shops on Magnolia, followed by poke for lunch.)

When he’s not earmarking time in his perfect Sunday for reading, Oswalt also delights in frequenting Valley small businesses that fully embrace the indie and oddball. “I like where the Valley’s going. I like how its residents are aging,” says Oswalt. “Because they’re aging into weirdness rather than safety, which is what I will always go for. Instead of just, ‘I want the nice, reliable chain restaurant, the nice, big book chain,’ I prefer smaller shops that take risks. They’re more quirky, an actual person works here, and the imperfections are what makes it amazing.”

Below, Oswalt shares his ideal Sunday in L.A., which sometimes begins later than he’d like it to.

7 a.m.: Enjoy a quiet breakfast at home

I try to be an early riser. Today I got up at 8:30, but a great day for me is getting up at 7, because I have that hour of quiet to have my breakfast, sip some tea, do some reading, and then start my day.

But it’s hard to have a lot of those mornings in a row, because unfortunately, I also have those nights where I’m just, like, lying awake thinking. I have those crash-out days where I’m like, “Sleep until noon today! Need it! Gotta catch up.” Anyone who says that they consistently wake up at 7 a.m., for the most part, they’re probably lying.

9 a.m.: Morning coffee with a side of people watching

What’s critical about the Valley, especially Studio City, is a lot of hipsters who have aged out of Los Feliz and Silver Lake have all moved here, and they brought the good sushi, the good bookstores and the good coffee with them. So, my perfect Sunday starts at the Studio City Farmers Market. You do this kind of roaming breakfast. Where they do the farmers market, there’s an amazing tamale stand that does these chicken and green chile tamales. You get one of those, and then you go over to Joan’s on Third, and you get yourself a really strong cup of coffee, because Joan’s is right there, part of the farmers market.

It’s almost like Joan’s is the motor on a sailboat. If you can’t find the food that you like roaming around the farmers market, you can hop into Joan’s and grab something, but that’s where the good coffee is. Then you get a thing of berries from one of the sellers, and you sit. There are musicians everywhere, and it is a really good opportunity to not start your day looking at a screen and instead actually look at beautiful and flawed and imperfect and awesome people moving around and interacting. For a comedian or writer, that is gold.

11 a.m.: Worm into a book

From there, I would go up to the Last Bookstore, which just opened a location on Lankershim Boulevard in NoHo. It’s a work in progress; you can see the beginnings of the cool building that they’re doing on the interior. It’s almost like when you watch the Talking Heads’ “Stop Making Sense” and you see them assemble the stage as the concert goes on. It’s kind of amazing. So I always drop by there and spend way too much money on a book.

1 p.m.: Catch a matinee (and a matcha)

One of my favorite things is to see a movie in the afternoon. The Laemmle NoHo 7 on Lankershim is my little ’90s throwback Sunset 5, but in the Valley. They show very cool first-run indie movies, and then they will just randomly throw in [a classic], “Oh yeah, we’re showing ‘Jules and Jim.’” I just check my Fandango, to see what they’re showing in the afternoon, then I go see a movie.

I don’t really eat lunch these days, but across the street from the NoHo 7 is a place called Horror Vibes Coffee. It’s all based around horror movies. It’s weirdly popular. All these goth kids go in there, and they make really good matchas. So I’ll go in there, I’ll get a matcha, and then take that into the movie theater, see a flick. The Laemmle NoHo 7 does make really good chicken nuggets, and they do make a really, really bad for you — but delicious — bagel dog. Listen, a bagel dog with a recent indie movie? That’s mwah. [Gestures a chef’s kiss.]

4 p.m.: Head back to the bookstore

When I’m done at the movies, I will take whatever book I’ve gotten and go back down to the Last Bookstore and just sit and read. Or if you really want to go goblin-mode reading, you go to the Iliad Bookshop on Cahuenga. They encourage you just to go in there, sit, read. There are store cats everywhere that are hanging around, and the store kitties are very friendly. The Iliad has these big, overstuffed couches and chairs with blown springs. You are encouraged to sit and lounge and read. They have no problem with you doing that. A big thing for me now is having two to three uninterrupted hours of just reading. No phone, no nothing. Don’t gotta go anywhere. Don’t do anything. [Editor’s note: The Iliad is closed Sundays.]

6 p.m.: Sit down for some sushi

I’m very spoiled living in the Valley, because I live near amazing sushi. If I really want to splurge out and have what I think is the best sushi in the Valley, then I visit Sushi Tomoki, which is on Cahuenga. I just cannot rave about this place enough. They have a black cod sushi, and the black cod is slightly seared. It’s not cold, but it’s not totally cooked. There is something about cold rice and then this slightly seared, slightly burned black cod. The flavor is so perfect, I love it.

Right now, in the Valley, I’m kind of spoiled for good restaurants. There’s OyBar on Moorpark that I could go to. I go there right at 5. Otherwise there’s a line. I go right when they open. And then there’s a place called Wood & Water, further up Ventura, kind of closer to Sherman Oaks. That place is just solid, good. Everything on the menu is great, great wine list, you know. But the word is out — it’s getting crowded. Not to be a snot rag, but I go to Wood & Water so much that they kind of know me there, and they can usually get me a table. Not that I’m a big celeb, it’s just I go there a lot because their food is so good.

Once you’re my age, when I hear, “You gotta wait in line”… like, that’s why I’ve never been to Sqirl. Because I know I can’t do that, man. If I’m gonna stand in line, I’m gonna go to All Time, but I’ll just get there when they open. I can’t do lines anymore. You can do it when you’re 20, but I just want my g— breakfast.

8 p.m.: Take an outdoor stroll, then return to your book

After dinner, if it’s summertime in the Valley, I just walk through my neighborhood. There’s really good hills and stuff to go for, like, a nice nighttime walk after dinner. Or, because I’m such a freaking bookworm, I go home and sit on my big, comfy couch and just read some more until I fall asleep. There’s nothing wrong with double-dipping — you don’t have to read just once during the day. You can go back and forth.

I was only about 30 minutes from my home, but there I was in the solitude of the San Gabriel Mountains without another soul on the trail.

Dozens of butterflies, likely variable checkerspots with hints of yellow and red on their wings, fluttered all around. A territorial hummingbird repeatedly buzzed past my head, resembling the sound of either the world’s largest bumblebee or a tiny angry drone zipping past my face. Western whiptails flitted across the trail and onto rocks. A cacophony of birdsong and calls filled my ears, including, per my birding app, spotted towhee, Western wood-pewee, wrentit, bushtit and a purple finch I looked long and hard to try to identify in the treetops. Later, a gray squirrel expressed its displeasure at an interloper disrupting its peace.

These are special and common experiences that I frequently find hiking along the Gabrielino Trail, a 28(ish)-mile route through the San Gabriel Mountains that runs from Chantry Flat north of Arcadia to a lush riparian area along the Arroyo Seco east of NASA’s Jet Propulsion Lab near Pasadena. Although it offers hikers an epic close-to-home backpacking experience, you do not need to complete the entire trail to enjoy it.

Because of its length and proximity to other trails, it is replete with epic day-hike opportunities and, because of that, it’s a great place to spend the summer solstice, both the mark of the beginning of summer and the longest day of the year.

This weekend, we will see just over 14 hours of sunlight on Friday, Saturday and Sunday. The sun will rise around 5:40 a.m. and set just after 8 p.m. It offers hikers the opportunity to not only travel longer distances, but also take rests along the way to really savor their surroundings.

In this edition of The Wild, our weekly outdoors newsletter, I will suggest a few routes along the Gabrielino Trail. I encourage you, though, to take a look at a paper map of Angeles National Forest (available at most local outdoors gear stores) or use a mapping service such as CalTopo or onX Backcountry to discern what would be the most fun for you and your hiking party.

Before we discuss the hikes, a few safety reminders:

• 🙅 Don’t drink water straight from the creek (unless in a serious emergency). Always use a filter or pack your own water.
• 🫗 Pack more water in summer than you would in other seasons. Dehydration can evolve into a serious and life-threatening situation.
• 🤮 Never relieve yourself in or next to a river, as it’s a major contributor to pollution; never leave toilet paper in the woods.
• 🥾 Wear water-resistant or waterproof footwear with good traction, and pack extra wool socks to better ensure you won’t get blisters.
• 📡 Bring a cellphone with satellite messaging capabilities or a satellite communicator to ensure you can call for help; you likely won’t have cellphone reception in the San Gabriel Mountains.
• 🤔 Freshen up on Leave No Trace principles and how to best pack your bag for the safest best day.

Additionally, please note that the segment of the Gabrielino Trail in and around the West Fork and Devore Trail camps was damaged in recent storms. The Lowelifes Respectable Citizens’ Club, a trail maintenance crew, is repairing it and hopes to have it online soon.

OK, here’s what I recommend along the Gabrielino Trail. Have fun out there!

A hiker meditates near the Brown Mountain Dam just off the Gabrielino Trail in Angeles National Forest.

(Jaclyn Cosgrove / Los Angeles Times)

1. Gabrielino Trail near JPL to Brown Mountain Dam (or beyond)

Distance: 7.6 miles
Elevation gained: About 650 feet
Difficulty: On the easier end of moderate
Dogs allowed? Yes
Accessible alternative: Paved segment of Gabrielino Trail from Windsor Avenue

This 7.6-mile out-and-back trek takes hikers along the Arroyo Seco, under the canopy of massive coast live oaks and past aromatic native plants such as California bay laurel.

You will park in the large dirt parking lot and take the steep paved road a very short jaunt to join the trail. If hiking with a wheelchair or if you’re a hiker who prefers pavement, it’s better to park in the lot south of the dirt lot.

Once on the Gabrielino Trail, you can hike as far as you’d like. Short on time? Hike two miles to Gould Mesa campground, have a little snack (and maybe a swim) and head back.

To reach the dam, follow the trail in the northwesterly direction for about 3.4 miles from the starting point. You’ll come to an intersection where the Gabrielino Trail continues northwest, leading you away from the river. Instead, you’ll want to follow the footpath along the river to reach the man-made-but-still-lovely waterfall.

1a. Want a longer day?

If you want a longer day, you could continue on the Gabrielino Trail after your side quest to the Brown Mountain Dam waterfall and ask a friend to pick you up at this gate off Angeles Crest Highway at a specific time. This point-to-point journey will be about 7.6 miles. The extension is also much more challenging than the first 3.7 miles, as it gains about 1,500 feet over 3.9 miles. This trail through Dark Canyon can be overgrown, so please plan accordingly, including downloading a map and bringing a paper map with you. (See map)

Switzer Falls in Angeles National Forest.

(Raul Roa / Los Angeles Times)

1b. Big adventure day

For an even longer point-to-point journey, leave the Brown Mountain Dam waterfall and take the Gabrielino Trail all the way to Switzer Falls, asking a friend to pick you up at the Switzer Picnic Area at a specific time. This point-to-point route will be about 11 miles, and you will gain about 2,350 feet in elevation. This is the most rugged option, and this trail can be overgrown in places. Plan accordingly! (See map)

The Gabrielino Trail, a 28-mile trek through Angeles National Forest, passes through various plant communities and canyons, providing pockets of shade along the way.

(Jaclyn Cosgrove / Los Angeles Times)

2. Red Box to Valley Forge Trail Camp via Gabrielino Trail

Distance: 4.8 to 6.6 miles, depending on your route
Elevation gained: About 1,200 feet
Difficulty: Moderate
Dogs allowed? Yes
Accessible alternative: Mt. Wilson Observatory paved walking path

This 4.8- to 6.6-mile out-and-back trek will take you along a delightful path that always feels a little bit like a fairy wonderland to me. You’ll pass under shady oak canopies and past moss-covered rock walls. You end at the Valley Forge Trail Camp, which has lovely tall conifers and a vault toilet (that’s usually clean).

To begin, you’ll park in the Red Box Picnic Area parking lot, which can fill up on the weekends and does require you to display an Adventure Pass or other federal public lands pass. You’ll find the trail’s start down some rock steps in the southern area of the lot.

Valley Forge Trail Camp, left, and mossy rocks.

(Jaclyn Cosgrove / Los Angeles Times)

Just over two miles in, you’ll near the trail camp. Take good care to ensure you’re on the right trail. Instead of following the Gabrielino Trail, keep your eyes peeled for the trail that descends toward the riverbed. After a nice rest at the trail camp, you can take the trail or fire road back. (See map)

As of mid-June, the Red Box Picnic Area is experiencing active bear activity, so be mindful if returning to your car around dusk.

2a. For those feeling hardcore

From near Valley Forge Trail Camp, you could consider taking the very steep Valley Forge Trail, a 2.6-mile trek that gains about 1,550 feet, to the Eaton Saddle. From here, you could take the Mt. Lowe Motorway to the San Gabriel Peak Trail, head north briefly using the Mt. Disappointment Road to take the Bill Riley Trail down to Mt. Wilson Red Box Road. The downside is that you’ll have to then take the road about a third of a mile down to Red Box, and drivers zoom through here like they suddenly learned burgers at In-N-Out are free for only the next hour. That’s to say: Proceed with caution.

City lights glow after sunset in a view along the road to Mt. Disappointment in Angeles National Forest.

(Brian van der Brug / Los Angeles Times)

Additionally, parts of this trip extension might be overgrown. It is about 5.5 miles and gains 2,300 feet in elevation. It will be through a beautiful area of the forest though! (See map)

Regardless of which route you take, please make sure to check the weather, pack smart and be OK with turning around if the conditions on the trail aren’t passable. Additionally, please be mindful of trails that remain closed under the Eaton fire area closure order.

The stretch of the Gabrielino Trail between Red Box and Switzer picnic areas offers great views of nearby peaks in the San Gabriel Mountains.

(Jaclyn Cosgrove / Los Angeles Times)

3. Red Box Picnic Area to Switzer Picnic Area

Distance: About 8.6 miles
Elevation gained: About 1,450 feet
Difficulty: Moderate
Dogs allowed? Yes
Accessible alternative: West Fork National Scenic Bikeway

Earlier this week, I took this 8.6-mile moderate route, parking at the Red Box Picnic Area before heading down into the canyon on the segment of the Gabrielino Trail that runs parallel to Angeles Crest Highway. (See map)

This trail is both beautiful — lush with native plants and the last blooms of wildflower season with great views of nearby peaks — and exposed. There will be shady patches as you hike under healthy oak and maple tree canopy, but wear ample sun protection.

One of many deep pools along the rivers that run next to the Gabrielino Trail.

(Jaclyn Cosgrove / Los Angeles Times)

Although the trail runs parallel to the Arroyo Seco for a stretch, you cannot easily access the river because of a steep drop-off from the trail to the river. I didn’t cross the river until 3 miles in, and by then, I was feeling hot and ready for a quick dip.

That said, when I arrived at the Switzer Picnic Area, I felt like I’d won the lottery. I had skipped the nightmare that it has become to park here, but I still got to swim around in one of the river’s deep pools. It was 1.8 miles farther to Switzer Falls, one of the best cascades in Angeles National Forest.

Great views from the Gabrielino Trail.

(Jaclyn Cosgrove / Los Angeles Times)

***

If you have any questions or feedback about the suggested routes, you can simply reply to this email if you’re a Wild subscriber. It will go directly to me. I love hearing from you. Have fun out there and happy summer!

3 things to do

Volunteers work at a Channel Islands Restoration event.

(Channel Islands Restoration)

1. Serve the river in Santa Paula
Channel Islands Restoration, a Santa Barbara-based habitat restoration nonprofit, needs volunteers from 9 a.m. to noon Sunday at Santa Clara River Preserve (1368 Mission Rock Road in Santa Paula). The preserve spans almost two miles and is about 1,000 acres. All ages and skill sets welcome. The site is ADA-friendly, and restrooms are on-site. Register at cirweb.networkforgood.com.

2. Eradicate invasive plants in Irwindale
The California Native Plant Society San Gabriel Mountains Chapter needs volunteers from 8 to 10:30 a.m. Saturday to yank weeds from the Santa Fe Dam natural area. Volunteers will also learn from plant society members about the local flora and fauna. Learn more at chapters.cnps.org.

3. Investigate the invertebrates in Rowland Heights
The Invertebrate Club of Southern California will host a 1.5- to 3-mile hike from 6:30 p.m. to 9 p.m. June 26 through Big Dalton Canyon. Participants will learn about scorpions, beetles and other interesting creatures. Learn more at the group’s Instagram page.

The must-read

The Malibu coastline just south of Point Dume.

(Jackie Snow)

Freelance writer Jackie Snow was feeling inspired to get outdoors. After reading my 2024 piece about walking the entire 27.4 miles of Washington Boulevard, she came up with an idea: Walking the entire L.A. County shoreline. Snow took 10 trips from November through mid-January to accomplish her goal, walking 70(ish) miles in total. She maps out in her piece how you can do that too! “I have seen whale-watch perches, burned-out Malibu lots, crowded boardwalks and magnificent waves. The coastline is both fragile and welcoming — and walkable — if you’re willing to chase the tides,” Snow wrote in her article for The Times.

Happy adventuring,

P.S.

It’s ladybug season in Los Padres National Forest. Volunteers with the Los Padres Forest Assn. recently discovered thousands of the insects while they were working on the Piedra Blanca Trail. “If you know where to look, you can find them hibernating on rocks, leaf litter, and trees in masses called ‘lovelinesses,’” the association wrote on Instagram. “But, have you ever seen the next generation hatch and fly away in the springtime?” No, but I hope to someday.

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

SHAKIRA has sparked dating rumors with hunky actor Manuel Garcia-Rulfo.

The pair were seen leaving a hotel together in Los Angeles on Monday, days after Shakira turned up the heat at the World Cup opening.

Hips Don’t Lie singer Shakira and Manuel, who is known for starring in Lincoln Lawyer, were waiting at a valet stand outside the Sunset Tower Hotel.

As they waited for their vehicle in West Hollywood, the pair were seen smiling and chatting.

The photographs show that once their car arrived, Manuel proved chivalry isn’t dead.

He was ever the gentleman and politely opened Shakira’s door and waited for her to get in before he closed it.

Mexican hunk Manuel then walked around to the driver’s side and got in before driving off.

Shakira, 49, wore a simple outfit comprising of a black tank top with some blue jeans and some black boots.

Meanwhile, 45-year-old Manuel wore blue jeans, a black T-shirt and a matching jacket.

The couple looked incredibly content in one another’s company, and as they drove off they were both beaming.

The snaps were quick to circulate online, with fans rushing to react.

“Truth is, the dude really is hot. Even if it’s casual, I’m glad. Good for Shaki,” said one person on X.

“Omg what an upgrade,” penned a second.

While a third wrote: “The way those photos look like they’re from 2000 omg Shakira ages like wine.”

Someone else then echoed: “If you tell me it’s from 2002, I’ll believe you.”

And a fifth said: “Baby, doesn’t it feel like you’re seeing an old photo? It looks the same.”

Shakira has most recently been romantically linked to Lucien Laviscount.

Back in February, she took to Instagram to hard launch her relationship with the actor.

The relationship began after they met in early 2024 on the set of her music video for Puntería, in which he played her love interest.

But ahead of the World Cup, Shakira noted that she has “no space or time” for a relationship.

“Oh no, no romance for me for now,” Shakira told The Times recently, hinting she and Lucien were no longer an item.

“There’s no space or time in my life for that. My plate is quite full.

“My kids are my priority. And my career. Strangely enough, I’m in love with my career like I’ve never been in my life. I’m enjoying my time alone as well.”

In this week’s episode of The Envelope podcast, Rachel Sennott discusses finding the voice of “I Love L.A.” — and finding her footing as series creator — during a tumultuous time in her life.

Kelvin Washington: Welcome to The Envelope, Kelvin Washington alongside you know who, Yvonne Villarreal, Mark Olsen. Always great to have you two here and spend some time with you. We talked about it earlier, we had Emmy season — a few weeks ago we discussed it. But now Emmy nominations are on the way. Yvonne, I’ll start with you, just maybe someone, a show, a couple of things you’re looking at saying, “Hey, I would love to see this or that person nominated.”

Yvonne Villarreal: I wanna give some shout-outs to the women right now. I was really frustrated when Rhea Seehorn didn’t get love until the final season of “Better Call Saul,” and I’m hoping — and I do have a lot of hope — that she will be recognized for “Pluribus.” [I] was a really big fan of “The Comeback” this season. I would like to [see] Lisa Kudrow get in there. Show-wise, I would like to see “The Testaments” in there. I don’t know how much of a dark horse that one is, but that’s my pick for show.

Washington: You’ve been riding “The Testaments.” What about you, Mark?

Olsen: I’m sort of leapfrogging over nominations, and I’m just thinking about what would be exciting on the show. And last year, I remember Stephen Colbert won for talk show kind of right after his show had been canceled, and that seemed like a very exciting moment. And so this year, with Jimmy Kimmel, where this is the first Emmy cycle since he had his suspension last year, and really has been in the news, I just think if he were to be nominated and then to win, that just would be such an exciting moment at the show. What’s he gonna say? I just would really love to see that.

Washington: Yeah, he seems like he would have some things to say, right? Because just kind of the nature of who he is. We’ll have to wait and see. And just for me, a couple of people. Just a fan of this particular person, Janelle James is hilarious to me. She plays in “Abbott Elementary.” She plays that role great. And then this one is no real surprise, probably 50-plus-year career, but Martin Short. Every time I see him, he’s amazing, steals the scene. So those are folks that just jump off on the radar for me.

All right, I’ll get to you, Mark. You had a chance to sit down with Rachel Sennott of “I Love L.A.,” creator and star of it. Tell me a little bit more about that.

Olsen: She’s been kind of a real, like, bright light on the comedy scene for the last few years in films like “Shiva Baby,” “Bodies Bodies Bodies” and “Bottoms,” and, you know, she also was like a writer as well as a performer. And so with “I Love L.A.,” which is a look at sort of like the young creative class in Los Angeles, she is the star of the show, she created the show, she writes on the show, she’s executive producer, she actually made her directing debut with one of the episodes. And so it’s just exciting to see her sort of really like come into her voice and come into her own with this new show.

Washington: Kind of reminds me a little bit of, you know, now maybe a decade ago Issa Rae’s surge in L.A. and comedy creating, and then Riz Ahmed, who you spoke with last week — same thing creating and starring and stuff. Seems like that’s the energy [we’re] getting from a lot of the young talent. Well, here is Mark and Rachel now.

Rachel Sennott, creator and star of HBO’s “I Love L.A.”

(Evan Mulling / For The Times)

Mark Olsen: We’re here with Rachel Sennott, creator, executive producer, writer, star, and for the first time, director on the show “I Love L.A.,” as well as co-creator and writer on “Big Mistakes.” That’s a lot.

Rachel Sennott: When you say it like that, I’m like, “Oh, my God.” And I’m also a friend, daughter, let’s not forget girlfriend. Yeah, those are all things that I am doing. And I am so grateful and having so much fun doing that.

Olsen: Hopefully this isn’t something that just I get a kick out of, but we’re here at the L.A. Times offices in El Segundo, and the Randy Newman song “I Love L.A.,” one of the first lines in the song is “Rolling down the Imperial Highway.” And we are in fact on Imperial Highway.

Sennott: We’re here right now. We’re living it.

Olsen: Tell me about the title of the show, its relationship to the song and what was it that you liked about having the show called “I Love L.A.”

Sennott: We were between two titles for a while, “I Love L.A.” and “Climbers,” and the reason we went with “I Love L.A.” is because in the process of making the show, I moved here from New York and I had a hard time when I was first here. And in the process of filming the pilot, I really fell in love with L.A., and I think getting to make something here, I all of a sudden saw L.A. through this lens where everything was like a movie. I would go on my walks that I usually go on. I would walk through my neighborhood, I would go to my spots, and I just saw it through this different lens, and I was really falling in love with it in the process of making the show. And I think with “Climbers,” that title fell a little bit — it was a double meaning of like social climbers and then also, being the age that I am, where I feel like ever since I got to college, ever since I became an adult, there’s been this chaotic energy in the world and uncertain ground where things never felt expected. It was always unexpected events. Graduating into COVID and then there was a strike and everything. So I feel like Sisyphus, where you’re always pushing the rock up the hill and it’s never enough. But we were worried that “Climbers” would seem too negative … We didn’t want to set people up already judging the characters.

Olsen: And then what has it been like for you learning to be a showrunner in making “I Love L.A.”? It’s funny, your co-showrunner Emma Barrie, she mentioned how you were very organized, but she was struck that you had everything in a pink binder with horses on it. So it was you trying to learn this new thing while also holding on to your essence.

Sennott: I feel so grateful for everyone who works on the show with me. I learned a lot from Emma. I learned from Lorene [Scafaria], who inspired me so much as a director. Aida [Rodgers], our producer, Amy [Gravitt] and Allie [Wasserman] at HBO; Max [Silvestri], who’s one of our EPs and writers. Showrunning is a million different jobs, and some of the jobs I’d done before, some of them I hadn’t, and I felt like I got to see different people shine in certain things, people who are more talented or more skilled at structure than me, people who have directed before, people who understand shots and basically learn from everyone and see that everyone wants the show to be the best it can be. They’re bringing stuff to the table. And so I benefited from everyone else’s skills and talents and just being like, “If you know how to do this better than me, I’m gonna learn from you and watch you and hopefully take from that so I can do my job better.”

Olsen: In a lot of the press as you’ve been talking about the show, you’ve been talking a lot about the concept of the Saturn return and this sort of chaotic period people have in their late 20s. You yourself now are 30 —

Sennott: Yes, I made it. I literally just finished. I was relieved, but my Saturn return was the process, getting the show picked up and the first season of the show. That was my Saturn return.

Olsen: Can you already feel that something has settled or things are different somehow?

Sennott: Yes, a thousand percent. My Saturn return, the dates that it was the strongest were the month around when the show got picked up. Making the pilot was so amazing and I learned so much. And then I was in this moment where I had to pick — basically, I couldn’t take on acting jobs because I was gonna hopefully do the show, but I didn’t know if the show was picked up yet or not. And so I had to say no to certain things and kind of take this leap. At the same time I went through a breakup, and then I got arrested for having CBD in the Cayman Islands. And it was just a very chaotic month of my life where I was like in jail for six hours on a break with my boyfriend, so he, like, had no idea where I was, and I was like, I don’t even know if I have a show, I just said no to this other thing. I just felt like I didn’t know what was happening. I’m someone who it’s hard for me to take risks sometimes, and that was a big risk and leap into what I thought I should be doing. And then the rest of it was learning for the first season how to do a job I’d never done before. Obviously, I still have more to learn, but I think that was a big Saturn return for me, the roller coaster of it.

Olsen: It’s so interesting to hear you say that you think of yourself as a person who’s afraid of risk, because that’s not my impression of you.

Sennott: You’re like, “Stop taking risks. Chill on the risks, every second.” No, I think it’s more [that] I didn’t necessarily believe in myself as a creator on my own, and that was really scary for me. That was the risk, I think.

Olsen: Because especially in building up to making “I Love L.A.,” in your career, I feel like you’ve created this comedic persona for yourself. What is the biggest distinction between the Rachel I think I know and like the actual you?

Sennott: You mean the characters that I play? Or like the persona?

Olsen: These sort of hard-charging, very ambitious, but maybe not always understanding of themselves characters, and you. I’m just interested in how you see the distinction between that persona and the actual you.

Sennott: Well, I hope that the characters that I’ve played have been somewhat different from each other. I think “Shiva Baby,” that character, was a little bit more anxiety-inward. Alice in “Bodies” was way more outward and kind of no filter, said every inside thought. Maia on “I Love L.A.,” I think, is kind of bitter in the beginning of the first season and is pinning her failures, blaming them, on her friend. All of those characters, I always draw on some element of myself. I think all actors, you have to find some connection to the character. But I think I’m hopefully more grounded and balanced and mature than the character. I hope.

Olsen: You’ve talked about how “I Love L.A.” really explores the foibles and challenges that people have leading these very, like, online lives and the way that people nowadays are really sort of tethered to their phones all the time. Is that something that you feel like you grapple with yourself? Is it something you yourself have had to kind of get over?

Sennott: I would say I started my career on the internet, and I grew up on the internet, and basically, I created a different sort of persona on the internet that was based in truth of a time when I was in my early 20s in New York, and it was a lot more messy and a little chaotic, and I was just going through things in my life at that time [that inspired] — I say “writing,” but like the tweets, the jokes, the videos, whatever, that were coming out of me. And then I felt I changed, but I still wanted to kind of project that character. And so I actually ended up putting that character into Tallulah [played by Odessa A’zion]. And I think Maia was a little bit more the version of myself when I first moved to L.A. and I felt isolated and it was during COVID, and I felt I was kind of gripping onto my friends in a codependent way. And so I think the show is sort of dealing with, whether or not you’re an influencer or person online, anyone who’s grown up on the internet is projecting some sort of version of themselves. So I think it was that I was trying to explore.

Olsen: You mentioned that the character of Tallulah is this version of you that you used to be. So what was it like for you creating this character that was almost like your id unleashed?

Sennott: It felt like I was separating myself from her. At first, [it] maybe could have felt like a caricature. And then when we cast Odessa, who is so talented and just, as an actor, she has such depth and range, and I think she asked questions and brought so much to it. Then it actually made me sever myself from the character, and the character became its own thing that she brought to life.

Olsen: Your character, Maia, in some ways is the audience surrogate, she’s kind of the most “normal” character on the show. And considering that in “Bottoms” or “Bodies Bodies Bodies” you often were the outrageous character, what has it been like for you to play this character that’s a little more self-contained?

Sennott: It’s been fun. I think we sort of found her during the first season. I feel that Episodes 6 through 8 are really where the show finds its footing and where we find what’s the comedy of Maia. It takes a little for her to kind of crack open, what’s funny about her as a character, but also I think Tallulah is almost like an agent of change for her — Maia was set in her ways and sort of struggling and depressed, and I think Tallulah puts her on track, and she’s going through her Saturn return and all that stuff. And so I think we get to see at the end of the season and just having been writing Season 2, I think that we get see her do a lot more fun stuff.

Olsen: It’s funny, as viewers, a lot of times people say, “Oh, you know, there’s this show you should watch, it really gets going on like Episode 3” or whatever. And I don’t think I’ve ever heard a creator say before, like, “Oh, 6, 7, and 8, we figured it out.” Do you feel you knew that in the moment, or has that only come to you as you’ve been working on Season 2?

Sennott: I think as we were editing the first season. Tone is something that you can say, like, “We want it to be like, this needs this, and it’s that and that and the tone of that.” But tone is what you find in the edit. I think you shoot different versions of a line, of a scene, and then you piece it together. And I think for me, that’s when I felt like, “This is the tone of the show. This is the world of the show.” And in writing Season 2 as well, just living more in that world.

Olsen: You kind of touched on this, but the characters on the show, they kind of skirt this line between being endearing and annoying. What is it that you like about that?

Sennott: Because I think that’s how people are. I am not interested in seeing perfect people or people who are flawed in a way that’s not actually real. So I love all the characters. I think Alani [played by True Whitaker], for example, is someone where you could really easily be like, “Oh, a nepo baby, she’s so privileged, whatever.” I think she’s the character with the biggest heart. She’s the best friend out of the whole group. She cares for everyone. She’s so deeply sensitive. And she’s actually been through a lot of s— and she drops these little things, these clues where you’re like, “Gee, she went through something crazy but is choosing to look at life half-full,” and I think that’s fun. I like the characters who make you feel or expect something of them and then show you another side. Charlie [played by Jordan Firstman] I think does that as well, where you meet him and you think he’s a little acerbic, he’s a little judgmental, and then he goes through loss and grief when Lukas, spoilers, Lukas Landry dies, RIP Lukas. That’s really hard for him. I’ve been friends with Jordan for so long, and I love him so much. I think he’s so talented. But I think he showed a totally new side of himself with the character.

Olsen: I agree. I found those scenes very touching. There’s an emotion there that’s kind of unexpected. Another moment that I really like in the show is Odessa’s character, she wants to change a dinner reservation to five people at 8 o’clock. And then you have to spend hours trying to make that happen. And I really appreciated how it’s something that sounds like it should be simple, and for some people it’s no big deal. But then for other people, it’s the biggest hurdle imaginable. Did you like that the show explores this sort of proximity to ease? Sometimes you end up at this party in a big, big house, but it’s not your house. Was that something you wanted to explore about life in L.A.?

Sennott: Totally. There’s also something specific to L.A. and specific to the industry we’re exploring — which is the internet as opposed to Hollywood — that I would say is relatable to me, to anyone in their late 20s, early 30s. When you’re in your early 20s, everyone’s sort of grouped together or feels like they’re in the same bucket. It’s like, “Oh we’re all doing this same thing, we’re all roommates, we’re all in school together, we’re all whatever.” But people make decisions that you don’t even see. I feel like the first time I found out that one of my friends had a SEP IRA, I was like, “When did we all decide that we’re getting SEP IRAs?” And it was a friend who loves to party, and I was thrown. Now I’m panicking I didn’t do that. Or who’s getting in a serious relationship, whatever. People start making decisions in their late 20s, all of a sudden everyone’s off on different paths. It’s like, “Wait, you’re getting married, but you’re still partying the way that we did when we were in college.” This person is moving, this person is changing their career path. And so you all of a sudden feel a little bit betrayed or on your own, and it’s isolating, and that is something that, yes, we’re doing it through a specific lens of L.A. and this world and these characters, but I think it’s really relatable to people at that age.

Olsen: I’ve heard you describe yourself as a zillennial cusp.

Sennott: Yeah, I’m cusp, and I feel like I relate to a little bit of both.

Olsen: But do you feel a pressure for the show to feel like some sort of a generational statement, to capture these kind of big-picture things?

Sennott: No. Ayo [Edebiri] and I were texting each other because there’s always an article that’s like, “Turns out these b— are 30. Yeah. They’ve been lying the whole time. They said they’re Gen Z.” I’m like, “I didn’t say anything. I was born in ’95. I’m 30.” Call me what you want, but I was just writing to what I feel at the time. I think people who grew up on the internet in the way that I did will relate to it, but I think you can relate too if you’re older or you’re younger.

Olsen: As people are writing about the show, they very frequently are referencing “Girls,” “Insecure,” “Sex and the City.” But I’ve heard you reference “Entourage” quite a bit. Could you explain that?

Sennott: “Girls” and “Sex and the City” and “Insecure,” all of those shows, all HBO shows, are formative to me as an artist. I remember watching “Girls,” I was in high school and looking at colleges with my dad and we went and toured [New York University], and in the hotel room that night, he was like, “I heard so much about this new show, ‘Girls,’ we should watch it. And it was the episode with Patrick Wilson where they f— in his nice apartment the whole time, and we turned it on and my dad was like, “OK, you can watch this later on your own, this is for you.” And I remember going to bed being like, “I’ve gotta go to New York, like whoa, this is crazy.” I think naturally those were already gonna inspire me. “Entourage” and “Atlanta,” those were two references that I mentioned a lot when we were making the show. “Entourage” because I feel I got to come up in this industry with my friends, and when I’m with my friends I feel completely invincible, and so there was that aspect. It was like, “I wanna see ‘Entourage’ but from a different point of view and perspective and a slightly different industry.” And then “Atlanta,” there is already having a family relationship and friendship on top of managing. Like how [Earn] manages Paperboi. And then I think “Atlanta” did such a great job of capturing a city that has almost magical realism elements to it. And L.A., a lot of the time, there’s things that happen here that are crazy, that feel almost unreal, but they are real. So that was a big inspiration for the show as well. Like the opening of the show, sex during an earthquake. That’s happened to me, but it also feels a little ridiculous, but it happens in L.A.

Olsen: You mentioned earlier that in waiting for the show to come around, you felt you were having to turn things down or you were really having to sort of change your mindset in a way. Can you talk a little more about that? With the show “Big Mistakes” that you created with Dan Levy, is that one of the things that you had to step away from or readjust how you were gonna be involved because of the fact that you were going to have “I Love L.A.”?

Sennott: I was more talking about acting roles. When you step into a creator role, it’s a different mindset than acting jobs and you have to commit to a longer time period. When you’re just acting in things, you can pop in, pop out and you leave set and you’re like, “I love you guys so much. I’ll see you in a year at the premiere,” which is fabulous too — love doing that. But when you are creating something, you’re in it from beginning to end, and you really wanna give your all to it. So I think I was more talking about just, like, betting on myself as a creator, as opposed to just acting.

Olsen: And how has that felt now that you’re on the other side of it, with one season of “I Love L.A.” made? How do you feel about having made that decision, having bet on yourself like that?

Sennott: I think it’s changed me, in a way where I’m so happy I did it. And it’s sometimes harder and there’s more parts to it, but I feel more in myself creatively than I ever have before, I think.

Olsen: It changed you how?

Sennott: Just because you all of a sudden see all the different parts of the process of making something and all these different jobs that maybe I wasn’t as aware of before. And I think there’s also something beautiful about popping into something and acting and just being like, “I am present as my character. This is what I am thinking about. I’m thinking about what does the character want.” And that’s amazing too. But I feel so lucky to have been able to experience other parts of making something.

Olsen: What was it like learning how to switch hats, especially during production? I would imagine you have a producer brain, you have an actor brain, then for one episode you have a director brain.

Sennott: I had to like sort of take it day by day. There are days where it’s a lighter scene for me and I can be on the side approving locations, taking meetings during lunch. There was a day where I had two sex scenes, for Episodes 6 and 7. So we shot the end of 7, the fight scene with me and Josh [Hutcherson], and the sex scene where it’s Maia and Dylan but she’s fantasizing about Ben. It was a lot. And so I was like, to Emma and Max and Aida, “Let’s not do any other meetings today in the middle of the day,” and they were like, “Totally got you.” That day I was more focused. I really needed to be present in the scene and have this be my main focus. And then on a day where I’m shooting like, “you’re texting on your phone” and “you’re walking on your walking treadmill,” I can do other stuff. So I think it was just taking each day as it comes and having so much support from the rest of the team.

Olsen: It’s wild to think of just one day providing all this material for the show. Just a single day could be so pivotal.

Sennott: Yeah, totally. A lot can happen in a day and then other days you’re like, “I’m just opening doors.” You never know.

Olsen: How did you come to conceive of how you kind of wanted to depict the online world, how people text, whether they’re FaceTiming and things like that? The show obviously exists with that world, as part of it, but you didn’t spend a whole lot of time animating texts. How did you come to conceive of how to depict people’s online life?

Sennott: I wanted it to feel how it does in the real world, which is the internet is just a big part of everyone’s life, but people aren’t explaining it to each other all the time. So we wanted to have the internet feel like the real internet, but our own internet. We didn’t want to ever reference anything that would date us because the internet moves so fast. So, like, Coke Larry, for example, when Dylan gets made into a meme, whatever, that’s our own thing, but it moves the same way as the internet does. And we tried not to have too much phone screens, texting, whatever. Like for example you [just] see snippets of Tallulah making videos or posting or whatever. In “Entourage,” you don’t really see that much of Vince acting. You see all the stuff around it. So that was sort of our model for the show.

Olsen: You directed the final episode of the season. Do you expect to be directing more in Season 2?

Sennott: Yeah.

Olsen: And how did you find the experience? What did you like about it?

Sennott: I loved it. You’re just in every aspect of the process. You are thinking about everything, and it was so engaging and exciting, and afterwards I felt fried, and I like crawled onto the edit couch and I was like limp and it took a lot out of me. People describe it like giving birth. And then you’re like, “I gotta do it again.” So that’s kind of how I felt on the other end.

Olsen: Can you talk a little about that final episode? The show is called “I Love L.A.” You send the main characters to New York for the final episode, which has turned into kind of a controversial decision. A lot of people have talked about that. Can you talk just a little about deciding to end the season in New York?

Sennott: I think it was because it was sort of addressing the fact that these girls went to school in New York together. They lived in New York and they chose to move to L.A., and I think when you do that there’s always going to be the push and pull of the two cities, and going back to New York, it was almost like getting a chance to get back together with your ex and being like, “You know what, there’s a reason it didn’t work out.” And they end the episode with, “I miss L.A.” So I think that’s kind of what we were aiming to do.

Olsen: And then before we wrap up, I should be sure to ask, is there anything that you could tell us about Season 2? What can people look forward to?

Sennott: It’s sort of what we were talking about earlier, Episodes 6 through 8, I think, I just feel we’ve locked in to our tone, we get to see other sides of characters we haven’t before, we go deeper on certain characters. And I think there’s some fun stuff that we set up in the finale that we get to explore.

An effort to exempt new apartment buildings in Los Angeles from the so-called mansion tax moved forward Wednesday, amid concerns that the tax is suppressing housing construction and making the affordability crisis worse.

In a 9 to 5 vote, the City Council directed the City Attorney to draft a ballot measure that would ask voters to change Measure ULA, which funds subsidized housing construction and homeless prevention efforts by taxing nearly all property sales over $5.3 million.

Once the proposal is drafted, it must come back to council for a final approval to make it onto the November ballot.

Wednesday was the deadline for the council to take the vote and stay on track to make the ballot this fall, said Councilmember Katy Yaroslavsky, who introduced the proposal along with Councilmember Tim McOsker.

“We should protect what is working and fix what’s not,” Yaroslavsky told colleagues before the vote. “If we fail to act today, that door closes.”

The ULA tax, approved by voters in 2022, is known as the mansion tax but applies a 4% tax to nearly all properties — whether they are mansions or not — if they sell for more than $5.3 million, increasing to 5.5% for sales at or above $10.6 million.

Under the proposed ballot measure, the ULA tax wouldn’t apply to multifamily buildings sold within 10 years of construction. There would also be some more technical changes put before voters, including to allow ULA money to be spent on temporary housing for homeless people.

Since ULA passed, apartment construction in Los Angeles has plummeted. Some studies have found that the additional tax on property sales has played a big role in the drop-off by adding extra costs for developers.

That’s led to fears that the tax, in some ways, is making the affordability crisis worse by suppressing new supply.

A coalition of business groups and pro-development activists have been pushing the council to amend ULA, in part hoping that the effort will blunt another possible measure on November’s ballot that would cancel ULA and other similar taxes altogether.

ULA supporters, however, have fought the exemption for new construction and say that other factors — like high interest rates — are the reasons for the multi-year construction drop-off. They also point to a surge in new building during the first three months of this year to argue that it’s too early to know ULA’s long-term impact.

Also on Wednesday, the council, in a unanimous vote, directed the City Attorney to draft a separate ballot measure that would exempt homeowners impacted by the Palisades fire from paying the ULA tax for five years, retroactive to Jan. 7, 2025.

“ULA has been an impediment to the Palisades recovery, leaving properties sitting empty and people mired in tax and regulatory hell,” City Councilmember Traci Park, who represents Pacific Palisades, told colleagues before the vote. “We need to move forward with this exemption.”

Similar to the broader ULA changes, the Palisades changes must receive a second council approval to make the ballot.

In this week’s episode of “The De Los Podcast,” hosts Fidel Martinez and Suzy Exposito sat down with actor Xolo Maridueña to chat about his East L.A. upbringing, the importance of Latino representation in his career and a litany of projects he has in the works.

Born and raised in El Sereno, Maridueña was exposed to the arts at a very young age through local community arts hubs Casa 0101 and the Boyle Heights Art Conservatory, where his mother, Carmelita Ramírez-Sánchez, now serves as executive director.

The 25-year-old actor credited his mom, who also previously worked as a radio DJ for decades in L.A., for encouraging him to explore a creative career.

“She was in the music world at a time when that wasn’t really a thing as a Latina woman,” Maridueña said. “She met so many roadblocks and overcame those that when it came time to for her to eventually raise her own family, she understood the want to try something that was outside of what the education system would deem successful. As a Latina, she also instilled these values of remaining curious, questioning certain traditions and the ways our experiences are affected by some systems that are larger than ourselves.”

He also touched on what it was like being the first Latino lead in a live-action superhero film in “Blue Beetle” — and the importance of continued Latino representation in Hollywood.

Xolo Maridueña is featured on “The De Los Podcast.”

(L.A. Times Studios)

“It was such a wild ride doing something like ‘Blue Beetle,’ that was the first in a lot of categories… But once the movie came out, it was so heartwarming to see that there were already like 10 other Latino superheroes that were making their debuts on the screen,” Maridueña said. “[Filming the movie] was the first time I had witnessed some much of the crew being Latino, or just being diverse — there were a lot of women and queer folks on that set.”

Having worked on hit series like “Parenthood” and the Netflix phenomenon “Cobra Kai” in addition to his theatrical roles, Maridueña wants to help provide an avenue for fellow Latino artists to succeed.

“I just hope [that] with this body of work, I can help open the door and prop it open for everyone else,” he said.

The conversation with Maridueña wrapped with him discussing the litany of projects he has coming out in the near future, including a leading role in the film “Dog Years” alongside Xochitl Gomez, a part in the Al Pacino-led movie “Killing Castro” and a spot in the upcoming season of Netflix’s live-action adaptation of “One Piece.”

He will also feature alongside Sandra Bullock and Nicole Kidman in the upcoming sequel to the witchy 1998 film “Practical Magic,” which is set for release Sept. 11.

“It’s been a blessing to expand not only the types of people I’ve gotten to work with, but [also] the genres and types of characters I’ve gotten to bring on to the screen,” said Maridueña. “Projects like ‘One Piece’ are so wonderful for the reach and then movies like ‘Dog Years’ and ‘Killing Castro’ are just as fulfilling in the sense that because they get to be smaller productions, the cast and crew have a bit more ownership of what they’re doing.”

A former top officer of the Los Angeles Fire Department’s labor union was arrested Wednesday and charged with grand theft and forgery for allegedly stealing more than $82,000 from a charity for injured firefighters.

Prosecutors from the state attorney general’s office announced the charges against Adam Walker, former secretary of the United Firefighters of Los Angeles City, at a news conference.

Walker “abused a position of trust for personal gain,” Atty. Gen. Rob Bonta said alongside Los Angeles County Dist. Atty. Nathan Hochman.

Walker opened a foundation bank account and transferred funds to his personal accounts, Bonta said, attempting to conceal those transfers with fake reimbursement records and forging receipts to mislead auditors. He used the funds for personal expenses, including online gambling, Bonta said.

Walker has been under scrutiny since 2024, when the local union’s parent organization, the International Assn. of Fire Fighters, suspended him from his union position and accused him of improperly depositing more than $75,000 of the charity’s funds into his personal accounts from December 2022 to January 2024. The IAFF accused him of using $5,000 for personal expenses.

Walker, who continued to work as a firefighter, told The Times last year that those allegations were false. He said the account he drew from was not for the charity, the UFLAC Fire Foundation, but was set up for two golf tournaments to raise money for a disabled former firefighter. He said all of the deposits were reimbursements for his legitimate out-of-pocket expenses for the tournaments.

“Not one penny of the money was foundation money,” he said. He said he understood that the deposits “look bad” but were a reflection of his “poor bookkeeping” and not any wrongdoing.

The Washington D.C.-based IAFF also suspended Walker from his positions as chairman and director of the foundation, which aids injured firefighters and their families, provides scholarships and is helping firefighters who lost their homes in the January fires.

The run-up to the World Cup in Los Angeles was marked by anxiety over how immigration enforcement, travel restrictions and anti-Trump backlash would affect the spirit and attendance of the games.

But on the streets of L.A. over the last week, something very different has happened.

Fans from a kaleidoscope of cultural backgrounds have come together to act out the kind of world — and city — they want to live in.

On the shuttle bus from downtown to Inglewood on Monday, there were scores of people with Farsi-emblazoned shirts and crowds of grinning Kiwis as one would expect for the Iran-versus-New Zealand showdown that evening. However, there were also clusters of striped blue Argentina T-shirts, plenty of Team USA jerseys, and a loud group of fans chanting “Viva Mexico” from the back of the bus.

The mood was joyful before Monday’s match among fans of Iran’s national team. The players, because of restrictions by the Trump administration, have had to commute to the games from Tijuana.

(Allen J. Schaben / Los Angeles Times)

Similar scenes played out on the Metro K Line as World Cup-goers from all over traded stories of how they scored tickets, tips for navigating L.A.’s transit system, and wistful memories of tournaments past.

“This festival is about unity and bringing the whole world together; there are 48 nations and everybody is having a good time,” said Ardy Salem, an Iranian American dentist who traveled from the Bay Area to attend the game, as he surveyed the crowd outside SoFi Stadium on Monday with unabashed glee.

“Just for a moment,” he said, “we get to leave all the politics behind.”

David Leon, 32, of Watts was grinning from ear to ear as he stood outside the stadium entrance in his forest-green Mexico jersey, despite the fact that he initially didn’t support having the World Cup in Los Angeles.

“I thought it was going to be a big issue for a bunch of different people to come here,” Leon said.

Fans of New Zealand show their support as they perform the haka, a traditional Maori dance and chant, at Monday’s match.

(Allen J. Schaben / Los Angeles Times)

Leon worried that people from other countries would be turned off by American politics and fearful about traveling to the U.S.

Instead, he’s been delightfully entertained by tourists documenting their wholesome reactions to American culture on social media — such as the German man experiencing Waffle House for the first time and the Swedish woman blown away by ranch dressing.

“It really does bring people together from all these different ethnicities,” Leon said, looking at the lines of people waiting to get into the stadium. “I’ve seen Colombians, I’ve seen Mexicans, people from New Zealand, people from Iran, Germans, Spaniards.”

And for his own community of Mexican Americans, he said the matches had brought a much-needed infusion of joy. This time last year, Immigration and Customs Enforcement raids were roiling Los Angeles, instilling fear throughout immigrant households.

Fans of Mexico are on hand at Monday’s match at SoFi Stadium. Before the World Cup, there were widespread fears of ICE presence at the games.

(Kelvin Kuo/Los Angeles Times)

Just last month, about 2,000 SoFi Stadium workers threatened to strike if they didn’t receive assurance that immigration agents would be kept out of the venue during the World Cup.

Leon said he was definitely worried that ICE would take advantage of crowds gathering for the matches to perform further immigration enforcement.

But, so far, that has not been the case. Instead, many people in his hometown of Watts have been consumed with “World Cup fever,” calling out of work to attend watch parties at local bars and walking down the streets with eyes glued to a livestream of a game on a phone, he said.

While joy was the overriding mood among soccer fans gathered in Inglewood on Monday, the day was not entirely free of tension or pangs of grief for the people who were missing out on the fun.

James Carling, 63, of Ventura said it pains him to know that many fans from countries such as Iran, Haiti and Senegal are unable to attend the matches because of the Trump administration’s travel restrictions.

“Let’s face it, our government hasn’t made it easy for people to visit us, which is a shame,” he said outside the stadium. “There were people from countries whose teams made it [to the World Cup] who were not allowed to come and, sorry, that’s wrong.”

The shadow of the U.S. war with Iran and the anger many Iranian Americans feel over Iran’s current government were also present in Inglewood on Monday. Outside the stadium, some Iranian soccer fans had heated encounters with protesters who felt that supporting the Iranian national team was synonymous with supporting an oppressive regime.

Yet the atmosphere among the Iranians attending Monday night’s game was one of cathartic celebration, where for a few hours they could set aside geopolitical tensions and unite over the simple love of soccer.

In the stadium parking lot, David Arias, a Mexican American resident of Inglewood, gave a fist bump to Kam Pirouz, an Iranian fan who had traveled from Washington, D.C., to see the game.

Mexico and Iran are “homies right now,” Arias said, referencing the fact that the Iranian players are commuting to the Los Angeles games from Tijuana because of restrictions placed on them by the Trump administration.

Fans watch the World Cup group stage match between Iran and New Zealand at SoFi Stadium on Monday.

(Ronaldo Bolanos/Los Angeles Times)

Although Arias did not have tickets to the match, he said he could not resist the chance to meet people from all over the world. So he decided to take his local barbershop to the parking lot outside the stadium and offer free haircuts to fans.

With an hour to go before Monday night’s game, all three seats at his pop-up shop were occupied; Pirouz, the Iranian fan, was getting a fresh fade while seated next to a Mormon missionary from Utah and an Egyptian fan.

“It’s the World Cup, man, the entire world comes together, and it’s beautiful,” Pirouz said mid-haircut. “Best sport in the world.”

Times staff writer Seamus Bozeman contributed to this report.

Los Angeles is the best food city in the United States. When considering breadth and scope, quality of ingredients and cooking, diversity and innovation, and sheer volume, it just can’t be beat. There’s no beginning and no end to its wonders.

But it’s more than that. Although our city can feel chronically fractured, our foods and restaurants may be the only possible glue that binds us. So we asked our Food writers, what are the local dining experiences that define living in our city?

This is our answer. The following are not the definitive “best” restaurants or meals in L.A. — we have a proper critics’ list for that each year. Instead, these experiences are the foundation for understanding what it means to love L.A. through its foods.

Tell us if you disagree, or if there’s anything you think we missed. Whether you’re a hard-boiled native or a first-time visitor with a big appetite, we’re confident that any combination of these 50 dining experiences will make your heart sing with love for L.A.’s invincible food scene. — Daniel Hernandez

And yet to set foot in a WeFly cockpit is to be alternately in awe and overwhelmed. I was in a near 1:1 replica of the insides of a Boeing 737 Max. Buttons, knobs, switches and flashing lights surrounded me. And to fly a plane, I would have to let go of everything I knew about driving a car. Turning in the air, for instance, is much different than turning on a runway. And do I watch the screen, or look out the windshield? Often the former, even though I enjoyed buzzing Long Beach’s Queen Mary, flying under the Golden Gate Bridge and circling Chicago’s Wrigley Field. When it came time to land however, my palms got a little sweaty. Navigating height, winds and the steadiness of my plane was a challenge, one akin to handing a grade-schooler a calculus book, summarized Joyce. Let’s just say I needed his co-piloting skills. And I’m not great at math.

Typically, WeFly’s clientele, says Joyce, are a mix of aviation aficionados or non-commercial pilots. The space also gets a fair share of those with a fear of flight, arriving at WeFly with the hopes to conquer it. “They want a sense of control,” Joyce tells me. But WeFly is also ideal for anyone who is amazed by air flight, or those who may someday dream of being a pilot. Though it uses “Microsoft Flight Simulator,” it is no game. Sessions for 30 minutes start at $129, and WeFly’s trainers will tailor it toward one’s experience. I made sure, for instance, that crashing was turned off. But I forgot, however, to turn with the brakes when it came time to land. Yet the plane was intact, and, as Joyce reminded me, “At least you’re on airport property.”

Olivia Rodrigo has officially begun her new era, and this time she invited her fans to experience it alongside her.

To celebrate the release of her latest album, “You Seem Pretty Sad for a Girl So in Love,” Rodrigo collaborated with American Express to re-create the set of her music video for “The Cure.” The pop-up event, which opened last Thursday and ran until Sunday at Mica Studios, featured props from the video, storyboards, exclusive merchandise and several photo ops for fans.

With a beating felt heart and lab beakers to pose with, the pop-up transformed an industrial studio space in the Arts District into a pastel-painted cardboard hospital. Ahead of the public opening, Rodrigo surprised a small group of AMEX cardholders and select fans.

“I have an album that’s coming out today in about one hour, which is crazy,” Rodrigo said, wearing a blue “Nurses Do It Better” baby tee. “I figured since we’re all here, maybe we should just listen to a few of them together? Would that be cool?”

A little over an hour before the album’s release, Rodrigo played four songs from the album as the room brewed with excitement. She began with “Maggots for Brains,” a song about being so infatuated you can’t focus when your partner is away. Although it was their first listen, the song’s catchy chorus already had fans dancing along.

Banner for Rodridgo’s pop-up event hands above Mica Studios

(American Express)

Rodrigo explained that her next song, “Purple,” paid homage to the aesthetics of her previous albums, “Guts” and “Sour.”

“Obviously, this is my first non-purple album, but I just had to shout out purple somehow,” Rodrigo joked. “This song started out as a love song and sort of devolved from there, so I’ll let you guys be the judge.”

Playing off the somber vibes of “Purple,” Rodrigo played “Less” next. The piano ballad follows the dissolution of a relationship as the couple grows apart.

“I’ve been going back and forth on what the saddest song on the record is, but I think this one might be it,” Rodrigo said.

In a room full of fans, the song struck an emotional chord with many of the listeners. To bring the mood back up, Rodrigo finished the night by playing her new single, “Stupid Song.”

“This next one is a happy one, and it actually has a music video that comes out tonight,” Rodrigo said. “I love this song so much. It’s basically about having such an intense crush on someone that it drives you totally f— insane. I feel like we’ve all been there at some point in our lives.”

Rodrigo was all smiles at her event celebrating her latest album steeped in heartbreak and romance.

(American Express)

After Rodrigo previewed her music, “The Cure” music video exhibition was opened up to the fans. The showcase ranged from interactive photo ops to gallery walls featuring behind-the-scenes photos from the video shoot and Rodrigo’s nurse costume on display. The video’s props, which were primarily designed using cardboard and felt, were displayed in glass cases for visitors to admire.

Dressed in fun fashion including light pink and polka-dot outfits, fans posed throughout the set, re-creating scenes from the music video as “The Cure” played overhead. Many had thrown on a piece of the Los Angeles-exclusive merchandise on sale at the pop-up, with shirts and hats reading “You Seem Pretty Sad for a Girl in Los Angeles.”

So while some fans teared up at her lyrics and others beamed with excitement, everyone was hyped to experience Rodrigo’s new album.

“I really hope you enjoy this little exhibition. It is so gorgeous, and I am so proud of it,” Rodrigo said. “Thank you guys for being here, and I really hope you love ‘You Seem Pretty Sad for a Girl So in Love’ as much as I do.”

With the largest Olympic and Paralympic Games in history approaching, LA28 announced Monday it will open volunteer applications on July 14, the two-year mark before the Olympics officially begin.

LA28 is searching for 60,000 volunteers to work during an Olympics that will feature more than 11,000 athletes across 15 days of competition. Volunteer responsibilities range from welcoming and guiding spectators and athletes, to specialized roles, including medical care and language translation. While the majority of Games-time volunteer opportunities are in the L.A. area, volunteers are needed for every Olympic venue city: Oklahoma City will host softball and canoe slalom events, and soccer preliminaries will be held in New York, Columbus, Nashville, St. Louis, San José and San Diego.

Applicants can specify their preferred location, their special skills and whether they would like to volunteer for the Olympics or Paralympics.

The Olympics, which run from July 14-30, 2028, have a volunteer period from March to August. The Paralympics, which open on Aug. 15, 2028 and close on Aug. 27, needs volunteers from August to September. Games-time volunteers must be available to complete at least 10 nonconsecutive shifts of approximately eight hours each during each Games period and must be 18 years or older.

“Volunteers are the backbone of the Games,” LA28 chief executive officer Reynold Hoover said in a statement. “They are a friendly face who helps welcome the world, create memorable experiences and bring the Olympic and Paralympic spirit to life. Their passion and energy will help define LA28 for athletes, fans and communities across the region.”

LA28’s volunteer program started in 2025 with community-based opportunities. LA28 volunteers have already worked with local nonprofits on beach, street and trail cleanups, habitat restoration and fresh food packing. Volunteering in the community through the LA28 program is not required to earn a spot for the Games, but the experience can strengthen an applicant’s chance.

Updates about the LA28 volunteer program are available at la28.org/volunteer, where potential volunteers can register their interest to automatically receive more information about the Games-time application process when it opens.

Béla Guttmann may be the most consequential soccer coach you’ve never heard of. But if it weren’t for Guttmann, you may never have heard of Pelé.

And Brazil may never have become the greatest soccer-playing country on Earth.

That’s because Guttmann changed the shape of modern Brazilian soccer — and changed the sport forever — when he imported the revolutionary 4-2-4 system from Hungary to Sao Paulo in 1957. A year later, Brazil won the first of five World Cups and the joga bonito was born.

But what Guttmann brought to Brazil isn’t nearly as interesting as how he got it there. That’s just one of the fascinating stories in “The Beautiful Game … The Untold Story,” the exhibit that will open the Holocaust Museum LA on Sunday at the Goldrich Cultural Center, a $70-million expansion that will double the size of the Pan Pacific Park museum’s campus to 70,000 square feet.

A soccer ball from the holocaust is among the items on display in the exhibit “The Beautiful Game … The Untold Story” at the Holocaust Museum LA.

(Eric Thayer/Los Angeles Times)

The exhibit was unveiled during a private reception on Saturday followed by a free preview day open to the public from 10 a.m. to 5 p.m. The grand public opening will take place in August.

The show’s launch coincides with eight local World Cup matches, which kicked off with the United States’ 4-1 win over Paraguay on Friday at SoFi Stadium, and it shines a light on the important but largely overlooked relationship between Jewish life and the global game, as well as how Jewish innovators like Guttmann shaped the modern rhythm, style and culture of the sport.

“It was in the same intellectual level as jazz, as art and everything modern and progressive,” journalist Allon Sander, who helped curate the exhibit, said of Jewish participation in European soccer in the years before World War II.

“The origin of the game and how it intersects with Jews and the Holocaust and the impact that these Jewish footballers and coaches had to shape the game and help popularize the sport is so fascinating,” added Beth Kean, the museum’s CEO. “And it’s an unknown history.”

Much of that story can be told through Guttmann, who was born in Budapest in the final year of the 19th century and developed into one of the sport’s first Jewish stars, representing Hungary in the 1924 Olympics and playing for nine teams in two countries before retiring to become a coach.

But none of that success mattered when the Hungarian government began introducing anti-Jewish laws in 1938, costing Guttmann his job and nearly his life when he was sent to a Nazi forced-labor camp, where he was tortured. Just days before he believed he would be shipped to Auschwitz, which meant certain death, he escaped alongside Erno Erbstein, another Jewish coach.

Erbstein revolutionized soccer in Italy before dying in 1949, along with the entire Torino team, when their plane crashed into a hilltop outside Turin. Four years ago, he was inducted into the Italian soccer hall of fame. Guttmann, meanwhile, who lost much of his family in the Nazi death camps, would go on to coach for 42 years in 14 countries, winning championships in six of them yet only staying in a single place for more than two years just once.

“He’s running away from his demons,” said Ronen Dorfan, a journalist and sports historian based in Budapest whose research was instrumental in putting the exhibit together. “His father was murdered, his sister was murdered. You never know how you survived in Budapest during the war so he had guilt feelings.”

A jersey worn by player Max Wozniak and a jersey from the 1930s are displayed in an exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

The exhibit was designed in three sections, the first devoted to the years before World War II, the second is about the Holocaust and the third is the postwar years. And while it details Jewish participation in, and influence on, global soccer, it also challenges the cliché that Jews were intellectuals, artists and laborers but not athletes.

“We are always trying to challenge stereotypes. Stereotypes that we might have about ourselves and even stereotypes that we believe about others,” said Jordanna Gessler, the museum’s vice president of education and exhibits who helped curate the show. “It’s crucial to help people find their place and their voice and really see the unity, the similarities between people.

“This is a story that was lost in time and we’re really bringing it out,” Gessler added. “To really have this conversation and encourage people to explore stories that they might not know.”

One thing people might not know is that in the 1920s and ‘30s, Europe’s best teams weren’t in England, Germany or France, but in Austria and Hungary, where they were led by Jewish players and coaches such as Hugo Meisl, Jozsef Braun, Arpad Weisz, Marton Bukovi, Gusztav Sebes and Gyula Mandi. Weisz and Braun were both killed by the Nazis.

A soccer ball from the 1974 World Cup is displayed at an exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

The surge of antisemitism and fascism in Germany, Italy and Eastern Europe helped spread the influence of those revolutionary players and coaches around the world.

“With the rise of the Reich and the Holocaust, the coaches ran away,” Dorfan said. “And they ran to every corner of the world, to Brazil, to Argentina, to Portugal [and] provided coaches to Real Madrid, to Barcelona, to Benfica, to Flamengo.

“There isn’t one of these clubs that doesn’t owe its tactical development in the ‘40s and ‘50s to the Jewish coaches, which came primarily from Hungary.”

The primary tactical development was the shift from the popular but rigid 2-3-5 formation, which required immense physical endurance and tactical discipline, to the fluid 4-2-4, which spread the wingers to the touch line and allowed for improvisation and creativity on the attacking end, a formation pioneered in Budapest in the 1920s.

“They developed a more refined game of passing the ball, keeping it on the carpet rather than the English kick and run, and really put thought into tactical thinking,” Dorfan said.

Guttmann, who played or coached for more than two dozen teams in his career — including one, in Romania, that paid him in vegetables during the postwar period — brought the Hungarian approach to Brazil in 1957 when he coached Sao Paulo to a championship. After Vicente Feola, the manager Guttmann replaced at Sao Paulo, took over the national team a year later, he brought the formation with him, popularizing many of the tactics still used in modern soccer, such as fluid defensive wingers, overlapping full backs, the use of a withdrawn striker and an attacking midfield.

The soccer team at the Theresienstadt concentration camp’s flag is displayed in a Holocaust Museum LA exhibit called “The Beautiful Game … The Untold Story.”

(Eric Thayer/Los Angeles Times)

“He is the whole exhibition in one man,” Dorfan said of Guttmann.

“Obviously if we wouldn’t have had the Holocaust, those [coaches] wouldn’t be kept out of Europe, Europe would be much stronger, much more developed. [And] then the development of Brazil or the success of Brazil would be coming much later,” Sander said.

Dorfan spent the better part of two years tracking down many of the more than 100 trophies, uniforms, photos and trinkets that make up “The Beautiful Game” exhibit, a search that required determination, perseverance and more than a little luck. Many of the items, because of their ties to Jewish athletes and teams, were hidden during the war and presumed lost. Others resurfaced only through detective work that sent Dorfan following leads that spanned decades and crossed more than a dozen borders.

That also cost money. So Alan Rothenberg, the man who, as president of the U.S. Soccer Federation, first brought the World Cup to Los Angeles 32 years ago, stepped up to lead an effort that raised more than $1 million to fund the exhibit.

“The story really needs to be told, particularly with what’s going on right now with respect to antisemitism,” Rothenberg said. “It’s really important for people to realize what can happen. And soccer is a great vehicle to draw them in. The one main thing in the museum is bringing schoolkids in.”

The Nazis and their collaborators failed in their attempt to erase the history of Jewish soccer pioneers; in fact, they inadvertently popularized both the men — and women — and their ideas. But the sport also helped other Jews survive a dark period and Kean said that may be the most beautiful and uplifting part of “The Beautiful Game.”

“The main reason we decided to do this exhibition in the first place is because for years so many survivors, when they talk about their life before the war, so many of them talk about soccer. So many of them were passionate and fond of the sport,” she said.

“We knew the exhibit opening was going to coincide with the World Cup. L.A. is going to be on the world stage. This is a great opportunity for the museum to get these stories out.”

June 13 (UPI) — Reality TV star-turned-Los Angeles mayoral candidate Spencer Pratt says he does not expect to advance to the general election after projections from primary voting suggest he will rank third behind incumbent Karen Bass and challenger Nithya Raman.

The Hills alum ran on a platform of making the city’s streets cleaner and safer, and speeding up the rebuilding of homes and businesses destroyed by wildfires in the Pacific Palisades more than a year ago.

Pratt, who lost his home in the blaze, released a 3-minute video Friday, stating the “campaign portion of my mission to save Los Angeles is coming to a close and I’m moving on to the next, more interesting phase.”

The spot already has gotten more than 8.6 million views on X.

It appears to be a mix of real and AI-generated footage, as well as movie clips.

In the video, Pratt said he plans to keep fighting to improve the lives of Los Angeles residents using the national social media following he has amassed in recent months.

He added that he has evidence that could damage one of the candidates as they head to the general election in November.

“We have some recordings of one of your exalted candidates doing and saying something that would make her resign in shame. I was saving it for the general election,” Pratt said.

“So, Karen, Nithya, ask yourself, ‘Is it possible that one of your employees may have a recording of you doing or saying something that would force you to resign in disgrace?’ Hope you sleep well at night over the next five months.”

The Los Angeles Times said the Bass and Raman campaigns have declined to comment on Pratt’s remarks.

According to the votes tallied Bass is in first place with 34 percent of the vote, Raman earned 29 percent and Pratt scored 26 percent.

If Pratt had won, he would have been the first Republican mayor of Los Angeles since Richard Riordan served two terms, ending in 2001.

Last January, Spencer Pratt’s house in Pacific Palisades was razed by the raging flames of the Palisades Fire. Now, there has been what he called a “very suspicious fire” in a building in the neighborhood’s tony Highlands where he maintained an office for his crystals company.

Pratt, a former reality TV star who ran a high-profile campaign for Los Angeles mayor that he appeared to concede on Friday, talked to the California Post about the incident, which was first reported by the Palisadian-Post. According to the company’s website, the business sells precious and semi-precious crystal pendants, carvings and chains.

“I want to be careful to not compromise an arson investigation, but this incident is very suspicious,” Pratt told the California Post.

“I will wait for the investigators to make public the details, but this was no accident, and the timing of this … on the heels of all of the contentious election tomfoolery of the last two weeks, it is very suspect, indeed.”

Fire officials have not determined what sparked the blaze, and, in an interview with the Palisadian-Post, the building superintendent said he doesn’t believe the fire is related to Pratt’s campaign for mayor.

A spokesperson for Pratt did not immediately respond to phone calls and a text message seeking comment Saturday afternoon. Pratt suggested in his remarks to the California Post that he believes the fire may have been a politically motivated arson.

“This fire was not an accident, and it would not surprise me in the least if this were a reprisal for my work in opposing Karen Bass and Nithya Raman,” he said.

LAFD Public Service Officer Jamie Stewart told The Times in a phone interview Saturday afternoon that the department received a call at 6:09 p.m. Thursday reporting “a two-story commercial building with light smoke showing.” Stewart added that “arson was notified” and that LAFD arson personnel “did respond and they were on scene” of what he said was a one-alarm fire.

According to the Palisadian-Post, on Thursday, “Multiple firefighting units, including two ladder trucks, were dispatched by LAFD from Fire Stations 23 and 69 in the Palisades and Station 92 in Cheviot Hills to respond to the fire.”

The complex’s superintendent, Oscar Chang, told the local publication that the building was being remediated while waiting for a permit for work on its roof. Eyewitnesses, he told the Palisadian-Post, “saw two guys exiting the building shortly before the fire was reported.”

Chang added that he did not believe the fire was related to Pratt’s political campaign.

“One of the tenants shared a video with me of a homeless person right around the corner,” Chang told the publication, but “no one was living in the building.”

On Saturday morning, Pratt posted on social media about the Thursday fire, which tore through the Highlands Circle commercial complex at 1515 Palisades Drive. The complex was best known as the longtime home of the beloved Italian eatery Casa Nostra Ristorante, which closed a week before the Jan. 7, 2025, Palisades Fire and never reopened.

In the social media posting, he referred to the Los Angeles Times as the El Segundo Times — a derisive moniker referring to the location of its building in the coastal city near LAX Airport — and his repeated allegation that the newspaper “doxxed” him by reporting in April that he was staying in Santa Barbara County, not L.A.

“The El Segundo Times were very eager to dox where my children sleep; they thought that was newsworthy,” he wrote on X, formerly known as Twitter. “Have they reported on the arsonists who set fire to my office in the middle of my election?”

Overhead video footage of the fire posted on the Palisadian-Post’s YouTube channel showed smoke rising from the building as firefighters stood on the roof.

A filing in February with the L.A. City Department of Buildings and Safety proposed work for “change of use from commercial to retail, 2-story” at the property. In September, the department issued a code enforcement violation for “ABANDONED OR VACANT BUILDING LEFT OPEN TO THE PUBLIC.”

The city witnessed Carl Lewis win four Olympic gold medals, cheered Valerie Brisco-Hooks’ historic golden double and watched Edwin Moses extend his 400-meter hurdles unbeaten streak. L.A. has history with track and field.

Now when Ato Boldon, a UCLA Hall of Famer and four-time Olympic medalist for Trinidad and Tobago, looks to this weekend’s L.A. Grand Prix and the city’s future with the sport, he wonders what it holds.

“I’ve always felt like L.A. needs a signature event,” Boldon said, “and with the Olympics coming up in two years, you look at the quality of this event this weekend, and you’re like, yeah, this is the kind of meet they should have all the time.”

At the halfway mark of the Olympic quadrennium, the USA Track & Field event serves as an important checkpoint for the sport’s hope to break out of the four-year popularity cycle.

The two-day event, which begins Saturday with the women’s hammer throw at the South Bay Athletic Club, features 18 Olympic or world champions competing primarily at USC’s Allyson Felix Field. Sunday’s marquee competition beginning at 1 p.m. will be televised on NBC.

With USA Track & Field building toward a home Olympics, L.A. has been a critical but stubborn market to conquer. Last year’s L.A. Grand Prix, which would have been the third edition of the meet, was canceled in April. The decision, USA Track & Field Chief Executive Max Siegel said, came down to another meet scheduled in the same venue within the same month.

But that competing event, part of Michael Johnson’s upstart Grand Slam Track league, was canceled only weeks before it was set to take place at UCLA’s Drake Stadium, leaving L.A. without a major track competition last summer.

“We knew last year when we canceled the meet that we had every intention leading up to the Olympics to be present in the L.A. market,” Siegel said.

The city knows great track. UCLA boasts legends such as Rafer Johnson, Jackie Joyner-Kersee and Florence Griffith-Joyner. USC, which boasts more Olympians than any other U.S. university, had athletes win nine Olympic medals in track and field at the 2024 Games in Paris, including double gold medals for Rai Benjamin in the 400-meter hurdles and 4×400-meter relay and a 4×100-meter relay championship for TeeTee Terry.

After Terry ran the second leg of the relay, Sha’Carri Richardson’s stare down at the end of her anchor leg became one of the iconic shots of the Paris Games, where 70,000 people packed Stade de France and millions more tuned in for one of the most-watched Olympics.

But the sport is back in the shadows like it always seems to be outside of Olympic years, said Boldon, now NBC Sports’ track and field analyst. There have been several attempts to penetrate the U.S. sports consciousness since the successful Paris Games. Reddit co-founder Alexis Ohanian launched Athlos, a women’s track and field meet that began in New York City in 2024 and added a stop in London to its 2026 schedule. Grand Slam Track, founded by the Olympic legend Johnson and touting major names including Gabby Thomas and Sydney McLaughlin-Levrone, filed for bankruptcy last year, after completing only three of four planned events in its first season, and is only now emerging from it.

This year’s inaugural USATF Tour aims to organize the fragmented sport by streamlining the calendar and working with existing event coordinators to provide resources, including prize money and travel for top athletes, marketing and drug testing. The tour, which was in College Station, Texas, last week for the Lone Star Grand Prix, has 17 events in 10 states.

American Tara Davis-Woodhall after winning the women’s long jump at the 2025 world championships in Tokyo.

(Ashley Landis / Associated Press)

“I feel like LA28 gives the country something to organize around,” said Siegel, who hopes track and field can rise to be among the five most popular sports in the United States. “People are paying more attention to athlete stories in anticipation of what’s going to happen on U.S. soil.”

There is no shortage of stories at the L.A. Grand Prix. Almost everyone who matters in American track and field will be there, Boldon said. Kenny Bednarek, the silver medalist in the 200 meters in Paris, will line up in the 100 meters against Botswana’s Letsile Tebogo, who took gold in the 200 in 2024.

Tara Davis-Woodhall, the reigning Olympic long jump champion, will compete in her signature event and race in the 100-meter hurdles for just the second time in the last five years. Her husband, Hunter Woodhall, will race in the 400 meters on Saturday, when Para athletes will be among those competing in the L.A. Distance Classic at Allyson Felix Field.

Richardson will run her first 100-meter race of the season. The 2024 Olympic silver medalist could be in line to end a three-decade gold medal drought in 2028. No U.S. woman has stood atop an Olympic podium for the 100 since 1996, when Gail Devers won in Atlanta.

Such a stacked field outside of an Olympic year on U.S. soil could be a sign of a changing tide for track and field, Boldon said. The L.A. Grand Prix is a gold-level event on the World Athletics Continental Tour, the second-highest tier of single-day international competition. As athletes vie for world ranking points, the event could be a true Olympic preview two years before the Games begin at the Coliseum.

“This,” Boldon said, “is not a normal week in our sport.”

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

Los Angeles voters have finally gotten some closure on the outstanding contests in the June 2 primary election, with City Councilmember Nithya Raman qualifying for the runoff against Mayor Karen Bass, and Measure ER, the countywide sales tax hike, prevailing after a week of ballot counting.

With nearly all the votes counted, Angelenos are now getting a more granular understanding of the strongholds built up by each of the top three mayoral candidates.

Districts that went big for Bass, Raman and Pratt

Early on in the vote-counting process, it looked like Raman might not win her Hollywood Hills-based district, which stretches from Silver Lake to Reseda. In the end, she pulled out a first-place finish, securing nearly 34% of the vote compared to Bass’ 31%, according to Paul Mitchell, vice president of the voter data firm Political Data Inc, who aggregated county precinct data into council districts. Spencer Pratt, the former reality TV personality, trailed at 27%.

Still, Raman’s strongest support came from three districts on the eastern end of the city.

Mitchell’s analysis showed Raman with 45% of the vote in Council District 13, which includes all or parts of Echo Park, Hollywood and Atwater Village. She got nearly 40% in Council District 1, which takes in parts of Highland Park, Mt. Washington and Angeleno Heights. And she scored nearly 38% of the vote in Council District 14, which includes downtown, Boyle Heights and El Sereno.

Those districts are represented by Hugo Soto–Martínez, Eunisses Hernandez and Ysabel Jurado, respectively — all members of Democratic Socialists of America, who all endorsed Bass instead of Raman, a DSA member herself. Raman placed first in all three.

Bass found her greatest strength in the three districts that cover South L.A., coming in first in all three. Her best performance was in District 8, represented by Council President Marqueece Harris-Dawson, where she led with nearly 62% of the vote.

The mayor received 45% of the vote in Council District 10, which stretches from Koreatown to the Crenshaw Corridor, and 42% in Council District 9, which stretches from the southern edge of downtown south to 95th Street.

Pratt performed the strongest in the west San Fernando Valley. He was the top vote-getter in District 12, which is represented by Councilmember John Lee and includes Chatsworth, Granada Hills and Porter Ranch. In that district, he received 39% of the vote, Mitchell’s assessment showed.

Pratt got nearly 37% of the vote in District 3, which is represented by Councilmember Bob Blumenfield and includes Woodland Hills, Warner Center and Canoga Park.

Pratt also led the pack in the 5th District, which takes up much of the Westside and is represented by Councilmember Katy Yaroslavsky. He had 30.7% of the vote, compared to Raman’s 30.6%, according to Mitchell’s analysis.

Nithya Raman attacks the L.A. ‘political machine’

It was one of tougher attacks of the mayoral primary: Raman accused Bass of engaging in “pay to play” — making decisions that benefited certain interest groups, who then spent big on her reeelection.

At her first post-election press conference Wednesday, Raman revisited that line of attack, criticizing Bass over her push to upgrade the city’s Convention Center. That $2.6 billion project was approved in the middle of the city’s financial crisis, when the council was contemplating major job cuts, Raman said.

“Downtown business groups then spent over a million dollars supporting her in her reelection. Meanwhile, the city went back to voters asking them to pay more to fix their streetlights. That is the political machine at work,” she said.

Pay to play was a potent issue in the 2005 election, when Mayor James Hahn was defeated by Councilmember Antonio Villaraigosa. At the time, federal agencies had opened corruption investigations into decisions at the city’s harbor and airports, as well as the Department of Water and Power. That year, the phrase “pay to play” was synonymous with criminal wrongdoing.

In a video acknowledging his primary defeat, Pratt said he got into the mayor’s race to “expose this corrupt machine.”

Raman stopped short of such a framing.

“It’s not corruption,” Raman told reporters at Vista Hermosa Park. “But it is evidence that the system, and how it works, particularly the influence of money in politics, has led to some very broken priorities here in the city.”

Last year, policy analysts warned the Convention Center project would be a financial drag from the moment it opens, consuming more than $100 million per year throughout the 2030s. Business groups and labor organizations pushed back, saying the project would help revitalize downtown while creating much needed construction jobs.

The Central City Assn., a downtown-based business group that supported the Convention Center upgrade, spent about $1.6 million on efforts to reelect Bass.

“Nithya Raman doesn’t think we need more jobs or visitors to our hotels and restaurants that produce the tax revenues downtown generates for the entire city, so it’s hard to support her,” said Central City Assn. President and Chief Executive Officer Nella McOsker in a statement.

Bass spokesperson Alex Stack also pushed back on Raman’s criticism, saying the mayor has been with “every group and industry to deliver results for Angelenos.”

“Nithya Raman can’t get anything done and then attacks the same groups she sought to endorse her campaign,” he said.

Pratt trailed Trump among L.A. voters

As a mayoral candidate, Pratt was dogged by questions about whether he was MAGA — shorthand for the movement that first powered President Trump into office in 2016. The Republican had received fulsome praise from Trump-aligned figures, including podcast host Joe Rogan and Greg Gutfield of Fox News.

Pratt downplayed his GOP ties. Still, there’s one area where he definitely had some similarity with Trump: His performance with L.A. voters.

Trump and Pratt both picked up roughly one out of every four votes in L.A. during their respective campaigns.

Pratt, former star of MTV’s “The Hills,” had 25.5% of the vote in L.A., according to results posted Friday. In November 2024, Trump did a little better, receiving 26.5%, county election results show.

Trump had 369,319 votes in L.A. two years ago, compared to 976,781 for then-Vice President Kamala Harris. By Friday, Pratt had 217,638 votes, compared to 247,242 for Raman and 292,115 for Bass.

It might not be fair to compare Pratt and Trump, given that there were key differences between the elections. Pratt was competing in a primary campaign, while Trump was in a general election. The candidate pool was different as well.

Trump was running in a six-way contest where Harris was his main rival. Pratt, on the other hand, was in a race featuring 13 other candidates.

Although two-thirds of those candidates were complete unknowns, four of Pratt’s rivals ran serious campaigns, amassing endorsements and spending significant amounts of money.

State of play

— TRUMP VS. LAHSA: The Trump Administration moved Thursday to block the embattled Los Angeles Homeless Services Authority from receiving federal funds, saying the agency was badly managed and engaged in fraud. Elected officials across the city denounced the move, while nonprofit groups also voiced alarm. “This is intended to create chaos,” said Jerry Jones, the head of the Greater LA Coalition on Homelessness, which represents groups that serve the region’s unhoused.

— PAYOUT PROBE: Dist. Atty. Nathan Hochman said Wednesday that he believes four out of every five claims in the largest sex abuse settlement in U.S. history — one that resulted in a $4 billion payout by Los Angeles County— may be fake. Hochman has asked a judge to pause the sex abuse payments while he continues his criminal investigation into the plaintiffs, lawyers and therapists involved in filing the claims.

— GET READY TO RUMBLE: The showdown between Bass and Raman is going to get ugly, political experts said this week, in part because they agree on a number of big-picture political issues. Both will need to court at least some of the disaffected voters who picked Pratt in the primary.

— A SCATHING SENDOFF: As we mentioned higher up, Pratt released a video Friday that was both an acknowledgment of his primary election defeat and a vitriolic screed against Bass and Raman, his former rivals. Pratt called them “morons,” “commie animals” and “corrupt communists,” and made clear he intends to ramp up his attacks in the coming months. “I don’t have campaign laws hamstringing me now. It’s war,” he said.

— WOOING LATINOS: Bass carried far more Latino-majority neighborhoods than her rivals in last week’s primary, a Times analysis found. She carried 35 Latino-majority neighborhoods, including Boyle Heights, Pacoima and Historic South-Central. That was a 46% increase from 2022, when she won 24 Latino-majority neighborhoods in her primary against Rick Caruso and Kevin de León, the analysis found.

— EKING OUT A WIN: The countywide sales tax hike known as Measure ER prevailed this week, with late-arriving ballots pushing the number of ‘yes’ votes just above 50%. “It’s a lifesaver to carry us through the storm we’re all in,” said County Supervisor Holly Mitchell, who led the push among her colleagues to get the measure on the ballot.

— AN EXPENSIVE FEE-FA: Bass was set to attend the U.S. opening game of the World Cup Friday at SoFi Stadium in Inglewood after being invited by FIFA, her office said. Still, Bass wasn’t exempt from the high ticket prices she criticized earlier this year. She paid $2,735 out of pocket for her ticket, a spokesperson said. On a related note, the mayor announced more than 100 “Kick it in the Park” events where Angelenos can watch World Cup games for free.

— MORE OF THE SAME: In a break with recent history, every council member who ran for reelection this year won their race. “People see what we’re doing, and they want us to keep fighting for them,” said Councilmember Tim McOsker, who won nearly three out of every four votes in his San Pedro-to-Watts district.

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to address homelessness went to the area around 54th Street and Western Avenue, in the South L.A. district represented by Harris-Dawson.
• On the docket next week: The City Council meets Wednesday to take up a sprawling package of charter reform proposals, including a move to ranked-choice voting and a larger number of council members. Will the council send those ideas to voters or punt them for another two years? Stay tuned!

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.

First Assistant U.S. Atty. Bill Essayli — President Trump’s loyalist federal prosecutor in Los Angeles — has not been shy in recent days about his intention to ferret out voter fraud in California’s primary election and criminally charge those responsible.

He has announced that his office “has multiple election fraud investigations underway” in coordination with the FBI, urged Californians on social media to submit evidence of “potential election fraud” directly to his office, and said flatly he “will be charging some people” with election fraud — just as soon as California certifies its vote count and his office “can prove some of the allegations.”

Essayli’s public callouts and promises are highly unusual and in direct conflict with Justice Department guidance on ballot fraud investigations at the federal level, which states federal prosecutors should not publicly pursue such claims amid of vote counting.

The Justice Manual — which regulates the actions of federal prosecutors nationwide — says the department “should not engage in overt criminal investigative measures in matters involving alleged ballot fraud until the election in question has been concluded, its results certified, and all recounts and election contests concluded,” in part because doing so “runs the risk of chilling legitimate voting and campaign activities and of interjecting the investigation itself into ongoing campaigns and the adjudication of any ensuing election contest.”

Ciaran McEvoy, a spokesman for Essayli’s office, said neither Essayli nor the office had any comment.

Essayli has repeatedly acknowledged in other interviews that he has no evidence of widespread fraud that could sway the results of races, and he even shot down one prominent online conspiracy that falsely alleged Democratic cheating in the Los Angeles mayoral race.

But he has also pointed to more isolated instances of fraud as potentially indicative of bigger problems. He added that there’s no proof such rampant fraud isn’t occurring, partly because of resistance from California to a federal audit of its voter rolls.

Essayli’s remarks are part of a much wider battle to frame fraud in California as pivotal or not, in which Republicans cite individual instances of alleged fraud as evidence of some grand scheme by Democrats to steal the election from them, and Democrats — along with many elections experts — say there is no evidence that isolated crimes reflect fraud on a scale large enough to impact election outcomes.

His remarks have added fuel to baseless claims from Trump and other influential conservative voices that California’s elections have been poorly compromised by coordinated Democratic “cheating.” They have made Essayli one of the most prominent Trump administration figures in the nationwide debate around election integrity — which election experts expect to intensify ahead of November’s midterms.

A public campaign

Essayli has made his case in recent days on various alternative and right-wing news programs and podcasts, arguing that California’s slow process for counting votes had undermined public trust and needs to be audited.

On One America News Network, Essayli said his office has been “sounding the alarm on California’s election system” because it’s ripe for fraud.

“We believe that it has major vulnerabilities. We believe California does not have sufficient safeguards to make sure only eligible U.S. citizens are voting in elections in California, and that is why we’ve been demanding an audit of the California voter rolls,” he said.

On NewsNation with Chris Cuomo, Essayli said he doesn’t “care what the outcome of the election is,” but wants voters “to have confidence in the systems, and that the laws are being followed.”

“I guarantee you, when we do bring cases, we will have plenty of evidence to prove beyond a reasonable doubt, in a court of law — that is how we work,” he said.

On the podcast of conservative commentator Glenn Beck, Essayli said he was “prohibited from discussing ongoing investigations,” but that “election fraud is not a theory” but “a real thing” — noting his office recently secured a guilty plea from a woman who paid homeless people to register to vote.

He said California is “a fraudster’s paradise,” accused the state Legislature of “going out of their way to make it as easy as possible for people to commit fraud,” and repeated oft-cited complaints about California’s voter ID policies being lax, its universal mail ballot policies sending ballots to the wrong places, its ballot collection policies allowing “harvesting” and its voter rolls being “dirty,” or filled with ineligible voters.

Essayli said all of that makes his job “incredibly difficult,” because “California has removed the paper trail, they’ve removed the chain of custody, they’ve removed any meaningful way for us to basically have a forensic audit of where a ballot came from,” but that he will nonetheless be bringing election fraud charges in the next “one to two months.”

State and local elections officials in California have defended the state’s policies as facilitating voting by as many eligible voters as possible, which they say is more important than a quick count. They’ve said there are robust procedures in place to ensure ballots are cast fairly and counted accurately, and to identify any problems and audit the results.

Elections experts say instances of fraud do exist, both in California and everywhere else in the country, but that robust efforts in past years to investigate and identify widespread fraud that could sway an election — including by Trump and his lawyers but also outside organizations — have always failed.

Essayli’s efforts have drawn sharp criticism from elections experts, leading Democrats and former prosecutors in the office.

Justin Levitt, a Loyola Law School professor who studies elections and was a senior policy adviser on democracy and voting rights in the Biden White House, said what Essayli is doing — throwing out unspecified claims of fraud amid an ongoing election and before he has built a case — is “absolutely nuts” and “not a thing that real prosecutors do.”

Before the current administration, the “mantra” of federal prosecutors, he said, was that “you only hold a press conference about a not-yet-concluded investigation when the public is already aware of a large crime,” such as a mass shooting. “Absent that, you wait for the facts to come in, and you see whether there has been a legal violation, and then and only then do you issue a press release — usually hand in hand with an indictment or a conviction.”

In an election, Levitt said the standard is even higher, and “the ethos of a federal prosecutor should be to never become the story, and to never make the prosecutorial job itself an impact in the election you are investigating.”

In an MS NOW interview, Sen. Adam Schiff (D-Calif.), a former federal prosecutor in the L.A. office, blasted Essayli as wildly searching for fraud to please Trump — despite it and other efforts to please Trump, including on immigration, causing an exodus of experienced career prosecutors from the office.

Schiff said Essayli was “basically making a plea to the public: ‘Please send me evidence. I’m asserting there’s fraud. We don’t have evidence of it, but please send me something. I need to make the boss happy.’”

Another former prosecutor in the office, who requested anonymity to avoid retaliation, said Essayli is pursuing alleged election fraud cases as hard as he is only because “Trump told him to,” and he’s “constantly auditioning for a bigger D.C. job in case he gets kicked out of his current one.”

Essayli is not the U.S. attorney for Los Angeles — only the “first assistant” — because he has been unable to win confirmation from the U.S. Senate and has only remained in charge through a legal loophole.

Investigations in the works

It’s unclear what specific issues or incidents Essayli’s office is investigating.

Essayli has said his investigations so far lean toward individuals rather than networks, and he told the California Post that he would be investigating a report that thousands of people were registered to vote at homeless shelters with far fewer beds.

His office also looked into false claims that an election night ballot update in Los Angeles County include no votes for Spencer Pratt, the Republican candidate. He said his office “reviewed official county records” and determined the claim was false.

“My office will continue monitoring the election counting process and will follow the evidence wherever it leads,” he said.

One person involved in investigating the latter case was Assistant U.S. Atty. Robert Renner, who joined the office in March after previously serving as deputy general counsel for the Center for Individual Rights, a nonprofit Washington, D.C., law firm where he worked on lawsuits focused on conservative free-speech issues, according to his LinkedIn page.

A worker carries ballots at the Los Angeles County Ballot Processing Center.

(Eric Thayer / Los Angeles Times)

Renner, who referred questions to the office spokesperson, visited an L.A. County ballot processing center as part of the investigation, where he questioned election officials about the ballot update, according to a law enforcement source with knowledge of the situation who spoke on the condition of anonymity for fear of retaliation.

Election officials have said their numbers were always correct and that the discrepancy was based on a one-minute lag in vote updates for Pratt by The Associated Press, which also confirmed the lag.

Renner also grilled election officials about whether or not post office officials had backdated postmarks on mail ballots sent after election day so they could still be counted, the source said.

Essayli’s elevation to the top prosecutor position in L.A. was part of a broader push by the Trump administration to fill key Justice Department roles with people loyal to the president and open to his election skepticism. Earlier this year, a Times investigation detailed how disgraced ex-L.A. County prosecutor Eric Neff was named “acting chief” of the Justice Department’s voting section.

Neff led a bungled election integrity case at the L.A. County district attorney’s office that was thrown out after an internal review revealed it hinged on the word of “Stop The Steal” activists who had pushed Trump’s discredited theory that the 2020 presidential election was “rigged.”

It was one of two election integrity cases Neff tried in his entire career before being elevated to the voting chief post by Asst. Atty. Gen. Harmeet Dhillon, another proud Trump loyalist from California.

Michael Sanchez, a spokesperson for Dean Logan, head of the Los Angeles County Registrar-Recorder/County Clerk, said the office has not received any formal document requests or investigation notices from Essayli’s office, only “routine questions about operations.”

What will come of Essayli’s investigations is also unclear. He will have to prove whatever allegations he makes in court — which he has repeatedly appeared to begrudge in recent interviews.

“Instead of putting the burden on the system to reassure the people [that] only legal citizens are voting, one person one vote is the law of the land, and the burden on the system to assure us that there’s integrity and we can believe in it,” he complained to Beck, “they’ve flipped it and now it’s on us to prove every allegation of fraud.”

More than any other artist in the 20th century, David Hockney defined Los Angeles in the public imagination. When he first arrived in January 1964, age 26, his mental image of the city had been forged not by art but by Hollywood movies, which he had watched as a young boy in Yorkshire, England. In later life, he often recollected the sharp-edged shadows cast by the Californian sunlight in movies such as Laurel and Hardy’s “Big Business.

Before he ever went to L.A., Hockney — who died Thursday at 88 — knew that he would love it. Writing about his first descent into the city, he recalled how “as I flew over San Bernardino and looked down — and saw the swimming pools and the houses and everything and the sun, I was more thrilled than I’ve ever been arriving at any other city, including New York.” By this time, the glamour of Hollywood had been compounded by other influences, including the homoerotic magazines that an American friend had given him at the Royal College of Art in London. Titles such as Physique Pictorial, published in L.A. by the pioneering “beefcake” photographer Bob Mizer, held out a promise of California as a paradise of rippling men and permanent sunshine. A darker, no less thrilling image of the city had arisen from Hockney’s reading of “City of Night,” the 1963 novel by John Rechy that tells the story of a hustler in the gay underworld of downtown L.A.

Los Angeles itself felt young to Hockney. He loved the light, the architecture, the sense of space and the sense of possibility — not least the possibility of greater sexual freedom. West Hollywood boasted a large gay bar, the Red Raven on Melrose Avenue, that was unlike anything he had found in London or New York. There was also the lure of the beach, with its pageant of sculpted physiques. Venice Beach struck him as a more body-beautiful version of London’s Portobello Road.

Before long, his work shifted from generic fantasies of the city (a young man showering in Beverly Hills, for instance) to vivid portrayals of its real-life pools, palm trees, architecture and people. American artists such as Edward Ruscha and Edward Kienholz were producing their own canonical images of L.A. in these years, but for Hockney, there were no artistic precedents — “no ghosts,” as he later put it — to live up to. “People then didn’t even know what it looked like,” he once said. “And when I was there, they were still finishing up some of the big freeways.… I suddenly thought: ‘My God, this place needs its Piranesi, Los Angeles could have a Piranesi, so here I am!’ ”

He was true to his word, even if his luminous, serene images of the city were a far cry from Giovanni Battista Piranesi’s feverish visions of Baroque Rome. “Beverly Hills Housewife” (1966), a portrait of a pink-dressed collector in her modernist home, marked the onset of a realist style that would define Hockney’s work for the next decade. This era gave rise to paintings that became icons of their time and place. Among them were “A Bigger Splash” (1967), which was based on a magazine cover that he came across on a newsstand, and “Christopher Isherwood and Don Bachardy” (1968, sold last year at Christie’s New York for $44.3 million). Inspired by Hans Holbein, this portrait of the English novelist and his artist partner was one of the first celebratory portrayals of a gay couple. Hockney would later recount how Isherwood proclaimed: “Oh David, we’ve so much in common; we love California, we love American boys, and we’re both from the north of England.” Hockney’s beloved American boy at this time was Peter Schlesinger, a young artist he had met while teaching at UCLA in the summer 1966 — and a recurring presence in the early L.A. pictures.

According to Norman Rosenthal, who curated a major survey of Hockney’s art at the Fondation Louis Vuitton in Paris last year: “It is astonishing that a boy from a poor family in Bradford became the person — partly because of his gayness, but also his talent — who defined what everybody now thinks of as California. L.A. had no real image in the world before then, unlike New York.”

Despite his enchantment with Los Angeles, Hockney didn’t settle there until 1978, after a decade of bouncing between America and Europe. In the summer of 1979 he moved into a house in the Hollywood Hills, and soon adorned its pool with swishing strokes of blue paint. In the early 1980s, he converted the paddle tennis court into a studio. The meandering routes and Mediterranean scenery of the Hills were a fresh source of amazement, giving rise to monumental depictions of Mulholland Drive and Nichols Canyon in a newly abstract style.

By this time, the city was deeply familiar — a second home — and he had a close circle of friends around him who included the patron Betty Freeman (subject of “Beverly Hills Housewife”), the designer Gregory Evans, the gallery owner Nicholas Wilder and the film producer Joe Simon. “L.A. had represented a whole new world for him,” says Simon, who remained in regular contact with the artist until his final days. “He just loved the light. He was like a kid in a candy store when he first came. But David was all about the work. Everything came back to that.”

In recent decades, Hockney’s name had become synonymous with the landscapes of his native Yorkshire, which he began painting prolifically in the early 2000s. But Los Angeles never lost its newness and promise. His house in the Hills remained a sanctuary until his final years, when he was too frail to travel. L.A. was where he had come of age, and it remained an indelible part of his life and psyche — not least in terms of its egalitarian spirit and its tendency toward the horizontal. “The great thing about Hockney was that he spoke to everybody,” says Rosenthal. “Few artists of his world and his generation could do that.”

James Cahill, a novelist and an art critic, is the author of, among other books, “David Hockney” and the forthcoming “The Beverly Hills Housewife: Hockney’s Californian Muse and the World Beyond the Pool.”

WASHINGTON — A year after the Trump administration kicked off its aggressive immigration enforcement tour with military-style raids across greater Los Angeles, federal officials have veered toward a less flashy but broader strategy: making immigrants’ lives harder so they will leave.

The changes range in scale and scope, from disqualifying immigrants from certain jobs to indefinitely pausing the processing of visa applications. They target those lawfully present as well as the undocumented.

Since President Trump’s second term began, the administration has used executive orders and federal regulations to chip away at services or benefits, such as work permits and small business loans, that immigrants could obtain in the past.

Now, immigrants are finding that freedoms — the ones that once made the U.S. a desirable place to start over — are disappearing. Many are retreating back into the shadows as they fear previously routine tasks, such as traveling across states, filing taxes and seeking medical care.

“The priority is to force people to leave the country or not come, regardless of legal status or really any other criteria,” said David Bier, immigration studies director at the Libertarian think tank the Cato Institute. “They’re taking a sledgehammer to the system.”

Trump won the White House in part on his promise to clamp down on illegal immigration, but recent polling shows support for his agenda has waned, especially after immigration agents shot and killed two U.S. citizens in Minneapolis.

In a statement, White House spokesperson Abigail Jackson said Trump’s highest priority has always been the deportation of immigrants with criminal records. The Department of Homeland Security said Trump also prioritizes immigration that strengthens the country financially, socially and culturally.

President Trump displays the signed “Secure America Act” during a ceremony in the Oval Office on Wednesday. The act provides $70 billion for immigration enforcement and border-security agencies.

(Aaron Schwartz / CNP, Bloomberg)

The number of arrests by ICE agents has declined. On average, ICE arrested about 1,000 immigrants per day in early March, down from a peak average of just under 1,400 in mid-January, agency data show. And there are fewer detained immigrants — facilities across the country held about 60,000 detainees in April, compared to more than 70,000 in late January.

The downturns prompted some Trump loyalists to say the administration is failing to fulfill his signature promise, which is an assertion the administration rejects.

“ICE is NOT slowing down,” said Homeland Security spokesperson Lauren Bis. “Since Day One, DHS law enforcement has been delivering on President Trump’s promise to the American people to arrest and deport criminal illegal aliens.”

At a border security conference last month, Tom Homan, who leads border policy for the White House, suggested immigration agents would return to more muscular enforcement tactics.

“You ain’t seen s— yet,” he told the audience.

But along with focusing on deportations, the administration is deploying other tactics to deter illegal — and legal —immigration.

ICE agents confront protesters on June 8 as they gather outside the federal immigration center at Delaney Hall in Newark, New Jersey, where ICE is housing detained immigrants.

(Spencer Platt / Getty Images)

Curtailing visas

Last month, the Department of Homeland Security announced that “except in extraordinary circumstances,” immigrants seeking lawful permanent residency must leave the U.S. to complete the process. After a backlash, the administration defended the policy, saying it won’t prevent anyone who qualifies for a green card from getting one.

U.S. Citizenship and Immigration Services, the agency in charge of processing immigration benefits, has upped security screening since Trump took office. The agency says that’s to root out fraud, but critics say all it does is unnecessarily slow down a system that already vets applicants vigorously.

The administration indefinitely banned people from 75 countries from receiving immigrant visas, which allow people to move permanently to the U.S.

In a similar move, the government halted the processing of immigration applications for people from 39 countries and who are already in the U.S. On June 5, a federal judge struck down the policy in a scathing ruling that said the administration “justifies its actions with pretextual concerns of ‘national security’ that mask anti-immigrant sentiments.”

Children of Guatemalan origin, from left, Areimy, Mariela and Enrique, arrive at Miami International Airport on Dec. 4, 2025, as they prepare to leave the United States to reunite with their recently deported parents in Guatemala.

(Chandan Khanna / AFP via Getty Images)

The judge’s ruling may offer relief, but for many immigrants, the effects of the policy are devastating. Armin, a 42-year-old from Iran, said he has racked up more than $15,000 in debt since the pause took effect in December. Armin asked The Times not to fully identify for fear of jeopardizing his immigration case.

The nutritional scientist came to the U.S. in 2019 on a student visa and has a pending green card application under a provision that allows certain highly skilled immigrants to apply for permanent residency without needing an employer to sponsor them.

After receiving his PhD and completing a postdoctoral program, Armin was in between jobs when he received a research grant in November. But with the processing of his work authorization halted, the university that issued the grant said it couldn’t hire him as a research associate. In February, he was turned down for another job.

Armin said he is confused about why the administration won’t differentiate between legal immigrants and those who should be deported.

“I can’t believe it,” he said. “I’m doing research and my research has national interest benefits. You expect support from the government. Unfortunately they don’t differentiate. They don’t care about your resume.”

Bier said the visa policies affect half of all legal immigrants coming from abroad. He published a report in April about how Trump has cut legal immigration far more than illegal immigration, noting that the administration’s policies have led to big drops in visas for international students, high-skilled workers and refugees.

“The legal immigration system is being used as a means to carry out the mass deportation agenda,” he said.

Alessandro Negrete, who lived most of his life in the U.S. undocumented, crosses into Mexico after deciding to leave.

(Robert Gauthier / Los Angeles Times)

Encouraging self-deportation

More than 90,000 immigrants have been granted voluntary departure since the start of the Trump administration, according to federal immigration court data through April that was analyzed by TRAC, a data research organization. Voluntary departure avoids official deportation and can leave open the possibility of an immigrant returning to the U.S. legally.

Homan, who declined to be interviewed for this story, has said self-deportations were part of the administration’s immigration plan all along.

“We knew if we surged unlimited ICE resources in the interior, and we do these operations, that that will force those that are here illegally to leave on their own,” he recently told the Washington Examiner.

Halting work permits

In the past, asylum seekers and others with deportation protections have had the ability to seek permits to work legally in the U.S. But work is now an administration target.

One proposed regulation would prevent asylum seekers from working legally in the U.S. Another proposal, published Friday, would further restrict access to work permits for other immigrants.

Under a rule that took effect last month, asylum seekers pay an annual $102 fee within 30 days of receiving a notice from U.S. Citizenship and Immigration Services. If the deadline is missed, their applications will be rejected — with no opportunity to appeal — and they could be placed in deportation proceedings. Those who apply for asylum with the agency have entered the U.S. legally, such as on a visa, and are not undocumented.

Asylum seekers rest at a Tijuana migrant shelter a day after President Trump began his second term in the White House.

(Robert Gauthier/Los Angeles Times)

Conchita Cruz, co-executive director of the Asylum Seeker Advocacy Project, said many asylum applicants have not received notice that the fee is due.

Cruz said she believes the Trump administration is using these changes as an excuse to dismiss people’s asylum claims. While the president has the power to decide whether to offer or rescind humanitarian programs, such as Temporary Protected Status, the right to seek asylum is enshrined in law.

“We’re worried this is a pretext for people to fall out of the asylum system and fall out of the workforce,” she said.

The processing of work permits has already been slowed, leaving many immigrants who still qualify for employment authorization unable to work.

During a House Homeland Security Committee hearing last week, Rep. Lou Correa (D-Santa Ana) asked Homeland Security Secretary Markwayne Mullin to help him speed up the work permit renewals for two police officers who were recently fired by agencies in his district because their DACA status expired.

Mullin said he would help but that Congress ultimately must pass a permanent solution for DACA recipients.

“These are police officers on Main Street, sir,” Correa responded.

“Not all of them are,” Mullin said. “I’m not just going to wave a magic wand and fix them all.”

“You have that magic wand — that’s your job,” Correa said.

It wasn’t just Democrats complaining about slow processing. Rep. Gabe Evans (R-Colo.) similarly asked Mullin for help because many of his constituents — “farm workers, youth ministers, nurses, grocery store business managers” — who have lived and worked in the U.S. legally for decades are now having trouble renewing their visas.

Secretary of Homeland Security Markwayne Mullin, left, and President Trump, center, walk to the motorcade after exiting Air Force One at Joint Base Andrews, Maryland, on May 20.

(Kent Nishimura / AFP via Getty Images)

Calls for mass deportations

Mullin, who took the reins in March after Trump fired his predecessor, Kristi Noem, rolled back some of Noem’s policies, including telling agents to stop entering homes without judicial warrants and canceling some contracts she had initiated.

But the changes and the downturn in arrests have drawn criticism from some fervent Trump supporters.

“Trump’s legacy is tied up in this,” said Mike Howell, a former DHS attorney who founded a group called the Mass Deportation Coalition. “It’s going to be hard to tell a younger voter to get excited to show up when one of their top issues is mass deportation and, a year and a half in, it doesn’t appear it’s going full-steam ahead.”

Howell said enforcement at work sites is critical to scaling up arrests and deportations. That more such operations haven’t happened, he said, is a political decision to appease wealthy donors and special interest groups who don’t want to see their workers deported.

The architect of Trump’s immigration agenda is Stephen Miller, a top White House aid who has called for a “moratorium on immigration from third-world countries,” demanded 3,000 arrests per day and said that immigrants and their descendants “recreate the conditions, and the terrors, of their broken homelands.”

Royce Bernstein Murray, a former Homeland Security official who worked on immigration policy under the Biden administration, said the winding down of flashy enforcement surges has given the administration more time to “focus on tearing down the legal immigration system.”

“This is Stephen Miller’s sweet spot,” she said. “He was never in enforcement — he’s a policy guy. This is really an opportunity for him to make good on all he has planned for years.”

While ICE has, in recent months, returned to its more conventional targeted enforcement tactics, Homan has sought to make clear that mass deportations are still a goal.

“For the people out there saying ‘President Trump’s getting weak on mass deportation,’ you don’t know what the hell you’re talking about,” Homan said at the border expo.

On Monday, Homan told Fox News that he had just reviewed plans for an ICE operation that would surge agents to New York City.