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It was a television show tailor-made for Los Angeles: a highly anticipated Netflix crime drama about a team of ex-special forces operators who outsource their skills to criminals in the city.

The production was backed by a prominent indie studio and had a critically acclaimed lead actor attached. And with a budget of more than $100 million and a crew of 350, the series seemed like a shoo-in for California’s film tax and TV credit.

But last month, shortly before filming was set to begin, producers were stunned to learn the film didn’t make the cut based on a formula the state uses to rank projects by the number of jobs they produce and their spending levels. After two applications for a tax credit had been rejected, they opted to shoot the series in New Jersey, where it was much easier to qualify for film incentives.

“We were shocked,” said a producer on the project who declined to be identified because of the sensitivity of the matter. “This is the birthplace of entertainment. It shouldn’t be so hard to shoot here.”

Despite improvements to the state’s tax incentive program, Los Angeles and California continue to struggle to keep movies, television series and even game shows from fleeing elsewhere. Production levels have failed to bounce back since the pandemic and the labor strikes by writers and actors, and they remain at historic lows.

Film activity in the L.A. region plummeted in the second quarter of this year, with shoot days for feature films and TV productions falling 20% and 30%, respectively, compared with already anemic levels from a year ago, according to FilmLA.

The fallout has been devastating for local film crews and businesses. L.A.’s signature industry has shed some 57,000 jobs in the past four years, while more than 80 film and television production services businesses have closed since 2022. The production crisis has even become a political flashpoint alongside affordability, crime and homelessness in the race for mayor and governor.

The story of how L.A. steadily lost much of its homegrown industry to other locales is a tale of hubris, escalating costs, political inaction and fierce competition from states and countries hungry for a piece of the Hollywood pie. California eventually adopted a very limited film tax credit plan in 2009, but even then production had already gone elsewhere.

Filmmaker Jonathan Nolan, on the set of “Fallout,” has been at the forefront of efforts to keep Hollywood at the center of the entertainment industry.

(Lorenzo Sisti / Prime Video)

This account is based on interviews with more than a dozen producers, studio executives, lawmakers and film industry veterans.

Despite warning signs that runaway production was causing an exodus of talent and jobs, many took for granted that L.A. would remain the epicenter of film and television.

Film activity in Los Angeles has plummeted to historic lows, with devastating consequences for crews and vendors. This series examines how L.A. lost its dominant perch as a film and TV destination and what can be done to bring Hollywood back home.

“I’ve been around long enough … to realize that things kind of die slowly and then they die quickly,” said Jonathan Nolan, a writer, director and producer, whose credits include the HBO series “Westworld” and “Fallout” on Amazon.

Nolan, who championed efforts to get the state to expand its tax incentives, lamented that L.A. once “stood in for everywhere. Now L.A. doesn’t even stand in for itself.”

‘The X-Files’ and the birth of Hollywood North

Like the fall of Rome and the decline of Detroit, Hollywood’s spiral did not happen in a single day, but rather unfolded over decades.

Before World War II, Los Angeles’ production hegemony was uncontested. An abundance of sunny weather and a range of landscapes, along with highly skilled artisans, from set designers to scenic painters, re-created the entire world on Hollywood soundstages and backlots.

That began to change during the late 1940s and early 1950s when studios broke with tradition and filmed abroad, attracted by Europe’s cheap labor and the desire among directors for more realism in movies.

William Wyler’s 1953 classic “Roman Holiday,” starring Audrey Hepburn and Gregory Peck, was one of the first, shot entirely overseas on the streets of the Italian capital and at Cinecittà studios.

Still, as productions went on location, often for creative reasons, Hollywood remained the center of entertainment gravity.

“Roman Holiday,” starring Audrey Hepburn and Gregory Peck, was one of the first big American studio films to be shot entirely overseas.

(Paramount Pictures)

In 1993, when there were four broadcast networks, cable TV relied on set-top boxes and streamers were, well, party decorations, a relatively unknown television writer named Chris Carter began pre-production on a new supernatural drama series that he had created.

For the pilot’s opening scenes, he needed a forest, one that was dark and moody. There, a terrified teenage girl would be filmed fleeing before she was consumed by a blinding flash of light and then found dead, bearing unexplained marks on her body.

“It became clear that not only were there not great forests in the ‘zone,’” said Carter, referring to the 30-mile-zone (TMZ) around L.A. that producers try to shoot within to avoid mandatory union surcharges. “But there were better forests in Vancouver.”

As it happened, during the 14-day shoot, Carter, who was working with a tight budget, discovered that Vancouver supplied numerous benefits.

The grim weather naturally provided a spooky atmospheric backdrop while the city “beautifully doubled for almost any place in the U.S. without having to pretend too much,” he said.

Carter’s pilot became “The X-Files,” the wildly popular and groundbreaking 1990s TV series that ran for nine seasons (plus two revival seasons), redefined the science fiction genre and spawned two feature films.

The success of “The X-Files” propelled Vancouver’s reputation as “Hollywood North.”

(Associated Press)

“As David Duchovny said, ‘two weeks became five years,’” quipped Carter.

While other productions such as “Wiseguy” had filmed in British Columbia years earlier, “The X-Files” unintentionally cemented Vancouver’s reputation as “Hollywood North,” fueled by Canada’s favorable exchange rates, skilled crews, lower labor costs and, eventually, tax credits.

The show’s colossal success helped create the model still in play 33 years later for outsourcing movie and television production to regions where tax incentives are higher and production costs are lower.

“It was simply a choice I made for the location, not for the financial benefit,” said Carter. “It wasn’t part of my calculus, but it ended up being a fact of life.”

Throughout the 1990s a steady stream of TV shows and movies shot in Canada. The 1994 adaptation of “Little Women” starring Winona Ryder was largely filmed in Vancouver, with a stand-in for Orchard House, Louisa May Alcott’s home in Concord, Mass., built in a local forest.

But, at the time, few saw what was happening as an existential crisis in the making.

For one thing, L.A. was in the midst of a production boom, prompting the development of the $77-million Manhattan Beach Studios, a 22-acre production facility in 1996. (The studio is now fielding offers by its bank lenders after its owner, the real estate investment firm Hackman Capital Partners, defaulted on over $2 billion in mortgages on several studio facilities it had acquired in recent years.)

Losing the ‘golden goose’

Canada’s booming film business inspired other U.S. states to get in on the action. Louisiana became the first to pass a film tax incentive, enhancing it in 2002; New Mexico and Georgia followed with their own programs.

Helping to fuel the film tax credit frenzy was none other than the Motion Picture Assn. The Washington, D.C.-based advocacy group for the major film studios and streamers for years aggressively lobbied lawmakers and even governors in other states to adopt their own film programs.

Eventually, nearly 40 states and some 80 countries and territories were offering film incentives in the form of transferable tax credits, grants or rebates.

“Everybody thought, ‘We are Hollywood. Why do we have to do anything?,’” said Lori Balton, a top location manager, whose list of credits spans nearly 40 years and includes such films as “Heat” and “Once Upon a Time in … Hollywood.”

“They always thought that they had the golden goose. And it was going to keep laying eggs and instead, it packed up its bags and moved.”

Earlier this year, while speaking at Burbank City Hall chambers, Sen. Adam Schiff (D-Calif.) dropped some sobering data: 45% of all U.S. films and scripted television shows were shot abroad in 2025, up from 33% in 2022.

Like most filmmakers, Miles Millar would prefer to work in Los Angeles, where he lives, but he hasn’t done so for 25 years, since he was a co-producer and writer on the CBS action series “Martial Law.”

“It is not financially viable to shoot the kinds of shows we do here,” said Millar, whose work includes “Smallville” and “Beetlejuice Beetlejuice.”

It was too expensive to film in Los Angeles, so the Netflix hit “Wednesday” shot its first season in Romania before relocating the show to Ireland.

(Netflix)

When Millar and his “Wednesday” co-creator and co-showrunner Alfred Gough began pre-production on the first season of the Netflix hit series about five years ago, L.A. as a location wasn’t even discussed.

They settled on Romania. Tim Burton, “Wednesday’s” executive producer and primary director, “loved the idea,” said Millar, noting that the director was predisposed to its gloomy and gothic wonders, having once visited Dracula’s castle in a Transylvanian mountain village with rocker Alice Cooper.

“We built the whole town of Jericho and six standing sets at a huge scale. There was no way you could even begin to construct the level and scale of sets that we did, in L.A.,” he said. “We’re talking about the difference of tens of millions of dollars.”

Still, the former Eastern Bloc country had its challenges. The crew didn’t speak English and its promised tax rebates never materialized.

When “Wednesday” was picked up for a second season (it is now filming its third), the show moved to Ireland, where it received more than $23 million in tax credits last year, according to the country’s Tax and Customs office.

“The last thing I want to do is shoot thousands of miles away from my family for nine months, year after year,” Millar said. But it has come down to “where do we get the most bang for the buck?”

Outsourcing scores and VFX

Other critical components of filmmaking, including visual effects and musical scoring, have also been outsourced over several years.

L.A. was once home to 18 film scoring stages that could accommodate full symphony orchestras. Today only three remain, driven away partly by high labor costs and cheaper overseas competition.

Similarly, many visual effects studios have moved elsewhere. Vancouver alone has dozens of visual effects studios, including Sony Pictures Imageworks and a major branch of Industrial Light & Magic.

“We’ve allowed that piece of the market to leave,” said Marielle Abaunza, president of the California Post Alliance, an advocacy group backing a state bill offering post-production firms their own tax breaks, similar to what New York offers.

“For 16 years, places like New York have slowly been building up their talent, their facilities, their relationships with filmmakers and their relationships with studios,” Abaunza said.

Even as other states and foreign governments invested in their own film industries and began luring away productions from California, lawmakers in Sacramento were initially skeptical of giving tax breaks to producers. Some critics saw them as little more than a handout that diverted resources from more pressing needs such as healthcare and education.

“If you’re on the outside looking in, there is this false sense that everyone who works in Hollywood has to be rich whether you’re crew or not,” said Amy Baer, a producer and former Sony executive who now runs Artists Equity, Ben Affleck and Matt Damon’s production company.

As production losses mounted in L.A., a coalition of labor and industry groups lobbied then governor and actor Arnold Schwarzenegger to take action.

Schwarzenegger, a longtime champion of tax credits, was able to get a program passed as part of an economic stimulus provision of the state’s 2009 budget. It was dubbed “The Ugly Betty” bill, named after the ABC show that had relocated from L.A. to New York.

Though hailed as a significant step, the new film sweeteners had some key limitations. The pool of money was small — capped at $100 million annually over five years. And it couldn’t be applied to offset the cost of actors’ salaries, a key driver of budgets.

In reality, the program was too small and restrictive to compete with a growing crop of rivals that had larger tax breaks and fewer restrictions.

Chief among them was the United Kingdom, which soon began to attract a number of big-budget movies thanks to a hugely popular 25% cash rebate on production expenses, including money spent on actors’ salaries and other above-the-line costs.

In a paradigm-shifting move, Warner Bros. purchased Leavesden Studios outside of London in 2010, investing more than $160 million into the facility. Much of the blockbusters “Wonder Woman” and “Barbie” were filmed there.

Although the California program was tripled to $330 million annually starting in 2014, it did little to halt the continued exodus of film work. Marvel Studios began moving its production operations to Georgia, enticed by the state’s uncapped tax credits that could be used for actors’ salaries. Both “Black Panther” and “Avengers: Infinity War” were filmed largely at Trilith Studios in Fayetteville, Ga. Another historic town east of Atlanta attracted so many movies and TV shows it became known as “Hollywood of the South.” (Last year, Marvel shifted most of its operations to the U.K. in search of even bigger cost savings.)

Marvel Studios, which filmed blockbusters such as “Black Panther” in Georgia, has since shifted operations to the U.K.

(Film Frame / Marvel Studios)

While numerous studio facilities lay empty here, streamers and studios have built major production hubs outside of L.A. Though it still shoots dozens of productions in L.A., Netflix has spent billions to operate production hubs abroad while constructing massive facilities in places like New Jersey and New Mexico.

“Everyone kept saying, if we have more tax credits, then at least we’ll be able to bring production back,” said Monica Levinson, a veteran producer who has worked on FX’s “Love Story” and the movie “Zoolander.” “Well, that didn’t happen. And the crews got better and better out of the country.”

Rising costs

As the rest of the world courted Hollywood, L.A. did little to help itself.

Despite recent improvements to streamline and reduce costs, the city’s film approval system remains a maze of multi-layered permitting, fees and complex logistics, location managers say. The Greater L.A. area has more than 100 jurisdictions, many of which have their own rules, regulations and permitting fees for filming.

Filming in L.A. also has become more expensive compared with other film hubs due in part to higher labor costs and mandatory staffing requirements, such as paid on-set fire safety monitors, and traffic and parking controls.

What’s more, unlike New York, the city doesn’t have its own film commissioner who could advocate for the industry.

An L.A. commissioner would be “somebody that is beating the drum 365 days a year that is not aligned with a special interest other than creating more production in California, which makes our state and our people prosperous,” said Scott Budnick, a producer on the wildly successful “The Hangover” franchise who lobbied for the state’s enhanced film tax credits.

For a time, the loss of market share was masked by a surge in local TV shoots as studios spent heavily to supply content to their new streaming platforms.

But the pandemic and back-to-back strikes by actors and writers roiled the industry. Studios laid off thousands, cut back on films slates and slashed TV spending and it never rebounded. Film incentives became even more critical for those deciding where to shoot.

By the time Gov. Gavin Newsom announced a plan in October 2024 to more than double funding for the film and TV tax credit program, to $750 million annually (closer to New York’s annual allocation of $800 million, although it retained annual caps and doesn’t count actors’ salaries), the industry outlook was bleak.

“I think there was a tipping point between COVID and the strikes that shone a very bright light on the fact that the majority of production had fled the state,” said Baer, the producer.

There are a few bright spots, however.

The critically acclaimed HBO hit medical drama “The Pitt” is filmed almost entirely on the Warner Bros. lot in Burbank, and has injected tens of millions into the local economy while sustaining nearly 1,000 jobs. Two other Emmy-award winning series, Apple TV’s “The Studio” and HBO’s “Hacks,” which just ended, also shot locally.

At Jonathan Nolan‘s urging, Amazon agreed to relocate his post-apocalyptic series “Fallout” to Los Angeles in 2024 after filming its first season in New York, Utah and Namibia. The show received $67 million in California tax credits for its second and third seasons.

Walton Goggins plays the dual role of Cooper Howard and The Ghoul in Amazon’s post-apocalyptic series “Fallout.”

(Courtesy of Prime Video)

“We want to keep shooting here,” Nolan said. “I don’t want to pack my kids off to the back end of beyond just for the privilege of being able to continue doing what I’m doing.”

To build support for the expanded credits, Nolan last year allowed state lawmakers to visit the sets of “Fallout,” including at the Melody Ranch in Santa Clarita.

“I think they were struck by just how big an endeavor this is,” said Nolan, whose brother Christopher is director of “The Odyssey,” (The epic film was shot across Greece, Sicily and several other countries.) “These are hundreds or thousands of jobs on one production alone, hundreds of millions of dollars being put in the local economy.”

Nolan and others in the industry admit the California program is imperfect.

Mayor Karen Bass, who backed the tax credit program in 2009 when she was speaker of the California Assembly, has touted the success of the expanded incentives, saying they’ve created “thousands of good-paying union jobs … right here in Los Angeles, bringing direct investment to our community.”

Since the expanded program went into effect last July, 179 projects have generated $7.2 billion in direct production spending, bringing nearly 38,000 cast and crew jobs to the state, according to the California Film Commission.

“We remain committed to supporting the entertainment industry here and feel optimistic and energized by the response from the community to the program’s modernization and enhancements,” Colleen Bell, the commission’s executive director, said in a statement.

Bass, who is up for reelection, said she would redouble efforts to remove tax credit caps and further reduce film permitting fees “because this industry is core to the history, culture and economic power of Los Angeles.”

The question, however, is whether L.A. is still core to the film industry.

Earlier this year, writer and director Ryan Coogler, who won an Oscar for his “Sinners” screenplay, began filming the pilot for a reboot of “The X-Files.”

During the “Happy Sad Confused” podcast, Coogler called the drama “one of the most beautiful American television shows ever made” and assured fans that while he planned to put his own stamp on the seminal series, his version would pay homage to the original.

“We intend on having both monsters of the week and also the overarching conspiracy,” he said.

And like the original series, it was shot in Vancouver.

Monday’s accusations are the latest in a long string of controversies surrounding the Maine Democratic Senate candidate.

Leading US Democrats are withdrawing their support from Maine Democratic Senate candidate Graham Platner after a former girlfriend accused the politician of sexual assault.

In an exclusive interview with media outlet Politico published on Monday, Jenny Racicot alleged that Platner forced her to have nonconsensual sex in late 2021. She alleged that Platner had entered her Maine home uninvited while intoxicated and forced himself on her, despite her repeatedly telling him to stop.

Platner, whose status as a progressive outsider has gained him popularity, has denied the allegations.

Following Politico’s interview, top US Democrats and Democratic-leaning political groups have pulled their endorsements of Platner.

“I’ve been very clear that sexual assault or violence against women is a red line,” California Democrat Ro Khanna, a member of the US House of Representatives, said. “These allegations are very serious and credible. Graham Platner should drop out from the race. I am withdrawing my endorsement.”

Arizona Senator Ruben Gallego also announced he was pulling his endorsement, while the Maine Democratic Party called on Platner to withdraw his candidacy.

Democratic-leaning political group End Citizens United pulled its endorsement as well, calling the allegations “profoundly disturbing and disqualifying”.

“The conduct described is fundamentally inconsistent with the standards we expect from the candidates we support,” End Citizens United said in its statement.

Hasan Piker, a leftist commentator and streamer who has backed Platner, seemed to reverse his position on Monday following the Politico report. “If new evidence presents itself, I’m going to change my perspective – it’s that simple,” Piker said during a livestream on Twitch.

“This is a clear-cut instance of verifiable sexual assault allegations. It’s completely irredeemable,” he added.

Platner won Maine’s Democratic primary in April, defeating a centrist Democrat from the party’s establishment wing. The race is a must-win for Democrats, facing off against incumbent Republican Susan Collins. Maine state law allows Platner to be replaced on the ballot if he withdraws by July 13. The replacement candidate must be named by July 27.

In a video released on social media, Platner denied the latest allegations but said he was rethinking his campaign.

“Regardless of the inaccuracy of the reporting but mindful of the political reality it will inflict, we’re taking the time to reflect on the best path forward,” he said in the video.

Racicot’s accusations are the latest in the long string of controversies surrounding Platner. A Marine veteran who also worked for a private security contractor, he has a chest tattoo resembling a Nazi symbol – which he denied knowledge of and later had covered up. He has also had a history of controversial statements on social media, as well as reportedly sexting with other women shortly after getting married.

When the gates opened at St. John’s Episcopal Church in San Bernardino on Good Friday, the music coming from inside wasn’t that of angel-faced choristers or pipe organs; it was the collective scream of electric guitars.

As the sky darkened over the white stucco church framed in palm trees and the dry peaks of the San Bernardino Mountains, fringed teenagers made their way inside, shaking their limbs and chattering in excitement. Fluorescent lights shone overhead in a room that, by day, hosted Bible studies and food pantries — that night, it would be the site of Spinkick Dance Hall, a regular underground music series where noses are bound to bleed and limbs to flail along to ear-splitting riffs.

It’s just one of many shows taking place from Pomona to Palm Desert, heralding a Latino-led youth revival where the freewheeling movement of mosh pits meets the raw power of punk rock: Inland Empire hardcore.

Teenagers congregate in front of St. John’s Episcopal Church in San Bernardino before the start of the night’s hardcore shows on April 3, 2026.

(Katerina Portela / Los Angeles Times)

As the fast-paced and anti-establishment genre known as punk went mainstream in the ’80s, a harder and more unhinged variant emerged in the States; bands like Bad Brains, Minor Threat and Black Flag pushed the limits of vocalization and instrumentation into dissonant new sounds that would make up the subgenre known as hardcore punk.

“As a teenager pre-social media, the music scene was the release for teen angst,” said music photojournalist Zach Cordner. “It was a convergence of nationwide bands that would come to play at [the now shuttered Riverside venue] Showcase Theater, and through word of mouth people got inspired to make cassettes and zines.”

Cordner and his friend Ken Crawford grew up in Riverside in the ’80s and ’90s, photographing the initial wave of hardcore punk taking shape in the Inland Empire. They turned these photographs into a sprawling exhibition held at the Riverside Art Museum earlier this year, “60 Miles East.”

“The scene looks a lot different today than it did in the ’90s,” Crawford said. “It’s browner, it’s queer, and that’s a good thing, to see how it’s become way more diverse.”

Inside the church, the frontman of all-Latino hardcore band Barrio Slam emitted rough growls as the crowd broke into a bustling mosh pit. Teenagers did pinwheel kicks, wrapped Mexican flags over their shoulders and filled the air with chants of “F— ICE.”

Lead vocalist Victor Campos’ family moved from Guadalajara, Mexico, to Pomona, where he says he discovered hardcore through friends. Then, at age 14, Campos attended his first rock show.

“That was the first time that I saw hardcore and metal and the heavier side of music for what it was, and the violence and culture of the shows just sucked me in and I’ve been in it ever since,” Campos said. “It felt like freedom.”

Angela, 19, was in the mosh pit during Load Tha Nine’s performance when she was accidentally struck in the nose by another concertgoer on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. Hardcore shows are characterized by intense music and rough dancing where bloody accidents are not an uncommon sight.

(Katerina Portela / Los Angeles Times)

Jose Ruelas and his Barrio Slam bandmates headbang as they perform on April 3, 2026, in St. John’s Episcopal Church in San Bernardino.

(Katerina Portela / Los Angeles Times)

Campos credits local Latino-led bands like Xibalba and Harsh Reality as inspirations to dive into making music and embrace his identity in the genre.

“In the I.E., it’s really the norm. We’re singing in Spanish, we’re proud. But when we tour, we see it’s not like that everywhere,” Campos said. “Some people still consider punk ‘not for us.’ My own family members will say, ‘You’re listening to white people music.’”

The show at St. John’s is just the tip of the Inland Empire’s DIY venue iceberg. Living rooms, restaurant dining rooms, tattoo shops and record stores have transformed into hardcore venues across the region as established locales closed down.

San Bernardino four-piece “beatdown” group Big Ass Truck is one band that found success beyond the I.E. scene. They signed to Nuclear Blast Records, and at the time of our interview, they had just returned from a tour of Europe.

“With the I.E. especially, we lose a venue like every week. If we have a venue, it’s not staying around for long. I’ve personally seen like three or four venues [in the last few years] just call it,” said Big Ass Truck vocalist Abel Abarca. “So we do get scrappy, and I think that’s what sets the I.E. apart from places like L.A. and O.C.”

San Bernardino hardcore band Big Ass Truck performs a surprise concert at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

Izzy Leyva, 17, describes being met with an immediate “sense of welcoming” at her first DIY hardcore show.

“It’s nice finding people my age to talk about life with. You can start conversations so easily,” Leyva said. “Especially after moshing with someone in the crowd. If you’re struggling to make friends in school, you’ll be able to find someone here.”

She enters the mosh pit fearlessly, dodging flailing arms to two-step — a synchronized dance move that requires punching and running in place — unleashing her energy in the punk sanctum.

“I never feel like an outsider here,” Leyva added.

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1. Mauricio Rivera performs with his band Barrio Slam on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 2. Toni Feliz shows her “IE” tattoo, a nod to her hometown, at Creator Fest on May 2, 2026, at Creator Tattoo in Pomona. (Katerina Portela / Los Angeles Times) 3. Izzy Levya, 17, two-steps during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 4. Fans dance and “two-step” during Barrio Slam’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times) 5. Andres Rodriguez, 18, moshes during Marked for Death’s performance on April 3, 2026, in St. John’s Episcopal Church in San Bernardino. (Katerina Portela / Los Angeles Times)

As 25-year-old Guatemalan American vocalist Jorge Cruz entered the show, he embraced his friends and bandmates. Cruz, who fronts the voracious hardcore band KnuckleSandwich, says he sees TikTok as a major platform for hardcore fans to find one another.

“I saw shows online and was hooked … I used to be so nervous to be in the mosh pit, I’d throw up outside. But when I got in there for the first time, I feel like it changed me into someone who was more comfortable in myself,” Cruz said. “It was like a baptism.”

His music, ranging from songs like “Melting ICE” and corrido-hardcore fusion “El Corrido del Maton,” is inspired by his immigrant household upbringing and interest in Chicano studies.

“Especially with this growing anti-intellectualism going on, and conservatives in our government, writing about Chicano identity and the issues in America feels important,” Cruz said. “There’s no one out there to speak up for us than us.”

A day after attending the show, Garrett Boyer and Kenny Sylvia, longtime friends with nearly matching tattoo sleeves and baseball caps, stood talking in Creator Tattoo Parlor in Pomona.

The pair helps to run Division One, a local booking company that books anywhere from Corona storefront DBZ Books N’ Records to their very own tattoo parlor.

A few weeks prior, Boyer got a call from his sister: His niece was diagnosed with an aggressive childhood cancer called neuroblastoma that had spread through her body, causing his sister to tackle insurance and medical costs. Boyer said he reached out to the hardcore community for help and was “overwhelmed” by the response.

“The community really, really, really came together. A lot of people reached out and really quickly we threw this benefit show that raised thousands of dollars,” Boyer said. “That’s the core of what hardcore music should be and is. It’s community.”

A few months before that, they had united with local bands to throw a benefit show, raising money for immigrant coalition groups after increased ICE raids.

“We thought, ‘How could we not help?’ I’m second generation from El Paso. So many of my neighbors and even my partner’s family were directly affected,” Boyer said. “So many shows are not just about music but they can [impact] people’s lives.”

Brett Rock, bassist of San Bernardino hardcore band Big Ass Truck, performs during Creator Fest on May 2, 2026, at Creator Tattoo in Pomona.

(Katerina Portela / Los Angeles Times)

In Creator’s graffitied back lot area on May 2, bands Load Tha Nine, ’92 and Auditory Anguish opened up a DIY festival called Creator Fest, where 22-year-old Cynthia Garcia came out to “let off steam.”

Garcia, who fronts local band Exutoire, said discovering the local alternative scene “changed everything.”

“In high school, it was very much like nothing was happening. We’re all bored. We’re all depressed. We’re writing, and finally, we get to put the writing to use,” Garcia said. “We meet people that are like-minded and trying to get out of that boredom, and then [the music scene] just exploded.”

At Garcia’s shows, she says she constantly meets concertgoers from L.A., or even from San Diego, who drive hours into the I.E. to be part of its blossoming scene.

At Creator Fest, Abarca commanded the stage, building up the energy of the crowd until hair whipped in frenzies. Abarca says he sees I.E. hardcore continuing to evolve, fusing new genres and making the Inland Empire a place to watch as alternative music booms in the “scrappy” venues of San Bernardino, Corona, Pomona and Riverside.

“Latinos in the Inland Empire have always been hardcore,” Abarca said. “People just know it now because we make them hear us.”

Tests of Ukraine’s new FP-7.X missile could pave the way to a cheaper and more plentiful, albeit far less capable, alternative to the U.S.-made Patriot air defense system effectors. A recent uptick in Russian missile and drone attacks against Ukraine, combined with a critical shortage of Patriot interceptors, underscores the need for more robust air defenses, especially with anti-ballistic missile capabilities. The development parallels a similar program in the United States, which seeks a drastically lower-cost interceptor for the Patriot system.

A video showing a test launch of an FP-7.X missile was published yesterday by its manufacturer, Fire Point, also responsible for the FP-5 Flamingo cruise missile and a series of long-range one-way attack drones. Fire Point’s chief technology officer Iryna Terekh described the depicted test as a “fully controlled maneuvering flight” conducted “just the other day.” The pink-painted missile recalls the early Flamingoes, and now seems to have been adopted as something of a company trademark.

The FP-7.X missile is planned as the stepping-stone toward the productionized Freyja missile, which is primarily intended to provide Ukraine with its first homegrown anti-ballistic missile defense system. While ballistic missile threats are being prioritized here, the system would be equally able to defend against a variety of crewed aircraft threats, as well as drones and cruise missiles.

“No matter how unrealistic and ambitious this goal may sound today, we are exerting all possible and impossible efforts to make it a reality as soon as possible, so that Ukraine can close its skies on its own,” Terekh wrote.

Back in April, Fire Point’s co-founder and chief designer Denys Shtilierman told Reuters that the company was aiming to develop an anti-ballistic missile with a unit cost of less than $1 million.

“If we can decrease it to less than $1 million, it will be … a game changer in air defense solutions,” Shtilierman said. “We plan to intercept the first ballistic missile at the end of 2027,” he added, apparently referring to the aim to field the Freyja system by that date.

This compares to a unit price of approximately $5.3 million for each example of the most modern and highly capable PAC-3 MSE variant, which is one of the types provided to Ukraine. This figure comes from the Army’s latest proposed budget for the 2027 Fiscal Year. This is up from a historical average of around $4 million for each one of these missiles. These munitions also take years of lead time to produce, meaning that managing limited stocks is a big challenge.

Fire Point has developed the FP-7.X missile on the basis of the previous FP-7 surface-to-surface ballistic missile, a weapon with a range of around 124 miles, and a warhead of approximately 331 pounds. Deriving an anti-ballistic missile from a ballistic missile is an unusual move, but Fire Point will hope that the commonality should accelerate the process.

As it stands, Ukraine’s anti-ballistic missile capabilities are strictly limited. It relies heavily upon the Patriot, batteries and components of which have been provided by Germany, the Netherlands, and the United States.

When the Patriot began to arrive in 2023, it provided Ukraine with an enhanced long-range, high-altitude engagement capability that was previously only offered, to a lesser degree, by Ukraine’s S-300s, with their depleting stocks of missiles. Importantly, the Patriot also brought an anti-ballistic missile capability, something that was previously only provided by the small number of Ukrainian S-300V1 systems, and even those don’t come anywhere close to the Patriot in this regard.

And another S-300V engagement, released as part of the same video.

From what I have seen, these are the third and fourth Ukrainian S-300V engagement videos released since the start of the war. pic.twitter.com/wPHnYbCQKP

— OSINTtechnical (@Osinttechnical) February 9, 2025

Providing somewhat similar capabilities to the Patriot is the SAMP/T, a joint Franco-Italian SAM system, which has also been supplied to Ukraine, but only in limited numbers. Overall, the SAMP/T is limited simply by the fact that it is produced in relatively small numbers.

As for the Patriot, this has claimed notable successes and high-profile victims in Ukrainian hands. However, as Russia has adapted its ballistic missiles, specifically adding enhanced maneuvering capabilities, the effectiveness of the U.S.-made system has been reduced.

According to Shtilierman, the Patriot system often requires two or three air defence missiles, each costing several million ​dollars, to bring down a ballistic projectile. This is a mismatch that Fire Point also hopes to address with the Freyja.

It is notable that the U.S. Army is currently also pressing defense contractors to come up with proposals for a new interceptor for the Patriot system with a unit cost under $1 million, as you can read more about here. Whether by design or coincidence, U.S. Army Maj. Gen. Frank Lozano, the Army’s Portfolio Acquisition Executive for Fires (PAE Fires), included a rendering of the FP-7.X in a recent LinkedIn post, as seen below, to illustrate a notional low-cost interceptor.

hahah look at that! Good find!

— Tyler Rogoway (@Aviation_Intel) May 18, 2026

The latest development comes as Ukraine’s political and military leaders continue to warn about critical shortcomings in the country’s air defense capabilities. As well as expending the missiles it already has, the United States has reportedly suspended further Patriot deliveries to Ukraine because of concerns over the state of its own stockpile.

Ukrainian President Volodymyr Zelensky has repeatedly urged U.S. President Donald Trump and members of Congress to provide additional missiles for its Patriot systems, warning that Ukraine faces a severe air defense shortfall.

We were receiving PAC-3 missiles from our partners in certain quantities, but later that monthly volume was cut several times over. It wasn’t due to a lack of funding, but because of the war in the Middle East. This affected different types of weapons. Whatever we could, we… pic.twitter.com/qwPFydwAzC

— Volodymyr Zelenskyy / Володимир Зеленський (@ZelenskyyUa) June 3, 2026

Yesterday, Zelensky said that Ukrainian officials have one week to finalize outstanding legal, financial, and technical issues related to the purchase of additional Patriot systems.

Zelensky said that a political agreement to buy the systems has already been reached, but the process has stalled.

Ukraine’s ambassador to the United States, Olha Stefanishyna, added that Kyiv is prepared to finance additional Patriot systems and interceptor missiles if Washington agrees to deliver them.

Commander-in-Chief of the Armed Forces of Ukraine Oleksandr Syrsky also recently pointed to Ukraine’s lack of sufficient modern air defense systems and interceptor missiles.

Clearly, continued Russian missile and drone strikes are putting a heavy strain on Ukraine’s air defenses.

Plugging the gaps with the Freyja system would make a lot of sense, providing a locally developed and manufactured solution to the problem, provided that the technical hurdles can be overcome.

Even so, the deadline of the end of 2027 is very ambitious for such a project.

With that in mind, Ukraine is also looking to foreign support for the Freyja program.

Earlier this year, Fire Point confirmed it was in talks to get European and Middle Eastern companies onboard the program. With various nations struggling to meet their air defense needs amid the demands of the conflicts in Ukraine and the Middle East, investing here could also bring dividends.

Shtilierman told Reuters in April that he was awaiting government approval for an investment in Fire Point by a Middle Eastern conglomerate, which would provide a major boost to Freyja and other programs, including longer-reaching ballistic missiles.

In terms of European companies, Shtilierman mentioned his interest in collaborating on radar, missile target-seeking, and communications systems. He named Hensoldt, Saab, and Thales as potential suppliers of radar solutions, an area where Fire Point lacks expertise.

Fire Point has also previously described the Freyja interceptor being fitted with an infrared imaging seeker for the terminal phase, as well as a semi-active radar homing seeker from Diehl Defence of Germany.

Few details are available about the launch system, other than reports of a lightweight, mobile launcher of domestic origin.

Globally, there is a clear demand for alternatives to the increasingly hard-to-source Patriot, especially for anti-ballistic missile defense.

A video shows a PAC-2 in a test against a Lance ballistic missile:

MIM-104C Patriot PAC-2 vs. Lance TBM

Ukraine’s combination of battlefield experience, rapid innovation, and low-cost defense technologies could put it in a good position to fill the gap. Even if the Freyja ends up with a significantly lower kill rate per missile than the Patriot, if it is far cheaper, that would be less of a problem.

At the same time, it remains unclear if Fire Point is able to fulfil the promises it has made in terms of output. In the past, the company has said it aims to build at least seven of its Flamingo cruise missiles per day, for a total of 2,555 built annually. To reach this target, the firm might need to call upon foreign partnerships to help expand its production capacity. The same would likely be the case for Freyja. By way of comparison, in 2024, Lockheed Martin produced more than 500 PAC-3 MSEs, with a plan to increase this to 600 in 2025.

A video of the Flamingo cruise missile in action:

Випробувальний пуск ракети “Фламінго”

One unknown factor in this is the possibility that Ukraine and/or NATO allies in Europe might obtain additional licenses for local production of Patriot missiles. Zelensky wants Patriot production in Ukraine and has said he has been discussing it with the United States. Still, while these might address the production capacity issues for the weapons, it would still be a more expensive solution than what Fire Point is proposing and it would take years to realize any output.

For now, the FP-7.X appears to be an early-stage technology demonstrator, and turning it into the operational Freyja interceptor by 2027 will require overcoming massive technical and logistical hurdles — as well as holding off Russian air attacks in the meantime.

However, the program reflects a broader trend in Ukraine’s wartime defense sector: rapidly developing indigenous capabilities to fill critical gaps left by limited and/or unreliable foreign supplies. If Fire Point can translate its ambitions into a viable anti-ballistic missile system, Ukraine could gain not only a more sustainable means of defending its skies, but also a potentially attractive export alternative in a global market increasingly hungry for affordable air defense solutions.

Contact the author: thomas@thewarzone.com

Frank Lampard has been named the League Managers Association manager of the year after guiding Coventry back to the Premier League.

Lampard’s Sky Blues finished 11 points clear at the top of the Championship to clinch the title and return to the top flight for the first time since the 2000-01 season.

The former England midfielder, who has previously managed Derby, Everton and had two spells in charge at Chelsea, was presented with the Sir Alex Ferguson award by England manager Thomas Tuchel.

The award, named after the former Manchester United manager, is voted for by managers throughout the leagues and takes into account success and the resources available.

Tuchel read out a letter from Ferguson, who said Lampard’s Coventry play “great football with confidence and belief”.

“I have enjoyed watching you. Best of luck in the Premier League next season,” he added.

Brentford‘s Keith Andrews, Arsenal‘s Mikel Arteta, Aston Villa‘s Unai Emery, Bournemouth‘s Andoni Iraola, Manchester City‘s Pep Guardiola, Lincoln City’s Michael Skubala and Bromley’s Andy Woodman were also shortlisted.

Manchester City‘s Andree Jeglertz won the Women’s Super League award after leading them to the title.

Arteta, who led Arsenal to their first Premier League title in 22 years, won the Premier League award while Lampard also took the Championship equivalent.

Skubala, who won League One with Lincoln, took the award for the third tier and Woodham won the League Two award after he led Bromley to the title.

The WSL2 award was taken by Karen Hills, who led Charlton to the WSL for the first time.

Steve Bruce and Martin O’Neill were inducted into the Hall of Fame after each reaching 1,000 games as a manager.

The award for Lampard is the most significant individual honour in his coaching career.

His Derby side lost in the Championship play-off final in 2019 and he was then appointed at former club Chelsea, where he spent 13 years as a player.

He was sacked after 18 months in charge in 2021 but later returned as a caretaker.

In between, he spent less than a year in charge of Everton during which he oversaw an escape from relegation but was later sacked.

This season his Coventry side were the Championship’s highest scorers with 97 goals in 46 games. They also had the best defence.

Chris Wilder, who won the award while in charge of Sheffield United in 2019, and Ipswich manager Kieran McKenna, the 2024 winner, are other recent managers to receive the LMA’s top award while managing outside of the Premier League.