most people

The ongoing explosion of revival screenings in Los Angeles is an opportunity not just to revisit accepted classics, but also to give a spotlight to undersung oddball picks deserving of broader attention.

Take for example 1988’s “Tapeheads.” An offbeat comedy about two friends trying to break into the then-emergent world of music videos, the film stars John Cusack and Tim Robbins just as their careers were starting to take off. A snapshot of a specific moment in Los Angeles — some shots of downtown’s skyline at sundown have an unexpected beauty — the film has never been lost exactly, but it is deserving of renewed interest.

The movie will show on Monday as part of the American Cinematheque’s Cinematic Void program at Los Feliz Theatre, screening from a rare 35mm print provided by the UCLA Film & Television Archive. Director and co-writer Bill Fishman will be there along with producer and co-writer Peter McCarthy, producer Eric Barrett and production designer (later turned director) Catherine Hardwicke.

Cusack and Robbins star as Ivan and Josh, friends since childhood now working as nighttime security guards until they figure out their future. Cusack’s Ivan has ambition and drive while Robbins’ Josh is sensitive and creative. Together they launch a music video business and take it upon themselves to revive the careers of their favorite soul singers, the fictional Swanky Modes (played by real-life soul legends Sam Moore and Junior Walker). Josh and Ivan soon find themselves accidentally wrapped up in a blackmail scheme involving a sex tape and a conservative politician, complicating everything.

“It was a hustler and an artist and the merging of the two, trying to get some sort of balance with your creative side and what you needed to do to make a living,” explains Fishman, now 68, during a recent video interview from Venice, Calif. “We came up with the credo ‘You do what you gotta till you can do what you wanna.’ And that was really where it came from.”

Before making his feature debut with “Tapeheads,” the native New Yorker had already found success in his 20s as a music video director himself, creating clips for songs such as Suicidal Tendencies’ “Institutionalized” and the Georgia Satellites’ No. 2 hit “Keep Your Hands to Yourself.” Straddling the music scene and Hollywood, Fishman found that a satire of conservative politics came to him naturally.

“Music videos seemed to be an easy thing for me to do because I knew that world,” he says. “Even though the story was what we thought would be completely ludicrous, it ended up being much more realistic than we believed.”

John Cusack, left, and Tim Robbins in the movie “Tapeheads.”

(American Cinematheque)

James Branscome, who programs the Cinematic Void series for the American Cinematheque, calls the rare chance to show the film a bucket-list experience.

“It was a weird movie that felt lost, especially when it stars John Cusack and Tim Robbins being zany in a way they don’t often get to be,” he says by phone. “It felt like this very organic, perfect movie, like: This checks so many boxes for me.”

Among the producers on the film is Michael Nesmith, a former member of the Monkees, and through him the project fell under the production umbrella of NBC. Fishman remembers being invited to the home of Brandon Tartikoff, president of NBC Entertainment and a green-lighter of titles including “Miami Vice” and “Seinfeld.” What he thought was going to be a relatively brief meeting was instead hours of Tartikoff patiently going through the script page by page.

“I did not know anything,” remembers Fishman, whose most recent credit is the 2024 film “Waltzing With Brando,” starring Billy Zane. “I thought Hollywood was always going to be like this. But I didn’t realize that my best experience was my first and then we were going to have to fight and claw for the rest of it.”

It was young casting director Victoria Thomas (lately of “Once Upon a Time … in Hollywood” and “Michael”) who brought in Cusack and Robbins. Cusack, a Chicagoan, was in Los Angeles to appear onstage with Robbins’ theater group the Actors’ Gang and the two of them came in to audition together.

“They had really prepared,” says Fishman. “And after an hour or more of the interview, which went great, I said, ‘I want you guys to switch roles.’ And that freaked them out. They were like, ‘We can’t do that. We rehearsed. We can’t just throw this together for you.’ I said, ‘I really think you should.’ And they said, ‘OK, give us 15 minutes.’ And they walked out onto the street in Venice and they came back in as the other characters, redid the audition and that’s how they were cast.”

Mary Crosby and John Cusack in the movie “Tapeheads.”

(American Cinematheque)

Fishman made sure to show Cusack the 1957 film “Sweet Smell of Success,” with Tony Curtis’ smarmy press agent an influence on his character. Fishman also says Cusack’s greased-back hair and pencil mustache were partly inspired by Eric Roberts in “Star 80.”

“Tapeheads” captures a specific moment in Los Angeles history, sure to be nostalgic for some, from a desolate downtown to a percolating music scene. Legendary local party band Fishbone provided music for the score and appears briefly as a country-and-western bar combo. Devo rerecorded a version of their song “Baby Doll” in Swedish to stand in for an international boy band’s hit. The film is also full of cameo appearances by real-life music figures, including “Soul Train” host Don Cornelius, MTV’s Martha Quinn, comedian Bobcat Goldthwait, rapper Doug E. Fresh and musicians “Weird Al” Yankovic, Ted Nugent and Stiv Bators. (A then-largely unknown Courtney Love has an uncredited appearance as a dominatrix on a sex tape.)

“The soundtrack and the people we used in the film were reflective of the wide spectrum of what was unifying, I thought, for the counterculture in specifically L.A.,” says Fishman. “It wasn’t a film about punk rock, it wasn’t a film about rhythm and blues or hip-hop. It was a film about young people expressing themselves.

“When you would go out in Los Angeles at that time, you would go to nightclubs and all these bands would be playing in the same club,” he says. “If you were part of the counterculture you could play anything or dress any way and you were sort of accepted. It was a creative scene and that’s what the film was about.”

One highlight of the movie is a commercial Ivan and Josh make for local L.A. eatery Roscoe’s House of Chicken ‘N Waffles (still going strong), featuring a memorable rap by blues singer King Cotton and done with a bold yellow and black look.

“I grew up in New York City and chicken and waffles was not a thing,” says Fishman. “People here would go get it late night in Hollywood and when I was looking for some business that they could do a video for, it just struck me as an absurd combination, which was all about what the film was about: absurd combinations. And it happens to be delicious.”

“That Roscoe’s Chicken and Waffle commercial is incredible,” says programmer Branscome. “Which is the most California thing because outside of L.A. no one knows what a Roscoe’s is unless you’ve been here. It’s full of very niche stuff that is elevated. It works on one level, but if you know exactly what it is, it gives it a different dynamic.”

Tim Robbins in the movie “Tapeheads.”

(American Cinematheque)

When “Tapeheads” was released in October 1988 (after a berth at the film festival that would be later renamed Sundance), it struggled to find theaters. Moore and Walker performed on “Late Night With David Letterman” as the Swanky Modes. According to Fishman, Cusack and Robbins were both reluctant to do press for the film at the time “because they thought it was uncool.”

It was not until it hit the VHS market that the movie truly began to find its audience. That said, it has never been on Blu-ray and is available to stream from only a few scattered sites. Perhaps this sold-out L.A. screening, with the support of some of the key behind-scenes-team, will help spur the film toward a broader renaissance. It deserves to be seen as more than just a cult curio.

“As soon as people saw the film, they said, ‘Oh, this is a cult film’ and I always hated that,” says Fishman. “I was like, ‘No, it’s not a cult film — it’s a pop movie.’ We wrote it to play to everybody.”

The last time Angelenos sacked an incumbent city attorney in the primaries, almost 30% of them were unemployed.

That was May 2, 1933, the nadir of the Great Depression, when sprawling encampments blanketed downtown, King Kong ruled movie theaters and violent crime reached a fever pitch not seen again for almost half a century.

Incumbent City Atty. Hydee Feldstein Soto’s near-certain defeat on Tuesday may have little in common with Erwin P. Werner’s primary loss 93 years ago, but themes of Depression-era Los Angeles echo through the contest.

Marissa Roy, a deputy attorney general with the California Department of Justice who leads the race with ballots still being counted, wooed voters with shoe-leather and social media savvy, promising to use the office to fight for wage workers and tenants. But it was the city’s powerful unions and its increasingly democratic socialist bloc that propelled her to the top spot, mirroring the coalition that drove California’s sharp left turn in the early 1930s.

Meanwhile, county prosecutor John McKinney tapped into voter frustration with homeless encampments, a blighted downtown and general distrust of City Hall to pull off a last-minute heist of the second runoff spot. McKinney only started campaigning in earnest five weeks ago, but managed to win votes with a tough-on-crime campaign — even as some categories of city crime have dipped to historic lows.

L.A. Mayor Karen Bass, left, shares a laugh with L.A. City Atty. Hydee Feldstein Soto, right, at Avance Democratic Club’s politics and tacos event on May 16.

(Christina House / Los Angeles Times)

As of Thursday morning, Roy had nearly double the number of votes of Feldstein Soto. McKinney led the incumbent by 13 percentage points for the second runoff slot. The race has not yet been called, but Feldstein Soto issued a statement effectively conceding the race Wednesday morning. She acknowledged that “the voters had spoken” and referenced “her successor’s administration.”

Her campaign did not respond to a request for comment for this story.

The ouster of Feldstein Soto would be nearly unprecedented. Werner’s 1933 loss is the only similar instance since the city adopted its current primary ballot process in 1917, according to the City Clerk’s office. No other incumbent city council member or mayor has ever failed to advance out of the primary when facing two or more opponents.

“This is not something that has happened in the lifetimes of most people who follow city government,” said Mike Bonin, former City Council member and executive director of the Pat Brown Institute for Public Affairs at Cal State L.A.

McKinney’s sudden emergence in the race in May saw him hijack the incumbent’s support from law enforcement. His campaign received $3 million worth of independent expenditures. An official with a group supporting McKinney — who spoke on condition of anonymity because they were not authorized to speak to the media — said an internal poll showed Feldstein Soto falling nearly 10 points outside the runoff a week before election day.

Since Roy had already captured the support of the county Democratic Party and energized left-leaning voters, that put Feldstein Soto in the center, analysts said, which left her vulnerable in a race that most people casting ballots hadn’t closely followed.

“To the extent that people had any information, they knew that one of them basically wanted to be tougher and somebody on the other side wanted to be kinder, that left her with very little room to maneuver,” said Roy Behr, a longtime consultant to veteran politicians in the city.

Roy “micro-targeted” likely progressive voters in social media spots, experts said, presenting as an affable presence in her ever-present purple blazer while sharing her vision of serving as the “people’s lawyer.”

Marissa Roy, a deputy attorney general with the California Department of Justice, appears poised to finish first in the June 2 primary race for L.A. city attorney.

(Gary Coronado / For The Times)

Boosted by a massive influx of cash from rental giant Airbnb, some of McKinney’s ads played up his hard-luck upbringing in one of New Jersey’s most violent cities. His campaign also sent out texts that painted his opponents as “George Gascón”-style Democrats, invoking the former progressive district attorney as a bogeyman for voters anxious about crime.

AI-generated videos depicted McKinney as a stoic, suit-clad crime fighter walking through a dystopian version of L.A.’s Metro system.

“The debate isn’t necessarily two candidates on one stage appealing to one person, it’s for attention and information in the same sphere,” said Spencer Slovic of Mycorrhiza Digital, who ran Roy’s digital advertising. “That battle of information will play out almost in different realms.”

Without a compelling story for her powerful but poorly understood role, Feldstein Soto often struggled to explain her achievements in office.

In a recent interview with The Times, she said she delivered on “public safety, public integrity and public services.” She went on to discuss granular improvements she made to the office, such as limiting access to law enforcement databases by former employees, modernizing internal systems and improving the rapport between the city attorney’s office and LAPD. By her own admission, she doesn’t often publicly celebrate her accomplishments.

“I didn’t hold some big press conference and hop up on a white horse and declare myself Joan of Arc and the savior of all things Los Angeles,” she said. “Which I could have done.”

Tumult during Feldstein Soto’s lone term in office was easier for voters to identify. The cost of litigation exploded. A high-ranking city lawyer accused her of abusing her power, prosecuting political enemies, mistreating employees and engaging in “inappropriate alcohol consumption.” Feldstein Soto claimed she improved her office’s rapport with the LAPD, but the police union’s decision to rescind its endorsement of her and instead back McKinney cost her a key voting bloc.

Feldstein Soto’s messaging was at times muddled and lacked the flair of her challengers, political observers said. Campaign finance records show she paid for 80 email blasts, mailers and other messages that sought to influence voters.

John McKinney, a Los Angeles County prosecutor, appears set to advance to a run-off against Marissa Roy in the race for L.A. city attorney.

(Kayla Bartkowski / Los Angeles Times)

In one video, she stood in front of a static background and talked for three minutes straight about her record while describing her opponents as representing the “extreme left” and “extreme right.” She attacked both for receiving large sums of money from “special interests,” especially McKinney for accepting Airbnb’s largesse. Feldstein Soto sued the rental giant for price gouging in the wake of the 2025 wildfires.

Roy’s campaign sent out 180 communications, records show, the bulk of them ads for Instagram and Facebook, where her team said they saw instantly which stories resonated with likely voters and which were duds.

Slovic said a “clip of Hydee talking about how she wasn’t going to prosecute the Trump administration” seemed to touch a nerve with voters.

“That was by far our best performing ad,” he said, adding, “What Democrats really want in primaries is someone who will fight and have some sort of backbone.”

McKinney had just 23 communications, campaign records show, plus 19 more made by independent groups. He often leaned into the same gritty visuals that defined mayoral candidate Spencer Pratt’s viral AI spots.

In a race for a position most voters don’t understand, McKinney’s and Roy’s ability to play a consistent character may have proved critical, political analysts said.

“The vast majority of voters started off with no strong feelings about the race,” Behr said. “Nobody had any votes locked down other than their friends and neighbors.”