people

The photograph is so intimate, so vulnerable, it’s painful to look at.

It depicts a woman in her early 20s lying on a hospital bed twisted to the side, her wrists and ankles restrained. The black-and-white image — nearly five feet wide — is so crisp that bits of the woman’s toenail polish glimmer and the hair on her thigh appears to spark. Most pronounced: the loneliness and resignation on her face.

“I was 20 or 21 then. I’d had a psychotic episode and was taken to a public hospital in Massachusetts,” says Palm Springs-based artist Lisa McCord of the self-portrait she later staged. “I’m very transparent and I wanted to share my experience afterward. It was the ‘70s. I’d tell people, in school, I’d been in a psychiatric hospital and no one wanted to hang out with me — it was a very lonely time.”

McCord’s work is part of an exhibition at the Los Angeles Center of Photography addressing the idea of loneliness, now considered an epidemic in America. The exhibition, “Reservoir: Photography, Loneliness and Well Being,” was curated by LACP‘s executive director, Rotem Rozental, and includes participation from more than 40 artists representing “a wide array of geographies, approaches, ages, nationalities and lived experiences,” she says.

Rozental had been thinking about loneliness in our society — how increasingly pervasive it is — since the start of the pandemic. In late 2024 she began having conversations about it with LACP board chair and artist Jennifer Pritchard. Art reflects the world that we live in and Rozental felt that, as a photography center, LACP had an obligation to amplify “some of the larger issues” our society is grappling with.

“There’s something about photography that really brings people together around their vulnerabilities,” Rozental says. “Even if it just means you’re seeing, through an image, that someone else is experiencing what you’re experiencing.”

In this case: loneliness — “something that is looming heavy on everybody,” Rozental adds.

Asiya Al. Sharabi’s “Inward” (2025) addresses the uncertainty, and sometimes loneliness, of being a woman and an immigrant.

(Asiya Al. Sharabi)

Chronic loneliness is a serious, growing public health concern, says Dr. Jeremy Nobel, a professor at the Harvard T.H. Chan School of Public Health and author of the 2023 book “Project UnLonely: Healing Our Crisis of Disconnection.”

“Most recent studies indicate that 50% of Americans are often lonely,” Nobel says, adding that a December 2025 study found that “loneliness is increasing, even after the pandemic. And it’s driving a change in behavior, the big one being that people are disengaging from each other and community activities, so that also isolates them.”

What’s more, chronic loneliness has tangible, dangerous effects on our health, he says.

“Loneliness increases the risk of heart attack and stroke and general early mortality by up to 30%. Dementia risk goes up by 40%, diabetes risk goes up 35% from being chronically lonely. That’s increased the urgency to address it as a public health crisis.”

It’s important to note, Nobel says, that there’s a difference between being alone and being lonely, with the former potentially good for your health.

“Being alone means you don’t have social connection. Loneliness is the subjective feeling that you don’t have the social connections you want,” Nobel says. “You can be lonely in a crowd, you can be lonely in a racist workplace, you can be lonely in a failed relationship or marriage. But being alone can actually be quite positive — solitude. You can be in touch with thoughts and feelings and can have emotional growth.”

Nobel consulted with many of the artists during the development of “Reservoir.” It was a natural pairing as his more than 20-year-old nonprofit, the Foundation for Art & Healing, explores how creative expression helps individuals and communities heal. The experience “definitely validated ‘how do creative people use their creative orientation to further explore and reveal what’s going on with loneliness,’” he says. “That’s the power of this exhibit.”

A detail shot from Diane Meyer’s “The Empty Space of Nothing #43” (2025)

(Diane Meyer)

To create the exhibition, Rozental selected six photographic mentors, all established artists, each of whom chose a theme around loneliness — “aging,” “immigration,” “technology and hyper-consumerism” or “the solo creative process,” for example. The mentors then invited artists to create new work responding to their themes. Over nine months last year, the groups of artists met monthly on Zoom — “six countries and seven time zones,” says Rozental — along with therapists, scholars and others to plumb the topic.

The resulting exhibition features mostly two-dimensional photography but also includes multimedia works and 3D installations.

L.A.-based artist Diane Meyer sourced about 100 old black-and-white photographs from private collections. Then she hand-painted each of them, blocking out most everything in the image except select figures with white paint. The individuals in the photos appear to float in a sea of clouds or snow, disconnected.

In one image, two young boys teeter on a seesaw, as if suspended in midair; in another, a middle-aged man lies on a blanket in the fetal position, white paint spilling over onto his blanket and body, as if he is sinking into a void. The creative process — which the work speaks to — is evident here, the artist’s hand noticeable. The paint is splotchy in places and the photographs are pinned delicately to a dark surface, their edges curling, giving the overall installation a textured materiality.

Meyer’s work is in stark contrast to Jacque Rupp’s installation on the opposite wall. Rupp’s slick multimedia work speaks to both technology and societal perceptions of aging women. After recently becoming a grandmother, the Bay Area-based artist asked AI to “imagine a grandmother in 2025.” The result is a black-and-white photo grid of several hundred female faces staring blankly into the camera, mouths closed and eyes vacant. Beside it is a TV monitor on which their faces morph into one another, without audio. The overall effect is polished and high-tech, touching on the perceived invisibility of women as they age.

“I felt that these two works needed to be in conversation,” Rozental says.

Julia Buteux’s “Have We Said Hello” (2025)

(Rotem Rozental)

Nearby, Julia Buteux’s three-dimensional installation of transparent fabric panels hang from the ceiling, shimmying in the air and inviting guests to walk around it. The Rhode Island-based artist downloaded images from social media and deleted the people from them. The backgrounds are colorful but all that’s left of the subject is a transparent imprint of their face and upper body. “So you’re getting the absence of the user,” Rozental says. It speaks to how isolating online social milieus can be.

Asiya Al. Sharabi — who is Yemeni American and lives between Egypt and Virginia — created large-scale, conceptual self-portraits that she manipulated in the printing process. One is a double exposure depicting the front and side of her face. It addresses issues of duality and the uncertainty of her standing in society as both a woman and an immigrant. In another, the artist sits in a rocking chair in a home beside a vase of dead flowers — but her body is transparent. “She almost disappears within the domestic space,” Rozental says.

McCord’s photograph is part of a larger interactive installation that includes a “visual diary” guests can flip through featuring photographs of her life over the decades paired with handwritten diary entries from 1977 to 2021. McCord narrates snippets from the diary, which visitors may listen to on headphones.

“Reservoir” aims, of course, to shine a light on the condition of loneliness. But it also hopes to serve as a public health intervention by hosting creative workshops — incorporating the photography in the exhibition — to address loneliness and spark connection.

“Creative expression changes our brains,” Nobel says. “It reduces levels of the stress hormone cortisol, it increases the levels of the feel-good hormones, so you’re less anxious about the world and in a better mood. It’s then easier to engage with others. It invites us to be less lonely and more connected, not just to other people, but ourselves.”

The exhibition, which closes March 14, is planned to travel internationally, including to the Museo Arte Al Límite in Chile, the Inside Out Centre for the Arts in South Africa and to the Karuizawa Foto Fest in Japan. The goal is to use the workshop element as a model that can be replicated in community arts organizations around the world.

Rozental says photography is the perfect conduit for that, calling the medium “a language, a space for connection and communication.”

“We hope that people will walk into this space and see themselves on the walls,” she says. “Maybe their burden will ease a little bit by knowing that they might feel lonely, but they’re not alone.”

Were you ready for some non-football consumerism? Ready or not, the Super Bowl’s annual blitz of commercials landed before and during the Seattle Seahawks and New England Patriots defense-first matchup, with some ads served up in advance while others were unveiled for the first time during the game. As in previous years, there were serious clunkers (looking at you Bud Light rolling keg ad), but also a few that transcended their buy-more mission (may you live forever, Melissa McCarthy). Other trends we noticed: celebrities double dipping to appear in more than one Super Bowl commercial (three if you’re Sofía Vergara), lots of borderline-gross humor (exploding heads, singing clumps of shaved body hair, singing toilets and plenty of ads trying to convince America that artificial intelligence tools aren’t a waste of time and energy).

While many of this year’s ads promoted AI and the usual rah-rah-America nods to patriotism, one trend we noticed was that the longer versions for some of the best Super Bowl ads, found online, were even better than the condensed cuts that made it to broadcast. What if next year, we make the Super Bowl three quarters and the commercial breaks 15 minutes long? Any takers?

While we wait for that brilliant idea to make it to the NFL’s offices, here are the big game ads we loved the most and a few that fumbled the ball — big time.

Abdel Hamid Karimeh says seven people injured as rescue teams search for people trapped under rubble.

At least six people have been killed and seven others were wounded when two adjoining buildings collapsed in the northern Lebanese city of Tripoli, the head of ⁠the municipal council said.

Abdel Hamid Karimeh, speaking at a press conference in Tripoli on Sunday, did not say how many people might still be ‌trapped under debris in the northern city’s Bab al-Tabbaneh neighbourhood.

Search and rescue operations were under way, with civil defence teams, supported by the Lebanese Red Cross and emergency and relief agencies, leading efforts.

Residents of the neighbourhoood also took part in rescue efforts, rushing to help remove debris and create openings in the collapsed building.

Members of the Internal Security Forces and Tripoli municipal police have evacuated residential buildings adjacent to the collapsed building, fearing their collapse, amid a heavy deployment of army personnel, Lebanon’s state-run National News Agency reported. It said eight injured people had been rescued.

Lebanese President Joseph Aoun ordered all emergency services to be on high alert to assist in rescue operations and to provide shelter for the residents of the neighboring buildings, according to the NNA report.

Prime Minister Nawaf Salam said in a statement that the government is fully prepared to provide housing allowances for all residents of buildings that need to be evacuated.

“Given the magnitude of this humanitarian catastrophe, the result of years of accumulated neglect, and out of respect for the lives of the victims, I urge all those involved in politics, in Tripoli and elsewhere, to refrain from exploiting this horrific disaster for cheap and short-sighted political gains,” he said.

Lebanon’s infrastructure has suffered from decades of neglect, economic collapse, corruption, and damage caused by conflicts with Israel. Key issues include chronic electricity shortages, an unreliable water supply with contamination risks, and crumbling roads and buildings.

Khaled Meshaal, the head of Hamas abroad, has spoken at the Al Jazeera Forum on the rights of Palestinians to resist occupation. The political leader says the demand of disarmament is unacceptable.

WASHINGTON — Ever since a racist video was posted on President Trump’s social media account, the White House has offered shifting responses.

First it dismissed “fake outrage” by those denouncing it as racist, then it deleted the post and blamed a staff member.

Trump later told reporters Friday that “I didn’t make a mistake.” The Republican president claimed that before the video was posted, he did not see the part that depicted former President Obama and former First Lady Michelle Obama as apes.

The chair of the Congressional Black Caucus was unsparing in her criticism when she spoke to the Associated Press.

“It’s very clear that there was an intent to harm people, to hurt people, with this video,” Rep. Yvette Clarke (D-N.Y.) said.

The AP interviewed Clarke, who leads the group of more than 60 Black House and Senate members, hours after the video was deleted Friday.

Here is an interview transcript, edited for length and clarity.

What was your reaction when you saw that the post?

We’re dealing with a bigoted and racist regime. … Every week we are, as the American people, put in a position where we have to respond to something very cruel or something extremely off-putting that this administration does. It’s a part of their MO at this point.

Do you buy the White House explanation that this was an aide’s mistake?

They don’t tell the truth. If there wasn’t a climate, a toxic and racist climate within the White House, we wouldn’t see this type of behavior regardless of who it’s coming from…. Here we are, in the year 2026, celebrating the 250th anniversary of the United States of America, the 100th anniversary of the commemoration of Black history, and this is what comes out of the White House on a Friday morning. It’s beneath all of us.

Has there been any contact between the White House and the Congressional Black Caucus on this? Could there be any good-faith exchange?

There has been no outreach from the White House. We certainly didn’t expect there to be. The outreach has to happen prior to these type of juvenile antics.

Republican criticism built more quickly Friday than it has during previous Trump controversies. What do you make of that?

It’s not lost on them, our communities that we represent, that elections are coming up. So it’s not lost on my colleagues, either. If they want to align themselves with this type of really profane imagery, this type of bigoted and racist attack on a former sitting president and his wife, they are throwing their lot in with an individual who has shown himself to be a disgrace.

It’s not common for President Trump to retract anything. What does that indicate to you that he did?

I think it’s more of a political expediency than it is any moral compass. … As my mother would say, “Too late. Mercy’s gone.”

What more do you hope to see from the White House about this?

My hope is that we can contain the harm that they’re doing. There are Black children who are listening to their president … seeing what he’s posting on Truth Social, [and] it will have an impact on how they view leadership of their own country. … I think that this administration has an opportunity to change course. They always do. We leave room for that. But, unfortunately, Donald Trump is hardwired this way.

Is there anything else you’d like to add?

As a democracy, we have to stand up together against this type of racism, this type of bigotry, this kind of hatred that is coming from the president of the United States and those who surround him. … It’s very clear that there was an intent to harm people, to hurt people, with this video. Otherwise, it wouldn’t have stayed up for 12 hours.

Barrow and Zhang write for the Associated Press and reported from Atlanta and Washington, respectively.

Dust off your cowboy hats, prepare your tequila shooters and saddle up: Carín León has just announced his 2026 North American tour.

The Grammy-winning Mexican singer-songwriter will kick off the tour May 20 with a performance in Hidalgo, Texas. Over the course of this summer and fall, the Sonoran crooner will visit major U.S. cities including Dallas, Houston, Atlanta and Chicago before wrapping up Oct. 9 in Portland, Ore.

In Los Angeles, the singer is expected to perform Sept. 20 at BMO Stadium, which accommodates over 20,000 fans for concerts.

The tour also includes his highly anticipated Las Vegas residency at the Sphere, which is already sold out on some dates. In September, León will make history as the first Latino artist to headline the one-of-a-kind venue, which will take place across seven nights in Sin City.

León is also doubling his stadium capacity for his singular Canada performance by moving to the TD Coliseum in Hamilton, Ontario, which holds an audience of about 18,000; the “Primera Cita” singer first performed in 2024 at the Coca-Cola Coliseum in Toronto, which holds roughly 9,000 people.

“Returning to the United States and Canada to reunite with my people fills me with excitement. I’m returning with new songs and all the history we’ve built together,” said León in a statement. “We’re preparing a very special production so we can feel closer than ever. De Sonora para el mundo… see you soon, mi gente.”

The “Que Vuelvas” singer last toured the states in 2024 following the release of his critically-acclaimed “Boca Chueca, Vol. 1,” which earned him his first Grammy for música mexicana album in 2025.

News of the upcoming North American tour follows another Grammy win for the balladeer, who on Sunday took home the golden gramophone once more in the same category as last year, this time for his 2025 album “Palabra de To’s.”

Throughout his career, León has bent the rules of música mexicana by collaborating with artists across a variety of genres, from Latin pop stars like Maluma and Camilo to U.S. country singers like Kane Brown and Kacey Musgraves.

The 36-year-old has always stood firmly on the idea that música mexicana extends beyond the regional confines of Mexico, sharing with The Times in 2023 that “Mexican music is no longer regional — it’s only become more global.”

Ticket sales for his North American tour begin Feb. 11, but resellers beware! León will be using Openstage Ticket Unlocks, which will reward real fans with personalized presale codes to limit bots.

The president of the United States posted a racist video Thursday night depicting Barack and Michelle Obama as apes. On Friday, the White House dismissed criticism — but the president deleted the post. Was this episode disappointing? Yes. Surprising? Not anymore.

Last spring, after Pope Francis had died, Donald Trump posted an AI image of himself as the pope just days before cardinals convened to elect a successor.

So, no — it is not surprising that the president would choose to post virulent anti-Black imagery during Black History Month.

But it is disappointing here in 2026 that an occupant of the Oval Office is still thinking like that.

Back in 1971, the president of the United States laughed when the governor of California referred to the African delegates at the United Nations as monkeys. Less than 10 years later, that governor became the president of the United States. And here we are, half a century later, and yet another president has amplified that racist trope.

Meaning white supremacy is still on the ballot.

That Nixon-Reagan-Trump throughline isn’t tightly wound around policy or principle, but simply that shared worldview. After all, Nixon created the Environmental Protection Agency and Reagan offered amnesty to immigrants — highly un-Trump-like moves. No, their commonality is best revealed in the delight each man took in an old racist attack against Black people.

For Americans who are 50 and older — roughly a third of the nation — this worldview has been the architect responsible for White House policy for most of our lives. And yet, when Kamala Harris lost the 2024 election, the forensic investigation focused on grocery prices and her absence from Joe Rogan’s podcast. Some — in trying to explain why Harris lost — mischaracterized her role at the border or inflated her influence on the war in Gaza.

For some reason, race did not seem to receive the same level of scrutiny.

This factor was slighted despite decades of data, such as the wave of white nationalists endorsing Harris’ opponent and the birther movement questioning President Obama’s citizenship. The trio of presidents who are on the record as enjoying depictions of Black people as monkeys — Nixon, Reagan and Trump — all used racist dog whistles in their combined 10 presidential campaigns. Their administrations have tended to be more anti-civil-rights movement than post-civil-rights movement.

Our nation’s attempts at understanding ourselves are continuously undercut by the denial that for some single-issue voters, race is their single issue. Not the price of bacon or their religious convictions. Not Gaza. Just the promise of having a safe space for prejudice. And when the president of the United States entertains racist jokes as Nixon did in the 1970s or shares racist videos as Trump continues to do, undoubtedly there is a sense among the electorate that such prejudice has a home in the White House.

Before Trump used social media to push yesteryear’s ugliness, earlier in the week Harris relaunched her 2024 social media campaign account, calling it a place where Gen Z can “meet and revisit with some of our great courageous leaders, be they elected leaders, community leaders, civic leaders, faith leaders, young leaders.” She exhorted: “Stay engaged. I’ll see you out there.”

Whether she plans to run again in 2028 is unclear. What we do know is she would not have posted an AI picture of herself as the new pope while Catholics were mourning Francis (or any other time). We know she would not have advocated for immigration officers to racially profile Black and brown Americans or disregard the 14th Amendment to detain children. We do not know how many of her policy proposals she would have been able to get across the finish line in Congress, but we do know her record of public service to the American people, in contrast with the current president who is suing the American people for $10 billion.

There is nothing wrong with revisiting Harris’ missteps on the campaign trail or debating her electability as she reemerges in the public spotlight. But now that Trump has resorted to posting monkey jokes about Black people, perhaps updated forensics will consider our well established history of racism among the factors in the 2024 election.

It is not a shock that a president of the United States thinks poorly of Black people. Not when you know that more than 25% of those who have held the office were themselves enslavers. But it is disappointing that 250 years into our nation’s story, some of us still deny the role that racism plays in shaping our politics and thus all of our lives.

YouTube: @LZGrandersonShow

During their recent magical World Series run, the champion Dodgers had many heroes, but one constant.

Whenever they needed a leader, they found one.

No matter how dire the circumstances, whenever they needed a hero, somebody stepped up.

Yoshinobu Yamamoto won a game on zero day’s rest. Will Smith won a game with one hand.

Freddie Freeman was an 18th-inning savior on one leg. Kiké Hernández was a ninth-inning savior with a bad elbow.

Everywhere you looked, there was a veteran Dodger willing to sacrifice himself for the good of the team.

That needs to happen again.

That needs to happen now.

A player needs to spearhead a decision that will not be made by the big business that runs this team, a decision that will bypass the biased blather and directly connect to their many besieged fans, a decision that only a player can make.

In the wake of Thursday’s White House confirmation that the Dodgers will be making the traditional champions visit there this spring, somebody needs to send a clear message to President Donald Trump.

“No.”

Federal immigration agents stage outside Gate E of Dodger Stadium on June 19. Sporadic immigration raids continue to roil Southern California.

(Myung J. Chun/Los Angeles Times)

No, they won’t go.

No, they will not support the ICE raids that are taking place daily just outside their clubhouse doors.

No, they will not openly support an administration that has declared war on its fan base.

No, after basking in the adulation of four million diverse neighbors every summer, the players will not turn their backs on these people while the government continues to round them up despite no criminal history.

This isn’t about asking pro athletes to be politicians. This is about asking them to be people.

Some will say players should not be involved, that it’s a management decision high above the pay grade of the average southpaw or slugger. But when their backyard becomes a battlefield, those players need to fight back, and that time is now.

Dodger management will always leave any tough choice like this one up to the players. By virtue of hundreds of millions of dollars of salaries, the players are essentially partners who need to embrace that responsibility.

No matter what owner Mark Walter says, if the players don’t want to visit the White House, they won’t go.

No matter who shouts the loudest, whether it be conservatives or liberals, the players’ collective voice is the only one that counts.

So, when spring training begins next week, here’s hoping for a hero.

After being showered with numerous curtain calls by an adoring fan base, it’s time for the players to return the favor.

How about a standing ovation for the brave law-abiding immigrant family of four that cheers you from in the left-field pavilion even though they know they could be arrested and hauled away at any time?

How about a, “Let’s Go Dodgers” chant for the longtime residents with no criminal record who spent last October huddled around their TV sets clinging to your victories as reason for hope?

How about being there for so many who have been there for you?

A protestor wearing a Mookie Betts jersey and waving a Mexican and American flag stitched together protests ICE outside the Dodger Stadium game on June 21.

(Carlin Stiehl/Los Angeles Times)

This was an issue last year, when former Times columnist Dylan Hernández urged the Dodgers to cancel their initial White House visit.

“This was something we discussed with all the players, all of whom wanted to go,” team president Stan Kasten told Hernández. “Remember, everyone in here grew up wanting to be a world champion and all the things that come with it, and it comes with a champagne toast, silliness in the locker room, a parade, rings, an invitation to the White House. It’s what they all come to associate with being world champions. Everyone wanted to go, and so we did.”

So they went, all of them except an injured Freddie Freeman. The event was even attended by Mookie Betts, who had previously declined a visit when he was with the Boston Red Sox.

Since then, the landscape has dramatically changed in light of the ICE raids that ramped up during the middle of the season.

This is no longer simply about the rebuke of a president. This is about a fight against a system that has consistently terrorized southern California streets and recently, in Minneapolis, resulted in the deaths of two American citizens at the hands of agents of the American government.

Surely the Dodgers clubhouse leaders see this. Surely they feel this.

They can’t be so insulated that they don’t notice the protests in city streets that resemble those near Chavez Ravine. They can’t be so sheltered that they don’t hear the outrage from people who look just like their biggest fans.

The players can’t hide from this. The players need to handle this.

And, no, it’s not even up to manager Dave Roberts, who last week told the Times’ Bill Shaikin that he supports the visit.

“I was raised — by a man who served our country for 30 years — to respect the highest office in our country,” Roberts said. “For me, it doesn’t matter who is in the office, I’m going to go to the White House.”

Again, this is no longer about just Trump. This is about Tom Homan and Greg Bovino and Kristi Noem and all the other immigration officials that have wrought so much unfounded havoc.

Baseball clubhouses have traditionally leaned heavily to the right.

Nobody is asking anybody to disavow their beliefs. This is no longer about ideology, this is about standing up for those who are being wrongly arrested, being unfairly harassed or being made to feel constantly frightened in their own homes.

Dodger Stadium is one of those homes, and those who permanently live there need to do their best to provide comfort and safety for those who don’t.

Dodgers veteran leaders, this is your time.

Their White House visit would probably occur during the team’s trip to play the Washington Nationals in the first week of April. Here’s hoping that before the road trip, the secure and well-paid Dodgers veterans let the team’s kids understand what it means to be a Dodger and how declining a White House visit would be the Jackie Robinson thing to do.

Sending a title team to the White House is baseball tradition. Sending a message about equality and fairness and freedom is a Dodgers tradition.

Somebody in a Dodgers uniform needs to stand up for that tradition.

Anybody?

Welcome to Black History Month, 2026 style.

President Trump posted a video Thursday to his social media site that contains animated images depicting former President Obama and First Lady Michelle Obama as apes.

The White House took down the post Friday, and after first calling it nothing more than a meme, they dubbed it a mistake by a staffer. Sure.

But while the justifiable outrage over this overt racism spins itself into a brief media circus (because we all know something else will come along is about three minutes), let’s look a bit deeper into why this video is more than an affront to everything America stands for, or should stand for, anyway.

It’s no accident that the images of the Obamas are embedded deep inside a video about voter fraud conspiracies from the 2020 election (which are untrue, if I need to say it again). This video is an escalation in the assault that is likely to come on voting rights and voting access in the midterms.

“Absolutely, there’s a connection to the vote,” Melina Abdullah told me Friday. She’s a professor at Cal State Los Angeles and co-founder of Black Lives Matter-LA.

“This is about more than just about the Obamas,” added Brian Levin, a professor Emeritus at California State University, San Bernardino, and founder of the Center for the Study of Hate and Extremism. “It’s about people that are (perceived as) undermining our elections and our democracy.”

I caught Levin the day after he turned in a chapter about authoritarianism for a new book, which happens to look at how discrimination and the imposition of social hierarchies ties in with power.

Let me summarize. Vulnerable groups are smashed down as dangerous and not fit to be full citizens, so a smaller group of elites can justify power by any means to protect society from these lowly and nasty influences.

Let me make that messaging even simpler: Black and brown people are bad and shouldn’t be allowed to participate in democracy because they don’t deserve the right.

How does that play out at the ballot box?

All that talk about voter identification and election integrity is really about stopping people from voting — people who legally have the right to vote. Those who are least likely to be able to obtain proof of citizenship — which might require a passport, or birth certificate along with the money and know-how to get such documents — are often Black or brown people. They are often also poor, or poorer, and therefore have less time and money to put into obtaining documents, and also live in urban areas where they share polling places.

Is it such a stretch to imagine some kind of federal oversight at those types of polling places, turning away — or simply intimidating away — legal voters who have long made up a strong block of the Democratic base?

Let’s hope that never happens. But the current undermining of the legitimacy of Black and brown voters is, said both Levin and Abdullah, systemic and concerning.

Trump’s latest video is “part of a floodgate of bigotry and conspiracy that relates to elections and immigrants and Black people and it’s important to condemn the manner in which these puzzle pieces are put together to label African Americans and immigrants as a threat to democracy with respect to the vote,” Levin said.

The premise of the video in question is that Democrats have engaged in a complicated and decades-long scheme to steal elections. It’s presented as a documentary, and the images of the Obamas have been weirdly inserted as almost a subliminal flash near the end.

If you’ve missed the white supremacist postings that have now become commonplace on official government communications such as those from the Departments of Labor and Homeland Security, let me assure you that Levin is right and this primate video is indeed part of a “firehose” of white nationalist rhetoric coming not just from Trump but from the federal government as a whole.

The Civil Rights Division of the U.S. Department of Justice, for example, has turned its focus toward punishing diversity, equity and inclusion. Just this week, another federal agency, the Equal Employment Opportunity Commission, began a probe against Nike for allegedly discriminating against white people in hiring.

“It has been not even a dog whistling, but a Xeroxing of the exact kind of terms that that I’ve been looking at on white supremacists and neo Nazi websites for decades,” Levin said.

It’s not my place or intent to warn Black people about racism, because that would be ludicrous and insulting, but I’ll warn the rest of us because in the end, authoritarianism targets everyone. This video is a clear statement that Trump’s vision of America is one in which every non-white group, every vulnerable group really, is a second class citizen.

“He’s enabling an entire group of people who want to take this country back to a time when rampant violent white supremacy was enabled in the law,” Abdullah said. “What they mean is recapturing an old school, oppressive racism that is pre-1965 pre-Voting Rights Act.”

That message, Levin said, has “a resonance with a decent part of his base,” and when fed ceaselessly into the system, can have violent outcomes.

Levin uses the example of when Trump tweeted during the protests over the killing of George Floyd, “When the looting starts, the shooting starts,” a phrase with a violent and racist history.

Levin said Black people have always been the primary targets of hate crimes in the United States, but after that tweet, it was some of the “worst days” for violence aimed by race.

“When a high transmitter, like a president, circulates imagery with regard to prejudice, it creates these stereotypes and conspiracy theories, which then are the groundwork for further conspiracy theories and aggression,” he added.

Abdullah said she worries that even if the voter crackdown isn’t officially sanctioned, those empowered conspiracy theorists will take action anyway.

“So the people who are so-called ‘monitoring,’ self-appointed monitors … this is who’s going to be pulling people out of voter lines, and so this is what he’s whipping up intentionally,” she said.

Keep your eye on the ball, folks, because the far-right Republicans running the show are laser-focused on it. The midterm elections have to go their way for them to remain in power.

The easiest way to ensure that outcome is to only allow voters who see things their way.

For Mikayla Tencer, being self-employed already meant juggling higher taxes, irregular income and the constant pressure of finding her own health insurance. This year, it also meant rethinking how often she could afford to see a doctor.

The 29-year-old content creator in San Francisco paid $168 a month last year for a Blue Shield health plan through Covered California. This year — without enhanced federal subsidies that expired at the end of December — that same plan would have cost $299 a month, with higher copays.

“People assume that because I’m young, I can just pick the cheapest plan and not worry about it,” Tencer said. “But I do need regular care, especially for mental health.”

Tencer is among tens of thousands of middle-class Californians facing steep increases in health insurance costs after Congress allowed enhanced federal subsidies for Affordable Care Act plans to expire Dec. 31.

Those extra subsidies were enacted in 2021 as part of temporary, pandemic-era relief, boosting financial help for people buying coverage on state-run insurance marketplaces such as Covered California. The law also expanded eligibility to people earning more than 400% of the federal poverty level, about $62,600 for a single person and $128,600 for a family of four.

Mikayla Tencer records a TikTok video featuring eyeliners. Her blog showcases Bay Area attractions and local businesses.

(Paul Kuroda/For The Times)

With the expiration of the enhanced subsidies, people above that income threshold no longer receive federal assistance, and many who still qualify are seeing sharply higher premiums and out-of-pocket costs. On top of the loss of the extra federal benefits, the average Covered California premium this year rose by 10.3% because of fast-rising medical costs.

To lower her monthly bill, Tencer switched to the cheapest Covered California option, bringing her premium down to about $161 a month. But the savings came with new costs. Primary care and mental health visits now carry $60 copays, up from $35.

When she showed up for a psychiatric appointment to manage her ADHD and generalized anxiety disorder, she said, she learned her doctor was out of network.

“That visit would have been $35 before,” she said. “Now it’s $180 out of pocket.”

Because of the higher costs, Tencer said she has cut therapy from weekly to biweekly sessions.

“The subsidies made it possible for me to be self-employed in the first place,” Tencer said. “Without them, I’m seriously thinking about applying for full-time jobs, even though the market is terrible.”

For another self-employed Californian, the increase was even more dramatic.

Krista, a 42-year-old photographer and videographer in Santa Cruz County, relies on costly monthly intravenous treatments for a rare blood disorder. She asked that her full name not be used but shared her insurance and medical documents with The Times.

Last year, she paid about $285 a month for a Covered California plan. In late December, she received a notice showing her premium would rise to more than $1,200 a month. The rise was due to her loss of federal subsidies, as well as a 23% increase in the premium charged by Blue Shield.

“It terrified me. I thought, how am I ever going to retire?” she asked. “What’s the point?”

Krista ultimately enrolled in a plan costing about $522 a month, still nearly double what she had been paying, with a $5,000 deductible. She said she cannot downgrade to a cheaper plan because her clinic bills her treatment to insurance at roughly $30,000 a month, according to medical statements.

To cut costs and preserve the ability to save for retirement and eventually afford a place of her own, Krista decided to move into an RV on private land. The decision came the same week she received notices showing a rent increase and a steep jump in her health insurance premiums.

Mikayla Tencer, a marketing influencer, with her elder dog, “Lucky” at Alamo Square Park.

(Paul Kuroda/For The Times)

Krista said she had been planning for more than a year to find a long-term living situation that would enable her to live independently, rather than continue paying more for an apartment.

“Nobody asks to be sick,” Krista said. “No one should have their life ruined because they get diagnosed with a disease or break a leg.”

Jessica Altman, executive director of Covered California, said that about 160,000 Californians lost their subsidies when the enhanced federal assistance expired because their incomes were higher than 400% of the federal poverty level.

Although overall enrollment in Covered California this year has held steady, Altman said, she worries that more people will drop coverage as bills with the higher premiums arrive in the mail.

Those fears are already playing out.

Jayme Wernicke, a 34-year-old receptionist and single mother in Chico who earns about $49,000 a year, said she was transferred from Medi-Cal to a Covered California Anthem Blue Cross plan at the end of 2023. Her premium rose from about $30 a month to $60, then jumped to roughly $230 after the subsidies expired.

“For them to raise my health insurance almost 400% is just insane to me,” Wernicke said.

Her employer, a small family-owned business, does not offer health insurance. Her plan does not include dental or vision care and, she said, barely covers medical costs.

“At a certain point, it just feels completely counterintuitive,” she said. “Either way, I’m losing.”

Wernicke dropped her own coverage and plans to pay for care with cash, calculating that the state tax penalty is less than the cost of premiums. Her daughter remains insured.

Two other Californian residents told The Times that they also decided to go without coverage because they could no longer afford it. They declined to provide their full names, citing concerns about financial and professional consequences.

Under California law, residents without coverage face an annual penalty of at least $900 per adult and $450 per child.

One, a 29-year-old self-employed publicist in Los Angeles requires medication for epilepsy. Last year, she paid about $535 a month for a silver plan through Covered California. This year, the same plan would have cost $823.

After earning about $55,000 last year, she calculated that paying for care out of pocket would cost far less. Her epilepsy medication costs about $175 every three months without insurance, and her annual doctor visits total roughly $250.

“All of that combined is still far less than paying hundreds of dollars every month,” she said.

Another, April, a 58-year-old small-business owner in San Francisco, canceled her insurance in December after her quoted premium rose to $1,151 a month for a bronze plan and $1,723 for a silver plan, just for herself. Last year, April said she paid $566 for both her and her daughter. This year, her daughter’s premium alone jumped from $155 to $424.

The bronze plan also carried a $3,500 deductible for lab work and specialist visits, meaning she would have had to pay thousands of dollars out of pocket before coverage kicked in, on top of the higher monthly premium.

“The subsidies were absolutely what allowed me to sustain my business,” April said. “They were helping me sustain my financial world and have affordable care.”

She rushed to complete medical tests before dropping coverage and hopes to go a year uninsured.

“The scariest part is not having catastrophic coverage,” she said. “If something happens, it can be millions of dollars.”

Tencer, the content creator in San Francisco, believes that in order to make the nation healthier, affordable healthcare should be universal.

“Our government should be providing it.” she said. “People can’t go to the doctor for routine checkups, they can’t get things checked out early, and they can’t access the resources they need.”

Bad Bunny is constantly making history. Last Sunday he broke a new record by winning album of the year at the Grammys for his 2025 album, “Debí Tirar Más Fotos,” which was the first fully Spanish-language album to claim the title; and come Feb. 8, a.k.a. Super Bowl Sunday, he’ll be the headlining act at the Super Bowl halftime show.

Yet he is also teaching history. Bad Bunny’s latest record is not only a celebration of Puerto Rico and its people, but it offers a window into some of the challenges the embattled territory is currently facing — including massive migration, displacement and an infrastructure on the brink of collapse. In a moment when education is under attack, both in the United States and Puerto Rico, Bad Bunny is using pop culture’s biggest stage to offer the world a history lesson. And in this political context, that matters greatly.

In December 2024, I was contacted by Bad Bunny’s team to produce 17 pages outlining Puerto Rican history, to pair with each song’s YouTube visualizer for “DTMF.” Altogether, they have been viewed more than 775 million times.

I later produced 40 slides jam-packed with historical and cultural facts about Puerto Rico, which were screened at Bad Bunny’s 31-show residency in San Juan. These ranged from facts about the history of women’s suffrage to the founding of Puerto Rico’s oldest punk band, La Experiencia de Toñito Cabanillas.

When Bad Bunny was announced as the NFL’s choice to headline the halftime show, I was hardly surprised by the backlash from conservatives — including multiple Fox News hosts, podcasters and even President Trump, who said, “I don’t know who he is. I don’t know why they’re doing it … [It’s] crazy.”

As communities of color celebrated on social media, critics raised two questions: Why would a Spanish-speaking artist — even if he is the most-streamed artist on Earth — be chosen for that stage? And why wouldn’t they choose a more patriotic, Anglo-American artist?

While undoubtedly xenophobic in nature, these questions highlight their acute ignorance about the place that birthed Bad Bunny, and its ongoing entanglement with the United States.

Puerto Rico was first colonized by the Spanish from 1493 until 1898, the year that the United States occupied the country as part of the Spanish-American War. Later, in 1917, Puerto Ricans became U.S. citizens through the Jones Law. Eventually, we drafted a constitution and became a Commonwealth of the United States in 1952. But there is never one single historical narrative.

What these facts occlude, however, is that Puerto Ricans are second-class citizens who cannot vote for the president — and those in the archipelago are not fully protected by the U.S. Bill of Rights. According to the U.S. Supreme Court’s early-20th century Insular Cases, we belong to the United States, but we are not part of it.

Put simply: We are a colony of the United States in the 21st century.

When drafting the historical narratives for “DTMF,” Bad Bunny understood that Puerto Rican history is often unknown, even to our own people. He was interested in making history available for those who don’t have access to higher education. He wanted me to write these narratives in a candid manner to be read by people in the barriadas y caserios (working-class neighborhoods and the projects). These were the places where I came of age in Puerto Rico.

With the success of “DTMF,” Puerto Rican history was amplified to the world. I’ve had countless conversations with journalists from around the globe, who marveled at how little they knew about Puerto Rico’s history or its relationship to the United States. This is precisely what I think drives those debates about language and who gets the right to claim Americanness — a lack of information.

And even though Bad Bunny is a U.S. citizen, conservatives have organized an alternative “All-American Halftime Show,” which reveals how “Americanness” is policed through language and race. This is the product of willful ignorance.

Puerto Rico’s history is also that of Latin American, Caribbean, United States and Latinx communities. I believe Bad Bunny’s performance will invite people to understand the beauty and complexity of our people’s history, even if it makes outsiders uncomfortable. That he will also be doing so entirely in Spanish in a moment when Latinx people in the United States are being arrested or interrogated by federal agents for speaking in Spanish — or simply for having an accent? That matters.

Of course, artists alone will not save us from the perils of racism and xenophobia — I learned that from my time in the punk community. We cannot just wait on anyone, especially not celebrities, to change institutions without some people power to back them up.

Yet given his enormous reach — just this week his latest album hit No. 1 on Apple Music in China — Bad Bunny has the power to move the cultural needle. And if there’s one thing to take from the Grammys ceremony last Sunday, it’s that he’s not alone — other artists have taken a stand on anti-immigrant violence. They are living up to the moment. That matters too.

So while conservatives organize their bland counter to the Super Bowl halftime show — with none other than Kid Rock as headliner — Bad Bunny will be offering the world a much more valuable history lesson, full of sazón, batería y reggaetón.

Jorell Meléndez-Badillo is the author of “Puerto Rico: A National History” and associate professor of Latin American and Caribbean History at the University of Wisconsin-Madison.

When you read about Jason Mantzoukas’ ideal Sunday in Los Angeles, it’s important that you imagine him holding a cup of coffee in basically every location and situation. He knows all the places around the city where he can get caffeinated before he goes on to do anything else.

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.

Fittingly, the actor, comedian and podcaster has brought an excitable, unpredictable and hilarious energy to his roles on shows including “The League,” “Brooklyn Nine-Nine” and “Big Mouth.” Last year, he brought his gleeful sense of mischief to the U.K. competition series “Taskmaster.” And Disney+ recently finished airing the second season of “Percy Jackson and the Olympians,” where Mantzoukas portrays Mr. D (a.k.a. Dionysus), and he’ll soon wrap up a stint on Broadway, where he stars in Simon Rich’s play “All Out: Comedy About Ambition.”

For the continuously busy Mantzoukas, sometimes the perfect Sunday means never leaving the house. “All I want to do is make a whole pot of coffee, get the paper and a big stack of unread comic books, and sit on the porch.” When he does explore the city, he favors the spots where he similarly can just hang out for a while. But before that, how about a refill?

10:30 a.m.: First cup(s) of the day

I’m a night owl, so on a Sunday especially, I’m going to let myself sleep in. Then I’m making coffee. My first three cups of coffee are all from home. I’m making a French press. L.A. beans though, either Counter Culture or Go Get Em Tiger would be my beans of choice. That and the newspaper are the beginning.

Almost immediately upon getting up, I’m going to start playing the radio. My mornings are either LAist or Howard Stern if it’s a weekday. But on Sundays, I’m trying really hard to not do any talk, just music. It’s KJazz, or something like that. I’m also obsessed with a radio station called WYAR that I can’t recommend enough. It’s music from the ’20s, ’30s and ’40s. It’s the teeniest, tiniest radio station out of Yarmouth, Maine.

Noon: Hike bros

I’ve hiked with the same guys for years now. It’s all guys that I’ve done comedy with for 20-plus years. We usually do one of the Griffith Park hikes because it’s convenient for everybody. The conversation topics are: What is wrong with us physically? What doctor recommendations do we need desperately? Then it is gossip — gossip from within our world, gossip from outside of our world. Then it is just earnest conversation, like checking in emotionally. And then quite a bit of dumb bits, like really dumb bits.

We do these hikes a couple of times a week, and it’s so fun and funny that we have started doing an improv show at the Elysian Theater that’s called Hike Bros. It is just us trying to approximate on stage what it is we do on hikes. It’s ridiculous.

1 p.m.: Comic book restock

After the hike, I’m in a good position to go to Secret Headquarters in Atwater Village, which is my home comic book shop. They keep a list of what comics I want them to set aside each week.

There’s a series of graphic novels called “Hobtown Mystery Stories” that are like, what if David Lynch wrote Hardy Boys, Nancy Drew-style teen detective books? I got super into them because I was in Secret Headquarters and one of the people there was like, “Oh, I bet you’d like that book.” On the internet, I miss having those trusted people.

2 p.m.: Recording digging

I want to kill time in a way that is about discovery, exploration, but also, like, “Oh, I want stuff.” That’s record shopping. L.A. has always been Amoeba for me, just in terms of I love wasting hours in a store that has a deep bench for every section of music that I’m interested in. And then if you want to do the extra work, DVDs as well. There’s a lot of great smaller record stores around town that I love, but there’s something about killing two hours at Amoeba.

6 p.m.: Dinner hang

What I want from an L.A. dinner is I just want to hang there. Little Dom’s is a great hang. You can spend hours there. You’re always going to run into people. My hope is that we can all just hang out and that we’re not going to be rushed out because they have another seating.

8 p.m.: Nighttime activities

I’m going to want to do one of three things at night:

I want to go to the movies, and I’m talking Vidiots and the Vista and the New Beverly. We can all go to all the regular theaters and see all the blockbusters, but L.A. has fantastic theaters that are doing incredible programming,

If I’m not going to the movies, I want to see live music as much as I can, but on a much smaller scale than I used to. I’m excited when an artist that I love like Mary Lattimore or Jeff Parker has a residency at Zebulon because I’m like, “Oh, great. That is not a big crowd. That is very easy, very manageable.”

Then I either want to be doing a comedy show or seeing a comedy show. There’s such a vibrant scene now. The Elysian in Frogtown is a great spot. We do Dinosaur Improv at Largo. I think Largo is pound for pound, maybe the best venue in town. Dynasty Typewriter, another great one. UCB, the OG. Over the course of a month, these are all places that I’m doing shows at, but these are also places that are showcasing some of the best comedy in L.A.

11 p.m.: The missing piece

At this point I’m done being social. I don’t want to talk to anybody anymore. My goal when I get home is a jigsaw puzzle — with either a podcast or jazz on in the background — until probably like 2 in the morning.

I do these puzzles from a company called Elms Puzzles and they’re hand cut, so they’re incredibly difficult to do. It’ll take me a month to do one. They are prohibitively expensive, so much so that I don’t buy them. They have a rental program. They send you a puzzle, you do it, you send it back to them, and they send you another puzzle. Which is perfect, I don’t need to do a puzzle more than once.

It is a great way to put myself into a frame of mind to go to bed, especially if I’ve done a show or watched a movie. If I’ve been stimulated, doing a puzzle for a couple of hours is a great way to decompress.

BREAKINGBREAKING,

US says two people were killed in strike on a vessel in the Pacific Ocean, continuing a campaign denounced as illegal.

The United States military has said that it killed two people in its latest attack on a vessel in the eastern Pacific Ocean.

US Southern Command (SOUTHCOM), which oversees US military operations in Latin America, said on Thursday that “two narco-terrorists were killed during this action”.

SOUTHCOM did not provide any evidence to support its claim that the vessel and the two victims were involved in drug trafficking.

US strikes on vessels in the Pacific and Caribbean, which have killed at least 126 people in 34 attacks since the first recorded incident in September 2025, have been widely denounced as illegal under international law.

The latest strike appears to be the first conducted by the Trump administration in 2026, according to records of the strikes tabulated by the watchdog group Airwars.

This is a breaking news story. More to follow shortly.

A Reddit user was baffled as to how American TV characters never seem to say ‘goodbye’ when ending a phone call

If you’ve ever watched an American film or TV programme, you may have clocked that characters rarely utter ‘goodbye’ before ending a phone conversation.

Instead, they simply cut the call short without a second’s hesitation, seemingly unbothered by what might elsewhere be deemed discourteous.

Yet there’s actually a proper filmmaking explanation behind why characters skip the pleasantries when ringing off – and it boils down to pure practicality.

Baffled by this phenomenon, one Reddit user asked: “Why do most characters just hang up the phone without saying goodbye? Over the past few years, I have seen people just hanging up.

“Sometimes mid-conversation, but mostly not. It’s like saying bye on the phone isn’t the norm anymore. Is this just to save time during the show or is it a cultural thing in the US?”.

Addressing the mystery head-on, screenwriter and producer Michael Jamin clarified matters in a TikTok clip that’s since racked up over 206,000 likes.

On his account @michaeljaminwriter, Michael – whose credits include King of the Hill, Wilfred and Maron – revealed how the television business labels phrases like ‘goodbye’ as ‘shoe leather’.

He explained: “Shoe leather might make a scene feel more realistic – but it doesn’t necessarily make the scene more entertaining.

“In TV, we also have running times. We have to turn in a cut to the network for like 22 minutes. They won’t accept 22 minutes and 30 seconds. Knowing this, we always shoot long maybe 25 minutes knowing that not every scene is going to be great.

“We want to have a liberty to trim and pace up a bit – but we don’t know where.”

Michael explains that whilst trimming the opening couple of minutes proves straightforward, deciding what to axe beyond that becomes increasingly difficult.

He added: “You’re like, if I cut the guy saying goodbye then maybe I get to keep my favourite joke. Eventually, you get to the point where you’re not even writing the bye into the script knowing you’ll just cut it later.”

The admission sparked plenty of reaction online, with one viewer admitting: “Oh I thought it was for dramatic effect like they are too cool to say goodbye.”

Another added: “From now on, I will quit saying goodbye and use that time to maybe go on vacation when I’m old.”

A third wrote: “I’m from Europe and when I was younger I thought that’s the way people in the US end their phone calls…” Whilst another said: “So glad you weighed in on this. I’m a firm believer that it’s more distracting to say goodbye in a film or tv show. Big fan Michael!”

Before hitting the stage, the comedians of the TV series “Jokes with JoySauce” have an on-camera ritual of exchanging immigrant stories about growing up with their families. There is no audience during these moments, just comics being vulnerable with one another.

The tales give insight into the lives they live offstage and their perspectives as Asian Americans that inspire so much of their material. It lets the audience know more about these up-and-coming comedians without the generic stage introductions.

The series is part of the original program curated for JoySauce, available on Amazon Prime. It premiered in early January as part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

Season 1 of “Jokes with JoySauce” is currently airing as part of the launching programming for the channel. Director and creator of the series Ana Tuazon Parsons is excited to watch it grow.

Narumi Inatsugu, from left, Cat Ce, Ana Tuazon Parsons and Jonathan Sposato at The Times’ office in El Segundo.

(Allen J. Schaben/Los Angeles Times)

“I’m still definitely going for that underground punk rock, like, let’s-find-some-cool-people kind of thing for Season 2,” Parsons said. “Bigger and better venue, and more budget, more budget, please.”

While Parsons focuses on cultivating new comedic voices, JoySauce wants to create its own opportunities for people in the community by broadening its mission of ownership and representation.

“We won’t really get the full spectrum of the representation that I believe that we deserve unless we own the pipeline and the platforms and the carriers and really the gateways,” Jonathan Sposato, creator of Joysauce, said.

He decided to bring the platform to the masses in 2022 after growing sick and tired of how much hate his community was going through and wanting to fill in a gap in the media. Media representation was also low for Asian American actors, with only 6% of all Asian characters in 100 titles on streaming platforms in 2022 in leading roles, according to a study by USC Annenberg Gold House.

“I do think positivity wins,” Sposato said. “Comedy is a very necessary tool, a necessary ingredient in the overall mix of what we’re trying to offer.”

His goal is to broaden the concept of Asian American culture through storytelling that would display what the U.S. has to offer while staying rooted in Asia.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” he said.

At a time when attention is a currency, creating a space that’s focused on elevating AAPI voices will help diversify the media landscape.

“A win for JoySauce is a win for anybody who feels underrepresented, who doesn’t feel like they’re considered the normative mainstream,” JoySauce creator Jonathan Sposato, left, said.

(Allen J. Schaben/Los Angeles Times)

“As a comedian, you cannot complain,” Cat Ce, a comedian whose special “Perfect Chinglish” was licensed by JoySauce, said. “Nowadays, you want it on so many different platforms, you never know which kind of audience you may reach.”

Her work reflects the kind of storytelling JoySauce hopes to amplify. The comedy hour by Ce deals with the cultural differences when dealing with family, friends and romantic relationships as a Chinese American. For Narumi Inatsugu, that universality is the point.

As the chief creative officer of JoySauce, Inatsugu wants to create a space where Asian Americans do not feel outnumbered.

“For so long I thought nobody cared about Asian American stories,” he said.

As a curator of the channel, and host of the upcoming “Chopsticks and Chill,” an interview show where he shares a meal with influential members of the AAPI community, Inatsugu wants to create a platform where the younger generation can see the many opportunities life can offer, regardless of your cultural background.

“It’s community building, it’s letting people know they can be whatever they want, do whatever they want,” he said.

Season 1 of “Jokes with JoySauce” is currently airing and is part of the first free, ad-supported streaming channel dedicated to highlighting Asian American voices across comedy, film, reality TV and sitcoms.

(Allen J. Schaben/Los Angeles Times)

Throughout his years in the entertainment industry and in production meetings, Inatsugu felt like he couldn’t pitch certain stories because they were aimed at his Asian community. He hopes an outlet like JoySauce can create a safe space for creative minds to feel like they can be themselves and not feel outnumbered, the way he once did.

Everything in the details of a show will make people feel welcomed, from the people making it to the food that’s made available for the cast and crew.

During production of the first season of “Jokes with JoySauce,” Parsons made sure every aspect of the production was AAPI, including the food. Her production team made sure to fill the craft table with food that can be found at any Asian market. The sense of belonging is exactly the reason she built “Jokes with JoySauce” and why JoySauce exists.

“When I’d see the comics come up into the greenroom and their faces, it was like ‘Oh, I feel so like they were just reverted to their childhoods,’” she said. “It was just like they felt like they were at home with their families, and it was so important for me, it made me cry a little bit.”

COLLINGSWOOD, N.J. — The shawarma, falafel wraps and baklava at Jersey Kebab are great, but many of its patrons are also there these days for a side of protest.

A New Jersey suburb of Philadelphia has rallied around the restaurant’s Turkish owners since federal officers detained the couple last February because they say their visas had expired.

In fact, business has been so good since Celal and Emine Emanet were picked up early in the Trump administration’s immigration crackdown that they have moved to a bigger space in the next town over. Their regulars don’t seem to mind.

The family came to the U.S. seeking freedom

Celal Emanet, 52, first came to the U.S. in 2000 to learn English while he pursued his doctorate in Islamic history at a Turkish university. He returned in 2008 to serve as an imam at a southern New Jersey mosque, bringing Emine and their first two children came, too. Two more would be born in the U.S.

Before long, Celal had an additional business of delivering bread to diners. They applied for permanent residency and believed they were on their way to receiving green cards.

When the COVID-19 pandemic began and the delivery trucks were idled, Celal and Emine, who had both worked in restaurants in Turkey, opened Jersey Kebab in Haddon Township. Business was strong from the start.

It all changed in a moment

On Feb. 25, U.S. marshals and Immigration and Customs Enforcement officers arrested the couple at the restaurant. Celal was sent home with an ankle monitor, but Emine, now 47, was moved to a detention facility more than an hour’s drive away and held there for 15 days.

With its main cook in detention and the family in crisis, the shop closed temporarily.

Although the area is heavily Democratic, the arrests of the Emanets signaled to many locals that immigration enforcement during President Trump’s second term wouldn’t stop at going after people with criminal backgrounds who are in the U.S. illegally.

“They were not dangerous people — not the type of people we were told on TV they were looking to remove from our country,” Haddon Township Mayor Randy Teague said.

Supporters organized a vigil and raised $300,000 that kept the family and business afloat while the shop was closed — and paid legal bills. Members of Congress helped, and hundreds of customers wrote letters of support.

Space for a crowd

As news of the family’s ordeal spread, customers new and old began packing the restaurant. The family moved it late last year to a bigger space down busy Haddon Avenue in Collingswood.

They added a breakfast menu and for the first time needed to hire servers besides their son Muhammed.

The location changed, but the restaurant still features a sign in the window offering free meals to people in need. That’s honoring a Muslim value, to care for “anybody who has less than us,” Muhammed said.

Judy Kubit and Linda Rey, two friends from the nearby communities of Medford and Columbus, respectively, said they came to Haddon Township last year for an anti-Trump “No Kings” rally and ate a post-protest lunch at the kebab shop.

“We thought, we have to go in just to show our solidarity for the whole issue,” Kubit said.

Last month, with the immigration crackdown in Minneapolis dominating the headlines, they were at the new location for lunch.

The legal battle hasn’t ended

The Emanets desperately want to stay in the U.S., where they’ve built a life and raised their family.

Celal has a deportation hearing in March, and Emine and Muhammed will also have hearings eventually.

Celal said moving back to Turkey would be bad for his younger children. They don’t speak Turkish, and one is autistic and needs the help available in the U.S.

Also, he’d be worried about his own safety because of his academic articles. “I am in opposition to the Turkish government,” he said. “If they deport me, I am going to get very big problems.”

The groundswell of support has shown the family they’re not alone.

“We’re kind of fighting for our right to stay the country,” Muhammed Emanet said, “while still having amazing support from the community behind us. So we’re all in it together.”

Mulvihill writes for the Associated Press.

Chinese company AutoFlight conducted a public flight demonstration for its 5-tonne-class flying car V5000 Matrix on Thursday. It can carry 10 passengers, and the company says its operating costs are one-tenth of those of traditional helicopters.

Frank Clem, a pickleball pal of mine, recently put out the word that he was collecting whistles to deliver to the front lines of anti-ICE demonstrations in downtown Los Angeles, Highland Park, Pasadena and other locations.

I was out of the country at the time, but shortly after I returned, I thought about Clem when Minneapolis nurse Alex Pretti was shot dead by ICE agents at a protest in Minnesota. It wasn’t long before the Trump administration’s top officials took turns blaming the victim, lying about the circumstances and calling Pretti an assassin.

Pretti’s distraught parents responded with this:

“The sickening lies told about our son by the administration are reprehensible and disgusting.”

And yet entirely unsurprising, given the state of disinformation and the blatant corruption of legal and moral codes of conduct under Trump, who just the other day was blowing gas yet again about the 2020 election being stolen.

How do you stand up to a president who hypocritically pardons drug kingpins and other rabble, including the barbarians who beat up cops and ransacked the Capitol, even as he invades cities to terrorize and abduct working people?

Maybe you blow a whistle, for starters.

I know, it’s a small gesture. But Clem and others are choosing sides, standing up for their communities, and refusing to remain silent as it becomes clear that the ICE agenda is less about law and order and more about the politics of scapegoating.

I came upon a story on Fox11 about a broader whistle brigade in Los Angeles. Musician Hector Flores, of Las Cafeteras, said he had been distributing free whistles to coffee shops because “we’ve got to protect one another,” and a whistle can sound the alarm that ICE agents are on the prowl.

If Trump were honest about rounding up violent criminals, we wouldn’t need this kind of resistance. But arrests of immigrants with no criminal records are increasing, and the majority of them are here to work and support their families. And U.S. employers have embraced and relied on them as essential contributors to the economy.

When I couldn’t immediately get hold of Flores, I called the owner of Cafe de Leche, the Highland Park coffee shop he had delivered whistles to. Matt Schodorf told me he was fresh out of whistles, and I thought of Clem, who agreed to meet me at Cafe de Leche with a special delivery.

Clem, an actor, is someone you want on your pickleball team because he comes to play and he covers a lot of ground. You might have seen him in theater productions, on TV shows or in movies, and you couldn’t possibly not have seen him as the emu farmer in a Liberty Mutual commercial.

Clem walked past a window sign that says “I Like My Coffee Without ICE” and took a seat at Cafe de Leche. He was wearing an L.A. ballcap and carrying a shopping bag containing hundreds of whistles.

A sign reading “I like my coffee without ICE” is posted in the window of Cafe de Leche in Highland Park. Cafe owners Matt and Anya Schodorf have been giving away whistles to customers to be used for ICE sightings and at demonstrations.

(Genaro Molina / Los Angeles Times)

Black whistles. Red whistles. Whistles with strings and whistles with hooks to clip onto key chains.

Enough for a symphony.

“It’s 18, 20 bucks for, like, a hundred whistles,” Clem said, displaying a sandwich-size baggie of 100 multicolored whistles in the shape of small pencils.

Clem has been buying them in bulk on the internet, accepting donated whistles from friends, and making his with a 3D printer. He said he had already given away more than 1,500 the last few weeks at rallies and demonstrations.

People smile, Clem said, “when they see the possibilities,” when they join the chorus and the cause, and rather than retreat in silence, make themselves heard. Stiff opposition to ICE atrocities in Minneapolis has led to the withdrawal of hundreds of agents, so maybe a corner is being turned.

“We’re blowing $20 on coffee, right?” Clem said. “But here’s $20 you can spend on something and really feel like you’re getting some kind of return on it. … Throw me 100 whistles, and we’ll get them into the hands of people that might make a difference.”

Schodorf joined us with a cleaned-out whistle rack that said “Free Ice Alarms” on it, and said he’d be glad to fill the rack with Clem’s contributions. Before long, it was loaded up with 100 whistles and placed on the front counter.

When I asked Schodorf about joining ranks with the whistle brigade, he mentioned his wife, Cafe de Leche co-owner Anya Schodorf.

“She grew up here, but she was born in Nicaragua,” he said, and it’s hard to not to get involved when “they’re just profiling people right off the streets. I mean, nobody feels safe … and they’re charging the brown people, right? My wife would identify as that, and she’s afraid to go out of the house.”

Schodorf said they’ve been scrambling to keep the business running after they lost their Cafe de Leche restaurant in the fire that tore through Altadena a year ago. A photo of them in the ruins of their other shop hung on the wall, along with other photos of the destruction in Altadena.

“I don’t know what to do,” Schodorf said about the ICE tactics in Highland Park and beyond, “but I feel like we want to raise the voices of people.”

His wife entered the shop and greeted friends and customers before joining us. She has been a U.S. citizen for decades, and yet she feels as though the color of her skin makes her a suspect.

Anya and Matt Schodorf, owners of Cafe de Leche in Highland Park, talk about their fears about ICE in the community.

(Genaro Molina / Los Angeles Times)

“You can scream from the top of your lungs that you’re a citizen, and they don’t care,” Anya said. “I honestly can’t think straight … and it’s really hard for me to concentrate.”

Anya said she walks and sometimes runs on Arroyo trails but has begun taking extra precautions, like calling her husband and leaving the line open. She went to a park in Pasadena recently and got worried after entering a restroom.

“I heard … a commotion outside and I got nervous,” Anya said. “And then I came out and saw ICE people kind of harassing the workers, like city workers. They’re city landscapers, and I panicked. I went back into the bathroom, like, what do I do? And why should I be panicky? I’m a citizen.”

Her kids are just as concerned about her as she is.

“It’s my son I really worry about,” Anya said. “He says, ‘Make sure you have your passport.’ Yeah, my kids. They’re really worried. And my son is like, please be careful. … It’s that additional stress that they don’t need — that they have to worry about me.”

The Schodorfs said ICE agents recently grabbed a neighborhood fixture — a guy who sells tamales.

“They’re just picking people off, right and left,” Matt said.

“He’s like 72,” Anya said.

The first whistles delivered by Hector Flores were gone before long.

“It was just a matter of hours,” Matt said. “I think it’s twofold. It’s people who think they might need it just for themselves, but it’s people who feel like they might need it for other people. … It’s been wildly popular.”

“We’re a good country,” Anya said. “But we’re falling into the hands of people that are cruel and they don’t really care about anyone but themselves, and they are enriching themselves.”

Clem said that at rallies, he’s making sure to offer whistles to vendors.

“People selling hot dogs and churros,” he said. “They’re asking how many they can take for their families and friends, right? I want them to take as many as they can. I’ve got 1,500 of these things sitting on my dining room table.”

Clem said he was never really a protester, but “anyone who has eyes can see” the alarming level of corruption coming out of the White House.

“My dad fought in the Battle of the Bulge, right?” Clem said. “My dad fought Nazis and fascists in World War II, and he was always warning me growing up that it could happen here. So now, the least I can do is pass out whistles.”

When Clem’s whistles were on display at the counter, one of the first customers was Hana McElroy. She ordered a coffee and took a whistle.

“I’m a nanny, and I pick up a couple of kids from their preschool and I know and love so many kids with parents in pretty tenuous situations,” said McElroy, who is Irish American. “It’s just been a scary time to be an Angeleno.”

Hana McElroy, right, picks up a free whistle while ordering a cup of coffee from Soleil Hernando at Cafe de Leche.

(Genaro Molina / Los Angeles Times)

McElroy said she knows some of the Latina nannies who take their charges to the little park across the street from Cafe de Leche, and she worries about them too.

McElroy showed me a whistle on her key chain but said it was broken. Soleil Hernando, a barista, told her after she’d taken one of Clem’s whistles that they were free, and she should take as many as she wanted.

McElroy grabbed another.

steve.lopez@latimes.com

Following Bad Bunny’s landmark album of the year win at the 68th Grammy Awards for “Debí Tirar Más Fotos,” Ricky Martin penned a letter of appreciation to commemorate the moment.

In an opinion piece for the Puerto Rican newspaper El Nuevo Día published Tuesday, the Boricua hitmaker said Bad Bunny’s accomplishment stirred deep feelings within him.

“Benito, brother, seeing you win three Grammy Awards, one of them for album of the year, with a production entirely in Spanish, touched me deeply,” Martin wrote. “Not only as an artist, but as a Puerto Rican who has walked stages around the world carrying his language, his accent and his history.”

In addition to becoming the first all-Spanish album of the year winner, the “Nuevayol” artist took home the Grammy Awards for música urbana album and global music performance for the track “EoO” on Sunday.

Martin further called Bad Bunny’s achievement a “human” and “cultural” win, lauding him for not bending to the will of anyone who tried to change his sound in any way.

“You won without changing the color of your voice. You won without erasing your roots. You won by staying true to Puerto Rico,” Martin wrote. “You stayed true to your language, your rhythms and your authentic narrative.”

Martin, who first broke out as a solo musical act in the mid-’90s, became an international superstar off the back of his Spanish-language hits including 1995’s “María,” 1998’s “Vuelve” and “Perdido Sin Ti.”

He reached a new strata of stardom after his track “La Copa de Vida” was used as the official anthem for the 1998 FIFA World Cup. That song charted in over 60 countries and was translated into English. He landed his biggest hit with “Livin’ La Vida Loca,” which was the lead single from his 1999 self-titled English album.

When accepting his album of the year award Sunday night, Bad Bunny addressed the crowd predominantly in Spanish and spoke of the strugglesof the immigrant experience.

“I want to dedicate this award to all the people who had to leave their homeland, their country, to follow their dreams,” he said in English.

“Puerto Rico, believe me when I say that we are so much bigger than 100 by 35 and there is nothing that exists that we can’t accomplish,” the “Dakiti” artist said in Spanish. “Thank God, thank you to the academy, thank you to all the people who have believed in me throughout my whole career. To all the people who worked on this album. Thank you, Mami, for giving birth to me in Puerto Rico. I love you.”

The 54-year-old singer also showed love to Bad Bunny for using his platform to show solidarity for vulnerable communities.

“What touched me most about seeing you on the Grammys stage was the audience’s silence when you spoke,” Martin wrote. “When you defended the immigrant community, when you called out a system that persecutes and separates, you spoke from a place I know very well where fear and hope coexist, where millions live between languages, borders and deferred dreams.”

Martin concluded his letter by thanking Bad Bunny for reminding him and showing other Puerto Ricans that there is power in being true and authentic to yourself.

“This achievement is for a generation to whom you taught that their identity is non-negotiable and that success is not at odds with authenticity,” Martin wrote.

“This was for Puerto Ricans, for all our Latino brothers and sisters who dream in Spanish, for those crossing seas and borders wearing their cultures like a flag. From the heart, from one Boricua to another, with respect and love, I thank you for reminding us that when one of ours succeeds, we all succeed.”

Shaboozey has responded to the backlash over remarks he made at the 2026 Grammy Awards.

In a statement posted on the social media site X Monday, the country singer-songwriter said he wanted to “acknowledge the conversation” spurred by his heartfelt speech after his historic Grammy win for country duo/group performance.

After sharing that his mother, who he said worked “three to four jobs just to provide for [him] and [his] four siblings as an immigrant in this country,” had just retired from a 30-year career as a registered nurse, Shaboozey dedicated his awards to all immigrants Sunday.

While many praised his remarks for uplifting of immigrant communities at a time when they are increasingly being targeted by the federal government, others felt the musician had overlooked the history and experiences of Native Americans and Black Americans by not mentioning them. Native Americans were forcibly removed from their lands in the development of this nation and enslaved people were brought to America involuntarily.

“To be clear, I know and believe that we — Black people, have also built this country,” Shaboozey wrote in his statement. “My words were never intended to dismiss that truth. I am both a Black man and the son of Nigerian immigrants and in the overwhelming moment of winning my first Grammy my focus was on honoring the sacrifices my parents made by coming to this country to give me and my siblings opportunities they never had.”

The “Amen” singer also acknowledged that winning his Grammy on “the first day of Black History Month and becoming the first Black man to win Best Country Duo is Black history.”

“It stands on the foundation laid by generations of Black people who fought, sacrificed, and succeeded long before me,” Shaboozey’s statement continued. “This moment belongs to all of us.”

On the Grammys stage Sunday, Shaboozey had concluded his speech by expressing his appreciation of and support to all immigrant communities.

“Immigrants built this country, literally,” he said. “So this is for them. For all children of immigrants. This is also for those who came to this country in search of better opportunity, to be part of a nation that promised freedom for all, and equal opportunity to everyone willing to work for it. Thank you for bringing your culture, your music, your stories and your traditions here. You give America color, I love y’all so much.”

He was just one of many Grammy-winning artists who directly or indirectly addressed the current political climate regarding federal immigration raids in Minnesota, where two protesters have been killed by federal officers, and in other states including California. Bad Bunny, Billie Eilish and Kehlani were among the others who spoke out.

Kristen Stewart fears the death of classic Hollywood cinema.

As the actor-turned-director drove through the streets of Los Angeles and saw beloved local theaters replaced by major retail chains, she decided to help save theatergoing in the city that started it all.

So she bought a historic movie theater in L.A.

Stewart purchased and is restoring the Highland Theatre, a cultural landmark that once hosted vaudeville acts.

“When people are desperate, they start doing desperate things,” Stewart said in an interview with Architectural Digest. “I think buying this theater feels a little desperate in like the most beautiful way.”

The theater shut its doors nearly two years ago — less than a week short of its 100th anniversary. The owner, Dan Akarakian, told The Times in 2024 that the theater was unable to recover economically from the COVID-19 pandemic.

“Everything that’s already living here is so beautiful. It just needs to be like taken care of,” Stewart said. “I mean, the place is falling down. We definitely need like a lot of help, but it’s worth it.”

The local film and TV industries in L.A. were struggling long before wildfires that ravaged the city early last year dealt another blow, halting production and threatening the homes of stars and crews alike.

Stewart, who first achieved international success with her role as Bella Swan in the “Twilight” saga, said movie theatergoing is becoming a lost art, as “people are watching movies on their tablets and their TVs and likely watching a couple of things at once.” She and her peers struggled to get movies off the ground.

Stewart hopes the theater can become “a space that families can go and that also filmmakers can go and so we can kind of be in service of each other,” she said. “We can be in actual communication with people and not cut off from each other.”

The three-story building has theater rooms and venue space, ideal to host screenings and public community events, she said.

The theater was designed by architect Lewis Arthur Smith, known for other local theaters like the Vista in Los Feliz and El Portal in North Hollywood.

“It’s an opportunity to make a space to gather and scheme and dream together,” Stewart told AD. “This project is about creating a new school and restructuring our processes, finding a better way forward.”

Stewart’s effort to save local cinema comes on the heels of a coalition of filmmakers, led by “Juno” director Jason Reitman, purchasing the 93-year-old Village Theater in Westwood in 2024.

Oscar-winning writer-director Quentin Tarantino bought the Vista, also designed by Smith, in 2021. The theater reopened its doors over two years later.

Stewart, who was raised in the San Fernando Valley, has been a longstanding advocate of the L.A. community. She works closely with the Downtown Women’s Center, which provides housing to homeless women.

The actor decried the lack of stories by and for women in Hollywood during her keynote speech at the annual Academy Women’s Luncheon in November.

“I absolutely f— love this city,” she said. “I like the spaciousness. You can decide how you want to fill it.”

Altadena has never organized itself around a traditional civic center, like a city hall plaza or downtown square. Instead, this decidedly informal community has relied on an informal constellation of shared spaces — parks and playgrounds tucked into the foothills, popular mid-century libraries, an amphitheater carved into a slope, a handful of living room-like bars and cafés.

After last year’s Eaton Fire tore through town, incinerating community infrastructure and scattering residents across the region, the importance of such places has grown dramatically — not only as centers of gathering, but as sites of refuge, planning and healing. Thanks to a determined commitment from residents and officials, these communal sites are starting to return — in many cases better than before — revealing innovative thinking about the ways we can create and use community spaces.

Earlier this month, L.A.-based aid organization Community Organized Relief Effort, or CORE, founded by Sean Penn and Ann Lee, broke ground on one of the hamlet’s newest local gathering spots: the Altadena Center for Community. Designed by acclaimed Japanese architect Shigeru Ban (who will be receiving the 2026 American Institute of Architects Gold Medal Award later this year), the 1,600-square-foot building, located on a county-owned lot on Lincoln Avenue, adapts a prototype that Ban — who has been designing lightweight structures for disaster victims for more than thirty years — first employed in Onagawa, Japan, following the 2011 Tōhuku earthquake and tsunami.

The vaulted, wood-beamed space, supported on its flanks by shipping containers, is designed to be put up quickly, affordably and with minimal waste, said Ban, who estimates construction will cost about $300,000 and be completed in two to three months once permits are approved.

“Every move we make has to be very cost effective,” noted Ben Albertson, the local project manager for Ban’s firm.

The center can host workspaces, meeting rooms, mental health facilities and community events, but programming is still pending, based on an assessment of community needs, noted CORE co-founder Lee.

An architectural rendering of Shigeru Ban’s design for the 1,600-square-foot Altadena Center for Community, located at 2231 Lincoln Avenue. Construction began in January and is set for completion this summer.

(Shigeru Ban Architects / CORE)

“What are the gaps? What do they want to name it?” said Lee. The center’s open, flexible design, she added, will allow programs to evolve over time — inside and out — with the goal of accommodating markets, religious services, yoga classes and other types of support.

Local officials, particularly L.A. County Parks and Recreation, immediately started to address the dearth of places to congregate after the fires. While parts of Eaton Canyon still burned, parks staff organized sheriff-escorted site visits to assess damage and determine which spaces could safely reopen first, said Chester Kano, deputy director of the planning and development agency at L.A. County Parks.

In May, Loma Alta Park was the first major spot to reemerge with significant upgrades, funded in part by an outpouring of donations from local residents and businesses as well as philanthropic sources like FireAid, the L.A. Clippers Foundation and the L.A. Dodgers Foundation.

“There’s been so much trauma. I think just building back the way things were would be insufficient,” says Kano.

County crews first addressed widespread damage, then installed new play facilities — including Landscape Structures’ towering “Volo Aire” jungle gym, featuring three tunnel slides — as well as two refurbished baseball fields, a new computer lab and a renovated pool and gymnasium. Several local artists, including Victor Ving, Eric Junker and Katie Chrishanthi Sunderalingam, have painted colorful murals.

Four-year-old twins Noah and Luke Stafford, who had to evacuate during the Eaton Fire, play on new equipment at Loma Alta Park in Altadena.

(Allen J. Schaben / Los Angeles Times)

The park addresses the need for communal gathering via a new cluster of colorful outdoor furniture known as the Alta Chat Space.

“People didn’t have anywhere to go,” says Kano. “They were meeting on their driveways, literally on top of ash and debris, bringing folding chairs.”

Perhaps the most significant transformation will be to Charles White Park, located a short drive from CORE’s future facility and named for the famed Altadena artist. Long a community focal point, the five-acre park is set to undergo a redesign thanks to a $5-million donation from the Walt Disney Company, and a $5.5-million outlay from California State Parks.

County Parks and Salt Landscape Architects are set to take the lead on the work. New facilities will include a play area and splash pad designed by Disney Imagineers, a community center (with meeting spaces and interpretive exhibits about White), pathways, bathrooms, a small amphitheater, a bronze of White and public art by White’s son, Ian White.

Ian White said his designs are still being finalized, but could include poetry, sculpture, landscape art, and information and quotes relating to notable Altadena residents, including artists, scientists and indigenous tribes.

“It will be a dramatic shift,” noted White. “I must admit every time we have a meeting about it, I’m excited about the potential.”

White is complimentary of Disney’s willingness to take input from the community, despite a flurry of concerns that arose last fall around the release of an early design sketch of the play area, depicting somewhat cartoonish, pinecone-shaped play structures that some locals felt didn’t reflect local identity.

“Disney’s been doing the work, trying to understand the legacy and history of Altadena,” said White, who recently hosted 17 Imagineers at his house. “I think there’s going to be an evolution of their design,” added Kano.

Challenges remain

Despite early victories, there are more than a few remaining “heavy lifts,” as Kano put it. The county has brought in about $60 million to restore parks damaged in the Eaton and Hughes Fires, but about $190 million is still needed.

Arguably no lift is bigger than Farnsworth Park, the beloved recreation space along Altadena’s northeast side. That facility, now largely overgrown and covered with opaque fencing, still needs electricity after the destruction of its power lines and an on-site utility building. Its centerpiece, the lodge-like Davies Building, was all but obliterated by the fire, and its amphitheater, while still intact, suffered notable damage.

A view of the closed and heavily damaged Farnsworth Park in Altadena, which needs about $69 million in repairs.

(Allen J. Schaben / Los Angeles Times)

Thus far, the park — which needs about $69 million in repairs, said Kano — has only received $5 million from the Santa Monica Mountains Conservancy to build a healing and reflection garden along its west flank; and $3 million from the Rivers and Mountains Conservancy to rebuild a restroom and restore some landscaping and other related work.

Liz MacLean, a principal at Architectural Resources Group, a preservation-focused firm that has been advising L.A. County Parks about repairs to Farnsworth’s amphitheater, lived less than half a mile from the park. She and her family are still undecided on whether they will return to the area, making her memories of the park particularly poignant.

“It was a real destination for the community, tucked up in the hills,” noted MacLean. “They’d have a musical in the summer, and people would picnic outside of the amphitheater on the lawn. And every type of sport you wanted to do, there seemed to be a field for it. My daughters have had a bunch of events for their schools up there. Graduations, performances, meetups. The community would vote there. Boys and Girl Scout troops would have events in the banquet hall.”

Altadena’s two libraries, both spared from destruction, have borne outsized responsibility for picking up the slack from these losses, and have hosted community events and workshops for those hoping to rebuild. But starting Feb. 1, the skylit, greenery-filled Main Library will undergo a long-planned renovation and expansion that will put it out of commission for about the next 18 months, officials said. Updates will include access improvements, new mechanical and electric systems, a seismic retrofit, and space reconfigurations.

“There have been people who have said, ‘Please don’t close. What are we going to do?’” said Nikki Winslow, director of the Altadena Library District. “But this has been a long time coming. Our Main Library really needs a renovation.”

As a result, the smaller, recently renovated Bob Lucas Memorial Library and Literacy Center will host far more activity. The district has also installed a temporary satellite library inside a multipurpose room at Loma Alta Park. Stewart noted that the district is looking for more spaces — including the Altadena Community Center — to host events.

Ian White, standing by the sign for Charles White Park, is the son of the park’s namesake and is working on creating public art for the project.

(Allen J. Schaben / Los Angeles Times)

“We’ve become so dependent on all things virtual, but nothing can really replace the human connection, especially coming out of a disaster,” said Carolina Romo, director of the Construction and Asset Management Division of the Los Angeles County Development Authority, which is coordinating with CORE on its new center. “You can’t really address the psychological toll in a virtual environment.”

CORE’s Lee says that such spaces are particularly important in areas where digital expertise is less common. “There’s just so much bad information out there. You don’t know who to trust. So going to a physical space and seeing people that you know you can talk to can make all the difference.”

Rebuilding will take years, and many decisions remain unresolved. But the community, said Architectural Resources Group’s MacLean, needs something solid sooner: “There are things that were lost that were special to everyone. At the end of the day people just want their community back. They want to gather again.”