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DUBLIN — Limerick, first settled by Vikings nearly 1,100 years ago, is a verdant sprawl of lush forests, rolling hills and liminal bogs.

But this region in midwest Ireland, steeped in folklore, where the River Shannon meets the estuary’s tidal waters before emptying into the Atlantic Ocean, is also the unlikely site of bustling production activity.

In a technology park, not far from 13th century castles, medieval ruins and picturesque villages, stands Troy Studios. Opened nine years ago in a former Dell Computer factory that shut down when it shifted manufacturing to Poland, Troy is Ireland’s biggest and newest soundstage complex.

It is here that Apple TV’s science fiction series “Foundation,” based on the Isaac Asimov masterpiece, was filmed, as was the SyFy horror series “Nightflyers,” adapted from the works of George R. R. Martin. It’s also where four prime-time American game shows are produced.

“It’s cheaper to bring 100 American people to Ireland than to walk across the lot at Fox,” actor Rob Lowe cracked on his podcast last year. Lowe is also the host of the trivia face-off show “The Floor,“ which relocated to Troy for its sixth and upcoming seventh seasons, after previously shooting at a studio south of Dublin.

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

While some in Ireland’s fiercely proud film industry bristled at Lowe’s comments, they were, in fact, a razor-sharp distillation of the pent-up frustration runaway production has engendered across the industry in Los Angeles.

Last year, 45% of all U.S. films and scripted television shows were shot internationally, up from about 33% in 2022.

As Hollywood productions have turned away from L.A., spanning the globe chasing tax credits and rebates, Ireland increasingly has become a destination for American movies, television series and the once-quintessentially L.A. creation: the game show.

Ireland’s mix of dramatic landscapes, diverse architecture and modern and historic scenery has long been a draw for international filmmakers. “Star Wars: The Force Awakens” and “The Last Jedi” turned the UNESCO World Heritage site Skellig Michael, a rocky island once occupied by a 6th century monastery, into the fictional planet Ahch-To. It was Ballinesker Beach’s soft sand dunes in County Wexford that stood in for Omaha Beach in “Saving Private Ryan’s” epic opening scene.

Now, the country is increasingly a magnet for a diverse slate of American productions. In the last year alone, the USA Network’s series “The Rainmaker” wrapped its second season in Dublin; the Netflix hit series “Wednesday” shot its third season around Dublin and Wicklow; and the A24 film “The Riders” starring Brad Pitt filmed across the country over the summer. L.A.-based Blumhouse Productions has shot a slew of movies and TV shows here, including the newly released American suburban nightmare flick “Other Mommy” and the upcoming Amazon MGM Studios horror movie “Seasons,” which is set in Idaho and filming in County Wicklow.

The hit Netflix series “Wednesday” starring Jenna Ortega shot its third season around Dublin and Wicklow in Ireland.

(Netflix)

While filming in the L.A. region remains at historic lows, production spending in Ireland has soared, hitting a record $632.7 million last year, up 26% from the previous year, according to Screen Ireland, the national agency for film and television. In a survey conducted by ProdPro this year, Ireland was ranked in the top five preferred filming spots globally behind New York, the United Kingdom, California and Georgia.

With outsize interest in this small country, its sound stages are frequently full, and filmmakers say there is often a run on everything from lenses to edit bays to left-driving cars.

“Definitely post-COVID, it’s gone absolutely crazy in terms of the number of productions happening here,” said Ruth Treacy, producer and co-founder of Dublin-based production company Tailored Films, which served as co-producer on the 2024 biographical drama “The Apprentice.” Treacy and others in the industry call it a “green wave.”

“Obviously these projects are not necessarily shooting as if they’re supposed to be in Ireland,” Treacy told The Times. “It’s shooting the U.S. in Ireland, and that’s working quite well.”

The green wave grows

The seeds of the green wave were sown decades ago.

Ireland is a nation of storytellers. Over generations, it has maintained its ancient oral traditions, preserving its history, language and mythology, memorializing them on the page and eventually the screen.

Towering literary figure James Joyce helped to open the country’s first cinema, the Volta Electric Theatre, in a former metals shop in Dublin in 1909. Today, the country is said to have the highest per capita rate of moviegoers in Europe.

Ireland’s current course was set in 1980, when the government established the Irish Film Board to champion and fund domestic movies. Tax credits were introduced in 1987 to spur economic growth, but the prime minister suspended the program that same year.

Still, a small but influential group of Irish filmmakers came of age. Acclaimed movies such as “My Left Foot” and “In the Name of the Father,” directed by Jim Sheridan, and Neil Jordan’s “The Crying Game” found outside funding and became international hits. Their success and lobbying efforts prompted Michael D. Higgins, the country’s culture minister at the time, to relaunch the film board in 1993, now called Screen Ireland.

Since then, Screen Ireland has embarked on a dual strategy: to create a destination for international filmmaking and foster Irish culture on screen.

The effort has spurred a creative renaissance. In recent years, the country’s global profile has grown with a surge in homegrown talent featuring a range of actors, from Cillian Murphy to Jessie Buckley, along with projects such as “The Banshees of Inisherin” and “Normal People.” In 2023, the Irish-language film “The Quiet Girl” earned the country’s first international feature Oscar nomination. Co-production partnerships with the U.S., U.K. and other countries have flourished.

A surge of Irish films, like “The Banshees of Inisherin,” in 2022, starring Colin Farrell, has raised the profile of Irish talent internationally.

(Jonathan Hession/Searchlight Pictures)

“Across Ireland, you see a real value put on arts and culture,” said Désirée Finnegan, chief executive of Screen Ireland. “For us, the investment in talent is a strategic priority. We are filmmaker-driven, artist-led.”

In the last five years, Screen Ireland has invested nearly $170 million across film, television, animation, documentaries and game design, as well as training and early talent development, Finnegan said.

In 2021, the agency established an office in the same building as Ireland’s Los Angeles consulate to further build relationships with the U.S. entertainment industry.

Ireland’s tax incentives program has evolved into one of Europe’s most stable. It provides a 32% refundable tax credit on eligible expenditures, including salaries of cast and crew (Irish feature films qualify for more), and the per project cap has increased from $81 million to $145 million.

This year, Ireland sweetened the pot, adding VFX and post-production uplifts to the incentive program. It also became the first European country to support dedicated unscripted content, for which it offers a refundable credit of 20% on eligible Irish production expenditures, capped at $16.8 million per project.

Jake Walshe, president and CEO of Screen Scene Post Production Group and chair of the trade association VFX Ireland, helped spearhead efforts for the new post-production enhancement.

Daisy Ridley and Mark Hamill in “Star Wars: The Last Jedi.” The fictional planet of Ahch-to was shot on Skellig Michael, an UNESCO World Heritage site off the Irish coast.

(Jonathan Olley / Lucasfilm Ltd.)

“You’re going to see more growth in this area with this tax credit,” he said.

Another catalyst was the global success of HBO’s series “Game of Thrones,” which filmed its first season in Northern Ireland in 2010.

“We didn’t know how big ‘Game of Thrones’ was going to be,” laughed Walshe, whose Dublin company did post-production work on the project.

Since then, the visual effects studio has worked on “Shōgun,” “The Penguin,” “The Irishman” and Marvel’s “Black Widow.”

“A lot of high-level Irish crews today got their start on big productions like ‘Game of Thrones’ or ‘Penny Dreadful,’” said Michael Byrne, a former location manager here, now a Screen Ireland executive.

The green wave triggered a homegrown cottage film industry.

Model and prop maker Mark Maher returned to Ireland in 2012 after working in New Zealand.

“I did notice there was a gap there with the prop and prosthetics and no company to feed into the film studios here,” said Maher, who worked on the Showtime series “Penny Dreadful.”

AppleTV’s science fiction series “Foundation” was filmed at Troy Studios in Limerick.

(Apple TV)

In 2017, he opened Odyssey Studios in Limerick and has supplied miniatures and props to such projects as “Foundation” and “Wednesday” and also operates a training academy.

“There is a surge here in Ireland,” he said. “We were very lucky.”

An animation boom

The expanded credits have been a boon to Ireland’s once-fledgling animation industry, which now has nearly 50 studios employing about 2,500 staffers. Many partner with Disney, Netflix and Nickelodeon.

Cartoon Saloon, one of the country’s first animation studios, founded in 1999, got its start in Kilkenny, a medieval city in southeast Ireland. Its founders, Tomm Moore, Paul Young and Nora Twomey, met while studying animation at Ballyfermot College, a vocational school in a working-class Dublin suburb.

Instead of making computer animated movies like Disney/Pixar’s “Toy Story,” Cartoon Saloon decided to focus on hand-drawn Irish folklore. Its first feature, “The Secret of Kells,” released in 2009, was about manuscript-making monks. It was nominated for an Oscar, as were three other of the studio’s films, including “The Breadwinner,” executive produced by Angelina Jolie, and “Wolfwalkers,” which ran on AppleTV.

“We found that through our own authentic voices, [that] not necessarily every story has to be set in Ireland, it’s just every story that we tell has to have something that really resonates with us as a company of animators,” Twomey said.

The rise of co-productions

Many of Ireland’s best-known productions got their start at Ardmore Studios, just south of Dublin in the seaside town of Bray. It’s the country’s oldest studio, opening in 1958.

From the outside, the 18-acre campus of soundstages and back lots, nestled among the forests and mountains of County Wicklow, looks like a historic village. It was here that movies such as “The Spy that Came in from the Cold” and “The Commitments” and TV series like “Penny Dreadful” and “The Tudors” were filmed.

“Angela’s Ashes,” the 1999 adaptation of Frank McCourt’s Pulitzer Prize-winning memoir, also was made at the studio. More recently, Ardmore has been one of the main locations for the hit Netflix series “Wednesday,” the dark supernatural comedy starring Jenna Ortega.

David McLoughlin, the co-CEO and producer at Metropolitan Pictures, which is “Wednesday’s” Irish co-producer, has witnessed dramatic changes firsthand.

“Compared to 25 years ago, it’s obviously just a huge difference,” said McLoughlin, whose company is based at Ardmore Studios. “But that’s not just in terms of international production. There’s been an awful lot of Irish producers developing projects, and then they’re bringing in outside production partners.”

On Dublin’s north side, where the city center is divided by the River Liffey, Element Pictures operates its award-winning production company above a busy commercial street. Its conference room is filled with BAFTA awards, Golden Globes and posters from its acclaimed films such as “The Favourite” and “Room,” which each won best actress Oscars, and “Bugonia,” which was nominated for best picture.

Founded in 2001, Element is one of Ireland’s leading production companies and owned by London-based TV producer and distributor Fremantle. Founders Ed Guiney and Andrew Lowe began as the local producer for BBC series shot here and cultivated relationships with European and American filmmakers and distributors to develop their own projects.

It’s a successful model others have adopted.

“We’ve seen that change from something that was a kind of weird, little curiosity making strange, small films to something that actually has a kind of profile on the international stage,” Guiney said.

Not far from Dublin’s Trinity College are the offices of Wild Atlantic Pictures, named after the 1,500-mile stretch of western Ireland’s rugged coastline. The company began by co-producing with various American and British studios, emerging as a force in the industry here and abroad.

Timothy Dalton and Eva Green in “Penny Dreadful,” the Gothic psychological drama set in Victorian London but filmed in Ireland.

(Jonathan Hession/SHOWTIME)

In recent years, Wild Atlantic served as a co-producer or the Irish production company on such films as Richard Linklater’s Oscar-nominated “Blue Moon,” “Cocaine Bear” with Universal and “The Green Knight” with A24, as well as Apple TV’s “Foundation” and the Netflix dark comedy series “Bodkin.”

“Every film I’ve made is a co-production of some description,” said Macdara Kelleher, the company’s co-CEO and founder. “It’s not an unusual thing for Irish people, for a small country. There’s just a limit to the amount that you can raise in Ireland, and U.S. films dominate our box office.”

Kelleher points to Wild Atlantic’s relationship with Santa Monica-based Blumhouse Productions.

“They’re a great partner and they give us access,” he said. The companies have a number of projects in various stages of development, including the horror film “Seasons” and the TV adaptation of John Grisham’s “The Rainmaker.”

Doubling for America

As Ireland has emerged as a major film hub, it increasingly has become a double for America.

About 15 miles south of Dublin in County Wicklow lies the Powerscourt Estate, with its 47 acres of gardens and the iconic waterfall featured in the 1981 Arthurian legend film “Excalibur.” The area also was transformed into the fictional seat of power for the “Vikings” series commissioned by the History Channel.

The iconic waterfall in Powerscourt Estate has served as the backdrop for a number of films including 1981’s “Excalibur.”

(Stacy Perman/Los Angeles Times)

More recently, the same expanse of forest and lakes masqueraded as Appalachia in the film “Cocaine Bear,” Elizabeth Banks’ dark comedy and true story about a black bear that ate a massive amount of cocaine dropped by a drug smuggler in Georgia.

Beginning in 2024, veteran Irish production director Susie Cullen worked back-to-back on four movies all set in America but filmed in Ireland, including “Abigail,” the Boston-based vampire horror-comedy, and “Blue Moon,” a movie set in 1943 Manhattan about troubled lyricist Lorenz Hart, played by Ethan Hawke.

“Part of being a production designer is to create something, to create a fantasy or period, and that part of the challenge is kind of great,” Cullen said.

Cullen re-created the historic Broadway haunt Sardi’s on a soundstage at Ardmore Studios. A local artist mimicked the restaurant’s famed caricatures of celebrities, using the faces of the crew.

For the scene showing the Broadway opening of “Oklahoma!” set at St. James Theatre, Cullen said they filmed at the Gaiety, a 155-year-old opera house on Dublin’s South King Street near St. Stephen’s Green. At the time, “Riverdance,” the traditional Irish step dance troupe, was performing at the theater.

“We just had a little mini-version of ‘Oklahoma!’ in the theater, on ‘Riverdance’s’ day off,” Cullen said. “We got there in the morning and put our set in front of theirs and they shot that evening and we took ours down and ‘Riverdance’ was back the next day.”

The soundstages of Ardmore Studios hosted another production, the TV adaptation of the John Grisham’s 1995 bestselling novel “The Rainmaker” for USA Network.

While the book takes place in Memphis, Tenn., the producers wanted to update the legal thriller, setting the story in present-day Charleston, S.C.

“I was thrilled,” recalled Dan Rogers, a senior project manager with the South Carolina Film Commission, and he said that “we’d love to bring it here” after a production executive told him the series was expressly written for Charleston.

But months later, Rogers was informed the studio decided to film elsewhere. Much to his surprise, the location wasn’t L.A. or even another Southern U.S. city — but Ireland.

Showrunner Michael Seitzman said it was a matter of money.

“You’re trying to maximize that budget, make the biggest show you can, make a show that looks like the one that you wrote on the page,” he said, adding, “every producer is having the same conversation right now.”

Seitzman estimates he saved about $10 million for a 10-episode season because of the tax credits and lower costs for labor and other production expenses. Another bonus: He could cast supporting local actors adept at shifting to an American accent.

The series has shot at locations around Dublin, including a former 18th century military school, St. Mary’s Hospital, that became the fictional North City Hospital. Ireland’s oldest school of law was transformed into various institutions in Charleston.

The King’s Inns, Ireland’s oldest school of law, has doubled for various institutions in Charleston, S.C., in the TV series “The Rainmaker” and the Explorer’s Club in “Penny Dreadful.”

(Stacy Perman/Los Angeles Times)

For Season 2, which wrapped in August, Seitzman had become so familiar and enthralled with Dublin that he created a storyline in Ireland over a few episodes.

“We could really shoot Ireland for Ireland, which was fantastic,” he said. “Suddenly we could stop hiding all the beautiful things we were seeing.”

Despite taking place in the Appalachian Mountains of north Georgia, “Cocaine Bear” was filmed in County Wicklow.

(Universal Pictures)

Ethan Hawke as Lorenz Hart in “Blue Moon” stands outside the iconic Manhattan restaurant Sardi’s recreated on an Irish soundstage.

(Sabrina Lantos/Sony Pictures Classics)

Game show mecca

Perhaps the biggest wave to crash on Irish shores is the American game show.

In January, BiggerStage — the television production company that has co-partnered with Fox Entertainment and produces six shows in Ireland for American prime time — invested a reported $11.2 million in a deal to create a global, unscripted production hub at Troy Studios in Limerick.

“We did it because we see a real opportunity to increase the amount of work here, and that’s both work we create as much as it is work that we partner with other producers around the world,” said Sean O’Riordan, BiggerStage’s chief creative officer.

Pat Kiely, a former managing director of Virgin Media Television, launched the Dublin-based company five years ago to develop original content — particularly in the unscripted segment for the global market — and position Ireland as an international television center (hence the company name).

Meanwhile, Fox Entertainment had launched something called the international fund. The idea was to pilot an idea for a show and see how it could be produced for less money, partnering with international networks or production companies.

Rob Lowe hosts the Fox trivia game show “The Floor” from a soundstage in Ireland.

(Dan Smith/FOX)

The first was a singing talent show called “The Big Deal” that BiggerStage produced for an Irish audience.

Impressed by the quality and cost-effectiveness of the show, Fox quickly began discussing collaborating on other productions with BiggerStage.

“They were incredible partners creatively. And so from there we were able to know we had a trusted production partner in Ireland,” said Allison Wallach, head of unscripted programming at Fox Entertainment Studio.

In 2022, Fox relocated “Name That Tune” from Australia to Dublin. That same year, “Beat Shazam,” the game show hosted by Jamie Foxx, relocated from Television City in Los Angeles to Ireland, where Fox also launched a series of shows including “The Floor” hosted by Lowe and “Next Level Chief.” In all, BiggerStage produces about 100 hours of American prime-time shows in Ireland.

BiggerStage leveraged its success with Fox to lobby the Irish government for the unscripted tax credit to attract even more growth.

“Hubs are going to be more crucial than ever to make things work at a price point,” Wallach said. “And I think that BiggerStage and actually Ireland is really well suited to be that hub for Europe and for the U.S.”

The California Environmental Quality Act is one of the most consequential and controversial laws on the books.

CEQA, which dates to the 1970s, requires state and local agencies to consider the environmental effects of many proposed projects before approving them. If a project could cause significant environmental harm that can’t easily be avoided, it undergoes a more detailed environmental review to examine its potential effects and alternatives.

Backers say CEQA is a vital tool for environmental review and gives the community a voice in development. But critics say CEQA is too often used to slow down needed housing and has been exploited as a bureaucratic weapon.

Enter Proposition 45.

The basics

Proposition 45 would impose stricter deadlines on environmental reviews, permits and court challenges. Agencies would have to spell out application requirements up-front and could not make repeated requests for more information or project changes. The measure caps public comment periods, while current law only sets minimum lengths. It also limits what courts may consider in CEQA lawsuits.

The impact

The law clearly would change the CEQA process; whether that would be for better or worse is the subject of debate. Backers say it would make the process faster and easier. Critics say it would roll back important environmental protections.

Dig deeper

The fight over Proposition 45 comes as California struggles to build enough housing to meet demand, causing prices to skyrocket. Housing prices, polls show, are a major issue for California voters.

But the proposition also is touching on another hot-button issue: data centers. Supporters and foes are battling over whether the measure would make it easier to build more of those controversial facilities.

More reading

California’s Prop. 45 aims to speed construction projects. Opponents say data centers will benefit (L.A. Times)

CEQA overhaul outrages environmentalists (L.A. Times)

The history of CEQA and its future (L.A. Times)

Could Embracing Sprawl Ease California’s Housing Crunch? (New York Times)

The Los Angeles Board of Public Works has been overseeing work on streets, sidewalks and sewers since 1905. But if voters approve Measure LA on Tuesday’s ballot, it might not be around much longer.

The charter amendment enacts a half-dozen changes, and the most divisive is a provision that would “allow for the elimination of or changes to the Board of Public Works.”

Proponents assert that passage would lead to better city services and quicker repairs of deteriorating infrastructure. They also say the five-member board wouldn’t just disappear, and disbanding it actually would require a two-thirds vote of the 15-member City Council.

Opponents say the board plays a crucial role in managing billions of dollars of infrastructure projects while maintaining public accessibility and handling matters that don’t merit council attention (such as tree removal votes). They fear that eliminating the five-member oversight panel, and putting a single person in charge, would open the door to graft, with some citing San Francisco’s former director of public works being sentenced in 2022 to seven years in federal prison for his role in a kickback and bribery scheme.

“If the Board of Public Works was eliminated and concentrated within the authority of one person, I think that gives way to more corruption than transparency,” Councilmember Monica Rodriguez said.

Storm drains and sidewalk repairs

The board generally convenes Mondays, Wednesdays and Fridays in an ornate, high-ceilinged room on the fourth floor of City Hall.

One recent 2½-hour meeting kicked off with a lengthy celebration of Latino Heritage Month, and then the four members present moved through a series of agenda items tied to low-profile infrastructure projects, including:

• A reveal of seven bids for a package of sidewalk repairs, with Acting Executive Officer TJ Knight reading aloud the name of each applicant, and the bid amount, sometimes down to the penny. They ranged from a high of $2.47 million to a low of $1.9 million
• A Bureau of Engineering representative requested authority to boost the budget of a storm drain project in the Pacific Palisades in advance of El Niño storms.
• A Bureau of Street Services staffer broke down a request to remove protected trees (with plans for replacement) on a project on Mulholland Drive.

Each discussion item drew questions from the commissioners. All items were unanimously approved.

Paid positions

The five board members are all full-time city employees who earn slightly less than $200,000 a year. The members, including the board president, are appointed by the mayor and together oversee more than 5,500 people who work for city bureaus and offices that handle sanitation, street lighting, engineering, graffiti removal and more. Each bureau also has its own head.

A Board of Public Works meeting at City Hall.

(Jonathan Alcorn/For The Times)

The board members aren’t commenting on Measure LA. Former members, however, say the five-member board is an effective way to manage and coordinate a wealth of projects.

Rodriguez, who served on the board from 2013-16, said that during her tenure she focused on overhauling the procurement process to allow small, women-owned and minority-owned businesses to better compete for city contracts. She also learned the inner workings of the panel that approves more than 85% of the city’s construction contracts.

Diffusing the workload, former members say, allows for regular interaction with elected officials and the private sector.

Valerie Lynne Shaw, who served on the board from 1996 to 2013, said the board plays an important role in serving as a “coordinating mechanism” for infrastructure projects, and that commissioners regularly assist in solving problems raised by the public. She echoed the benefits of a larger panel.

“Power in the hands of many better serves the city as opposed to power in the hands of one,” she stated.

One former board member, who asked not to be identified to preserve professional relationships, said the existing system yields frequent public interaction, whether it’s people speaking during meetings or via other channels.

“I regularly went to neighborhood council meetings, homeowners association meetings, town halls, county board of supervisors meetings, to the state legislature,” the former member said. “A director can do some of that, but not all of that.”

Who’s in charge?

Councilmember Katy Yaroslavsky begs to differ. From her vantage point, the current system is fragmented with no clear authority.

Yaroslavsky has been frustrated in getting information on a long-running intersection repair project on La Cienega Boulevard in her Fairfax area district.

“I can’t get any information from anybody, and I’m the councilperson,” she says.

Yaroslavsky contrasts the city setup with that of Los Angeles County, which she says has a well-known leader in Director of Public Works Mark Pestrella. She believes the city system of five board members serving as a collective general manager is a vestige of another era that never would be created today.

“When you have one person in charge, you know who you can hold accountable,” she says.

Councilmember Bob Blumenfield, another Measure LA supporter, agrees that accountability and efficiency could be bolstered under a revamped system. He believes that when certain projects require the participation of multiple bureaus, there can be a silo effect that slows progress.

“For years we’ve talked about, how do we better coordinate the bureaus? There have been advances, but it’s still fundamentally been a challenge,” he says.

In June, when the full council discussed changes to the board, during a marathon meeting about what would go on Tuesday’s ballot, panel President Marqueece Harris-Dawson also indicated that the current setup can cause confusion.

He said that, when discussing a project, “I have someone from Street Lighting saying to me, ‘Well, yeah, I can fix that light, but you also have to talk to Engineering.’ And Engineering says, ‘Well, that isn’t on our list to do.’ So it just feels like it’s bounced around, and there isn’t any one person that can say, ‘Here’s how the problem gets solved.’”

At the meeting, Rodriguez countered that having a single person in charge would not necessarily change that.

“A director isn’t going to be the omnipotent one that knows everything about what’s being coordinated between the different bureaus,” she said. Instead, she added, “If we want to talk about the real problems, we’ve got to talk about the resources and staffing support of each of these bureaus.”

Hiding the poison?

According to a City Ethics Commission database, no money has been spent by groups either supporting or opposing Measure LA. But for some political observers, the measure remains multifaceted and the debate heated.

Opponents of Measure LA question why something so significant and controversial as the potential eradication of a board that has been in existence for more than 150 years is on a ballot measure with more palatable proposals, such as adopting a two-year budget cycle and establishing a capital infrastructure plan.

Some have compared it with city Measure EE, the November charter amendment that includes good-governance elements such as boosting penalties for campaign finance violations and a more consequential proposal to allow the full council to meet at least once a week, rather than the current requirement of three times a week.

The former Board of Public Works member suggested that altering the five-member panel should have been its own item, saying, “The longer the paragraphs are, the fewer words the public will read.”

Rodriguez was even more direct, saying, “I think those are all tethered together to make you swallow the poison.”

Yaroslavsky described some of the board members as “very talented,” including its president, Steve Kang, and she acknowledges that separating aspects in the measure would have allowed a more focused conversation on public works. But she believes putting everything together is part of addressing “common-sense, obvious stuff” that will help the city function better.

Blumenfield also understands the objection but points out that the ballot already is overwhelming, and that everything in Measure LA addresses a change in governance and efficiency.

He also points out that voter approval would only set the stage for a later discussion. If a future council opts to change or eliminate the board, it would require 10 votes — or 12 if the mayor vetoed such a move.

“It’s a question that is worth asking, but nobody wants to take the time to go deep on how could we be better if we can’t even have the authority?” Blumenfield said.

At a new luxury yacht club, boats will be outfitted with slatted decks, hulls and portholes, but they won’t be bobbing in a marina. Instead, they will be anchored to the dusty desert floor — in Joshua Tree.

Lucky Find Hospitality, a boutique hotel development and management firm, says the company is less than a year away from breaking ground on Compass Yacht Club, a nautical themed hotel where guests will stay in yachts designed to serve as hotel rooms. These rooms — specifically, 30 two-level luxury yachts and 28 boat houses — will be arranged in a circle around a central clubhouse that will feature a restaurant, bar and swimming pool, all just a five-minute drive from the entrance to the national park.

A rendering of one of the 58 boats that guests could book during their stay.

(Compass Yacht Club)

“You fall asleep in a yacht, wake up in the desert with a view of the mountains, and you’re a few minutes from one of the most beautiful national parks in the country,” said Nick Ovanessoff, managing director of the firm. “It sounds a little crazy, and that’s exactly why we love it.”

The improbable nautical-themed resort has been a long, hard labor of love, said Lucky Find Hospitality’s CEO, Rigel Bitterman. Born in Idyllwild and raised on a sailboat in San Diego, Bitterman grew up camping and rock climbing in Joshua Tree National Park. After helping to launch close to 40 boutique hotel projects around the globe, his company purchased a 23-acre parcel across the highway from Auto Camp in 2023. The team has been working ever since to clear the many geotechnical, biological and cultural hurdles that make developing anything in the high desert so challenging.

“It’s wild how long it takes to get things done out there,” Bitterman said.

A rendering of the interior of a room.

(Compass Yacht Club)

The property was already zoned for commercial use when Lucky Find Hospitality purchased it, but a section of the parcel is in a FEMA flood zone, which meant that the company had to work through the federal government as well as local municipalities to obtain permits and entitlements. Lucky Find has also prioritized environmentally friendly development processes, spending extra time to ensure that the Compass Yacht Club will use minimal water and be constructed of sustainable materials. To cause minimal impact on the environment, the yachts will be built off-site and placed on the desert floor by a massive crane.

Yet another challenge came from the local community, which has historically been hostile to new development. Bitterman has tried to play nice, hosting ongoing quarterly town hall meetings to keep locals abreast of the project and receive feedback from them, but the meetings are inevitably confrontational.

“I’m tarred and feathered every time,” he said.

One community member described the project as “gentrification at its finest” at a town hall last December. Another suggested that Lucky Find Hospitality replace the hotel’s yacht theme with something more appropriate for the desert: spaceships.

It seemed to be a popular idea.

“The whole room started chanting ‘Spaceships, spaceships,’” Bitterman said.

Each luxury yacht will be constructed of sustainable materials.

(Compass Yacht Club)

Despite the expected — and unexpected — challenges, Bitterman is confident the project will move forward. Approval on the final conditional use permit should be coming by the end of the year, which will allow portions of the property to open to the general public in addition to hotel guests. If all goes according to an already elongated schedule, the team will break ground in 2027 and Compass Yacht Club will open by the end of 2030. In the meantime, Lucky Find Hospitality together with its design partner Rad Labs, has a modular yacht hotel room design ready to go.

Over the past 10 years Lucky Find Hospitality has helped launch hotels where guests sleep in yurts, treehouses, glamping tents and Airstreams and. But Bitterman said Compass Yacht Club has been the company’s wildest, hardest and most dear to his heart projects yet.

“It’s partly my origin story, growing up on a boat and always being fascinated by boat design,” he said. “Everything we do is small and unique, but I’ve never been able to bring something to market quite like this.”

Buried in the language of Proposition 45, the initiative that would overhaul California’s powerful law on environmental review, are provisions that would mean government agencies have to consult only with certain tribes in the state, and not others when they develop major projects.

Tribes that are federally recognized would be consulted; those without recognition would not.

This effort mirrors similar ones supported by tribes that have federal recognition to limit the say of tribes without it in recent years. Non-recognized tribes see it as another move by economically powerful tribes to protect their own interests and avoid having to negotiate with other local tribes over territorial disputes and how to best protect important sites.

“Our concern is that wealthy casino interests and political influence are being allowed to outweigh ancestral connections,” Andrew Salas, chairperson of the Gabrieleño Band of Mission Indians — Kizh Nation, said in a statement to The Times.

Proposition 45 on the Nov. 3 California ballot would create a streamlined environmental review process for projects deemed “essential” — including most housing, transportation, water, health, wildfire mitigation, education, internet access and clean energy projects. The streamlining would mean stricter deadlines for review and court challenges, would bar local governments from requesting repeated analyses and allow developers to propose a single alternative with less environmental impact rather than several.

One of the largest contributors to the Yes on Prop 45 committee is a federally recognized tribe, the Yuhaaviatam of San Manuel Nation, which contributed $750,000.

“Federal recognition is the legal and constitutional foundation of tribal sovereignty and establishes a government-to-government framework for consultation,” Amelia Matier, spokesperson for Yes on Prop 45, said, noting tribes without recognition still can still meaningfully participate alongside members of the public.

The Yuhaaviatam of San Manuel Nation reaffirmed its support for the measure in a statement to The Times but did not respond to specific questions.

Critics, meanwhile, say moves such as this would give federally recognized tribes the power to consult on development projects hundreds of miles outside their homelands, overriding local tribes.

“Proposition 45 is part of a much longer struggle over whose voices California chooses to hear,” Salas said. “For decades, non-federally recognized ancestral tribes in Southern California have fought to protect our homelands while facing pressure to accept a ‘lesser role’ than federally recognized tribes.”

“Our rivers, habitats, and the animals that depend on them lose their protection when the people who know these places are removed from the table,” he said.

None of the Gabrieleno and Tataviam tribes within the greater L.A. area have federal recognition.

Last year, three tribes with federal recognition championed a bill that would have significantly limited how tribes without it could participate in the consultation process for all projects — not just the ones deemed “essential” ones under Proposition 45. A few months later, the small state agency that maintains the official list of tribal contacts unveiled a proposal that some non-recognized tribes argued would effectively exclude them. Multiple federally recognized tribes supported the effort.

The environmental review process under the California Environmental Quality Act, better known as CEQA, is one of the primary ways that tribes have a say over how the state and local governments develop land within their ancestral territories. It allows tribes to comment on how a proposed housing or infrastructure project might harm graves, ceremonial grounds or ancient villages. A separate law lets tribes comment on general plans that outline where developers can propose housing, and commercial and industrial facilities.

Tribal consultation differs from general public comment. It allows Indigenous leaders to discuss the location and details of sensitive information — such as burial sites — confidentially, before draft environmental reviews are published.

The Kizh Nation has used the CEQA process to consult on hundreds of land development projects a year around the Los Angeles Basin. In one instance, the process generated extra protections for one of the oldest living plants in the world, a more-than 13,000 year-old oak tree in the Inland Empire, that Indigenous people have taken care of for millennia. It also resulted in the Kizh Nation winning one of the largest land returns in Southern California history for a tribe without federal recognition — while still creating a development of nearly 1,700 homes and industrial and business parks.

There are over 100 tribes in the state with federal recognition, a status that brings protections, funds and services from the federal government, including funding for Indigenous elementary and secondary schools, access to healthcare and the potential for a reservation. Yet dozens more remain unrecognized.

Federal agents negotiated treaties in the 1850s with more than 130 Indigenous communities in the new state of California, setting aside roughly 7% of the state for reservations. But Congress refused to ratify the very treaties it had ordered and failed to notify tribes of its decision.

The federal recognition process today is long and grueling. Only 18 tribes have successfully achieved recognition through it since it was created in 1978. Only one was in California — Death Valley’s Timbisha Shoshone Tribe.

Tribes along the coast who were coerced into building the missions, including the Gabrielino, have had an especially hard time gaining recognition. They endured three waves of settlers: the Spanish, Mexican, and American. With these came death, forced displacement and cultural suppression. When the federal government sent agents to create reservations for California’s mission-affected tribes in the 1890s following reports of dire circumstance, the agents inexplicably overlooked the Gabrieleno.

At least one-third of tribal cultural resources protected under CEQA are in the homelands of tribes without federal recognition, Jonathan Cordero, executive director of the Assn. of Ramaytush Ohlone, estimates.

If Proposition 45 passes, “that means that hundreds of sacred sites and thousands of invaluable and irreplaceable tribal cultural resources would be destroyed in subsequent years,” he said in a statement.

Los Angeles is still struggling to bring filming back to the region, though projects that receive a state tax credit are making up a growing share of local shoot days, according to a new report.

For the three-month period that ended Sept. 30, there were 4,171 shoot days in the greater L.A. area, down 4.8% compared with the same period last year, according to FilmLA Research, a program of FilmLA which tracks on-location production. That’s also down about 11.5% from the second quarter, and nearly 29% below the five-year average.

“Where the tax credit applies, it’s working to bring productions back to Los Angeles and put local crews to work,” FilmLA Chief Executive Denise Gutches said in a statement. “Still, overall production remains far below where Los Angeles needs it to be, and crews and businesses across the region are feeling it.”

The report counts only on-location filming. Productions shot on certified soundstages aren’t included.

Television shoot days totaled 1,400, a 2.8% slide from the third quarter of 2025 and a drop of nearly 53% compared with the five-year average. About 23% of the TV shoot days were for incentivized projects, up from about 9% a year earlier. Among them was the CBS drama “Tracker,” which relocated to L.A. from Vancouver for the show’s fourth season after receiving a state tax credit.

“California’s incentive is what made it possible to bring ‘Tracker’ here,” Elwood Reid, showrunner and executive producer of “Tracker,” said in a statement. “Los Angeles is the big leagues, and after more than a decade away, I’d forgotten what I was missing.”

Within television, comedy made the biggest gains, with 192 days of filming, up 143% from the 79 days in the third quarter of 2025. More than 60% of the comedy shoot days were for projects that received a production incentive, FilmLA said. The organization said this figure could be even higher, as many comedies shoot on soundstages, which are not included in this report. Promisingly, the third-quarter comedy numbers were a 16% improvement on the five-year average.

Other TV genres lost ground, including drama (494 days, down 9.4%), reality programming (630 days, down 2.9%) and pilots (9 days, down 52.6%).

Feature film production was a bright spot, with 533 shoot days, up 2.1% from a year earlier and about 20% from the second quarter. About 24% of that filming came from incentivized projects, up from about 22% a year earlier, including Netflix’s “13 Going on 30” reboot and Jonah Hill’s comedy “Cut Off” from Warner Bros., according to FilmLA. However, the third-quarter numbers are still a 19.3% decline when compared to the five-year average.

Production for commercials, which are not eligible for a state tax credit, continued to struggle, with 562 shoot days, down nearly 16% from the same time period in 2025, though it improved 3.5% from the second quarter.

FilmLA’s “other” category, which includes student productions, still photo shoots, documentaries and online content, totaled 1,676 shoot days, a 4.2% drop from the same period in 2025. Within that category, however, online content accounted for 556 days of filming, up 16.3% from last year.

Richard Riehle, a prolific character actor who portrayed Tom Smykowski, the product manager with “people skills” in Mike Judge’s cult classic, “Office Space,” has died. He was 78.

Riehle died Thursday of natural causes in Los Angeles, his representatives from Artists & Representatives and Wright Entertainment Inc. confirmed Monday to The Times. No additional details were provided.

“A remarkable actor whose career in theater, film, and television spanned nearly five decades and more than 400 projects, Richard leaves behind an extraordinary legacy,” read the joint statement from his talent agency and management company. “Beyond his immense talent, he will be remembered for his genuine goodness, boundless kindness, and unwavering generosity, particularly toward emerging actors and filmmakers, whom he encouraged and supported at every opportunity.

“Our industry has lost an exceptional talent, and our community has lost a truly wonderful man,” it continued.

In the 1999 corporate comedy “Office Space,” Riehle portrayed Tom, a middle manager who is laid off by the company before being seriously injured in a hit-and-run accident and winning a large settlement.

“We didn’t have a regular effects person to put me into a body cast for my scene after the character’s accident, so we hired an EMT guy to put me in a real cast,” Riehle said in an interview with Notre Dame Magazine. “I couldn’t get out of it for 8 hours — and when the EMT had to go to work he left a cast-cutter for the PA [production assistant]. That was fun.”

Richard Riehle, right, portrays a co-worker of Ajay Naidu, left, Ron Livingston and David Herman in the 1999 classic “Office Space.”

(20th Century Fox)

Riehle’s other credits include portraying the guard who lets Harrison Ford’s character escape custody in “The Fugitive” (1993); the mechanic with a punny name, Bill Cozbi, in “Bridesmaids” (2011); and the proprietor of a local diner in “Pee-wee’s Big Holiday” (2016).

His wide-ranging resume also includes TV roles in episodes of “Star Trek: The Next Generation,” “Star Trek: Voyager” and “Star Trek: Enterprise,” as well as multiple stints in shows including “Quantum Leap,” “Murder She Wrote,” “L.A. Law” and “Drunk History.” He was also a voice actor on animated projects such as “The Legend of Korra” and “Home on the Range.”

For five seasons, Riehle portrayed Walt Finnerty, the father of Donal Logue’s Sean Finnerty, in the sitcom “Grounded for Life,” which aired from 2001 to 2005.

“Richard Riehle was an amazing human being,” Logue wrote in a tribute shared Monday on Instagram. “A consummate professional, he was an actor’s actor — humble, kind, and incredible at his craft.”

Logue said that he “loved every minute” he spent with Riehle and recalled how the late actor made him laugh so hard during his final audition for the show that he fell to the floor.

“I’ll always remember small details — how he always had a novel (never pulp stuff — always Hugo or Dostoevsky or another classic) stuffed into the back pocket of his old-school slacks,” Logue added. “He loved the House of Pies on the corner of Franklin and Vermont (I did, too).”

Richard Mathias Riehle was born May 12, 1948, in Menomonee Falls, Wis. He graduated from Notre Dame with a degree in speech and drama in 1970 before pursuing a master’s in fine arts at the University of Minnesota.

He started his acting career in local theater. His first uncredited onscreen role was in the 1975 western “Rooster Cogburn,” though he mentioned that he couldn’t find himself in it in a 2017 interview with the A.V. Club. His first screen role “with lines” came a couple of years later, in the 1977 movie “Joyride.” One of his earliest breakout roles was in the 1989 Civil War film “Glory.”

“I always wanted the role that would bring something out of me, force me to find something extra,” he said in the Notre Dame Magazine feature. “As I get older, the roles may not be there as much on high-profile projects, but I’m always going to look for ways I can work and maybe even be a part of ways to change the business. When I work, I feel great. That doesn’t ever have to stop.”

Sheikh Mohammed also discussed Israeli ‘violations’ in Lebanese territory with Prime Minister Nawaf Salam.

Qatar’s prime minister has announced plans to set up what he described as a “massive” solar plant in Lebanon to help ease its energy crisis.

Sheikh Mohammed bin Abdulrahman bin Jassim Al Thani made the announcement during his visit to Beirut on Friday, after meeting his Lebanese counterpart, Nawaf Salam.

“We have agreed to establish a comprehensive framework for cooperation in the energy sector and to present viable solutions,” Sheikh Mohammed said.

QatarEnergy has reached an agreement with French company TotalEnergies to jointly develop a solar power plant in Lebanon as an initial project.

The aim is to develop a major investment project “that would benefit the Lebanese economy, as well as the Qatari companies and entities participating in it”, he added.

Prime Minister Salam said he would put the plans for Lebanon’s electricity sector to the Lebanese Cabinet soon.

“The Qatari side will fund, implement and activate the project without any cost on the Lebanese state,” Lebanon’s leader said, adding that such a move is important because of the country’s financial crisis.

Lebanon’s state electricity company is one of the biggest sources of debt, haemorrhaging about $40bn over past decades with a bloated workforce and outdated infrastructure. The company provides only a few hours of electricity a day and the state, until a year ago, took advances from the Central Bank when diesel fuel ran out.

Sheikh Mohammed said Doha stands in “solidarity with the Lebanese people” and the entire region “in this dire hour”. Lebanon has been struggling with multiple energy crises in recent years and the situation has been compounded by the country’s financial collapse and Israel’s ongoing assault.

Earlier in the day, the Qatari PM also met Lebanon’s president and parliament speaker.

Among the topics discussed was the situation in southern Lebanon, where Israel continues its assault, capturing dozens of towns and villages.

Sheikh Mohammed said “Israeli violations within the Lebanese territories” were a large part of his talks.

He said that Israel should withdraw from Lebanon and cease its attacks, adding that Qatar is working in coordination with the United States to help lay the groundwork for future reconstruction in southern Lebanon to allow displaced people to return to their homes.

Israeli attacks on southern Lebanon have continued despite a ceasefire agreed in June. Under the agreement brokered by the US, the Lebanese government is to disarm Iran-backed Hezbollah. In return, Israeli forces will gradually withdraw from southern areas that they occupy. However, Hezbollah is not part of the agreement and has refused to disarm until Israel withdraws from the country.

Lebanese authorities say Israeli attacks have killed more than 4,300 people in the country since March. About 1.2 million people were also displaced in Lebanon at the height of the war.

Although most have returned home since the June ceasefire, more than 300,000 people remain displaced, according to the International Organization for Migration.

Lebanon’s PM Salam thanked Qatar for its “continuous” support during some of Lebanon’s “darkest hours”.

BOULDER CITY, Nev. — Janelle Sorenson loves the clear night skies in Boulder City, less than an hour’s drive from the bright lights of the Las Vegas Strip. It’s a small, quiet town, and she thinks an artificial intelligence data center would ruin the community and scar the desert landscape.

So over the summer, she joined with other residents to successfully oppose plans for one of the giant computing warehouses that have popped up around the country.

But their victory was short-lived. The developers withdrew their application and instead sought adjacent land owned by the federal government — and the U.S. Bureau of Land Management signed off.

“Not only did we not get to decide anything or have a say,” Sorenson said, “we were just really kept in the dark.”

The Townsite data center was the first in the country to be approved on federal public land, though construction is stalled after a judge ruled that the government couldn’t use an old environmental review from when the project was intended to be a solar farm.

Tech companies are eager for vast tracts to build data centers that can be as large as 70 football fields, and Townsite could set a precedent for similar projects on federal property with more than a dozen others in the planning stages. President Trump has been a steadfast supporter of the AI industry, which he views as a source of economic growth and part of a global competition with China.

However, data centers have been unpopular in many communities as voters worry about higher electricity bills, declining water supplies and other effects. In Nevada, where 80% of the land is owned by the federal government, Townsite and other projects have become a dominant issue in the battleground state’s closely watched governor’s race.

Republican Gov. Joe Lombardo, one of his party’s most vulnerable incumbents, doesn’t outright oppose building data centers on public lands, as long as they have community support. He recently signed an agreement with Trump’s Republican administration to streamline infrastructure projects, which could include data centers on federal lands.

Democratic nominee Aaron Ford, the state attorney general, has pledged to oppose data centers on public lands, saying affordable housing should be the priority.

Both say the projects, whether on public or private land, must follow state rules, such as requiring data centers to cover their own energy costs and protecting water supplies, or they would lose eligibility for state tax abatements.

Voters across the political spectrum unite against data centers

Sorenson, the Boulder City resident, considers herself a liberal, but she said her conservative neighbors are on the same page as she is.

“We’re all aligned on this,” she said.

Autumn McGrath-Shook, who lives in the same town, said she recently left the GOP and registered with the Green Party over data centers, though she still identifies as conservative. Worried about the environmental impact on wildlife, she joined forces with “these crazy libs” to oppose the project.

Data centers have quickly become a “catalyzing issue” in the midterms, catching many politicians flat-footed, said David Damore, a political science professor at the University of Nevada Las Vegas.

Some state leaders who were previously supportive of data centers have rushed to respond. For example, Republican Texas Gov. Greg Abbott paused data center approvals until audits are completed, and Democratic Pennsylvania Gov. Josh Shapiro signed an executive order removing data center proposals from a fast-track permitting process and requiring them to receive local approval before seeking state approval.

In August, Ford announced his plan to pause new tax abatements for data centers while an audit is conducted to see whether the projects have fulfilled promises about producing tax revenue and economic benefits.

In September, Lombardo, who has said data centers provide enormous economic opportunity for Nevada, signed an executive order placing more guardrails on them and requiring them to pay more taxes to support schools.

The two have successfully “muddied the waters” on their data center positions, Damore said.

Lombardo criticized Ford for co-sponsoring 2015 legislation that created the state’s tax abatement program for the facilities, a measure that received bipartisan support. Ford criticized Lombardo for giving more than $200 million in tax breaks to data centers, which is connected to the legislation that Ford co-sponsored.

Ford told the Associated Press that he would use “every tool” at his disposal to prevent data centers from skirting state guardrails, including withholding tax abatements and pursuing litigation.

Lombardo, whose campaign declined to make him available for an interview, has a similar pitch. His office said he would not hesitate to confront the federal government to advocate for Nevadans.

But that’s not good enough for McGrath-Shook, who is on the fence in the governor’s race. She thinks Ford is soft on crime, but she views Lombardo as more pro-data centers.

“I would much rather vote for Lombardo than Aaron Ford in a normal world,” she said. “But with the looming data centers, it really changes the landscape — and literally.”

Data centers on public lands are the latest effort in AI race

Last year, Trump signed an executive order to accelerate permitting for AI data centers, and his administration has rolled back the National Environmental Policy Act, saying the bedrock law needlessly delays federal approval for energy and infrastructure projects.

Dan Diorio, executive vice president of state policy and government affairs for the Data Center Coalition, said the industry wants to be a part of the conversation about responsible development on federal lands.

“The good-faith actors in this space are going to be approaching that development responsibly,” he said, “ensuring that it’s going to do no harm on important federal lands.”

But environmentalists are concerned about data centers developing on federal lands to skirt environmental protections and laws and circumvent permitting processes. They’re generally opposed to using public lands for the projects in the first place.

“We believe that public lands are reserved for public good and should be protected and kept in trust for future generations,” said Olivia Tanager, director of the Sierra Club’s Toiyabe Chapter. “And the idea of using public lands for data center construction totally flies in the face of that set of values.”

She said Congress should pass legislation with new standards for environmental reviews and public engagement that could slow development.

“Short of some type of legislation to that effect,” Tanager said, “we’re staring down the barrel of having many data centers move forward on public lands over the next few years.”

Hill writes for the Associated Press.

WASHINGTON — The Arlington County Board in Virginia filed a lawsuit Thursday opposing the construction of the Triumphal Arch, becoming the first governmental body to take legal action against President Trump’s planned monument.

The lawsuit, filed in the Eastern District of Virginia, criticized the speed at which the project slated for Memorial Circle has moved without going through the full review process.

“The National Park Service, the agency responsible for projects on national park land such as Memorial Circle, is proceeding full-speed toward ground-disturbing construction,” the lawsuit said. “Although the agency has claimed that a final decision to construct the Arch has not yet been made and purports to be engaged in a routine decisional process, that rushed process appears to be a pretext designed to shore up justifications for building the Arch in accordance with the President’s repeated marching orders.”

The lawsuit asks that “the agency’s feverish pace toward construction of the arch” be halted to ensure that the requirements of the National Environmental Policy Act be followed and proper analysis and testing be done.

“The Arlington County Board has filed this lawsuit because our community has the most to lose from this egregious and unlawful proposed project,” Arlington County Board Chair Matt de Ferranti said in a statement. He added that the county has acted in good faith in the review process, pointing out the “severe, unique, and wide-ranging negative impacts” the project will have on the county and its residents, only to see them ignored.

Memorial Circle sits on federal parkland west of the Potomac River across the Memorial Bridge and immediately adjacent to Arlington County.

The county is being represented in the lawsuit by legal advocacy group Democracy Forward.

White House spokesman Davis Ingle said the Trump administration and White House have been “fastidiously compliant with all procedural and legal requirements and are certain this meritless and dilatory lawsuit will be dismissed.”

The arch will become one of the world’s most iconic landmarks, he added. “It will enhance the visitor experience at Arlington National Cemetery for veterans, the families of the fallen, and all Americans alike.”

The lawsuit came a day after the Association of Flight Attendants-CWA President Sara Nelson expressed concerns that the 250-foot arch compounds multiple safety issues that she said have gone unaddressed since a deadly January 2025, crash over the Potomac River that killed 67 people. Nelson also criticized Trump’s plan to turn the arch into “a top grade military complex” able to host drones and snipers while storing ammunition.

Though the arch has received early approval from the U.S. Commission of Fine Arts, whose members were all tapped by Trump, a group of three veterans and an architectural historian sued in federal court in Washington, D.C., saying the project needs to be approved by Congress. The judge in that lawsuit said the administration must give the court 48 hours before undertaking any activities related to or in preparation for construction of the arch.

The arch is one of several projects around Washington that Trump has undertaken as he remakes the city, from renovating one of its storied public golf courses to threatening to demolish the John F. Kennedy Center for the Performing Arts.

Fields writes for the Associated Press.