What was the moment from the season finale of “The Pitt” that finally broke you?
Was it the shot of the day-shift staff watching the Fourth of July fireworks from the hospital roof, the sound of “America the Beautiful” playing in the distance? Maybe it was Dr. Al-Hashimi (Sepideh Moafi) crying in her car, realizing she can’t work around the seizure disorder that makes her a liability in the ER. Or perhaps it came when Noah Wyle’s Dr. Robinavitch (a.k.a. Dr. Robby) swaddled Baby Jane Doe, telling her that “everything’s gonna be just fine,” because she has “so many wonderful things to see and so many people to love.”
But what opened the floodgates for me, after the last half-hour of the episode left me completely dazed and dumbfounded, was Drs. Santos (Isa Briones) and King (Taylor Dearden) exorcising the day’s demons by belting out Alanis Morissette’s “You Oughta Know” at a karaoke bar and demonstrating that primal scream therapy is alive and well three decades into the 21st century.
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Which is all to say: “The Pitt” is the only television show I’ve watched that gives me the same feeling I have when I read a great, immersive novel. When the end is near, I’m bereft. I’m Al-Hashimi in her car, wanting to pound the dashboard. I do not want to let these characters go. They’ve given me 15 hours and I still crave more. I would devour a series of short films about odd couple Santos and Whitaker (Gerran Howell) sharing an apartment or a summer spinoff showing Dr. Abbot (Shawn Hatosy) working off-hours as a SWAT medic. Anything to fill the long, “Pitt”-less weeks between seasons.
“The Pitt” won five Emmys from 13 nominations, including best drama series, for its celebrated first season, a 15-episode run that began with Dr. Robby up on the hospital roof talking down Dr. Abbot after an intense shift. The season ended with Dr. Abbot returning the favor after Robby and his staff ground their way through a day that included a mass shooting, a child drowning and a patient assaulting LaNasa’s no-nonsense charge nurse.
How do you follow that?
For a few episodes this new season, it looked like “The Pitt” wasn’t up to the task. We watched the ER staff dealing with a series of bloody, messy (the disimpaction!) medical maladies, an avert-your-eyes spectacle that felt like the writers were trying to one-up themselves and find the worst possible affliction to make viewers double over. Worse, the thrill of discovery that kept us invested throughout the first season, the slow drip of information about the characters, wasn’t quite there. Something was missing, and it wasn’t just Dr. Robby’s motorcycle helmet.
But the luxury of having 15 episodes is that the writers can take their time laying the groundwork for the story they want to tell.
And what a story it was.
Over the course of the season, we watched Dr. Robby disintegrate, his mental health more precarious than ever because he has done nothing to address his apparent PTSD. “You need help,” Dr. Langdon (Patrick Ball) tells Robby, confronting him in the finale. “Be honest with yourself.”
Robby isn’t the only one struggling, as Dr. Abbot puts it, to “dance through the darkness.” Langdon is back, managing his sobriety. Dr. Mohan (Supriya Ganesh) is having panic attacks. Santos is still dealing with self-harm. Dana remains haunted by that Season 1 patient assault and now carries a syringe containing a heavy sedative just in case somebody emerging from that overcrowded waiting room crosses the line again.
“I’ve seen so many people die that I feel like it’s leaching something from my soul,” Robby says. “I’m tired of feeling like I’m drowning every day.”
And there you have it, the subject of Season 2 of “The Pitt.” Medical professionals are gasping for air, and the American healthcare system, with its focus on profit above all else, is failing them and the patients they treat.
Remember Orlando, the patient with severe diabetic ketoacidosis who arrives at the ER after fainting? Orlando had to ration his insulin because he lacked insurance and felt he had to cut corners. He ends up leaving the hospital early, fearing the cost of treatment. Later he returns, having fallen (jumped) from a catwalk at his construction job, fracturing his skull. But good news: He now qualifies for Medicare and Medicaid due to long-term disability.
It’s a tragedy, one of many reasons the season finale shot of the ER staff holding back tears as they watched the Fourth of July fireworks felt like a body blow. “America the Beautiful”? How can that be true when the current administration is seeking $1.5 trillion for defense spending — nearly 50% more than this year — while cutting healthcare and social safety nets? How can that be true when an act known as the “Big, Beautiful Bill” removed funding from an already frayed healthcare system and exacerbated the shortage of care in rural areas of the country?
That one scene, the culmination of hours of careful, patient storytelling, said more about the disconnect between American ideals and America’s reality than anything else I’ve read or watched this year.
Give “The Pitt” all the Emmys. It has more than earned them.
WASHINGTON — Initial efforts in the Senate failed Thursday to block the $1.8-billion fund that the Trump administration has sought to establish to pay people who claim the government wronged them, though further attempts were likely to come Thursday afternoon.
Republicans narrowly voted down a Democratic amendment to ban the payout fund and then Democrats killed a Republican amendment, which would have prohibited the use of federal money for the fund but would have sent $1.7 billion to the Justice Department’s fraud division.
It was the second effort in Congress to rebuke President Trump in two days, following the House vote Wednesday to rein in Trump’s war powers in Iran.
The dueling amendments were proposed by Senate Minority Leader Chuck Schumer (D-N.Y.) and Sen. Thom Tillis (R-N.C.). They were attached to the reconciliation bill that would fund Immigration and Customs Enforcement and the Border Patrol, a high priority for Republicans.
The votes came as the Senate began a “vote-a-rama,” during which lawmakers were expected to propose a stream of amendments to the immigration bill on various topics.
The Trump administration’s plan for the payment fund — widely seen as a way for Trump to compensate his political allies, including those who participated in the Jan. 6, 2021, attack on the Capitol — set off particular ire from some GOP lawmakers.
The plan has fueled growing unrest within parts of Trump’s party over his governance, compounded by the president’s endorsement of primary challengers to Sens. John Cornyn (R-Texas) and Bill Cassidy (R-La.), as well as Rep. Thomas Massie (R-Ky.), which angered some Republican senators.
Cassidy, who lost his primary and has since voiced strong opposition to Trump’s $1.8-billion fund, became a key player in the Thursday votes, voting down Schumer’s amendment but supporting Tillis’.
On Wednesday, Cassidy joined with Sen. Cory Booker (D-N.J.) to argue in a court filing that the $1.8-billion fund circumvents Congress’ authority and violates the Constitution’s spending and appropriations clauses.
“It is an unconstitutional attempt to spend the People’s money without Congressional approval,” Cassidy and Booker wrote in an amicus brief filed in the federal court case challenging the fund.
The fund was created by the Justice Department to settle a lawsuit brought by Trump against the Internal Revenue Service over the leak of his tax returns. Trump and his sons agreed to drop their personal lawsuit against the government in exchange for the creation of the $1.776-billion fund. Critics immediately questioned the plan, and it drew a rare backlash from Republicans.
In late May, GOP senators derailed plans to vote on the immigration bill over their displeasure with the payout fund and with Trump’s desire to use taxpayer funds for his planned White House ballroom. Senate Republicans removed the ballroom funding from the immigration package Wednesday, another setback for Trump.
The Trump administration sought to back away from its plans for the fund this week, following bipartisan outcry and a federal court ruling that temporarily blocked any payouts from the fund. Acting Atty. Gen. Todd Blanche said Tuesday the administration would end its plans to move ahead with the concept.
But Trump on Wednesday told reporters he didn’t know whether the fund was dead, calling it “a beautiful thing.”
After Schumer proposed the first amendment to ban the fund Thursday morning, the Senate came to a standstill as three key Republican senators deliberated. Schumer framed his effort to ban the fund Thursday as a way to force a referendum on Trump’s plan.
The amendment “offers Republicans a choice: Do you support Donald Trump’s $2 billion taxpayer-funded slush fund, or do you want to protect the American people and their paychecks?” Schumer said on the Senate floor before the vote.
Sen. Bernie Moreno (R-Ohio) urged Republicans to reject the amendment, saying Democrats were planning to “play so many games” on Thursday during the marathon session.
“We are going to fund immigration enforcement and border patrol, and I urge my Republican colleagues to stay united on that singular mission,” Moreno said.
The amendment failed after Cassidy voted against it. Republican Sens. Susan Collins of Maine, Jon Husted of Ohio and Dan Sullivan of Alaska voted in favor.
Schumer’s amendment was uniformly supported by Democrats, including California Sens. Adam Schiff and Alex Padilla.
Tillis, who also voted against Schumer’s amendment, immediately proposed his amendment. Sen. Jeff Merkley (D-Oregon) urged Democrats to oppose it, saying that the proposal would create “a new slush fund” by giving the money to the Justice Department.
“We heard over the last 48 hours that the acting attorney general said that this fund’s not moving forward. All this amendment does is codify what I believe the policy of the DOJ is,” Tillis said on the floor before voting began on his amendment. “This [fund] is unpopular, this administration has said they’re not moving forward with it; this is an opportunity for us to put it to bed.”
Responded Merkley: “Taking one slush fund and eliminating it and then creating a new slush fund still under control of the attorney general is not the way to go. The way to go is to get rid of these slush funds altogether.”
Trump has faced a recent string of failures, including the House vote Wednesday, a court ruling to remove his name from the Kennedy Center and a record-low approval rating among Americans as concern rises about economic issues, gas prices and Trump’s war with Iran.
On Wednesday, Trump lashed out against the four Republicans who backed the House war powers resolution, calling it “an unpatriotic thing” to do and calling the vote “meaningless.”
“They’re GRANDSTANDERS! They should be ashamed of themselves. MAGA!!! President DJT,” Trump wrote.
Times staff writer Ana Ceballos, in Washington, contributed to this report.
I was alone in the forest in my favorite place for the first time in years, so I did the only logical next right thing. I lay down.
There I was, sprawled next to Millard Canyon Falls, listening as the water roaring down the cliff and cool air whooshed past my face. I gained a new perspective when I gazed at an upside-down waterfall. What’s the point of hiking if we don’t play around?
In today’s edition of The Wild, our weekly outdoors newsletter, I provide you with three great hikes where rivers and waterfalls are still flowing. It’s essential information as we head into summer and temperatures start to rise.
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If you were to force me to choose my favorite hike, I would stubbornly refuse to pick just one, but my list would include these three.
That’s why I really want to urge you, my dear Wild reader, to treat these places with the reverence they deserve. That includes:
Refreshing your memory on the seven “Leave No Trace” principles.
Packing a small trash bag in which you can store empty food wrappers, toilet paper and garbage you spot along the way.
Observing wildlife from a distance, including California newts, which you shouldn’t pick up because it’s rude and, more important, because they can secrete a neurotoxin through their skin that can be lethal to humans.
OK, let’s talk about where your next favorite hike will be!
Millard Canyon Falls in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
1. Millard Canyon Falls
Distance: 3.3 to 4.3 miles (see below) Elevation gained: About 900 to 1,100 feet Difficulty: Moderate Dogs allowed? Yes Accessible alternative: Paved segment of Gabrielino Trail from Windsor Boulevard
This 3.3- to 4.3-mile hike to Millard Canyon Falls will take you through lush hillsides and beneath the shade of coast live oaks and bigleaf maples as you walk alongside, and sometimes through, Millard Creek. Your journey ends at Millard Canyon Falls, a gorgeous 50(ish)-foot waterfall that gushes past massive boulders perched at the top of the cascade.
This hike is usually much shorter (about 1.5 miles), but a road closure in place since the Eaton fire lengthened it. I will explain more about the closure later. It is important to note, though, that Chaney Trail is the name of the roadway and an actual trail, both of which you’ll take on this hike.
To begin your hike, you can either parallel park nearNuccio’s Nurseries, taking care to obey all parking signage, or if those spots are all taken, park nearby and order a rideshare to drop you at the trailhead. I had cell reception with Verizon here, so it should be possible to order a ride back to your vehicle.
Millard Creek in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
From here, you have two options for reaching the Millard Canyon Falls trailhead.
1. Follow Chaney Trail road for about 1.66 miles to the Millard Canyon Falls trailhead. This route will be exposed, so you’ll need to start early if you choose this option.
2. Walk about half a third of a mile north from Nuccio’s, and then, near a bend in the road, you’ll take the Chaney Trail, a winding dirt path that I was delighted to find is in great shape. (Shout out to Restoration Legacy Crew, a volunteer trail maintenance group, for its amazing work in the Millard Canyon area!)
That trail is a bit overgrown in a few spots, so you’ll want to wear pants (or take the road). Additionally, make sure to lightly stomp before heading into overgrown areas, as this helps alert any snakes snoozing in the shade of your presence.
The view from the ground looking up at Millard Canyon Falls.
(Jaclyn Cosgrove / Los Angeles Times)
You’ll take Chaney Trail for about half a mile, pausing to catch your breath and take in the increasingly great views of the San Gabriel Valley. You will next cross over Mt. Lowe Motorway to take the Sunset Ridge Trail down. (See map for greater detail.)
You will boogie down a few switchbacks for 0.7 miles, enjoying shade provided by bay laurels and sumac trees, listening to the sweet songs of canyon wrens and spotted towhees. (That’s who was singing to me, anyway!)
You will reach the Millard Canyon campground, which is closed for overnight camping but does feature a few nice picnic tables shaded by massive coast live oaks. With the creek flowing nearby, I wouldn’t blame you if you stopped and had a little snack here.
Millard Campground in Angeles National Forest. It is closed because of damage from the Eaton fire.
(Jaclyn Cosgrove / Los Angeles Times)
That said, you have finally made it to the Millard Canyon Falls trailhead! Just northwest of the campground, you’ll find a little arrow pointing you northward onto the trail. From here, you will gain minimal elevation, and can actually just frolic. It is about half a mile to the waterfall.
As I mentioned, this trail is usually shorter and easier to access, as there’s a large parking lot near the trailhead and more parking along the roadway.
The roadway Chaney Trail was slated to reopen at the end of April. I frequently checked Los Angeles County Public Works’ road closure website, as I had planned to write about Millard Canyon once the road reopened. But when I checked the website, I saw that the reopening had been moved to the end of August. Huh?
I asked the public information officers at county Public Works about it and was told: “We are currently coordinating with our on-call emergency contractor to complete guardrail repairs on Chaney Trail, just north of the gate. Construction is anticipated to begin in July and be completed by the end of August, weather and field conditions permitting.”
Clockwise from top left: prickly phlox, golden yarrow, cliff aster and a type of larkspur. Center: A little bird on a dried out plant.
(Jaclyn Cosgrove / Los Angeles Times)
I passed a shiny new guardrail just north of the gate when I was hiking there earlier this week. I asked the agency whether there was some other guard rail missing. No, my friends. “The community raised concerns about the roadway narrowing included in this project, and we will be reconstructing the guardrail to address those concerns,” a spokesperson told me via email.
And now ends the saga of the Chaney Trail guardrail.
As for Millard Canyon, I will admit, it quite possibly is my favorite frontcountry natural areas. I was reminded of this fact when I visited this week. Although the road closure adds some steep mileage to reach the canyon, it’s worth it to me. I will be back. I hope to see you there!
The Fish Canyon Narrows near Castaic.
(Jaclyn Cosgrove / Los Angeles Times)
2. Fish Canyon to Fish Canyon Narrows
Distance: About 5.5 miles Elevation gained: About 400 feet Difficulty: Moderate Dogs allowed? Yes Accessible alternative:San Francisquito Creek Trail
To reach the Fish Canyon Narrows, you will take the Fish Canyon Trail (called Forest Route 6N32 or the Warm Springs Fish Canyon Truck Trail on some maps) on a 5.5(ish)-mile out-and-back journey. You will ascend into narrowing walls of sandstone, granite and conglomerate. A healthy stream flows throughout the canyon, giving you ample opportunity to cool off or have a picnic in a naturally occurring sound bath (which, when you’re lucky, will include a tree frog).
A quick note: This is the most rugged (read: least curated) of the three adventures mentioned in this list. There is no trail signage, and you’re in a less popular corner of Angeles National Forest. You might be entirely alone, especially if you hike this on a weekday. You should plan accordingly. Or skip it if I’ve already freaked you out. (I do this out of love!)
To begin, you’ll park on the road’s shoulder, and head east through a gate. Follow the roadway north and then south as it curves toward a dirt path. Follow the exposed dirt path northeast. You’ll trudge through multiple water crossings and be blessed with the occasional shade of sycamore trees.
The narrows are often cooler than the rest of the area. The first portion of this hike has little to no shade, so make sure to wear plenty of sun protection.
And if you leave the trail but aren’t ready to go home, head over to the swim beach at Castaic Lake. And if you’re not tired, there’s always the Cali Splash Park, a massive inflatable floating park. That’s a full day of adventure!
A hiker lies near the creek along the Icehouse Canyon Trail.
(Brian van der Brug / Los Angeles Times)
3. Icehouse Canyon Trail to Icehouse Saddle
Distance: Around 7 miles Elevation gained: 2,600 feet Difficulty: Challenging Dogs allowed? Yes Accessible alternative:West Fork National Scenic Bikeway
Icehouse Canyon Trail to Icehouse Saddle is a 7(ish)-mile trek that runs mostly parallel to the gorgeous and crystal clear Icehouse Creek, which often features several short waterfalls as the water rockets down the mountainside.
As they trek through the canyon shaded by bigleaf maple, California incense-cedar and bigcone Douglas-fir, hikers might spot wildflowers including orange-yellow western wallflowers, light purple Grinnell’s Beardtongue and red western columbine.
Icehouse Canyon is popular on weekends and is best visited on a weekday if you can swing it. You’ll need either a $5 Adventure Pass, an annual America the Beautiful pass or other federal public lands pass to park.
To begin your hike, you’ll park at or near the trailhead — in the parking lot if it’s your lucky day. Otherwise, you’ll park along the roadside, taking good care to read signage and not block anyone’s driveway. Once while walking to the trailhead, I was greeted by a local dog whose collar informed me that he was allowed to meander about and knew how to get back home. I love small mountain towns.
After you park — and remember to display your pass, as forest service workers do ticket vehicles without them — you’ll head east to the trailhead.
A visitor cools down in the creek at Icehouse Canyon.
(Jaclyn Cosgrove / Los Angeles Times)
Immediately upon entering the canyon, you’ll be greeted with stunning beauty. Try not to become too distracted by the pools of water surrounded by large boulders. (No one will know if you skip the hike and just take a dip.)
About a mile into your hike, you’ll come to a crossroad where the Chapman Trail and Icehouse Canyon Trail intersect. Continue east on the Icehouse Canyon Trail. A mile farther, you’ll start the switchback portion of the trail, where you’ll gain about 1,200 feet in 1.5 miles. It’s a beautiful suffer fest.
Icehouse Saddle will offer you incredible views of the San Gabriel Mountains and Mojave Desert. You’ll likely meet other hikers here who are planning to continue their journeys to one of several peaks reachable from the saddle, including to popular spots like Cucamonga and Ontario peaks.
Hikers meander past boulders and large pine trees.
(Brian van der Brug / Los Angeles Times)
It can be quite windy at Icehouse Saddle, so if you’re planning to have your lunch here (which I’ve done many times), consider packing a windbreaker.
The Times has been writing about hiking in Icehouse Canyon for more than 100 years, as city dwellers have long been drawn to its beauty. A July 1926 article about Icehouse Canyon started with a headline declaring, “Here’s a nice cool trip” in all caps.
“It is a trip which one will want to take more than once when its lure has gotten into the blood,” an unnamed Times journalist wrote.
May we all be so lucky to return again and again.
3 things to do
Docent Susan Hopkins leads a Pride Month hike during a previous year’s celebrations.
(L.A. County Department of Parks and Recreation)
1. Celebrate Pride across L.A. County The L.A. County Department of Parks and Recreation will host several events celebrating LGBTQ+ Pride throughout June. Almost 60 county parks are hosting events, including from 5 to 7 p.m. Thursday at Dalton Park in Azusa; from 5 to 7 p.m. Thursday at Dr. Richard H. Rioux Park in Stevenson Ranch; and from noon to 2 p.m. Saturday at Crescenta Valley Community Regional Park in La Crescenta. For a list of all events, visit parks.lacounty.gov.
2. Walk for peace in L.A. Los Angeles meditation nonprofit InsightLA will lead a free 12-mile Walk for Peace from 9 a.m. to 3 p.m. Saturday. The walk will start at Hollywood Forever Cemetery and end with community picnic at Tongva Park in Santa Monica. Register at insightla.org.
3. Repair trails in remote forest near L.A. The Lowelifes Respectable Citizens’ Club, a volunteer trail maintenance group, needs volunteers on Saturday and Sunday to help restore an overgrown segment of the Gabrielino Trail in Angeles National Forest. Volunteers will either ride gravel bikes down a 5.5-mile dirt road or hike in. Previous trail work experience not required. Register by emailing trailwork@lowelifesrcc.org.
The must-read
The aedes aegypti mosquito, called the “yellow fever mosquito,” is well-known for spreading nasty illnesses like its namesake and dengue fever.
(Sameer Neamah Mahdi / Associated Press)
Here’s a sentence I didn’t expect to write this year (or ever): Google would like to release up to 64 million sterilized male mosquitoes in California and Florida to help combat mosquito-borne illnesses such dengue, Zika, chikungunya and yellow fever. “Google says it can harness technology to optimize a concept that’s been around for decades, but hasn’t worked at a large enough scale with mosquitoes to rein in disease,” Times staff writer Lila Seidman reported. The project is called Debug —although Google could have gone with WiFly.
I’ll see myself out.
Happy adventuring,
P.S.
You’re sitting there thinking about your weekend, wondering, “Is there anywhere I could go dressed as a shark?” Why, yes, there is! The Cabrillo Marine Aquarium and Cosplay for Science will co-host the Science Entertainment Aquarium Convention from 9 a.m. to 4 p.m. Saturday at the aquarium (3720 Stephen M. White Drive in San Pedro). SeaCon 2026 will feature a beach cleanup, a fictional marine biology panel and a cosplay contest, along with much more. Learn more at the aquarium’s Instagram page. Have a jaw-some time!
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
In recent months, the iconic ticking stopwatch of the CBS News magazine “60 Minutes” began to sound like a time bomb.
The explosive detonated Tuesday as the prestigious program’s most high-profile correspondent, Scott Pelley, was fired after openly challenging the moves and motives of the news division’s leadership and questioning the credentials of new “60 Minutes” executive producer Nick Bilton.
Pelley accused CBS News Editor in Chief Bari Weiss of “murdering” the program and berated Bilton, a former New York Times journalist, for lacking TV news experience. His forced exit along with the departure of several other veterans is raising fears about the future of the most-watched TV news program that has managed to retain its vitality and importance in the face of major changes across the media landscape.
Weiss praised Pelley’s contribution to the network when she discussed his termination at the network’s morning editorial meeting Wednesday, but cited a loss of “trust and mutual respect” as the reason for moving on.
“We cannot do our work without it,” Weiss said. “That foundation was broken on Monday, and despite our attempts to engage with Scott Pelley and to find a way back, unfortunately we weren’t able to do so, and so we had to part ways.”
But industry veterans familiar with “60 Minutes” said the firings represented a notable shift in how the venerable program has been run by its predecessors.
Rome Hartman, a former longtime “60 Minutes” producer, said Wednesday in an interview that the termination of Pelley for forcefully expressing his views at a staff meeting is a fundamental misunderstanding of how the program has operated and thrived over 58 years. Spirited, and occasionally acrimonious, internal debate has always been a part of working at “60 Minutes.”
“Sharp words in defense of important ideas, whether they be in stories, or whether they be about the future of the broadcast, shouldn’t just be tolerated, they should be encouraged and inculcated, and they always have,” Hartman said.
The insularity of the “60 Minutes” operation — which has its own suite of offices across the street from the main headquarters of CBS News — has rankled the network’s executives in the past. But those dynamics were considered part of the price of having the most prestigious news program on television.
“Every single CBS News president in the history of CBS News has resented the independence of ’60 Minutes,’” Hartman said.”But the smart ones have come to understand that that independence is part of the secret sauce. I don’t know Bari Weiss, but she seems incredibly thin-skinned.”
The turmoil inside “60 Minutes” comes at an inopportune time for CBS. Weiss is now under the gun to replenish the program’s staff with three months to go before original episodes return to the prime-time schedule.
Pelley is the fourth correspondent to depart “60 Minutes” since Weiss took over as editor in chief. Last week, Weiss fired correspondents Sharyn Alfonsi — who accused Weiss of playing politics by holding a story on the government’s use of El Salvador prisons for undocumented migrants — and Cecilia Vega, who was also outspoken in her criticism of the changes at “60 Minutes,” saying she faced censorship. Anderson Cooper, the CNN anchor who spent nearly 20 years as a contributor to the program, chose not to sign a new contract.
Weiss also fired executive producer Tanya Simon, who has been with the program for 25 years, and her second in command. (Pelley said he was unable to get answers on the firings during his final meeting Tuesday with Weiss and CBS News President Tom Cibrowski.)
Bari Weiss hosts Senator Ted Cruz on her “Honesty” podcast on January 18, 2025, in Washington, D.C.
(Leigh Vogel / Getty Images for Uber, X and The Free Press)
And there could be more departures on the way, adding to the upheaval. Bill Whitaker, who joined the program in 2014 and was a Pelley ally, is said to be weighing whether to walk away from the two years left on his current contract. The program’s respected veteran , Lesley Stahl, is pondering her future as well amid the massive changes, according to people familiar with her thinking who were not authorized to speak publicly.
The call is out for new talent, according to one agent who said CBS News is talking to “dozens of people” for the openings.
But the company will also look within its ranks. Matt Guttman, hired away from ABC News by Weiss to become senior national correspondent, is one name being mentioned, along with Major Garrett, the network’s chief Washington correspondent. Both have emerged as favorites of Weiss.
Norah O’Donnell, already a contributor to the program, is also likely to have a larger presence.
While the “60 Minutes” patina has been tarnished by the recent events, there is no shortage of journalists who would be willing to step up and join the program. But whoever does sign on will be intensely scrutinized while the Nielsen numbers are closely watched.
Newcomers on the program are rare and would have an easier time gaining audience acceptance if they were joining a stable operation.
Although every long-running TV program can use an occasional refresh, a massive overhaul is destabilizing for “60 Minutes,” one of the last non-sports appointment programs for the traditional television audience that still provides broadcast networks with the bulk of their advertising revenue.
Notably, the program averaged 9.1 million viewers during the 2025-26 TV season according to Nielsen, up 9% over the previous year.
“Viewers liked the ’60 Minutes’ that they had,” said a former CBS News executive who worked on the program who was not authorized to speak publicly. “And if they don’t like it, they have many other places to go.”
One of Weiss’ mantras — echoed by Bilton — has been the need to pull “60 Minutes” into the digital future as traditional TV viewing declines. Insiders say she has yet to make clear how that will be achieved.
Under Weiss’ watch, clips and full segments of the program gained significant traction on platforms such as YouTube. The success on digital is an encouraging sign for the program’s ability to attract younger viewers who don’t watch traditional talent.
But veteran TV executives say that loyal “60 Minutes” viewers still expect to see seasoned correspondents delivering in-depth investigations and analysis. A diversion from that formula poses substantial risks.
“Its audience has certain expectations,” said Jim Murphy, a former executive producer for CNN and CBS News. “These guys built a literally nearly perfect program for the medium and for the audience. You’re not going to make it better just because somebody cooler does a story that’s, like, a little funkier. It just not going to work.”
Steve Capus, a veteran network producer who worked with Pelley at the “CBS Evening News,” said his former colleague was built for the meticulous work that goes into every “60 Minutes” segment.
“It’s hard to do week in and week out,” Capus said. “You have to be first-rate in your storytelling.”
What’s more, Weiss and Bilton will also have to fight the perception that their moves on the program have been guided by the desire of David Ellison, chief executive of CBS News parent Paramount, to please the Trump administration as he seeks regulatory approval of his deal to acquire Warner Bros. Discovery.
Trump sued “60 Minutes” over the editing of an interview with his 2024 presidential opponent, former Vice President Kamala Harris. The suit was settled just ahead of the Federal Communications Commission clearing the way for the takeover of Paramount by David Ellison’s Skydance Media.
Ellison acquired Weiss’ digital startup, the Free Press, which established itself as a voice critical of so-called woke politics.
Pelley said in a statement Tuesday that there has been pressure to shape CBS News coverage to please the Trump White House, a claim that both Vega and Alfonsi have made.
“I’ve been told to include assertions that are unverified,” he said. “To date, in every case, I have ignored these instructions or refuse them.”
In a statement, a representative of “60 Minutes” said that the exchanges with Pelley regarding editorial content were not out of the ordinary.
“There is no political interference at CBS News, not from ownership, not from Bari Weiss,” the representative said. “The only ‘interference’ is the normal back and forth between editor and correspondent that happens in every newsroom.”
Acclaimed German director Wim Wenders announced he was withdrawing his 1975 film, “Wrong Move,” from distribution due to a scene featuring then-13-year-old actor Nastassja Kinski topless.
Kinski played Mignon, a mute acrobat and street performer, in the film. In the controversial scene, she is featured lying on the bed topless as she tries to seduce her 30-something co-star Rüdiger Vogler, who plays Wilhelm.
Wilhelm enters the room, removes most of his clothing and gets into bed with her, slaps her, pushes her away and then caresses her face and cradles her.
In a 1997 USA TV interview, she was candid about wishing some of her work could be scrubbed from the screen permanently, saying, “I’ve done quite a lot of movies, a lot of movies that I want to just go and burn someplace. You always calculate ‘how much would that cost? How would I do that?’ and just know it’ll exist forever. It won’t be showing all that much, but just the fact that it’s there and it’ll exist.”
She told W Magazine the same year, “If I had had somebody to protect me or if I had felt more secure about myself, I would not have accepted certain things. Nudity things,” Kinski said. “And inside it was just tearing me apart.”
Per the Hollywood Reporter, Wenders received a lifetime achievement award at the German Film Awards last week and addressed the “Wrong Move” issue in his speech, saying that he would not shoot the scene today. He also said that he knew that keeping it in the film had continued to cause Kinski pain.
“I can’t blame the 29-year-old young man I was then, 50 years ago, who made a film of his time; wanting, in a way, to capture the zeitgeist,” he added before calling on the members of the German Film Academy to debate the issue and aid him in finding a resolution.
On Wednesday, the “Perfect Days” director issued a statement that was posted on social media saying that he would withdraw the film from all current forms of distribution.
“As the only person responsible at the time for Wrong Move who is still here, I recognize that Nastassja Kinski should have been better protected back then. For that, I apologize to you, Nastassja, unreservedly, no ifs and buts.”
Wender said that “the many reactions, comments, and conversations of recent days” had a played role in shifting his perception of the issue but that society must find appropriate ways of dealing with controversial film works from the 20th century.
“Only after that process has taken place — even if it takes considerable time — and once we have been able to present a mutually agreed solution, which will include Nastassja Kinski, will we make the film available again.”
Kinski commented on Wenders’ statement on Wednesday. The following has been translated from German:
“Wim, after all that, all those years, only because the public has now commented in so many newspapers, as well as colleagues, and now because thousands — even though I asked for so long — only now because of the public, do I read THESE words from you, W. Wenders: ‘Nastassja, back then 13 in the first film, Wrong Move.’ ”
A huge, waning moon glimmered over Los Angeles on election night, a metaphor for a trend that emerged in early returns.
The city’s political establishment seemed to be on the retreat in favor of populist insurgents from both the left and the right.
Mayor Karen Bass held a cushy lead in her bid for a second term, and the Associated Press declared that she had made it into the November runoff election. But the underwhelming amount of support she got thus far showed that many voters in a super-blue city didn’t have enough confidence in a Democratic stalwart to return her to office. Instead, many chose self-proclaimed upstarts from opposite ends of the political spectrum: Republican reality TV star Spencer Pratt and democratic socialist City Councilmember Nithya Raman.
Raman launched her campaign at the last moment, just weeks after endorsing her longtime ally Bass, figuring that enough Angelenos were tired of the incumbent and would join her message of change from inside City Hall.
Raman’s instincts were half right. Voters did want change. But they didn’t view her as a challenge to the status quo — to many, she is the status quo.
The mayoral hopeful didn’t articulate a platform that radically departed from Bass’, and voter antipathy to her muddled messaging showed: she ended the night in third place. If the current results hold, Bass would face Pratt in the runoff.
At Raman’s election-night party at Boomtown Brewery on the outskirts of Little Tokyo, I saw why her chances of becoming L.A.’s next mayor were slim from the start. The gathering felt like happy hour at a Silver Lake bar: far whiter than the city overall, with few Latinos. Her address to a packed house was a grab bag of platitudes mixed with a broadside against MAGA, which is a political nothing in L.A. politics. It was an uninspiring cri de coeur and reflective of a campaign that wasn’t apocalyptic enough for those, such as Pratt’s people, who want radical change, while offering nothing new for Bass supporters.
Yet Raman still insisted she had unlocked something transformative.
“Together, we built something extraordinary,” she said to cheers. “And it gives me so much inspiration to be a part of it, a movement powered not by cynicism or political insiders, but by ordinary people who still believe Los Angeles is worth fighting for.”
Raman then went on the dance floor to greet well-wishers, pumping her fist while a DJ blasted Daft Punk’s “Lose Yourself to Dance.”
A billboard for L.A. mayoral candidate Spencer Pratt near MacArthur Park on June 2, 2026.
(Ronaldo Bolanos / Los Angeles Times)
Across town in West Los Angeles, Pratt reveled in his second-place position, enjoying a Mexican dinner with friends and family. It was a peaceful conclusion to a spring of fulminations against Bass (“Karen Basura”), nonprofits, homeless people (“zombies”) and anything that reeked of Democratic pieties, even as the Republican swore he was campaigning for all ideologies in a nonpartisan race.
Long dismissed as a has-been joke, Pratt correctly judged that Angelenos are angry and don’t want to be polite about it anymore. He and his supporters will take his unlikely rise as a mandate to double down against liberal L.A.
But if Pratt, who lost his house in the Palisades fire, does move on to the general election and is serious about winning, he needs to learn from the political revolution successfully pursued by his polar opposites, the local chapter of the Democratic Socialists of America.
Six years ago this spring, L.A.’s political establishment wrote off DSA-LA as wokoso upstarts in their long-shot quest to get a political novice named Nithya Raman elected to the city council. Even as Raman and three other DSA members joined the council, skeptics dismissed them and their progressive policies as anomalies that didn’t reflect how Angelenos actually wanted the city to work.
Tuesday night, four of the six DSA-endorsed candidates in L.A. city elections were in first place by large margins and another was comfortably in second, reflecting DSA’s multicultural, citywide reach. In a telling sign of its newfound king-making status, the local chapter declined to endorse Raman or any other mayoral candidate. Without that powerful backing, their trailblazer, along with DSA member Rae Huang, withered on their L.A. revolutionary vine.
Councilmember Hugo Soto-Martínez and L.A. Unified school board member Rocío Rivas looked to be coasting to outright victories. Marissa Roy was on her way to a runoff that would exclude the incumbent city attorney, Hydee Feldstein Soto, who was a distant third in the early returns. In District 9, where Curren Price is terming out, Estuardo Mazariegos stood comfortably in second place and looked to headed to a runoff against a fellow Latino candidate in a race that will see South Los Angeles elect its first non-Black council member in 63 years.
The most surprising outcome involved Councilmember Eunisses Hernandez, who became a punching bag, along with Bass, for people who thought L.A. had transformed into a hellhole. So-called dark money groups, which don’t have to reveal where their funding comes from, poured hundreds of thousands of dollars into negative mailers. Opponents vying for her seat cast federal raids against drug dealers and gangs in the MacArthur Park area as an indictment of her leadership, berating her during debates and on social media.
Even Hernandez’s supporters were fretting about what might happen on election night. But by the time I arrived at her raucous soirée in Highland Park, early returns showed her way ahead of the field and perhaps avoiding a runoff.
“It’s reassuring to see [DSA’s success],” she said as jubilant supporters lined up beside her to get tattoos — real ink, not temporary — of hummingbirds, her campaign’s logo. “That means people see us. That means people want more.”
Hernandez pointed to her fellow DSA member, New York City Mayor Zohran Mamdani.
“What happened with DSA over there didn’t happen overnight,” she said. “In L.A., we’re getting there.”
A table filled with campaign buttons for Council Memer Hugo Soto-Martinez, who ran for reelection this year and is expected to win outright.
But anyone who wants to win in Los Angeles needs to realize that antiestablishment sentiment is in the air.
At the same time, I would remind the victorious populists to look up in the sky and remember their Shakespeare.
“O, swear not by the moon, th’ inconstant moon / That monthly changes in her circle orb / Lest that thy love prove likewise variable,” Juliet warned Romeo.
Politics, like la luna, waxes and wanes whether we like it or not, and anyone who bets on a permanent transformation at City Hall will probably lose.
Angelenos have declared that they want dramatic change. But how will they feel in November?
WASHINGTON — When nearly all the scheduled musical performers pulled out of a concert series marking America’s 250th anniversary — fearing the event had become too closely tied to President Trump — he responded by making it official.
Trump announced he’d now be the headlining act of the Great American State Fair.
That put to rest any possible scenario where a president who has built his personal and political persona on seizing the spotlight might cede the stage to avoid overshadowing a national celebration bigger than himself. It also offered a peek into how the president is likely to approach hosting the upcoming World Cup.
From his reality shows before becoming a politician, to hours spent entertaining at events in ways planned and impromptu, to proudly showing off his various properties and efforts to overhaul the White House, the president relishes hosting. Last year he even jokingly mused about leaving the presidency to do it again full time on TV.
Trump can be a gracious, personable and highly watchable master of ceremonies — but he’s also one who tends to make every event about himself.
“The president has an outsized personality,” said Timothy Naftali, former director of Richard Nixon’s presidential library and professor at Columbia University’s School of International and Public Affairs. “There’s a predictability to the way in which the president frames his actions — or any actions around any event associated with him — and that’s just part of who he is, and his makeup and his professional background.”
Exhibit A is the fair, which begins June 25 and was supposed to feature concerts but now will be kicked off by a Trump rally. That will follow a UFC bout at the White House on June 14. Trump is a longtime cage match fan and the event marks his 80th birthday, but the president has sought to bill it as part of the anniversary festivities.
Many presidents relished hosting — but not like this
Andrew Jackson threw open the White House for an 1829 Inauguration Day bash so unruly that staff eventually dispersed the crowd by moving tubs of whiskey and ice cream to the lawn. Franklin D. Roosevelt mixed pre-dinner cocktails for friends and aides at White House gatherings he playfully dubbed “The Children’s Hour.” Audrey Hepburn was among the luminaries Ronald Reagan hosted at the White House.
Trump frequently had first-term dinners with business leaders but has more fully embraced the role since returning to the White House. He built a patio area similar to one at his Mar-a-Lago estate and frequently travels to Florida and his properties in Bedminster, New Jersey, and Sterling, Virginia, to headline fundraisers and other swanky gatherings.
Asked if Trump might overshadow events meant to bring the country and the world together, White House spokesman Davis Ingle pointed to the president’s efforts to lead extensive renovations at the White House and around Washington. He said in a statement that the “historic beautification” gives the city “the glory it deserves during our nation’s historic semiquincentennial celebration — something everyone should celebrate.”
Still, Trump has found unprecedented ways to inject himself into the anniversary.
The State Department is issuing passports with the president’s picture and officials have designed a new $250 bill with his likeness. The Trump Organization, being run by Trump’s children while he’s president, applied to trademark “Trump 250” logos and other merchandise.
The U.S. Mint is also producing a 24-karat gold commemorative coin with Trump’s face, though that recalls a half-dollar silver coin bearing the likeness of President Calvin Coolidge to help mark America’s 150th anniversary in 1926.
Past presidents had starring anniversary roles
Ulysses S. Grant opened a Centennial Exposition in Philadelphia to mark the 100th anniversary of the signing of the Declaration of Independence in 1876. Richard Nixon, in 1971, inaugurated a five-year “Bicentennial Era” ahead of the 200-year mark, though he resigned before the big day arrived.
Nixon’s successor, Gerald Ford, then in the midst of an ultimately unsuccessful reelection campaign, began the week of July 4, 1976, by inaugurating the Smithsonian Institution’s National Air and Space Museum and attending a Kennedy Center event featuring Bob Hope, OJ Simpson and others reading patriotic texts.
On Independence Day, Ford spoke at historic Valley Forge, then traveled to Philadelphia’s Independence Hall, declaring, “Liberty is a living flame to be fed, not dead ashes to be revered.“ He also went to New York Harbor for a tall ship parade, presided over naturalization ceremonies at Thomas Jefferson’s Monticello estate and hosted a state dinner for Britain’s Queen Elizabeth II.
Still, “while Ford certainly hoped to use the bicentennial to promote his reelection campaign, he didn’t do it in such a self-aggrandizing, self-centered, narcissistic way,” said Marc Stein, a history professor at San Francisco State University and author of “Bicentennial: A Revolutionary History of the 1970s.”
Ford, added Naftali, “knew when to step out of the limelight and make sure the focus was on what mattered, which was the United States of America and the Declaration of Independence.”
Trump, by contrast, “generally has contempt for norms” and rarely mentions “the great sweep of history,” Naftali said.
Dueling anniversary planners as Trump pushes to revise history
Congress charged a national organization, America250, with planning commemorative events. Ahead of the 2024 election, the group drafted a memo asking whomever the incoming president was to mobilize federal agencies and welcoming presidential involvement in events and initiatives.
Asked about Trump, America250 Chair Rosie Rios said the group “has had a very supportive and collaborative relationship with the organizations planning initiatives on behalf of the president.”
But Rios’ organization is separate from Freedom 250, a mix of public and private partnerships which the Trump administration established to fund and prepare anniversary events — which has caused confusion.
America250 aims to “inspire our fellow Americans to reflect on our past, strengthen our love of country, and renew our commitment to the ideals of democracy through programs that educate, engage, and unite us as a nation.”
That might seem a departure from the “Restoring Truth and Sanity to American History” executive order Trump signed last year. It sought to beat back a “revisionist movement” responsible for “replacing objective facts with a distorted narrative driven by ideology rather than truth.”
Stein, now serving a one-year term as president of the Organization of American Historians, is helping organize “We Want More History,” a push to coordinate local events celebrating the public’s love for the subject in fact-based ways.
He said Trump’s version of history is “closer to propaganda, and it’s closer to cheerleading.”
World Cup gives Trump another platform to play host
The president has similarly taken his exceeding-normal-limits approach to the soccer tournament the U.S. is co-hosting with Mexico and Canada.
He created a federal World Cup task force, and leads it. He collected a peace prize from soccer’s governing body, FIFA, and said he’d be on stage to present the tournament’s golden trophy to the winning team.
Trump even oversaw the tournament’s draw at the Kennedy Center, which he’s sought to rename for himself, sparking legal challenges.
He returned to the same building to headline December’s Kennedy Center Honors, noting, “We never had a president hosting the awards before.” He later posted on social media, “Would you like me to leave the Presidency in order to make ‘hosting’ a full time job?”
Naftali noted, “Whatever filters there were in the first term — and there weren’t many — are gone.”
Maybe you can use a laugh this morning. Maybe you’re still deep in your feelings, thinking about the “Hacks” series finale and that shot of Hannah Einbinder looking at Jean Smart on the dance floor, grief seeping into her eyes. Maybe you’re lamenting the chaos at our treasured national parks. Hell … maybe you took out a loan to buy a tomato over the weekend.
If you’re feeling down, Gary Oldman would like a word. And that word is: Hufflepuff.
I’m Glenn Whipp, columnist for the Los Angeles Times and host of The Envelope newsletter, back in your inbox for the next few weeks as we navigate our way through Emmy season.
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Digital cover story: The world according to Gary
(Jennifer McCord / For The Times)
Gary Oldman is a Hufflepuff.
Never mind that the 68-year-old actor, who played the rebellious, impulsive wizard Sirius Black in the Harry Potter film franchise, couldn’t tell you the difference between a Hufflepuff and, say, a Gryffindor.
When journalist Josh Horowitz reads a list of core personality qualities — loyalty, hard work, patience, fairness, dedication — and asks Oldman if that describes him, he nods his head.
You’re a Hufflepuff.
“I’m a Hufflepuff?” Oldman says, trying the word on for size. He likes it. “I’m a Hufflepuff!”
This video clip is a favorite of mine, one I could watch on a loop for the sheer delight Oldman takes in pronouncing the word Hufflepuff.
It’s easy to see why Oldman takes such pleasure in being a granddad these days, one of the things we talked about at length not long ago for an Envelope digital cover story. He can access his silly side with ease.
I asked Oldman about the upcoming HBO “Harry Potter” television series, a decade-spanning endeavor that will spend a season adapting each of J.K. Rowling’s seven fantasy books.
“I’ve seen a trailer for it, and I think it’s a great idea,” Oldman says. “They’re doing the whole book, which I love, because there were a lot of wonderful things, fabric and character detail, we had to lose for the sake of telling the story in two hours.”
Would Oldman be keen to don a distressed velvet overcoat again and participate in the reboot?
“I don’t think they want any of us from the movies contaminating or muddying the waters,” Oldman says, pleasantly. “Besides, I’m too old.”
But with AI, is anyone too old now? Oldman could drop into “Harry Potter and the Prisoner of Azkaban” and look like he hasn’t aged a day since the movie was released 22 years ago.
“I don’t know where we’re going with it because it seems to advance every week,” Oldman says. He ponders the advances made since Martin Scorsese used digital deaging in his 2019 film “The Irishman.”
“I think that was the least successful thing about it,” Oldman says of the technology, “and I’ve been a huge Martin Scorsese fan forever. Ultimately, I don’t know why they wanted to make [Robert] De Niro’s eyes blue.” He pauses, considering the change and why it bothered him. “I guess it’s a blue-eyed Irishman. If I had one negative takeaway, it would be that.”
Oldman prefers directors like Christopher Nolan, whom he worked with on the “Dark Knight” movies and “Oppenheimer,” who think technology should be used sparingly to enhance the storytelling.
“Otherwise it leaves me a bit cold,” he says. “You’re just looking at ones and zeroes.”
“I don’t want to be replaced entirely,” Oldman continues, shaking his head. “I don’t think anyone does.”
I live in Santa Barbara and I’m interested in photography. Where are some historical places to take pictures in Los Angeles? I’m interested in old movie palaces, movie and TV show locations, historic homes and buildings, World War II–related sites and airplane museums. — William Lemons
Looking for things to do in L.A.? Ask us your questions and our expert guides will share highly specific recommendations.
Here’s what we suggest:
It’s cool to hear that you’re interested in capturing the beauty and history of Los Angeles through your camera lens, William. Given that you’ll be traveling from out of town, I am recommending spots that you can visit in a single day, if you’d like. They’re mostly in and around Downtown L.A.
First off, if you don’t feel like driving and paying for parking all over town, I’d suggest taking Amtrak from Santa Barbara to L.A. You can take take photos of the gorgeous view along the way and once you step off the train, you’ll already be at the first historic site on the list: the true stunner that is Union Station.
Open since 1939, it’s one of the country’s last great train stations and considered to be the largest railroad passenger terminal on the West Coast. Designed by father-and-son architect team John and Donald Parkinson, it blends Art Deco, Spanish Colonial and Streamline Moderne styles. Travel writer Christopher Reynolds, a.k.a. the person in the newsroom that everyone goes to for trip advice, tells me, “With its clock tower, big arches and high ceilings, Union Station feels like a secular church.” He notes that security guards will often shoo you off if you use a tripod without advance approval, so it’s best to bring a handheld camera instead.
Next, walk across the road to Olvera Street, one of the oldest streets in L.A. It’s part of El Pueblo de Los Angeles Historic Monument that’s been fighting to stay open since the pandemic. As you stroll through the area and take pictures, check out the Mexican marketplace, capturing the pottery, clothing and art along the way, and grab some authentic cuisine. Times food editor Daniel Hernandez swears by Cielito Lindo, a taquería that’s been around since the 1934, and still makes the most “perfectly rolled taquitos.” (The family-owned restaurant is currently raising funds to stay open due to economic hardship.)
Next, hop on an e-scooter or take a quick bus ride to the Historic Broadway Theater District, which has 12 stunning movie theaters — all of which were built between 1910 and 1931. The Los Angeles Conservancy even hosts walking tours of the famous district. You can register online for the next ones on June 6, 13, 20 and 27.
You’ll probably be hungry after the tour, so you might as well visit Grand Central Market, the city’s largest and oldest public market. Open since 1917, the market has more than 40 food stalls including China Cafe (open since 1959), Villa’s Tacos, Egg Slut and more. Afterward, take a brisk walk to L.A.’s most beautiful library, the L.A. Central Library, which turns 100 this year. Grab your camera and marvel at the exterior of the Art Deco-style building, which draws inspiration from Egyptian and Mediterranean Revival architecture. Then head inside on the second floor rotunda to see the marvelous California history mural and the breathtaking globe chandelier.
Now for some rapid-fire suggestions across L.A.: There’s Frank Lloyd Wright’s 1920s-era Hollyhock House at Barnsdall Art Park in East Hollywood. (If you go here, I suggest stopping by nearby Ululani’s Hawaiian Shave Ice for a delicious sweet treat.) Or check out any one of L.A.’s most iconic TV houses including “The Brady Bunch” home in Studio City, “The Golden Girls” residence in Brentwood and the “Seinfield” Koreatown apartment building. (These are private residencies, so you won’t be able to go inside but you can snap a photo of the exterior.) If it’s architecture you’re into, peruse this guide to L.A.’s iconic homes that you can tour IRL, including the Adamson House in Malibu, the Eames House in Pacific Palisades and the Lummis Home (El Alisal) near Mount Washington. Finally, if you’re open to joining a group of fellow photographers, I suggest following Instagram pages for collectives like L.A. Photo Club and the 85 Mil Photo Walk Series, which host meetups and walking tours regularly.
L.A. is filled with so many beautiful historical sites, so I hope that these suggestions help get you started, and most importantly, that you continue taking awesome pictures. Have a great time!
WASHINGTON — Mired in a persistent cost of living crisis and an unpopular war with Iran, President Trump reached a perilous milestone last week, registering an approval rating of 34% in a top-tier poll — a record low less than halfway through his second term.
The results mark one of the sharpest polling collapses of any modern president. The data, from the Economist and YouGov, brings Trump back down to his political nadir, matching a number he hasn’t seen since the immediate aftermath of the Jan. 6 attack five years ago.
It follows on several other surveys published in recent days showing the president entering precarious political territory roughly six months ahead of the midterm elections, raising alarm bells in Republican campaign offices across the country over the party’s prospects in the fall.
It has also led pollsters to question long-standing assumptions about the president’s floor of support, wondering whether it is at risk of giving way.
“It’s harder to get lower, but it’s possible depending on what he does,” said Christopher Wlezien, a political scientist at the University of Texas at Austin. “To get that number down, you are going to have to eat into his core.”
Trump’s base of support remains strong, reinforcing a long-standing theory among pollsters that partisanship now serves as a direct proxy for presidential approval. But softening Republican support on specific policy matters — including top voter priorities, such as the economy — have begun raising questions among experts whether further erosion is possible.
A New York Times poll found his approval at 38%, and a Politico poll recorded a similar erosion, driven by a majority of Americans — including 18% of Trump supporters — stating they are financially worse off than they were before he resumed office.
Roughly 2 out of 3 Americans oppose the war Trump started with Iran. And the coalition that swept him back into office — including a surge in support from Latino, independent and young voters — has effectively disappeared.
While the downward trend looks like a story of a presidency in perpetual trouble, political scientists see a more complicated picture.
“Polarization has raised the floor and lowered the ceiling for approval ratings,” said Brandon Rottinghaus, a professor of political science at the University of Houston. “Dramatic swings are less common because approval ratings are now fixed to partisanship.”
The comparison to George W. Bush, whose numbers famously soared after the Sept. 11, 2001, attacks and cratered into the mid-20s after Hurricane Katrina and the Iraq war, is instructive of how polarization has changed in the Trump era.
Bush governed in a country capable of moving together, in favor or against a president, in response to major events. Americans are no longer swayed in that way when it comes to their views of the president, Rottinghaus argues.
“Approval ratings today are increasingly a measure of who the president is rather than what the president does,” he said.
Trump, in his own way, has seemed to nod at this dynamic. When challenged on his standing with the public, or when a Republican lawmaker breaks with him over a policy issue, he has made the argument that he and the MAGA movement are inseparable. In other words, that opposition to any decision he makes is opposition to the movement itself.
“MAGA is me. MAGA loves everything I do, and I love everything I do,” Trump said in a January interview with NBC News when asked if his base supports long-term military interventions abroad.
Rottinghaus compared the questions about presidential approval as the “same as asking whether you’re Republican or not.”
“So why ask it,” he said.
Gallup, the organization that had tracked presidential approval for eight decades, announced earlier this year that it would stop publishing approval ratings of individual political figures, a shift that underscores how the traditional measure of a politician’s popularity has evolved.
When asked about the change, a Gallup spokesperson told the Washington Post at the time that “the context around these measures has changed.”
“They are now widely produced, aggregated and interpreted, and no longer represent an area where Gallup can make its most distinctive contribution,” the spokesperson added.
This article contains spoilers for the series finale of “Hacks.”
After five seasons and (thus far) 12 Emmys, “Hacks” has come to an end. The story of how Deborah Vance (Jean Smart), a 70-something comedian of the Joan Rivers type, and Ava Daniels (Hannah Einbinder), a prickly 20-something comedy writer, came together to resurrect both their careers was a roller coaster ride of intergenerational judgment, wins, setbacks, ruthless behavior, personal growth, power reclamation and much general hilarity.
Deborah sees Ava as entitled and self-righteous, Ava sees Deborah as washed-up and boring. Eventually, of course, they realize they are kindred spirits who do their best work together.
In Season 5, Deborah attempts yet another comeback. Having walked off her late-night show rather than fire Ava in Season 4, she is determined to rewrite her premature obituary by playing Madison Square Garden. When that too is snatched away, she pivots (with much difficulty and hilarity, including a show-stopping monologue by Laurie Metcalf’s tour manager Weed) to Central Park, where she is finally allowed a moment of glory, basking in the adulation of applauding thousands.
But that is not the end of “Hacks.” In the final episode, Deborah reveals she has cancer and rather than undergo treatment, she is choosing to “go out on top” with the aid of a Zurich clinic. She asks Ava to accompany her, after they take a girls trip to Paris. After an emotional meltdown, Ava agrees, hoping to persuade Deborah to change her mind. She does, but only after Deborah realizes that she cannot bear to walk away from the jokes she could write about dying. And so the show ends, with the two women walking arm in arm, first in Paris and then in Las Vegas, working on Deborah Vance’s final show.
Here, Times TV and culture critics Robert Lloyd and Mary McNamara discuss the ending, and legacy, of “Hacks.”
Deborah, left, decides she doesn’t want to get treatment for cancer despite Ava’s protests. Deborah changes her mind when she realizes she could write jokes about dying.
(HBO Max)
Mary McNamara: Hey there, Robert; are you as devastated as I am that we have no more “Hacks” to look forward to? The only solace I can find is the news that creators Lucia Aniello, Paul W. Downs and Jen Statsky are planning to release a DVD box set of the series. And the possibility that there could be a movie sequel — I for one want to see Deborah Vance’s death tour, especially since you know she’ll beat the odds and survive.
Seriously, though, sad as I am to contemplate life without “Hacks,” I am equally thrilled that the show so thoroughly stuck its landing. Finales are always a crap shoot and I appreciated how this season managed to show growth and cosmic justice while never tipping into treacle. I love that everyone ended on a win — including Marty! (Christopher McDonald) — and I didn’t even mind that suddenly Deborah had cancer (what?), was choosing assisted suicide (double what?) or that we were whisked to Paris (sure, I guess, why not?) because it made just enough narrative sense to set up Deborah’s decision to live because she just couldn’t leave good material on the table. “I may not have 30 years, but I do have one more hour,” may be the best line from a TV finale ever.
It is too easy to think of people like Deborah as clawing back their careers for fame, validation or money rather than a deep and essential love of their art. Having Deborah decide to prolong her life with chemo because she could not resist mining this final seam of comedic gold was a coup de grace.
What did you think?
Robert Lloyd: Hail, Mary. Reviewing the first-season finale, I wrote that the series was at heart a romantic comedy. And though many timely points were made along the way about artificial intelligence, the fate of late-night television and the awfulness of rich jerks who control media companies — Deborah’s Madison Square Garden show was undermined by the network head she named on national television in her resignation speech — the show asserted itself as a love story once again in the end. Where earlier seasons had depended on creating friction between Deborah and Ava, this one was mostly of concord, their only real clash being Deborah’s decision, introduced late in the season, to end her life (in a clean, posh way); her climactic change of heart spared us a medical tearjerker, but, believe me, I shed plenty of tears along the way. Unlike most seasons of “Hacks,” the fifth and final was orchestrated very much as a feel-good experience — “Ted Lasso” has nothing on it. A fairy tale, almost, as you point out, full of fairy-tale endings and plot points that were as good as magic. It could be contrived and improbable and old-fashioned in its triumphs snatched from the jaws of defeat, and I completely loved it.
Deborah Vance (Jean Smart) didn’t get the Madison Square Garden show she imagined, but she did get one at Central Park.
(HBO Max)
McNamara: The series had a lot to say about a lot of things (including vengeful power brokers/network executives) that feel particularly pointed now. But I deeply appreciated that while underlining the real obstacles Deborah and Ava faced, the writers showcased and explored how the bad choices each women had made, and defended, also contributed to their situations. Obviously having the great Jean Smart in the driver’s seat helped a lot — she revealed the woman beneath the diva even in Deborah’s most outrageous actions. The writers did not shy away from calling attention to the blatant sexism female comedians faced (and continue to face) or how the “woke” women of Ava’s generation are often able to see that kind of injustice more clearly.
It was, as you say, more rom-com than morality play, and rom-coms are often based on discovering that the differences that initially divide are too often based on, well, to put it in its original form, pride and prejudice. So while there was some hilarious and spot-on commentary about intergenerational miscommunication, there was also a clear message of how important it is for people with vastly different experiences to listen to, and learn from each other, which also feels incredibly important at this moment in time, especially given the show’s essential, and deeply human, respect for creative work. What motivated Deborah and Ava, and virtually every character in “Hacks” — agent Jimmy (Downs), his assistant Kayla (Megan Stalter) and later Randi (Robby Hoffman); Deborah’s staff, including Marcus (Carl Clemons Hopkins), Damien (Mark Indelicato) and Josefina (Rose Abdoo) — was a belief in the importance, and difficulty, of the creative process. It’s something that is rarely, if ever, the work of a single individual — as Deborah finally acknowledges at the opening of the Diva casino. Or as Laurie Metcalf’s Weed makes clear in her hilarious monologue before the Central Park gig.
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1.Creativity isn’t the work of a single individual: Damien (Mark Indelicato), Marcus (Carl Clemons-Hopkins) and Deborah (Jean Smart) at work on the casino.(HBO Max)2.Deborah’s crew at her Central Park show.(HBO Max)
Lloyd: In a way Deborah’s speech summed up what we’d already been seeing through an especially generous season that served as “Hacks’” tribute to itself and its people. It was a party to which most every significant and many minor characters were invited, including Metcalf and McDonald; Luenell as comedian Miss Loretta; Poppy Liu as Deborah’s personal blackjack dealer, Kiki; Jane Adams as Ava’s mother, Nina; J. Smith-Cameron as Deborah’s estranged sister, Kathy; and Kaitlin Olson as Deborah’s daughter, DJ, who finally got her mom to partner with her on “The Amazing Race” and was allowed to sell her detachable earrings on QVC.
Gifts were distributed widely, including a previously unseen interview with Deborah’s late husband and co-star, Frank (Peter Strauss), giving her credit for their success — credit he had previously accepted for himself — and thus removing a giant thorn that drove the early plot. These kind-hearted acts of closure were performed both for the benefit of these very real, made-up people, and for We the Viewers, who have made them our family. Declarations, or at least demonstrations of love, were abundant, not merely between Deborah and Ava, with the characters acting as our proxies, feeling what we want them to feel, and what we feel for them ourselves. (There are moments this year when Einbinder — whose brilliance Smart could seem to outshine, but who was never less than an equal partner — absolutely killed me, just in the tender way she gazed upon Deborah.) That’s why it’s so hard to let go of a show like this, even when we know it’s time to say goodbye. You can only stretch an arc so far before it breaks.
McNamara: You’re right, of course. But I still want to see the “Hacks” movie.
At this year’s Sundance Film Festival, filmmaker William D. Caballero won the NEXT Special Jury Award for Creative Expression for his intensely personal, multimedia feature debut, “TheyDream.” During his acceptance speech, he made a powerful statement.
“In case ICE were ever to harm me or kill me, this film will serve as the truth of who I am, and who my family is, before Fox News or this administration ever makes us out to be the villain[s],” he recalls paraphrasing during a recent interview.
Blending live action footage with different animation techniques — as well as the 3-D-printed miniatures that have been a fixture of Caballero’s work for more than a decade — “TheyDream” honors the filmmaker’s Puerto Rican loved ones, particularly his mother, Milly.
She collaborated with him in the making of this one-of-a-kind portrait of loss, resilience and shared healing. Their heartfelt exchanges throughout this process are also shared on-screen.
“Seeing her light up and become transformed throughout was just invigorating, because it allowed us to talk about heavy things and bond throughout the process of creating a story that’s personal [for us] both,” Caballero says. “It’s like, ‘Let’s guide each other and instead of me taking your stories and making magic with them, let’s make this magic together.’”
The brilliantly unconventional piece of autobiographical storytelling will screen as the closing night film of the Los Angeles Latino International Film Festival (LALIFF) on Sunday. Recently, John Leguizamo and Ben DeJesus joined the film as executive producers.
Starting with his 2013 short film “How You Doin,’ Boy? Voicemails From Gran’pa,” Caballero has used miniatures to immortalize his loved ones. That bite-sized introduction to his Boricua grandfather’s humorous wisdom evolved into the HBO Latino show, “Gran’pa Knows Best.”
“When I started working on ‘Gran’pa Knows Best,’ I knew that 3-D printing was this new technique,” he says. “But I’d never seen anyone that looked or sounded like my grandfather in it. I realized that it could be a really creative method to preserve his voice and his story. “
Then came the 2017 short “Victor & Isolina” about his grandparents’ relationship, and more recently in 2022, he debuted “Chilly and Milly,” which focused on his parents. Some of the sets from these shorts, tiny replicas of places familiar to Caballero, and a few of the miniature characters were reused in “TheyDream.”
“Being able to create these things in miniature is almost like getting back in touch with the idea of play,” Caballero explains. “As a child, you invent lots of stories all the time. But now as an artist, I’m able to tell stories that touch upon reality and painful memories, but also hopes and dreams in a way that hearkens back to the innocence of childhood.”
Filmmaker William D. Caballero will screen “TheyDream” on Sunday at the Los Angeles Latino International Film Festival (LALIFF).
(William D. Caballero)
“TheyDream” is a culmination of the eclectic and nimble artistic practice that Caballero has developed since he studied digital art at the Pratt Institute in Brooklyn.
“I’d always just been attracted to new ways of expressing myself and expressing stories. And I say this both in a way that brings me pride, but also brings me a bit of a headache, because I don’t think I’ll ever be a conventional filmmaker,” he says, laughing.
Still, working outside the margins of traditional moviemaking requires great adaptability.
When Caballero received funding for “TheyDream” in 2021, the money wasn’t enough to conceive it as he had originally envisioned it: entirely told with 3-D-printed figures in physical sets. The lack of resources forced him to rethink his approach, and he opted for hiring two Puerto Rican animators, Julisse Tinoco and Frank Martinez, each of whom animate in distinct styles, to help him create some of the sequences needed.
“This all goes back to the resourcefulness that I learned when I was young,” Caballero says. “When you’re born Latino and low-income in this society, you can’t let yourself be written off or you’re already defeated before you even begin.”
Caballero grew up in housing projects in New York City, and later in a trailer in his grandmother’s backyard in Fayetteville, N.C. Both of his parents were disabled.
Filmmaker William D. Caballero poses as his father for a reference shot in the making of his 2026 film “TheyDream.”
For Caballero, he says the arts have provided an escape that he “needed in order to survive and not feel weighed down by American consumerism, by poverty and by feeling trapped.” Whenever grief has perturbed him, Caballero has processed it through creativity.
With “TheyDream,” he wished to extend that vehicle for self-reflection to his mother. The film addresses complicated familial bonds and his mother’s experience caring for others.
“Throughout the years, we’ve lost several of my family members that we were both close to, but my mother especially,” he says. “She feels their absence much stronger than I do. I live in Los Angeles, my mother still lives in North Carolina. Knowing that she was alone in the mobile home, it just made me feel like, ‘That can’t be good for her.’”
His mother, he says, deals with self-esteem issues because her identity has for so long been reduced to being a caretaker for elderly relatives, who, inevitably, pass away — leaving her feeling like a failure. In reality, it was thanks to her devotion that they added years of life.
Caballero’s mother was at the Sundance premiere of “TheyDream,” where she witnessed how others saw her through the film she helped her son craft.
“I wanted her to feel like, ‘Mom, look at all these people that are clapping for you. They’re clapping for you because you are a hero. You deserve to hold yourself high and be strong and know that there’s something incredible in your story that’s indicative of the stories of many low-income Americans, regardless of race,’” Caballero says, visibly moved.
A prolific and highly regarded artist (he is a 2018 Guggenheim Fellow), Caballero has several other projects in the works that he’s trying to shop around. One of them is an episodic series titled “Second Fiddle,” about a 15-year-old Latino boy who gets accepted to a prestigious summer youth orchestra camp — and whose overbearing mother decides she’s going to stay in the camp with him.
Caballero’s mother, Milly, got the animated treatment in “TheyDream.”
“I never saw a Latino playing violin on TV or the big screen. I didn’t see any quirky, nerdy, artsy Latino kids like I was,” he says. “And I felt in my core that [it] was just wrong and something that I could change.”
Another project, “Raúl Playing Game,” is “an adult version of Pixar’s ‘Inside Out,’ ” that takes place in the mind of a closeted bisexual man. Caballero himself is bisexual. In 2022, “Raúl Playing Game” was selected for the LALIFF Inclusion Fellowship, which provided support for a short film version that serves as proof of concept for a potential TV show.
“I always wanted to make sure that I was telling authentic stories even if not necessarily always positive stories,” he says. “I’m very happy that I never lost track of that. Because I do believe that we need to tell our own stories, in our own unique voices, before someone else does it for us.”
“Hell’s Kitchen,” the Alicia Keys musical that has landed at the Hollywood Pantages Theatre in a blaze of rousing sound, deploys the R&B star’s glorious treasure trove of work in the service of a semi-autobiographical version of her coming-of-age story in the Manhattan neighborhood that gives the show its title.
The Hell’s Kitchen of Alicia Keys’ story, set in the 1990s, isn’t the gang-ridden Hell’s Kitchen of West Side Story, set in the 1950s. Keys grew up in Manhattan Plaza, a federally subsidized residential complex that provides affordable housing for artists. But for a teenager in rebellion from her watchful mother, the vibrant, music-filled street life comes with its share of dangers.
Kennedy Caughell as Jersey and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
Ali (Maya Drake, who’s making her professional debut in this North American tour production) is a 17-year-old ready to break out of the cage her mother, Jersey (Kennedy Caughell), has placed her in. Jersey, a single mom, isn’t a tyrant. She just doesn’t want to see her daughter make the same mistakes that she did, namely get pregnant at a young age before she’s had a chance to realize her own dreams.
The book by playwright Kristoffer Diaz (“The Elaborate Entrance of Chad Deity”) is structured around a loving but combustible mother-daughter relationship amid the creative ferment of New York. This artistic neverland is crystallized in the apartment building that has music pouring out of every floor when Ali rides the elevator.
Maya Drake as Ali and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
The story isn’t the strong suit of “Hell’s Kitchen,” which is powered by Alicia Keys’ versatile catalog, which has been supplemented with original material. The hits — “You Don’t Know My Name,” “Girl on Fire,” “Fallin’,” “If I Ain’t Got You,” “Like You’ll Never See Me Again,” “No One” and “Empire State of Mind,” among them — reverberate inside the Pantages with a thrilling exuberance.
What’s most impressive, however, is the way these tracks have been arranged both musically and dramatically. Jukebox musicals are notorious for shoe-horning in beloved songs without regard for storytelling integrity. “Mamma Mia!,” which crammed in as many ABBA hits as possible, hardly even bothered to find pretext for their inclusion. The lucrative example paved the way for more than two decades of musical theater shamelessness.
The company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
“Hell’s Kitchen,” directed by Michael Greif, takes a more dignified approach, raiding Keys’ greatest hits in a way that doesn’t cause dramatic offense and better yet, adds a layer of surprise to music that is so well known.
The songs are allocated in unexpected ways. Numbers that you might think belong to Ali are divided among the company. Jersey is first in line, and Caughell makes the most of her opportunities. But sharing in the bounty are Davis (Desmond Sean Ellington), Ali’s mostly absent and chronically unreliable father; Knuck (Jonavery Worrell), Ali’s forbidden love interest; or Miss Liza Jane (Roz White), a pianist who lives in the building and becomes Ali’s formidable mentor.
There are other characters who offer luminous assistance, but these are the principals in a musical tale built around Ali’s central relationships. Keys’ origin story is more dynamic on an atmospheric than dramatic level. A mother having difficulty with her boy-crazy teenage daughter isn’t exactly breaking any ground, and Diaz avoids venturing into more turbulent territory. Ali’s divided identity, stemming in part from an all-too-present white mother and all-too-missing Black father, sets up issues that are touched on but never deeply engaged.
Desmond Sean Ellington as Davis and Kennedy Caughell as Jersey and the company of the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
Miss Liza Jane spots Ali’s musical gift right away and fills her with a sense of pride and responsibility in her Black heritage. But her character’s role is somewhat earnestly compartmentalized. Knuck recognizes that Ali’s fascination with him stems in part from the way she sees him, much as her mother does, as a “thug.” But their tentative affair is secondary to the complex bond between Ali and Jersey, whose troubled connection with Davis helps Ali understand why her mother is so paranoid about her romantic choices.
But these concerns fall away when the performers start singing. Drake has a beautiful voice, but her Ali is slighter than that of Maleah Joi Moon, who won a Tony for her Broadway debut performance. I didn’t mind that Davis sings “Fallin’,” as Ellington has a voice of luscious thunder. Worrell’s Knuck more than holds his own with his duets with Ali. (In fact, I was more taken by his velvety interpretation of “Like You’ll Never See Me Again” than Ali’s more straightforwardly pretty version.) White’s Miss Liza Jane takes the Pantages audience to church in her numbers. And when Caughell magnificently directs “No One” to Ali, I can’t imagine there’s a dry eye in the house.
Desmond Sean Ellington as Davis and Maya Drake as Ali in the North American Tour of Alicia Keys’ “Hell’s Kitchen” at the Hollywood Pantages Theatre.
(Marc J. Franklin)
This tour production isn’t crisp in all areas. The dancing isn’t always smooth, the costumes struck me as a road show idea of New York cool, and the acting didn’t do much to compensate for some of the book’s less subtle moments.
But the energy of the production is infectious. “Hell’s Kitchen,” a New York story of a wunderkind discovering her gift, helped me get over my allergy to the jukebox genre. The soaring quality of the orchestra and the delectable company of voices pay exhilarating homage to a singular artist, who seems right at home at the Pantages.
‘Hell’s Kitchen’
Where: Hollywood Pantages Theatre, 6233 Hollywood Blvd., Los Angeles
When: 7:30 p.m. Tuesdays-Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1 and 6:30 p.m. Sundays. (Check for exceptions.) Ends June 21
Tickets: Start at $57
Contact:BroadwayInHollywood.com or Ticketmaster.com
Some are calling the controversy over Olivia Rodrigo’s recent outfit choices babydoll-dress-gate, Olivia Rodrigo calls it “weird.”
The dress debacle kicked up in early May when Rodrigo released the music video for “Drop Dead,” in which she runs through the Palace of Versailles wearing a pink-and-blue ruffled babydoll set while singing about the intensity of a crush. Then on May 8, she wore a cottage-core pink-and-white floral babydoll dress with knee-high Dr. Martens during a live performance in Barcelona.
Rodrigo was drawing from subversive feminist and punk fashion of yore, but internet critics were quick to slam the “deja vu” singer, saying the ensemble was sexualizing child-like imagery. In an hour-and-a-half interview with the New York Times Popcast that dropped on Thursday, Rodrigo staunchly defended the dress and called the criticism disturbing.
“I have worn outfits that are maybe revealing on stage, like I’ve been on stage in a sparkly bra and little shorts — which is my right — that’s fun,” she said. “I felt cool and comfortable in that, and that wasn’t inappropriate, but me fully covered up in a dress that people deemed to be, like, childlike was inappropriate, and I think it shows how we really normalize pedophilia in our culture.”
Rodrigo further decried the criticism as rhetoric that girls are fed from a young age, “which is ‘don’t wear that, because then a man is going to sexualize your body, and it’s your fault’ — it’s so weird.”
Rodrigo said she didn’t think she looked “sexy” in the babydoll dress; she was going for a cool look à la Kathleen Hannah or like Courtney Love, musicians whom the pop star said are her heroes. Love appeared to defend Rodrigo on social media by resharing posts defending the singer-songwriter in since-expired Instagram stories.
“I just think if we start dressing in a way that’s like, ‘Oh, I don’t want some f— freak to think that I am sexy like a baby’ or some crazy thing like that, I think it’s losing the plot a little bit,” she said. “I’m very protective of younger women and girls, and I don’t ever want them to be fed that rhetoric. You shouldn’t be responsible for some guy sexualizing you in a way that was never your intention.”
Rodrigo’s third studio album, “You Seem Pretty Sad for a Girl So in Love,” which features hit singles “Drop Dead” and “The Cure,” will be released June 12.
Seemingly at every single turn, a hiker blazed past me, ignoring any semblance of trail etiquette.
A house party near the mouth of the canyon blared music that reverberated throughout the hillsides, blocking any chance to hear birdsong. Although I’m nonbinary, I felt my gender rapidly evolving into grumpy old man.
“The privilege of living here,” I grumbled to myself. “Never hiking on Memorial Day ever again.”
Then, I realized just how much my own attitude was ruining what could otherwise be a beautiful day outdoors. I paused, took a few deep breaths and made myself look at the flowers, take in the smile of a passing hiker, and say a few things I felt grateful for. This gentle reframing saved the day.
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It was my first time hiking around Santa Ynez Canyon, and I laughed at myself for expecting serenity on Memorial Day, when seemingly half of L.A. heads to the beach and mountains for a quick escape. I had high expectations for the canyon’s Los Leones Trail. Several friends and colleagues had told me how beautiful it was. But those expectations were what put me in such a bad head space at the start of my hike.
I share this experience because I want to remind us all how lucky we are to live in a place where we can hike near the Pacific Ocean and then go swim and bounce in its waves.
In this edition of The Wild, our weekly outdoors newsletter, I will share three great hikes near some of the best (and cleanest!) beaches in Los Angeles County.
I chose trails near beaches that made our “15 best beaches in L.A. County” list this year, including two that feature tide pools. (Don’t know what a tide pool is? Check out my guide on how to explore them!)
A few quick things to remember:
Plan for hotter temperatures as summer creeps up: 🥵 Make sure to pack more water than you typically need, especially on hikes with minimal shade.
Bring your sun protection: Lately, I’ve been using my hiking umbrella that I reviewed for last year’s holiday gift guide. Its silver top deflects heat while its black underside traps harmful UV rays.
Leave no trace: Please refresh your memory of the seven “Leave No Trace” principles, including being mindful of how loud you’re talking and not playing music audibly from your phone or a speaker.
Tell someone where you’re going: Complete this form (or something like it) and leave a copy with a friend or family member, and another on your car’s dash. This will better ensure rescuers can find you, should an emergency occur.
OK, now that we’ve covered some essential safety measures, let’s dive into this week’s hikes. Soon, you could gaze upon a stretch of coastline from one of these hikes, only to go swimming later in the day at the same spot!
A popular lookout spot near the Los Leones Trail in the Santa Monica Mountains.
(Jaclyn Cosgrove / Los Angeles Times)
1. Los Leones Trail to Parker Mesa Overlook
Distance: About 7.4 miles out and back Elevation gain: About 1,500 feet Difficulty: Moderately challenging Dogs allowed? No Accessible alternative: Will Rogers State Park’s Inspiration Loop Trail Beach to visit nearby: Will Rogers State Beach at Temescal Canyon
This 7.4-mile out-and-back journey in the Santa Monica Mountains starts with taking the Los Leones Trail about 1.3 miles up before joining with East Topanga Fire Road for a steep 2.4-mile trek to the Parker Mesa Overlook.
To begin your hike, you’ll park in or around the Los Leones trailhead near Topanga State Park. Hopefully, you’ll snag a spot in the small lot near the trailhead. This reporter did not get that lucky, but I did find there was plenty of street parking, although it adds a little mileage to the trip.
There are flush toilets and water fountains near the trailhead, which always feels like a luxury. And even just from the restrooms, you can already see the deep blue ocean, a visual hint of what’s to come.
A large swath of the L.A. County coastline is visible from the East Topanga Fire Road.
(Jaclyn Cosgrove / Los Angeles Times)
You’ll find the trailhead marked by a wood and rock archway with a “Los Leones Canyon” sign. From here, you’ll hike north along steep rocky stretches. Poles and shoes with good traction are essential. I saw multiple hikers fall without them.
Immediately upon entering, it’s easy to see where last year’s Palisades fire charred several trees along the hillside. There is a little bit of mustard popping up, but it’s not overtaking the California sagebrush and other native plants just yet. I was pleased to see wildflowers still blooming in this canyon, including bush monkey flower, cardinal catchfly and just a bit of canyon sunflower. There were also several sumac and Southern California black walnut trees.
Watch out for roots and rocks along the Los Leones Trail, as I noticed several that could easily catch the feet of tired hikers headed down.
From left: Douglas nightshade, bush monkey flower, and canyon sunflower.
(Jaclyn Cosgrove / Los Angeles Times)
As mentioned, there was a loud house party at one of the houses down the canyon. Once I turned a corner about half a mile in, I could finally hear nature’s music over the All-American Rejects.
At just under 1.3 miles, you’ll find the Los Leones Trail meeting with East Topanga Fire Road (called the Paseo Miramar Trail on some maps). There’s an optional side quest here where you can take the fire road south to an overlook spot with a tree prominent on its bare hilltop.
Otherwise, you’ll take the East Topanga Fire Road northwest for about 1.8 miles before turning south to walk just over half a mile to the Parker Mesa Overlook. Along the way, you’ll find several spots to pause and take in the views.
To the east, you will see the wood frames of dozens of houses being rebuilt after the Palisades fire. It offers a sobering perspective on the long journey to getting one’s house back after wildfire.
I could also see downtown L.A., the Santa Monica Pier, the Palos Verdes Peninsula, sailboats and maybe some dolphins. (If you want to learn how to spot whales and dolphins from the trail, check out my tips on how to do just that!)
As hikers ascend the East Topanga Fire Road, the views of the Pacific Ocean grow only more expansive and panoramic.
(Jaclyn Cosgrove / Los Angeles Times)
As I left the trail, I noticed the house party had ended, as had my bad mood.
The short trails around White Point Preserve meander through coastal prairie and coast sage scrub.
(Jaclyn Cosgrove / Los Angeles Times)
2. Vista Trail & Grasslands Loop Trail
Distance: From 1.6 to 2.2 miles Elevation gain: About 250 feet Difficulty: Easy, but does include hills Dogs allowed? Yes, but not on beach Accessible alternative: Paths around the White Point Nature Education Center and some portions of the Grassland Loop Beach to visit nearby: White Point/Royal Palms Beach
This gentle 1.6-mile trek through White Point Nature Preserve in San Pedro combines two trails: Grasslands Loop Trail (0.8 miles) and the Vista Trail (0.8 miles). You’ll experience a coastal prairie, a rare habitat that used to cover an estimated 36 square miles, “extending north-south from the crest of the Ballona Bluffs to Palos Verdes and inland from the lee of the El Segundo sand dunes for three to six miles,” according to research compiled by the Urban Wildlands Group.
The White Point Nature Preserve, a 102-acre expanse, also houses a nature education center that’s open weekends from 10 a.m. to 3:30 p.m. The preserve’s trails are open daily from dawn to dusk.
Maggie May, canine hiking companion of Wild writer Jaclyn Cosgrove, trots along the trail past native plants in the White Point Preserve.
(Jaclyn Cosgrove / Los Angeles Times)
The preserve was previously owned by the U.S. military and was a Nike missile site, a Cold War-era missile defense system. The Palos Verdes Peninsula Land Conservancy now manages the L.A. city-owned property, regularly hosting volunteer opportunities to continue the conservancy’s efforts to restore the preserve’s native plant system that was destroyed by human activities.
After your hike, you can head just west of the preserve to White Point/Royal Palms Beach, which Times contributor Jenna Belhumeur wrote in our beach guide offers “some of the most diverse tide pools in Southern California.”
To begin your hike, you’ll park either in a large dirt lot at the preserve or along the street. Then, it’s choose your own adventure. If you’d like to do both loops (see map), you could head west from the parking lot, briefly walking on the Grassland Loop before joining the Vista Trail. Take the Vista Trail clockwise as it wraps around the preserve.
Catalina Island is often visible from White Point Preserve.
(Jaclyn Cosgrove / Los Angeles Times)
At the top of Vista Trail, the conservancy notes that: “Catalina Island is often visible less than 20 miles away. On the northeast portion of the trail are two gun emplacements built in 1942 as part of the US coastal defense system, each housing a 16-inch gun.” It was a clear enough day when I hiked the trail that I thought I saw a dolphin jump in the nearby water!
You can head from the Vista Trail and join back up with the Grasslands Trail to take its full loop around, too. There is also a nice path around the nature center with several educational signs about the local culture, flora and fauna.
The White Point Nature Education Center in San Pedro.
(Jaclyn Cosgrove / Los Angeles Times)
I visited the preserve on a weekday and found it to be somewhat meditative, especially when I realized there was a labyrinth near the nature center. The loudest sound was the crunching of my feet as I headed down the path, my trusted hiking dog Maggie May at my side.
The Nicholas Flat Trail in the Santa Monica Mountains, as seen last May.
(Jaclyn Cosgrove / Los Angeles Times)
3. The Willow Creek Trail to Nicholas Flat Loop
Distance: 1.8 miles (with an option to extend) Elevation gain: About 575 feet (more if you extend) Difficulty: Moderate Dogs allowed? No Accessible alternative: Nicholas Flat ADA Trail Beach to visit nearby: Leo Carrillo State Beach
The Willow Creek Trail to Nicholas Flat Loop is a 1.8-mile jaunt through coastal sage scrub at Leo Carrillo State Park that quickly rewards hikers with breathtaking ocean views.
You start near the park’s campground and take the Willow Creek Trail about 0.7 miles northeast before it jags to the west. There, you will find a sign for an ocean vista lookout point, which I recommend as long as body and spirit allow. It’s steep but does provide panoramic views of the mountains and coastline.
From here, you can either take the Nicholas Flat Trail back down to the parking lot, or you can continue on another section of the Nicholas Flat trail that takes you north and eventually to a quaint stock pond in the Nicholas Flat Natural Preserve.
The hike to the stock pond is about 2.3 miles with about 1,100 feet of elevation gained. Round trip, it will add up to 4.6 miles to your hike, depending on whether you incorporate other trails in the preserve into your hike. I’ve found this stretch of the hike to be uncrowded and serene, albeit challenging on the way up.
What I love about this hike is, it’s a buffet serving up some of the best features of the Santa Monica Mountains hikes: great views of the ocean, gorgeous wildflowers and lots of lizards and birds skirting here and there along the trail.
Over the past two weeks, users on iNaturalist have documented golden yarrow, cliff aster, Blochman’s dudleya, Plummer’s mariposa lily and other native plants still with blooms. You might be able to catch wildflowers, too, if you hike it soon!
3 things to do
Volunteers are needed to help at one of the native plant nurseries that the Santa Monica Mountains Fund manages.
(Christina Jimenez, SAMO Fund)
1. Free plants of weeds in Thousand Oaks The Santa Monica Mountains Fund needs volunteers from 9 a.m. to 2 p.m. Saturday at its Rancho Sierra Vista nursery to process cuttings, transplant seeds and tend to more than 50,000 plants being grown for local restoration. Volunteers who give at least two hours of their time will be thanked with three native plants. Participants should wear outdoor working attire and bring a reusable water bottle and sun protection. Register at eventbrite.com.
2. Learn about mobility justice in L.A. BikeLA, Los Angeles Walks and the Willowbrook Inclusion Network will host a soft launch gathering of a new community space from 3 to 5 p.m. Sunday at the Willowbrook/Rosa Parks Station. Guests can visit local vendors, including artists and small businesses, and see a portrait exhibit honoring mobility justice leaders. Learn more at the groups’ Instagram pages.
3. Celebrate the planet in Santa Ana OC Habitats, a Santa Ana-based conservation nonprofit, will host the “Earth for Everyone” festival from 12:30 to 3:30 p.m. Saturday at 1505 E. 17th Street in Santa Ana. Several local groups, including Bolsa Chica Conservancy, California Native Plants Society’s Orange County chapter and Orange County Coastkeeper, will be in attendance. Guests can play games, listen to live music, win prizes and more. Register at eventbrite.com.
The must-read
A view of the “Texas Dip” on Borrego Springs Road, near where San Diego Gas and Electric has proposed running miles of high voltage power lines and structures through a long stretch of the Anza-Borrego State Park.
(Robert Gauthier/Los Angeles Times)
One of my favorite sounds while I’m out hiking is the strange, discomforting buzz that comes from large transmission towers often found in our mountains. Just kidding! That’s one of many reasons that environmentalists are puzzled as to why San Diego Gas & Electric has proposed a 140-mile transmission line that would cut right through Anza-Borrego Desert State Park — again. As Times staff writer Hayley Smith reported, experts say the project would disrupt habitat for the park’s 1,500 plant and animal species, including bighorn sheep who already face the U.S. border wall as a migratory barrier. In 2008, a project was proposed along a similar route through the park, “but it was rejected by the California Public Utilities Commission as ‘environmentally unacceptable and infeasible’ because it would result in more than 50 significant and unavoidable impacts to the park,’” Smith wrote. It remains unclear what, if anything, has changed since then.
Happy adventuring,
P.S.
The Santa Rosa Island Fire has been devastating for many of us in the outdoors community to witness. The fire started May 15 and burned more than 18,000 acres of the island’s southeastern end. Santa Rosa is the second largest island in California at about 53,000 acres. It is a special place for many reasons, including its Torrey pines, island foxes, lizards, spotted skunks and several rare birds. Do you have any memories from hiking or camping on Santa Rosa Island that you’d like to share? Please either reply to this newsletter if you received it in your inbox, or if reading from the Times website, email me at jaclyn.cosgrove@latimes.com. We might use your responses in an upcoming article or newsletter. Thank you for sharing what makes this place special!
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
Cailee Spaeny looks at Charles Melton, her co-star on the Netflix limited series “Beef,” asking for help. “Wait a minute … how long were we attached?” Melton smiles and reaches for her hand. “We’ve been attached our whole lives.”
Have they? Given how they tease and finish each other’s sentences, it sure feels that way. Spaeny and Melton were cast as Ashley and Austin, a Gen-Z couple working at a Montecito country club, dreaming and scheming toward upward mobility, a good 18 months before filming began in early 2025. To cement their bond, Spaeny, who hails from Missouri, and Melton, an Army brat who considers Kansas home, decided to return to their Midwestern roots, round up their families and go to a Kansas City Chiefs football game just before Christmas.
At one point, Spaeny looked over to see her brother-in-law having a heart-to-heart with Melton’s dad. They were crying. After the game, they all went out for barbecue. Melton surprised his dad with a gift — a truck.
“That was very sweet and emotional,” Spaeny says of the day. “There’s a lot of filling in the blanks when your families are from the same part of the country. They’re down-to-earth, churchgoing families. It felt easy. We’re cut from the same cloth.”
When the Palisades and Eaton fires delayed the start of filming, Spaeny and Melton decamped to Solvang, rented an Airbnb with some friends and continued what Spaeny calls their “weird prep” for playing the series’ besotted couple. They cooked dinners together, played games and even watched “Riverdale,” the CW series that catapulted Melton to fame a decade ago.
“We also watched ‘Wicked’ too many times,” Spaeny, 27, says.
“You were singing a lot,” Melton, 35, tells her.
“I don’t think I sang once,” Spaeny counters.
“Oh she did,” Melton says. “She’s a singer. Sing for us.”
“Guys, what are we doing?” Spaeny says, burying her head in her hands.
Whatever it is, we’re not stopping. We have, as Melton notes much to Spaeny’s chagrin, “caught a vibe.”
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You two represent different generations …
Melton: What? Excuse me?
Charles, you’re a millennial. Cailee is Gen-Z.
Spaeny: Oh my God. You’re so Gen-Z coded.
Melton: I’m a zillennial.
Spaeny: Did you feel like there was an age gap between us?
Melton: I feel like we’re the same age. You know I’m an old soul. My exterior is just goofy. Cailee is wise beyond her years.
What’s the biggest difference between the two generations?
Melton: I think the generations are more alike than different. As a millennial and zillennial, I’ve done my share of weird self-diagnosing.
Spaeny: TikTok therapy for sure. Holding onto words that make us feel more seen through the internet. The comment “I just read the headline. I need to start reading the articles.” It’s sad but it’s true. And I think everyone does it.
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1.Charles Melton.2.Cailee Spaeny.(Erik Carter / For The Times)
Do you relate to your characters’ Gen-Z resentment that previous generations screwed them over? “Everyone grabbed the bag before we could.”
Spaeny: There was a time when having a house by your 30s was guaranteed. Now, you’re having to choose whether you want to have children or stay afloat in your career. We’re all riddled with this feeling of the life we feel we deserve …
Melton: And what will make us happy. Ashley gets the promotion. But the social climb is never enough. It’s “if you do this thing, you’ll get the this thing.”
Spaeny: It’s the constant chase.
You’ve both defied the odds and enjoyed successful careers as actors. Can you be content and sit with that?
Spaeny: We try. But it also feels like it’s set up in a way where you can’t sit. You have to look for the next thing because if you wait, people will get bored with you. You’ll book a job and hopefully it pays well and then you might not work again for two years. It’s easy to be in a place of desperation. Actors are also naturally people-pleasers. So, unfortunately, I think it was too easy for us to relate to our characters.
Melton: Maybe part of your question, which led to your beautiful answer, is: Where’s acceptance? I’m a father now. Sometimes, I’m super tired, but the best thing is I get to read to my kid. Looking at life through a place of abundance … but that can be a tough thing to do.
Spaeny: It’s not just the entertainment industry. I go back home and I’m with my sister, who is an amazing mother and soccer mom. And you can feel that itch inside of people back home too. Have I done enough for my children? Do I need to go to more soccer tournaments? Am I going to church enough?
Melton: It’s everywhere. And under the umbrella of class and healthcare and how expensive everything is, it’s tough. The bill we had just to have a baby was so ridiculous.
Spaeny: Oh yeah. My favorite line in “Beef” was, “Do you know the 16-piece meal at KFC is $52.99 now?” That sums it up.
(Erik Carter / For The Times)
I looked that up. It’s true, though you can get the 16-piece chicken-only meal for about $37.
Melton: But you can’t just eat the chicken. You have to have the sides and biscuits, right?
How about Austin’s line: “All we need is each other … and the beach.”
Melton: That’s what I love about Austin, this optimism but considered to be naivete. Really, at the end of the day, I’ll look at my partner and I’ll look at my daughter and be like, “This is absolutely all I need.”
Spaeny: [Sighs] I would love to get to that point.
Melton: But then to put food on the table, you’re required to do things that take you away from the things that you say are all you need.
Spaeny: The great thing about this show is that it’s zeroing in on everyday impossibilities of life, the things that should be so simple, but drive us all up the wall.
You both talk about Midwest sensibility. Do your roots help ground you?
Spaeny: I just got back from home last night, and I always feel a layer gets peeled off when I’m there. With work, I’m always on edge and trying to hold onto this thing that could be taken away from me any day. When I go back home, I feel like it can really be that simple. But it doesn’t last. That’s the problem. The itch comes back.
There’s nothing wrong with a little ambition.
Spaeny: I’m finding ambition more and more unattractive these days. Maybe that’s me just getting older and wanting more outside of the job.
Melton: We’ve talked about this. If we’re always going from one thing to the next, how can I bring the humanity and soul of my life into my work? If I had my way, I’d take three to six months off between jobs just to live and put my feet on the grass. Cailee and I connect in many ways. I love your determination and drive and passion for the work. Some people want to act like they don’t care, but I think it’s cool to care.
Timothée Chalamet does too, but he got flack for saying that out loud, that he “wanted to be one of the greats.”
Melton: I thought that was f— awesome. You want to be great? We all do.
Spaeny: It’s what every actor is thinking except they’re feigning …
Melton: We love Chalamet over here.
Spaeny: Maybe he didn’t say all the right things, but that speech, that’s why we’re in the building.
It’s OK for an athlete to say that, but if an actor does, the world gives them grief.
Melton: That kind of sincerity is the default in Kansas and Missouri. You know, growing up as an athlete, I was pretty good. I ran the 100-meter dash in 10.9 seconds. Make sure you write that in. [Laughs] You have to have a vision. And the artists that speak on that vision, that’s awesome. Visualization is essential. I wouldn’t be here talking with one of my best friends and one of the greatest actresses ever …
Spaeny: What are you doing?!?
Melton: I’d rather give you flowers all day than talk about what I think. All that to say is that I wouldn’t be doing this if I did not have vision when I was in Kansas to leave with $500 in my pocket, 60 cans of chicken noodle soup and 60 cans of tuna. You have to dream.
Spaeny: A dollar and a dream!
I’ve got to ask. Sixty cans of chicken noodle soup on a road trip? Do you just pop the top and down it cold?
Spaeny: Great question.
Melton: I’d just take off the top and lay it in the sun for two or three hours and it’s good to go.
Spaeny: Please stop.
Melton: OK. I’d just dip my finger in it and because I’m so hot, it just boils.
Thirty-five years after his death, jazz giant Miles Davis, who would have turned 100 years old Tuesday, remains a truly larger-than-life figure in music and well beyond.
Still possessor of the biggest-selling jazz record in history, “Kind of Blue,” Davis casts a huge influence over the whole music world for his uncompromising artistic vision, constant evolution, style and more. Though he came from jazz, he may be the biggest rock star there ever was. Talk to any musician, regardless of genre, and they will tell you Davis defined swagger and cool. He had a vibe unlike that of anyone else.
In honor of Davis’ centennial, The Times spoke to an array of notable artists from all walks of music, some who knew and played with him, some fans of the man, but all agreed, Miles Davis was and is a singular force in music, an artist like no other in his vision, passion and feeling for the music. In short, there was only one Miles Davis.
‘A complete innovator’
Chuck D, rapper: I like Miles Davis and all the exterior aesthetics. I like the Blue Note album covers, Prestige album covers, his style, his way of life.
Cindy Blackman Santana and her husband Carlos Santana in 2019.
(Ethan Miller / Getty Images)
Cindy Blackman Santana, drummer: Stylistically, Miles was a complete innovator. I remember hearing him say that he didn’t play right if he wasn’t dressed right. That is completely something that inspires me as well, because it becomes not only what you’re putting out on your horn or your drums or your guitar or your piano, but it’s your whole being that is expressing this innovative approach to music and to life.
Bilal, singer: If you play the music you’ve got to look the part, and it was almost like he got into a movie role or something like that. But he was always into the clothes … It was almost like every era had a different outfit. But, yeah, I definitely take his style. The clothes make you feel a certain way to play that way. So that’s the vibe. You’ve got to have that character, that attitude.
Emmet Cohen, left, performs with Terence Blanchard at Lincoln Center in 2025.
(Slaven Vlasic / Getty Images for Find Your Light)
Emmet Cohen, pianist and composer: I think when you listen to Miles’ records you can really appreciate them all the way through and there’s something in there for all sides of humanity. Whether it was the Prestige records that he pumped out in a couple of days, or there was “Birth of the Cool,” he just knew how to assemble musicians and let them tell their stories. And the storytelling is really where I think the deepest connections are made. He was a rock star, but he had a story to tell. And that always comes first.
‘Always evolving’
Guitarist Lenny Kaye performs onstage at Carnegie Hall in 2023.
(Noam Galai / Getty Images for Tibet House US)
Lenny Kaye, guitarist: He started in the bebop era, with the immortals of that moment in time. But I always got the sense that he was looking for something else. He didn’t want to participate in the faster-than-light speed changes and virtuosity. So, I really respect the fact that when he moved into “Birth of the Cool,” he pulled it back so he could inject more of his human self into it. And over the years, he kept on doing that, “Sketches of Spain,” “Kind of Blue,” one of the most jazz friendly records of all time.
Flea, bassist: Every time Miles changed it up, he destroyed everything that came before. He is the ultimate artist, always evolving, always coming organically from the depths. His music is the warmest and the wildest.
Flea of the Red Hot Chili Peppers released a solo jazz album in March.
(Allen J. Schaben / Los Angeles Times)
Bilal: I really like his electric era, but I would say I keep discovering and rediscovering stuff from Miles that I’m just like, “Damn, man. It’s like it’s another artist because he went through so many different changes.” … The other day I found his “Sketches of Spain” record. I put it on. I was like, “This is crazy. I forgot he was into this too.”
Wyclef Jean, rapper: When you go through Miles’ whole catalog, you see you can have quiet days. You can have loud days. You can have explosive days. But the key is that consistency. And that discipline.
Kaye: I respect Miles. For me, he’s an artist that transcends the jazz genre. He’s so alert to the shifting moods of the culture, the directions of the music. And what I find fascinating about him is his ability to morph into new styles and to keep challenging himself. One thing about Miles is that he doesn’t repeat who he is.
Musician Ron Carter in 2011.
(Theo Wargo / Getty Images)
Ron Carter, bassist: We always thought that we were honored to have Miles hire us out of other guys who were available to him. The first few gigs, we had a couple of weeks up and down the West Coast, and everybody but Miles was trying to find out what the tunes were, what the changes were. I was just trying to do what I thought was necessary to make this guy think he hired the right guy and make the band sound good. … Whatever his method was, it was successful.
Ibrahim Maalouf, trumpeter:Quincy [Jones] always spoke about Miles not just as a genius, but as someone who knew when to move on. And that’s a lesson I still carry with me every day.
Kaye: In “Bitches Brew” he created the template for what would be jazz fusion and made rock ‘n’ roll an important part of his evolution. Just an artist who never stands still and that is what I personally respect and honor within his work. When he saw what an artist like Jimi Hendrix was doing, he thought, ‘Yeah, I know how to access that and not be Jimi Hendrix. I can be myself.’ He understood the tides of cultural transformation as much or better than most musicians of the 20th century.
Don Was performs onstage at Ryman Auditorium in Nashville in 2022.
(Jason Davis / Getty Images for Americana Music)
Don Was, musician and producer:In life, as exemplified by music, if you don’t change, you stagnate. And the thing about Miles that really stands out, I think, is that he was always willing to risk losing his audience in order to keep moving forward. He was courageous in every era, including eras when maybe courage wasn’t held at a premium.
‘More than that’
Maalouf: For me, as a trumpet player, of course, the musical influence; space, phrasing, silence, we can talk about this for hours. But I think that more than that, there’s an attitude.
Ibrahim Maalouf performs at the Paris 2024 Cultural Olympiad at L’Olympia on July 24, 2024, in Paris France.
(Julien M. Hekimian / Getty Images)
Trombone Shorty, musician: Miles has inspired me because of that attitude, ‘I’m going to do what I want.’ He was playing what he felt in whatever time period or whatever decade he was inspired by. He really embraced that tremendously. And that’s always the thing that I admire about him as a person and as a musician. Whatever the spirit is, he’s going to go with that. That’s what I always got from Miles.
Nas, rapper: With Miles it wasn’t just about the music he made, it was about how he carried himself as an artist and a pioneer. His impact on me personally is as much on a human level as it is on the artist level.
Trombone Shorty performs at the Anaheim Convention Center in 2015.
(Jesse Grant / Getty Images for NAMM)
Trombone Shorty: The swagger, he may have created the swag.
Vince Wilburn Jr., nephew and drummer, who now co-manages Davis’ estate: He liked to catch things, that’s why the tape kept continuously rolling, because he said it was songs inside of songs.
Carlos Santana, guitarist: “I recommend that people who never heard of Miles Davis, I’ll say start with “Kind of Blue,” then move on to “Bitches Brew.” Because the thing about Miles Davis is that he teaches people who have never meditated how to stop and be coherent about absoluteness. In one note, Miles can play absoluteness. One note for Miles, like Billie Holiday, like Cindy says, that’s enough to understand all the whys and all the reasons why it’s sacred to be alive.
Was: He probably changed the face of music more than anybody did, at least four or five times. Maybe more than that. It’s a combination of mastery and an unstoppable spirit of adventure that I think make him unique. Because he was absolutely a master of harmony, rhythm, of creating a vibe. Yet he loved upsetting the cart and I think went out of his way to create friction musically, within the band, to keep things stirred up constantly and make every day an adventure. It requires tremendous courage. But also, supreme excellence to do it on the level that he did with the level of musicians that he surrounded himself with. That’s another thing, too. He wasn’t just the most innovative man on the horn. His genius was also as a curator of human chemistry.”
‘Larger than life’
Musician Wyclef Jean performs in 2023.
(Christian Petersen / Getty Images)
Jean: The main thing that I learned from Miles at a very young age is just the braveness, you can’t be scared to just go. Going doesn’t just mean learning one part of it. It means learning the entire metrics. … When it comes to Miles, he’s just a complete teacher; even on how he sees art, how he sees shapes, and also there’s a whole part of Miles that’s tough love when it comes to it. So, all of that instills character.
Bilal: As an older musician, you could see all of the building blocks are in those records. If you take some of those records out, I don’t know where jazz would be. You can see the essential building blocks.
Izzy Escobar, singer: Miles Davis made jazz feel cinematic to me. When I listen to songs like “It Never Entered My Mind” or “Flamenco Sketches,” there’s mystery, romance, restraint and tension in every note. Nothing feels overdone, yet somehow it says everything. As a songwriter, that’s deeply inspiring because the best music doesn’t just sound good … it creates an entire world you can step into. I think that’s why his influence has lasted a century. His music still feels fearless, elegant and emotionally alive — all of which never go out of style.
Jorma Kaukonen, guitarist: I had always thought of jazz as somewhat of a haughty art form. Probably because at the time many of the time signatures and chordal progressions that Miles used were over the head of a young guitar player still functioning in the blues and folk idioms. … The growing rock and art movement in the Bay Area in that era taught us to eschew boundaries and labels, and it became possible to see similarities and possibilities with jazz music that would have gone previously unnoticed. Our harmonic tendencies were nowhere near as complex, but they were rapidly becoming more sophisticated thanks to our exposure to such great improvisers as Miles! Miles knew no boundaries.
Jean: One thing that I learned from Miles is someone can have the best technique. They could be moving around. But if you can dig and play from your soul, this instrument just becomes a vessel of sound and orbit, bro, it’s over. There’s a connection with the soul. And I wouldn’t be able to do that, bro, if I didn’t have people like Miles to really teach me how to hear.
Theo Croker plays trumpet the Kennedy Center in 2018.
(Paul Morigi / Getty Images for Thelonious Monk)
Theo Croker, trumpeter: He was definitely a larger-than-life figure. And it encourages me to be a larger-than-life figure. Growing up as a kid, we sit in a room all day and play trumpet for hours. You see somebody like Miles Davis and you’re like, “Wow, I can be a rock star.” Because I couldn’t sing, otherwise, you end up being a pop star, Prince, Michael Jackson and Stevie and all that. But Miles was that for the trumpet, of course. So, it’s so much bigger than music.
Musician Mia Doi Todd performing in 2012.
(Paul Redmond)
Mia Doi Todd, musician and singer: Miles Davis was such an outstanding band leader, bringing together a group of musicians and seeking to break the boundaries. That is what I look to him most for as a celestial mentor, being a band leader and creating those sonic landscapes. The records that I love most of his are from that electronic jazz fusion era, which weren’t his most popular at the time. I love “On the Corner.” I’m a person of mixed race, so the records that he was bringing together, all these different musical elements, those are the ones that I really admire … “I wish I could play in that band.”
Maalouf: There’s this idea that music is not about providing something. It’s about searching. It’s about staying alive artistically. I think that strength goes far beyond music, it’s really a message for all the musicians that we are. Never stay where people expect you to stay. Every time the audience thought they understood him, he changed direction. And I think that’s definitely one of the most inspiring parts of his musical life.
Was: I never met him. But he was a heroic figure to me as a teenager, very much in the same way that simultaneously, like Bob Dylan and the Rolling Stones were, or John Lennon was, or Allen Ginsberg was.
Bilal performs in New York City in 2023.
(Roy Rochlin / Getty Images)
Bilal: That [artistic vision] is a major influence that I take from Miles. … I always approach the music in that way where you got to do your own thing. You’ve got to have something to say, and you’ve got to want to evolve and always look for ways to grow and change and with the music. Miles was quintessential at that.
Trombone Shorty: To me, Miles Davis was a real rock star. It just wasn’t the sound. When he walked on stage … he looked the way that the music sounded to him. … And as he grew, he just really embraced everything that was coming to him, and he didn’t run away from it. He wanted to have his influence and also be tremendously influenced by things that were happening. He was just the coolest; when they say cool, Miles Davis has to be next to that word.
‘Playing within the language that he created’
Nas performs in New York City in 2018.
(Bennett Raglin / Getty Images for Jenn-Air)
Nas: I think Miles’ impact on every inch of music after him is the most impressive part. Musicians from every genre speak on his influence. It has no language or cultural barriers.
Jean: I would literally tell everybody to do a deep dive and start with early Miles, start from the bebop and the blues, don’t just go in. I started my daughter with “Birth of the Cool.” Now she’s vibing and slowly working her way up.
Musician Vince Wilburn Jr. in 2011.
(Theo Wargo / Getty Images)
Wilburn Jr.: Style, creativity, forever evolving, ever looking back, unapologetic. Lenny White used to say everybody wanted to live and be like Miles, all the musicians. You have Miles, and then you have everyone else.
Santana: Miles is what I call a sacred rascal, a divine rascal, a genius. When I’ve been in the room with Herbie [Hancock], Wayne [Shorter] and Tony [Williams], and the name Miles comes up, they all stop. It has such an impact on all of them to this day it shows that Miles is Da Vinci, Stravinsky, Picasso. Collect all the geniuses of this planet, and that’s what Miles is in one note. In one note, he reveals more because in one note, he teaches an individual how to hug infinity with emotions.
Kaye: I think of him as a lodestar for someone who wants to continually move music forward into the future because that’s what music is about. When you play music, you’re moving from one note to the next and creating the future of that piece. I just find Miles a fascinating creature of transformation. Miles, for all his artistic innovation, was a pop star.
Maalouf: Miles Davis’ legacy is not only a sound, it’s a mindset. He gave all of us the permission to be many people in one lifetime. It feels to me it’s the secret and he was generous enough to do it himself and show the world and especially the jazz world that is not always easy to please that someone can be many people in one lifetime. It’s not only true for music. It’s true for everything in life.
Cohen: He’s always on the cutting edge of the next thing and the next group of musicians that he finds. The story in that is that there’s constant change, constant evolution, and to find the thread throughout is kind of the meaning of life. And to play his music is the same thing. He created a language. So, when we play his music, we’re playing within the language that he created.
Was: “That’s why he’s that cat. He’s the most rebellious musician of all time, I think. He was the complete package man, no one more innovative or influential.
The idea grew as organically as the purple cauliflower at Erewhon. One day, I walked from my place in Los Feliz to the beach. I stopped at two Erewhon locations on the way to refuel. I made a reel about my journey and posted it to Instagram. My friend Fish saw it and said, “You should walk to all the Erewhons.”
I thought: I don’t have time to do that. I’m a very serious person who needs to write her novel.
But later I found myself mapping out an 89-mile hike in my Notes App, starting in Pasadena and ending in Calabasas, stopping at all 10 Erewhon locations on the way. (My route did not include the Palisades, which is closed because of the fires; nor did it include LACMA or the new Glendale locale.)
“I need to write my novel” is a thought I have a lot. I usually heed this thought and sit at the desk like a soldier, imagining the wonderful day when I’ll sell said novel — for an amount that would probably be comparable to a fraction of an Erewhon employee’s yearly salary.
Erewhon Trail map illustration by Swan Huntley.
(Erewhon Trail map illustration by Swan Huntley. )
I really wasn’t in the mood to write the novel, though. When I imagined myself pecking away at the keyboard, I felt bad. When I imagined myself walking around L.A. in my Home Depot gardening hat, I felt good. So, I put on my hat, got into an Uber headed for Pasadena, and texted my sister, “Carpe diem, bitch.” Or at least that was my intention. What I actually sent was, “Carpet diem hitch.”
Over the summer, I hiked a little bit of the Pacific Crest Trail. A few years ago, I biked the Camino in Spain. I’ve walked from Los Feliz to the beach a handful of times. I’ve traversed the length of Manhattan thrice. Before that, when I was a teenager, I used to trek from La Jolla to Del Mar while drinking beer (I carried a cooler; yes, I’m sober now) and listening to Sarah McLachlan on my Discman. I’ve always been drawn to activities that many people find tedious. Like walking forever. Or writing a novel.
Starting in the fourth century, pilgrimages were served up by the church as a way for Christians to pay penance for their sins. They were hard and dangerous and a lot of people died. Fast-forward to now: Such treks have taken on an “Eat, Pray, Love” aura. Or a “Wild “ aura. They live in the realm of self-help and of sport. They’re a way to create friction in an increasingly frictionless world. By walking from Mexico to Canada, or from Erewhon to Erewhon, I wonder whether we’re trying to get back to the part of ourselves that wants to try harder.
Or we just want to become more valuable dinner party guests.
What do you do?
I do really long walks.
I ordered a Goddess Smoothie in Pasadena, and then I repeated this tradition at every store thereafter. The smoothie costs $19, tastes like heaven, and it’s green, which my brain reads as “good for me.”
It took me a little over three hours to walk 11 miles to Silver Lake. I got a Vegan Avocado Sandwich for lunch, took an Uber home and posted a reel on Instagram about my first day on the trail. A lot of people liked it. Some of them called me a genius.
In the last 10 years, I’ve published four novels and two illustrated books for adults. I was naïve and just totally blindly happy about the publishing process in the beginning. People wanted to buy my work? Other people wanted to read it? Cool.
The first book, “We Could Be Beautiful,” did well because the publisher put real money into the marketing of it. Then that stopped happening. At a certain point, I realized that expecting too much was unwise. It was up to me to market my books myself. Which meant: social media.
They say you have to see a book cover six times before you buy the book — or consider buying it. There are a lot of book covers on Instagram. Actually, there’s a lot of everything on Instagram, and out of all the everything, is a book cover that exciting?
No.
My second reel, which depicted my journey from Silver Lake to Studio City, went a little bit viral. To date, almost 10,000 people have shared it with their friends. Why? I think the answer has something to do with a desire for levity.
If the atmosphere of the world could be depicted by an Erewhon beverage, it wouldn’t be a vibrant, cheerful one, like the bright magenta Pitaya Smoothie. It would be the dark and brooding Germ Warfare Shot. I find it perplexing that people talk about the apocalypse as if it’s happening later. It’s happening now. If we were really thinking about how climate change is affecting us, we’d be out in the streets screaming. All the time. But we’re not doing that. We’re carrying on with our usual lives. Apparently, for me, that includes walking to Erewhons.
Any long-distance trek is as much an internal journey as it is external. As I continued the trail, I started to think that maybe my endeavor was a reaction to my feeling of total powerlessness. I can’t save the polar bears. I can’t force the president to go to therapy. But I can add some levity to the brooding atmosphere.
Recently, someone commented on one of the reels, “Transplants make LA locals look bad.” This person, and many others, hear the name Erewhon and assume I’m poking fun at it. Erewhon has become a joke about L.A. — a joke that was amplified after Hailey Bieber invented her smoothie in 2022 that Erewhon dubs the “Strawberry Glaze Skin Smoothie.” I’ve never had it, but I can tell you that it looks like a sky full of strawberry clouds. According to an Erewhon employee I spoke to, this smoothie was a turning point. It aligned the brand with wealth and power. Now, Erewhon evokes the image of smooth-skinned, health-conscious Angelenos with money to burn.
The Erewhon Trail, then, inevitably becomes a conversation about privilege, my own included. Instagram hid my two favorite comments, because it was worried they’d be too rude to show, but I think they’re the funniest ones.
This is what white people do on Prozac.
This is what happens when a liberal arts teacher gets fired.
To both of these comments, I say: Yes.
I’m not on Prozac yet, but maybe after I get fired, I will be.
In order to get fired, though, I’d have to get an actual job, which might never happen.
The most intense leg of the trail was from Santa Monica to Calabasas. My friend Fish joined me. Google said it would take 27 miles. After marching through the mountains, I decided to use my own intelligence to make the route shorter. This cut out four miles, bringing the total to 23. For long stretches, Fish and I walked in the bike lane, or in the bramble by the side of the road. That’s the penalty for straying from Google. Your sidewalks disappear and your chances of getting hit by a car go way up.
My legs were noodles by the time we got to Calabasas. I crawled across the parking lot to show my viewers how weak they’d become. The employee at the door smiled at me and handed me a basket, and I thought about the pain of my legs, which no one could see, and about all the secret battles people are fighting all the time, and I wished that we cared about each other as much as Erewhon cares about us. Multiple employees were perfecting the already-perfect plateaus of bell peppers and apples in the produce section. Their thoughtfulness was the opposite of the vibe I encounter in most public restrooms, which is that the strangers who were there before me didn’t have many thoughts about my experience. As lame as the fact that an Erewhon smoothie costs $19 is that so many of us need to be paid to be nice to each other.
When I tell people about my love for Erewhon, they either say, “Duh, I know,” or something along the lines of, “That place is ridiculous, right?” This is almost always followed by the mention of a food item and some amount of money. Like, “Doesn’t a carrot cost $12,000?”
Actually, I tell them, no. Although sometimes, yes. There is a Japanese strawberry that’s famously expensive ($20), but that’s avoidable. I then explain that contrary to popular thought, there is a way to shop at Erewhon on a budget. A jar of soup, for example, costs $15.50. If you return the bottle, you get $3 back. In my opinion, the soup can be two meals, so that’s $6.25 per meal. A lot of the produce is either the same price or only a little bit more expensive than at other health food stores, and it’s in consistently better shape. The most important piece of making Erewhon more affordable, though, is becoming a member. You get 10% off, a free drink of the month and discounts on a bunch of items.
You might be wondering: How many Erewhon memberships has she personally sold?
She’s lost count.
The other reason to go to Erewhon is the environment. It’s visually appealing and the employee-to-customer ratio is notable, and the result is that you feel like you’re at a resort. And frankly, these simple things — a nice environment, high quality food — should be available to everyone.
Back to the question of whether or not Erewhon is ridiculous — yes, of course it is. If you sit at any of the locations and listen to the conversations around you, you’ll probably feel like you’re an extra in a satirical movie. At Studio City, I overheard two moms in white pants and cashmere sweaters talking about how, based on their Instagram recon, they figured out that so-and-so was sitting next to so-and-so at a benefit dinner. Another snippet I overheard in Studio City: “You gotta make music from the heart, man, and the label will feel it.”
It didn’t occur to me to ask for free merch until after I’d finished the trail. Armando at the Santa Monica location was the lucky recipient of my request. I explained my uniquely heroic feat to him, and then wondered aloud if perhaps I could get a sweatshirt, or at least a hat.
Sadly, Armando was unauthorized to give me merch, but he did offer me a gift card in a tiny envelope. I was very grateful. I assumed the card was worth $50 at least.
After we parted ways, I opened the envelope.
Ten dollars.
Enough to put a down payment on a smoothie.
My dreams now are so different from when I was younger. Back in grad school, I imagined that maybe I’d write a bestselling novel, and maybe it would be adapted for the screen, and maybe my tombstone would read: She contributed very serious literature to civilization.
What I never accounted for was, of course, the unknown. Maybe one day, over a decade after school ended, I’d get a lot of attention for making performance art about walking to grocery stores.
Huntley’s novels include “I Want You More,” “Getting Clean With Stevie Green,” “The Goddesses” and “We Could Be Beautiful.” She’s also the writer/illustrator of the darkly humorous “The Bad Mood Book” and “You’re Grounded: An Anti-Self-Help Book to Calm You the F— Down.” She lives in Los Angeles.
INDIANAPOLIS — Felix Rosenqvist swung to the outside of David Malukas, then found a way past the Team Penske driver to win the closest Indianapolis 500 in history by a margin of 0.0233 seconds on Sunday.
Malukas looked as if he was in position to win when he passed race leader Marcus Armstrong off the final restart with one lap to go while Rosenqvist and Armstrong, teammates with Meyer Shank Racing, battled wheel to wheel down the back straightaway and through the fourth and final turn.
But Rosenqvist had just enough power to pull away from Armstrong and snake behind Malukas before making the decisive outside pass in the final 50 feet.
The closest previous finish came in 1992 when Al Unser Jr. beat Scott Goodyear across the yard of bricks by 0.043 seconds.
It was Rosenqvist’s second career win in 120 IndyCar races and comes after the recent birth of his first child. He is the third Swedish driver to win the race, joining Kenny Brack and Marcus Ericsson.
The wild finish began with a red flag that came out with seven laps to go because of a scary crash involving Indy 500 rookie Caio Collet, with flames billowing out of the side of his car as it skidded to a stop in the grass.
When racing resumed after a 10-minute delay, Armstrong and Malukas sped past the top two cars — Rosenqvist and Pato O’Ward. But with 3 1/2 laps left, the yellow flag came out one last time when Mick Schumacher, the son of seven-time world champion Michael Schumacher, brushed the wall in Turn 2.
On the final restart, Lap 200, Malukas sling-shotted his way past Armstrong for the lead and started pulling away from the two Meyer Shank Racing drivers. But Rosenqvist finally caught the Team Penske driver to win the biggest race of his career in the same month he became a first-time father. Malukas said he couldn’t think of what else he could have done to hang on to the lead.
As Rosneqvist celebrated by sipping milk, then dumping it over his head, Malukas was consoled by his father in pit lane.
Malukas’ teammate Scott McLaughlin, of New Zealand, was third, and Rosenqvist’s best friend in racing, O’Ward, was fourth. O’Ward had two runner-up finishes and a third place in the last four years.
I stood last week in the middle of a highway, marveling as construction workers used large excavators to repair the collapsed roadway.
I was walking a segment of Angeles Crest Highway that closed about five months ago when winter storms pummeled the roadway, ripping off hunks of pavement and collapsing large sections of the road. I wanted to survey the damage and also enjoy a car-free highway in the beautiful backcountry.
In this edition of The Wild, The Times’ weekly outdoors newsletter, I will share what I observed and include details about how you can repeat my trip. I’d say it is a rare opportunity, but it’s starting to feel, especially as human-caused climate change worsens, like Angeles Crest Highway is closed more often than it’s open.
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Angeles Crest Highway, completed in 1956 (in part by prison labor), is a 66-mile curvy road that climbs from around 1,300 feet to nearly 8,000 feet, taking travelers from La Cañada Flintridge to the mountain town of Wrightwood. A large segment, 55 miles, received federal distinction in 1990 as a National Scenic Byway.
For the record:
4:04 p.m. May 21, 2026A previous version of this article said Angeles Crest Highway climbs from 800 feet. The highway begins at an elevation of around 1,300 feet.
In case, like me, you’ve lost the plot of the many recent closures and reopenings of Angeles Crest Highway, here’s a brief refresher.
Winter 2022/spring 2023: Winter and early spring storms, including atmospheric rivers, blow out multiple sections of the roadway, prompting several closures, including: from near Mt. Wilson Red Box Road to Upper Big Tujunga Road; from Upper Big Tujunga Road to Islip Saddle; and from Islip Saddle to Vincent Gap.
October 2023: A 20-mile stretch from Upper Big Tujunga to Islip Saddle reopens; road remains closed from Mt. Wilson Red Box Road to Upper Big Tujunga, requiring drivers to take a detour to reach a newly open section; segment from Islip Saddle to Vincent Gap remains closed.
July 2024: Mt. Wilson Red Box Road to Upper Big Tujunga reopens, ending the need for a detour.
A portion of Angeles Crest Highway where the curved shoulder broke off.
(Jaclyn Cosgrove / Los Angeles Times)
The hiking community celebrated when that final 10-mile stretch from Islip Saddle to Vincent Gulch reopened. The closure blocked access to Dawson Saddle and made the drive to Vincent Gulch to hike the Mt. Baden-Powell trail much longer, as you had to take multiple freeways to maneuver from L.A. around the San Gabriels.
For the first time in three years, all of Angeles Crest Highway was open — for about five months.
Grape soda lupine, left, Grinnell’s beardtongue, snow plant and western wallflower.
(Jaclyn Cosgrove / Los Angeles Times)
Last December, Southern California experienced another round of a damaging atmospheric river. “More than 10 inches of rain fell in parts of the San Gabriel Mountains in Los Angeles County during a 48-hour period,” The Times reported.
Soon, photos emerged of washed-out segments of Angeles Crest Highway, and the California Department of Transportation announced that, yet again, the highway was closed, this time from 3.3 miles east of Newcomb’s Ranch to State Route 138.
Curious to see the damage for myself, I headed up the highway last week to walk a segment of the closure. My plan was to park at the large lot at the 6,000-foot snow play area and then walk along Angeles Crest Highway for about 4½ miles to Buckhorn Campground, a forested enclave where I’ve spent many nights staring up at the stars.
After having lunch at Buckhorn, I planned to backtrack to Cloudburst Summit where I would take the Pacific Crest Trail back to where I parked. The total trip is just shy of nine miles and gains about 1,200 feet in elevation.
The closed gate near the 6,000-foot snow play area in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
I walked from the lot past the closed gate, appreciating several grape soda lupine, one of my favorite native wildflowers, blooming along the hillside.
I was alone on the empty highway, a scene that was stunningly gorgeous and eerily dystopian. For the first three-fourths of a mile, the road appeared to be in good condition. But then, I trudged around a bend and observed the first segment of collapsed roadway on my trip.
For anyone considering cycling this route, I am happy to report that CalTrans and its contractors have done a nice job creating dirt and rock berms around the damaged portions of road that I observed. I mention that in case, like me, you watched the 1991 TV series “Land of the Lost” and developed an illogical fear of dropping through a crack in the road and unknowingly discovering a time portal to the Jurassic period.
I continued past this first damaged section, listening to the dark-eyed junco and mountain chickadee, laughing as the chipmunks scampered to and fro.
An excavator works to repair a segment of Angeles Crest Highway.
(Jaclyn Cosgrove / Los Angeles Times)
Soon, at 1.2 miles, I encountered construction workers driving excavators to move earth and repair a drainage area where it appeared water had rushed down the steep mountains and blasted the road away. As you hike or bike, please respect instructions from construction workers and also make sure they see you before you try to pass them.
Just a fifth of a mile farther, and I saw more portions of the roadway that had collapsed, although these sections were smaller than the area the heavy machine operators were trying to repair.
As you hike along, you’ll likely realize that the pavement warms up quickly. It’s important to either start this journey early in the day or on a cooler day — and pack plenty of water.
At about 1.75 miles in, you will reach a junction where the Pacific Crest Trail, a 2,650-mile route that spans from Mexico to Canada, intersects with the roadway. You can turn and head back to your car here if you’d like by taking the PCT. You’ll initially walk west before the trail starts moving southward.
I continued eastward on the highway, pausing at times to appreciate the vista points that you can only observe for a few seconds in a car. At one turnout, I paused to smell the delicious bark of a Jeffrey pine, which has an aroma similar to butterscotch or vanilla.
A view of the San Gabriel Mountains and desert beyond.
(Jaclyn Cosgrove / Los Angeles Times)
For about a mile-and-a-half, there’s minimal damage, enough of a break to briefly forget why the road is closed. But as you near the Buckhorn Campground entrance, you’ll find serious damage, including where the Mt. Waterman ski lifts used to take travelers up the mountain.
I turned off the highway onto the Buckhorn Campground road, finding it to be in fairly good condition — until you get to the creek crossing. A massive chunk of the road is just gone, washed away presumably by water charging down the steep hillsides. This is the only technically tricky part of the hike, and you’ll want to take good care to discern the best path here. There are a lot of branches and boulders that aren’t stable and could be napping spots for rattlesnakes.
Past here, you’ll find rocks and other debris scattered along the roadway. As I neared the campground, I noticed a Stellar’s jay observing me. Maybe it misses the days when all it had to do for food was wait for clumsy campers to drop bits of sandwiches and trail mix that it could swoop down and enjoy.
A washed-out segment of the road that leads to Buckhorn Campground in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
I sat atop a picnic table at Buckhorn, comforted that the campsites and tall old pines that I’ve camped under multiple times were still there. Although much of the campground remains intact, some campsites near the creek were washed away. I’ve always wanted to camp there. This is why you shouldn’t put off adventure!
After enjoying lunch and chatting with a few PCT hikers, including one who was lost and grateful for my map, I headed back down the highway. Just over a mile in, you’ll turn left near Cloudburst Summit onto the PCT. Your feet will thank you from this break from pavement.
As I trudged along, the quiet monotony of the day allowed me to make oh-so-brilliant observations to myself, like, “Wildflowers are like spring’s Christmas lights,” a note I left for my future self to remember. I bet you’re glad I wrote that down.
Grape soda lupine blooms along the Pacific Crest Trail in Angeles National Forest.
(Jaclyn Cosgrove / Los Angeles Times)
I was pleased to see so many wildflowers still in bloom along the trail, including several grape soda lupine plants, the alienlike snow plants and a bit of Grinnell’s beardtongue.
Returning to my car, I thought about how much I enjoyed the walk but also how special Highway 2 is, regardless of how you traverse it.
There is no timeline of when the road will reopen. The analysis from CalTrans of what it will take to repair Highway 2 is grim.
“To date, Caltrans crews have identified approximately 40 locations requiring repair, though this number may increase as assessments continue. In several areas, portions of the highway were washed out and remain temporarily inaccessible,” according to the CalTrans website.
A damaged segment of Angeles Crest Highway near the Buckhorn Campground entrance.
(Jaclyn Cosgrove / Los Angeles Times)
It’s becoming increasingly difficult to remain optimistic that we won’t see a growing number of closures along Angeles Crest Highway.
Highway 2 seems to face similar challenges to its coastal cousin, California’s Highway 1, which is increasingly plagued by storms exacerbated by human-caused climate change.
My colleague Grace Toohey spoke to an expert about Highway 1, who made a point that’s unfortunately equally applicable to the plight of Highway 2.
“If our storm and other conditions were normal, we would expect closures and losses at some points,” said Michael Beck, director of UC Santa Cruz’s Center for Coastal Climate Resilience. “The challenge is that we’re now clear that the events that are going to cause impacts — these particularly extreme events — are getting more common. … Climate change is here and now, it’s no longer a problem of the future.”
3 things to do
Hikers head up Icehouse Canyon Trail.
(Brian van der Brug / Los Angeles Times)
Editor’s note: Because of recent wildfires, events might be canceled on short notice. Check event pages before heading out.
1. Eliminate trail obstacles near Mt. Baldy The San Gabriel Mountains Trailbuilders need volunteers on Sunday to help clear fallen trees and remove overgrown brush along the Chapman Trail in Icehouse Canyon near the Mt. Baldy community. Volunteers will meet at 7:30 a.m. at the Glendora Park and Ride before heading to the worksite. Volunteers will hike between four miles and seven miles with an elevation gain of up to 2,000 feet. Register at meetup.com.
2. Mosey past movie scenes near Calabasas Retired park ranger Mike Malone will guide a three-mile moderate hike from 10 a.m. to 12:30 p.m. Sunday through Malibu Creek State Park, highlighting locations where the park served as a backdrop for film and TV productions. Malone will also share history about when the park was owned by 20th Century Fox from 1946 to 1974. Hikers should meet at 10 a.m. at the park’s main trailhead by the restrooms. Learn more at parks.ca.gov.
3. Hike along historical routes in Chatsworth A docent at Santa Susana Pass State Historic Park will host a 3½-mile hike from 8 to 11 a.m. Monday through the Santa Susana Mountains. Hikers will learn about the park’s ancient quarry, Indigenous culture and the Butterfield Overland Stagecoach route. Hikers will meet at the Andora trailhead in Chatsworth. Learn more and register at meetup.com.
The must-read
A trash interceptor made by the Dutch nonprofit the Ocean Cleanup grabs trash from Ballona Creek that could otherwise end up in the Pacific Ocean. Since its installation in 2022, the interceptor has collected more than 200 tons of trash.
(Christina House / Los Angeles Times)
It can be peaceful to take a stroll along the San Gabriel or Los Angeles rivers amid the cottonwood trees, willows and herons. But it’d be impossible not to notice the garbage too. For years, our local rivers have suffered at the hands of humans and the heaps of waste we produce. That could change. “By the 2028 Olympics, a coalition of city, county, state and private partners hopes to change that by deploying trash-intercepting devices in the Los Angeles and San Gabriel rivers, officials announced [last] Wednesday,” Times staff writer Lila Seidman wrote. “The plan is to prevent hundreds of tons of garbage from getting to the ocean.” Could our rivers be clean that soon?
Happy adventuring,
P.S.
Will Southern California’s roving wolf ever find a mate? I can’t be the only one stressing about this. BEY03F, affectionately called “bae” or “Valentine” by some, has been making headlines since early this year when she became the first wolf to enter L.A. County in more than 100 years. She has since traversed hundreds of miles and through multiple counties, with her latest travels bringing her to Sequoia National Park. This again marks the first time in a century that a wolf was documented there. BEY03F keeps making history because humans wiped out her canine kin. Will she ever find a connection that helps her repair some of the harm done?
For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.
For a guy who has become known for his monstrous output of clips, comedy specials and content, it’s a wonder Josh Johnson has time to stop to think about what makes his comedy timeless. As a former writer and now one of the hosts of “The Daily Show,” much of Johnson’s humor outside of specials relies on his ability to deliver jokes on the dumpster fire du jour when it comes to pop culture and politics. But for his latest one-hour special, “Symphony,” premiering Friday on HBO, he wanted to orchestrate something different that would still be funny 40 years from now, regardless of what’s fashionable or who is running the country.
Using music as a canvas to paint a funny, layered portrait of the human experience, Johnson creates a set that comes alive with the sound of more than the laughter at the Wiltern, where the special was filmed earlier this year. With stories focused on surviving rowdy family, moments of loneliness, struggles with faith, and navigating our deepest human relationships, Johnson’s abilities as a pensive storyteller are conducted masterfully. The result is an hour that helps showcase his refined comedic voice, surprise the audience and sound the trumpets for his next round of touring.
This interview was edited for length and clarity.
Why was it important for you to veer so strongly into music as a theme of your new special, “Symphony”?
I think music, in a way that nothing else does, brought the central points and themes of the special home. In the beginning [scene] with the title card and the busker who has a [music-related] quote in front of him, that’s sort of the mission statement of the special and everything I’m trying to do. The thing to me is including the music to help bring about these ideas and bring each section home and bring it all the together in a way that obviously I’m also attempting to do through the comedy. I think thematically there’s nothing stronger to make the overall point than music.
What inspired you to shoot it at the Wiltern?
The Wiltern is so beautiful and it also lends itself to that sort of art aspect I’m talking about in the very beginning of the special. Things that have that look of the Wiltern help not just create a spectacle, but give you something really beautiful to look at. You get something really beautiful to listen to in the music, and then the comedy helps decorate the hour that we’re spending together.
“If you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, I think that you create something that really stands the test of time,” Johnson says about his new special, “Symphony,” premiering Friday on HBO.
(Ser Baffo / HBO)
You definitely play around with the format of a typical special in this new hour. As somebody who has mastered the ability to release a crazy amount of comedy in recent years on YouTube and social media, what aspect of a traditional one-hour special do you still find important?
I think that everything that I’ve been doing so far is pretty topical and very of the moment, even when I’m not talking about a specific pop culture or political topic. I think that there’s a time for comedy of the moment, but then I also think there’s an aspect that you want to be timeless, and that’s what the specials are for me. You want the piece to be something that people watch 40 years from now, and I don’t always expect every single set that I put out to have that level of longevity. Because no matter how it feels right now, there’s going to come a time where we look at the people who take up so much of our bandwidth and our thoughts throughout the day as just a sort of passing political fashion or the things that we see as like huge indicators of where society is right now will eventually become forgotten crazes. But I think that if you speak to the human condition, if you speak to a lot of people’s timelessness around family and culture and some of the bigger topics, but without naming names, you create something that really stands the test of time.
There’s a duality between your timely comedy on “The Daily Show” and the timelessness you’re aiming for in specials. Was it important for you to separate the two ways that people might see you as a comedian?
People are going to have their takeaways from whatever you do. I try bringing the same amount of intention to everything, but as far as the way people see me, it’s something that’s kind of out of my control.
Religion comes up a lot in the special, the Bible specifically. I’d read somewhere that you had taken a break from practicing Christianity in recent years. If so, what was your reason for including the topic in your special?
I wouldn’t even necessarily call it a break, I just think that there’s moments you’ll find yourself in, where whether you grew up on a text or a certain few tenants that you live by, there’s always going to come a time where it’s really important to revisit those things… It’s not necessarily that I bring religion up in the special because I stopped practicing. It’s actually because I think that if I’m breaking life down into these sort of pillars that make up a person — I’m not saying religion has to be one of them — but I do find it to be an aspect for a lot of people. So if I’m once again trying to speak to things from a universal perspective as best I can, I think it’s something that that definitely comes up.
Comic Josh Johnson turns his new hour into a concertlike experience, using live music, a busker’s credo and L.A.’s ornate Wiltern Theatre to tie jokes into a single, sweeping theme.
(Ser Baffo / HBO)
Considering how well you use music as a backdrop for the special, how long did it take to come up with a concept for the hour? Did you write the jokes before coming up with the structure or vice versa?
I basically had a structure before I had a set, and I went to the director Jacob Menache about the idea for this thing like three years ago and we were talking about how best to make it work. That was long before I knew what jokes were going to go where, or how many things, how many aspects we were going to add to it, or anything. So I think that it’s been a long time coming, as far as like the actual structure of what you end up seeing.
Watching your special was the first time I paid real attention to who the musical director was in the credits. What was it like working with respected bassist and producer Derrick Hodge on creating the concept for the music in “Symphony”?
I look at Derrick as someone who was doing a lot of interesting things, and so I thought it was going to be a fantastic opportunity to get to work with him. I don’t know that much about music, to be honest. I try to dabble with producing here and there because I have ideas, but it’s the real musicians, the real artists that take the ideas that I might pitch out and create something with it. So I really leaned on Derrick as much as possible to like bring us home. I feel like so much of what I was trying to do was in bringing an overall idea of the structure of a set and asking Derek, “Hey, what do you think about this?” I don’t know if I could have ever thought up a way to create what I was trying to build without him.
Was there something about you that you felt like you wanted to get across in this special that maybe you haven’t gotten to in your previous specials?
It can be tough to show new shades of yourself when you put out a lot of stuff, and you are always kind of coming with stories about your life and your childhood or anything like that when I think of putting a set together, especially something that is attempting to be timeless. Overall, I think every new story is a new story to [the audience]. But I think that if you can express how you used to think versus how you think now, that can be revealing. Towards the beginning [of “Symphony”] I talk about how there are things I didn’t understand until pretty close to the special in theory, things I didn’t understand until like a week ago, or I’ve always held this belief, or something like that, and I think that if you can give people insight to your evolution as a person, I think that’s a really powerful thing.
“I think music, in a way that nothing else does, brought the central points and themes of the special home,” Johnson says.
(Ser Baffo / HBO)
Were there any things that occurred during the rehearsal process that genuinely surprised you?
Watching it come together was a huge surprise, because you know, [the director] Jacob’s out here in L.A., I’m in New York, and so I make the flight down and everything, but the Thursday rehearsal with the musicians [before the taping] was the first time I was seeing everything come together. It was first time I was hearing everything, and so I think watching something finally come to life after such a long period of time is always going to throw you for a loop.
Now that the special will finally be out, what plans do you have next about how to showcase your comedy?
I’m really excited for people to see what’s coming. I start the tour Comedy Band Camp in June. I have some surprises for people there as well, and I’m looking forward to showcasing lots of artists. I’m looking forward to showcasing as much as I can that helps me elevate the level of craft and what I bring to people. And so I’m doing that through even more collaborations. I’m going to be hyping up some people that maybe you’ve heard of, or maybe you haven’t heard of. The special is kind a beautiful kick off for the tour that I’m going to be doing because we are going to be on the road for quite a while, and I chose Comedy Band Camp as a theme, because camp is this thing that people are nostalgic for, it’s a place to go that is safe, where you make friends. Band is about people coming together for a shared goal, it’s about everyone having a singular purpose towards creating art. So I think mixing those two things together will be a unique experience that no one can get anywhere else, and it’ll be a challenge to present it as best as possible. But I have a lot of plans for how I’m going to do that.
CANNES, France — Cannes is technically half over and the hunt for a masterpiece continues. Critics on the Croisette are starting to resemble that classic comic-strip panel in which an explorer crawls desperately across the sand toward an oasis that’s only a mirage.
This far into an underwhelming festival, good films have a way of looking like great ones, such as James Gray’s “Paper Tiger,” a grimy thriller with Adam Driver and Miles Teller playing brothers in 1980s New York who get mired in a scheme to sanitize the Gowanus Canal. Driver’s ex-cop knows the codes of cutting deals with the Russian mob; Teller’s engineer is the square who can’t grasp how doing things the right way just makes the situation worse. As the normies, Teller and his naive wife, portrayed by Scarlett Johansson, feel like kids playing dress-up. (Johansson’s perm is a bit much.) Still, the script is tense and tight — and at this point, I’m happy to see anything with a plot.
Rodrigo Sorogoyen’s “The Beloved” has two of them: It’s a film within a film about a famous director (Javier Bardem) who casts his estranged actor daughter (Victoria Luengo) in his latest project. The fictional movie he’s making looks stiff, a period epic about Spain’s colonialist withdrawal from the Sahara in the 1930s, which doubles as a metaphor for the father’s destructive absence from his now-adult child’s life. A boozer, she’s not stable enough to stand up to the scrutiny of his sudden attention. Luengo herself holds the camera splendidly even in her character’s weaker moments, turning her charisma off whenever her father needs her to turn it on.
Consider it a shot and chaser to “Garance,” which stars a vibrantly sloppy Adèle Exarchopoulos as another alcoholic actress. Sharp, smartly paced and entertaining, it’s fantastic until the last stretch, which peters out and then abruptly stops.
One of the festival’s big themes seems to be connection: that we’re all stuck on this rock together and, ultimately, the difference between human and android, man and woman, is moot. At least three movies have someone saying, “That’s life,” with a shrug. The films themselves, however, are lifeless. Worse, they’re long. I can roll with movies that are mostly vibes, but only to a limit — say, 85 minutes.
Sophie Thatcher in the movie “Her Private Hell.”
(Neon)
Nicolas Winding Refn’s “Her Private Hell” is longer than that and the inertia is excruciating. The Danish director of “Drive” hasn’t made a feature film since “Neon Demon” premiered at Cannes in 2016 and this grim fairy tale feels more like a feint than a comeback. A sulky daughter (Sophie Thatcher) skulks around a misty skyscraper with her hot young stepmother (Havana Rose Liu) idly fretting about a murderer named the Leather Man. Down below, an Army private (Charles Melton) hunts the killer. Little happens other than chain-smoking, costume changes and interminable shots of color-shifting strobe lighting splaying across the cast’s cheekbones. Thankfully, Kristine Froseth adds pep as a bimbo who hasn’t yet learned how to talk as leadenly as everyone else.
Too much of the program is made up of tedious movies by beloved Cannes veterans — essentially affirmative action for auteurs. Eight years ago, Hirokazu Kore-eda won the Palme d’Or for “Shoplifters,” a chaotically enchanting portrait of a family of fraudsters. Now, he’s returned with “Sheep in the Box,” a slick and dull story about two grieving parents who adopt a clone of their dead son. “Sheep” aspires for Spielbergian catharsis — one scene seems to consider itself an art-house take on “A.I. Artificial Intelligence” — but the human characters come off as mechanical as the little robot boy. Between the musty setup and saccharine score, it’s the film equivalent of a bowl of stale candies.
Arthur Harari, who co-wrote 2023’s Palme- and Oscar-winning “Anatomy of a Fall,” is here as the director of “The Unknown,” a stilted drama about a sulky male photographer who wakes up in the body of Léa Seydoux after a nameless, wordless one-night stand. You can imagine Brian De Palma running with the sex-contagion idea (or “It Follows” director David Robert Mitchell grumbling that he deserved an inspired-by writing credit). But “The Unknown’s” shape-shifting intrigue stalls out once you realize that none of the characters have a personality to begin with. Who cares what soul is inside each shell if they’re all monotonously slack-faced? “Face/Off” it isn’t.
Léa Seydoux in the movie “The Unknown.”
(Festival de Cannes)
On that note, one emotional highlight to date was the presentation of an unannounced honorary Palme to John Travolta. (Yes, his face-swapping 1997 thriller with Nicolas Cage was in the celebratory montage.) Already bursting with passion to be world-premiering his directorial debut, “Propeller One-Way Night Coach,” Travolta was moved to tears. “Surprise complète!” Travolta gasped, kissing his trophy and blurting, “I was just happy to be here.” Indeed he was, as evident by the jaunty white beret he’d worn for the occasion, which quickly went viral on social media.
Travolta’s infectious enthusiasm carried over into the movie itself, a semi-autobiographical trifle about his childhood love of air travel. Set in 1962, a boy roughly Travolta’s age voyages from New York to Los Angeles on a series of hopping flights with his mother, who is hoping to land a rich husband or a good Hollywood role in that order. The kid’s joy is as stratospheric as the plane; he adores everything but the airline’s chicken cordon bleu. As a nostalgia piece, it’s “A Christmas Story” with a third of the jokes, none of the cynicism and not quite the length to justify itself as a movie. At barely an hour, it skedaddles in time to leave you with a sheepish smile.
Given the choice, I’d prefer to see a truly terrible movie over one that’s merely bland and mediocre. With that context, I’ve been literally raving over “Butterfly Jam,” a film so fundamentally misguided it could almost be the cineaste version of “The Room.”
Set in New Jersey, “Butterfly Jam” is a tale of toxic masculinity among braggadocious Circassian immigrants played by Barry Keoghan, Harry Melling and Riley Keough — actors who, despite their talent and effort here, are too notoriously Irish, English and Graceland-ian to be convincingly a part of a subculture this specific. It’s filmmaker Kantemir Balagov’s fault more than theirs. Despite supposedly arriving to the States as teenagers, the cast don’t even have accents, just dyed jet-black hair. While adamantly miserabilist, it does have a plot or at least one shocking plot point that’s so ghastly it made me giddy. A few scenes later, a pelican switches on a cotton candy machine with its bill, sending hot sugar whirring through the air — seriously — and I nearly applauded in delight.
Woody Harrelson and Kristen Stewart in the movie “Full Phil.”
(Festival de Cannes)
Likewise, a friend warned me against staying up through 2 a.m. for the premiere of Quentin Dupieux’s “Full Phil,” cautioning that it was the worst film they’d ever seen at Cannes in over a decade. But there was no way I’d miss watching Woody Harrelson and Kristen Stewart play a miserable father and daughter on a Parisian vacation, directed by a French oddball who rarely fails to entertain — although this time, he comes close.
The story is simple: The dad flusters, fidgets and whines; the girl gobbles room service as though aspiring to become human foie gras. “Full Phil” took about an hour to reveal its point — that parenthood makes you a glutton for punishment — and the jokes are more gestures at where a joke should be. Still, I support Harrelson and Stewart signing on to a project this cuckoo. Better still, it boasted something in short supply: a satisfying ending. Here’s hoping the festival itself ends stronger too.
