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NSF documentary about working toward a better life for everyone by solving the riddle of predicting phenotype

Finding affordable apartments is especially tough in Los Angeles, where 52 percent of people are renters, according to a new study.; Credit: Justin Sullivan/Getty Images

You need to earn at least $33 an hour — $68,640 a year — to be able to afford the average apartment in Los Angeles County, according to Matt Schwartz, president and chief executive of the California Housing Partnership, which advocates for affordable housing. 

That's more than double the level of the highest minimum wage being proposed by Mayor Eric Garcetti, which he argued would make it easier for workers to afford to live here. “If we pass this, this will allow more people to live their American Dream here in L.A.," Garcetti proclaimed when he announced his plan to raise the minimum wage to $13.25 by 2017. 

The $33 an hour figure is based on the average L.A. County apartment rental price of $1,716 a month, from USC's 2014 Casden Multifamily Forecast. An apartment is considered affordable when you spend no more than 30 percent of your paycheck on rent.

To earn $33 an hour or more, you'd need to have a Los Angeles job like one of the following occupations: 

• Marketing manager: $66,538 (average in L.A., according to Payscale.com)
• LAUSD teacher: $70,000 (average salary, according to LAUSD)
• Software engineer: $82,669 (average according to Payscale.com)
• Lawyer: $104,249 (average according to Payscale.com)

But many occupations typically earn far below that $33 an hour threshold in L.A. County, according to the California Housing Partnership:

• Secretaries: $36,000 ($17 an hour)
• EMT Paramedics: $25,00 ($12 an hour)
• Preschool teachers: $29,000 ($14 an hour)

That's why L.A. residents wind up spending an average of 47 percent of their income on rent, which is the highest percentage in the nation, according to UCLA's Ziman Center for Real Estate.

Naturally, people who earn the current California minimum wage of $9 an hour ($18,720 a year) would fare even worse in trying to afford an average apartment.

Raising the minimum wage to $13.25 would equal a $27,560 salary; raising it to $15.25 an hour totals $31,720 a year.

What about buying a home?

In order to afford to purchase the median-priced home in Los Angeles, you'd need to earn $96,513 a year, according to HSH.com, a mortgage information website. 

The median home price in Los Angeles is $570,500, according to the real estate website, Trulia.com.

But consider that the median income in Los Angeles is about half that: $49,497, according to census numbers from 2009-2013.

So it's no surprise that Los Angeles has been rated as the most unaffordable city to rent in America by Harvard and UCLA. 

The cost of housing has gone up so much that even raising the minimum wage to $15.25 an hour – as some on the city council have proposed doing by 2019– would not go very far in solving the problem.

“Every little bit helps, but even if you doubled the minimum wage, it wouldn’t help most low-income families find affordable rental housing in Los Angeles,” said Schwartz.

What percentage of your income to you spend on housing in Los Angeles? Let us know in the comments, on our Facebook page or on Twitter (@KPCC). You can see how affordable your neighborhood is with our interactive map.

An earlier version of this story incorrectly calculated the hourly pay rate, based on the estimated $68,640 annual pay needed to afford the average rent in L.A. County. KPCC regrets the error.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Mary Ann de Lares Norris is Chief Operating Officer of Oblong Industries. She brings her dog LouLou to Oblong's downtown LA headquarters.; Credit: Brian Watt/KPCC

KPCC recently reported on the tech world’s diversity problem. Technology firms face challenges in hiring diverse staffs of its coders, web developers and software engineers.

It’s also a challenge at nonprofits such as Southern California Public Radio,  parent of 89.3 KPCC, which has always sought to build a staff that reflects the region it serves. The section of that staff that develops the KPCC app and makes its website run is all white and mostly male.

But a small talent pool means the diversity challenge is even greater for nonprofits and even smaller tech firms.

“The first problem is that all of the people working for me are male,” says Alex Schaffert, the one female on KPCC’s tech team.  “I’m kind of focusing on maybe getting another girl into the mix.”

Schaffert can use the term “girl” because she happens to be the leader of the tech team:  KPCC’s Managing Director of Digital Strategy and Innovation. 

Why diversity is important

Schaffert recently launched the topic of diversity – or lack thereof – at a weekly meeting of her team. She expected a “stilted and awkward” discussion from the five white men on her team, but a few of them didn’t hold back.  

“Not having diversity represented on the team leaves us more susceptible to circular thinking and everyone sort of verifying each other's assumptions,” said Joel Withrow,  who was serving at the time as KPCC’s Product Manager. “It impacts the work. It limits what you’re able to build.”

Sean Dillingham, KPCC’s Design and Development Manager, said living in a diverse community is what attracted him to Los Angeles, and he wants diversity in his immediate work team, too.

“When I look at other tech companies, I will often go to their ‘about us’ page, where they’ll have a page of photos of everyone, and I am immediately turned off when I just see just a sea of white dudes, or even just a sea of dudes,” Dillingham said.

Big competition, small talent pool

Dillingham and Schaffert are currently recruiting heavily to fill two tech-savvy positions. When a reporter or editor job opens up at KPCC, Schaffert says close to 100 resumes come in.

"But if you post a programmer job, and you get three or four resumes, you may not get lucky among those resumes," she says. "There may not be a woman in there. There may not be a person of color in there."

In other words, the talent pool is already small, and the diversity challenge makes it even smaller. KPCC is competing for talent with Google and Yahoo and all the start-ups on L.A.’s Silicon Beach. 

Schaffert’s being proactive, mining LinkedIn and staging networking events to attract potential candidates. She’s also trying to make sure KPCC’s job descriptions don’t sound like some she's seen in the tech world.

"If you read between the lines, they’re really looking for someone who is male and is somewhere between 25-30 years old and likes foosball tables and free energy drinks in the refrigerator," Schaffert says. “So you read between lines, and you know that they’re not talking about me, a mother of two kids who also has a demanding career. They're talking about someone different.”

Pay vs. passion

Schaffert's challenges and approaches to dealing with them are similar to those of Mary Ann de Lares Norris, the Chief Operating Officer at Oblong Industries. Based in downtown Los Angeles and founded in 2006, the company designs operating platforms for businesses that allow teams to collaborate in real time on digital parts of a project.

“I think technology and diversity is tough,” Norris told KPCC.  She’s proud her company’s management ranks are diverse, but says only 12 percent of its engineers are female. “Pretty standard in the tech industry, but it’s not great,” Norris says. “We really strive to increase that number, and all of the other companies are also, and it's really hard.”

Like Schaffert at KPCC, Norris works hard fine-tuning job descriptions and communicating that her company values diversity and work-life balance. But sometimes, it just boils down to money.

"We have to put out offers that have competitive salaries,” Norris says, adding that she can’t compete with the major tech firms. "The Googles and the Facebooks of the world can always pay more than we can. So we attract people who are passionate about coming to work for Oblong.  And, of course, we also offer stock options."

KPCC doesn’t have the  stock options, but we’ve got plenty of passion. Could that be the secret recruiting weapon for both small tech companies and nonprofits?  

LinkedIn recently surveyed engineers about what they look for in an employer. Good pay and work-life balance were the two top draws. Slightly more women prioritized work-life balance and slightly more men chose the big bucks. 

Clinical Entrepreneurship professor Adlai Wertman says that, historically, nonprofits and small businesses actually had the upper hand over big companies in recruiting minorities and women.

"There’s a feeling that they’re safer, more caring environments, less killer environments, and we know that corporate America has been the bastion of white males," said Wertman. 

But Wertman says that advantage disappears in the tech world because of the "supply-and-demand" problem with talent. When big firms decide to focus on diversity – as some have recently — they have plenty of resources.

"They’re always going to be able to pay more, and in truth they’re getting access to students coming out of these schools in ways that we as nonprofits and small companies never will," said Wertman. 

Wertman worked 18 years as an investment banker on Wall Street, then left to head a nonprofit on L.A.’s skid row. Now he heads the Brittingham Social Enterprise Lab Enterprise Lab at USC’s Marshall School of Business. He believes that, early on, the big companies have the best shot attracting diverse tech talent. But in the long run, much of that talent will turn back to smaller firms and nonprofits.

"I think ultimately people vote with where they’re most comfortable, where 'my values align with my employer's values, and if I don’t feel those values align, then I’m going to leave,'" Wertman said. "Ultimately, I think, for a lot of women and minorities, there’s a lot of value alignment within communities that are doing good in the world." 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Tom Rachal (R) receives a free meningitis vaccine from Dr. Wayne Chen at the AIDS Healthcare Foundation pharmacy on April 15, 2013 in Hollywood, California. Los Angeles County's unemployment rate is 7.9%, down from 9.2% a year ago, and once again it was healthcare that added the most jobs: 22,000.
; Credit: Kevork Djansezian/Getty Images

If you want a job in Los Angeles County, you’re best off being a nurse or a hotel worker and you’re less likely to find employment in manufacturing. 

We’re getting our first look at the employment numbers for 2014, which show mostly good news: California’s unemployment has fallen to 7 percent, the lowest rate in five and a half years. (The final numbers come out in March)

The state’s job growth outpaced the rest of the country for the third straight year, though it slowed slightly towards the end of the year.

California added jobs at a 2.2 percent annual rate last year, outpacing the nation’s 1.8 percent rate. 

Los Angeles County fared the worst as far as seasonally adjusted year-to-year job gains among California's major metropolitan areas, according to The Los Angeles County Economic Development Corp.:

• San Jose/Silicon Valley +4 percent
• San Francisco Bay Area + 3.8 percent 
• San Diego +3.3 percent
• Inland Empire +1.9 percent
• Orange County +2.3 percent
• Ventura +2 percent
• Los Angeles +1.7 percent

Los Angeles County's unemployment rate is 7.9 percent, down from 9.2 percent a year ago, and once again it was health care that added the most jobs: 22,000.

"Part of it is demographic, and part of it was the Affordable Care Act, which is helping more individuals take advantage of health care," said Robert Kleinhenz, Chief Economist at the L.A. County Economic Development Corp.

Aside from an aging population needing more health care, Kleinhenz adds that more people can afford to get medical treatment because of the improvement in the economy. 

With more money in their pockets, more people have also been traveling, which made leisure and hospitality the second-best area for job growth in the county, with 11,300 new jobs.

What's not doing well? 

Manufacturing, especially in non-durable goods – which includes food and clothing – lost the most jobs in L.A. County in 2014: 6,700 jobs. The only other sector that shed jobs was the government, which lost almost 3,800 jobs positions last year.

Kleinhenz also pointed to wholesale trade, which lost 300 jobs year-to-year in but saw job growth in the Inland Empire. 

"Some parts of the goods movement may be moving into the Inland Empire, where we have seen in recent years quite a bit of warehouse building taking place,” said Kleinhenz. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

The organized freelancer will make sure the amount here is right.; Credit: Photo by Great Beyond via Flickr Creative Commons

For freelancers, consultants, actors and other self employed people, life gets complicated this time of year. Digging around for the paperwork to fill out tax forms practically qualifies as exercise.

"They have a nightmare trying to find receipts," said accountant Tristan Zier.

Zier founded Zen99 to help freelancers manage their finances, including filing their taxes.  His most important advice to freelancers: keep track expenses and receipts year round rather than pursuing a paper chase as April 15 nears.  

"When they can’t find receipts, they can’t write off their expenses," he said. "And they’re paying more money to the government instead of keeping it for themselves."

Zier and others have come up with a lists of common mistakes freelancers make at tax time. 

Here are seven don't - or, deadly sins, for freelances at tax time:

1. Not knowing what they owe.  Zier says there are 20 different 1099 forms that get sent out to workers to track freelance gigs.  One of them is the 1099-K, which only has to be sent to you by a company in paper form if you make over $20,000. "People think, 'Great, no paper form, no taxes on that," says Zier. "Big mistake there.  You still have to self-report the income."   
2. Not knowing WHEN they owe.  For freelancers who owe more than $1,000 in taxes for a year, tax time comes more often than just April 15.  They have to pay taxes quarterly. But then it's not coming out of paychecks like it does for permanent employees. 

3.  Not tracking and writing off the right types of business expenses. Zier says many freelancers fail to realize they can write off part of their cell phone bill as a business expense.  Expenses vary by the type of work.  "A rideshare driver's biggest expense will be related to their car, while a web developer's biggest expense might be their home office," Zier says. "Figuring out what expenses are important to your type of work is important is maximizing your tax savings."

4. Writing off personal expenses.  This goes back to that cell phone.  If you use the same phone for personal and business purposes, don't be tempted to write the whole bill off. Estimate the amount you use it for your work. The same goes for your vehicle. Don't go trying to write off miles driven to the beach. 

5. The Double No-No: counting expenses twice.  Speaking of vehicles, Zier says most people use the Standard Mileage Rate ($0.56/mile for 2014), which factors in gas, repairs and maintenance and other costs like insurance and depreciation. But if you use this rate, you can't also expense your gas receipts and repair bills.  

6. Employee AND employer.  At lifeofthefreelancer.com, financial consultant Brendon Reimer reminds freelancers they play both roles. For regular employees, Federal, State, and payroll taxes are withheld from a paycheck, and distributed on the employee’s behalf. It's how Social Security and Medicare are funded. The IRS mandates that the employer must pay half of every employee’s payroll tax, and the employee is responsible for the other half.  Independent contractors have to handle both halves.  "The IRS does give you a small benefit by letting you deduct the half that you pay yourself as a business expense," Reimer writes. Zier said the freelancer's sin here is believing he or she pays more taxes than the regular working stiff.  

7. Not keeping adequate records. The IRS requires you to keep proof of all business receipts, mileage, etc.  If you can't show these, the IRS  could refute the expense and force you to pay back taxes. Zier says the good news is there are other ways to prove expenses if you've lost the receipt. A bank or credit card statement with the date and location might do the trick. "The IRS is surprisingly accommodating if you are doing your best," Zier says. "If you're being a headache, they're going to be a headache as well." 

In separate reports, Zen99 and the consumer finance web site nerdwallet ranked Los Angeles the best city for freelancers.

Each considered housing and health care costs, the percentage of freelancers in an area as factors. Zier said even before the sharing economy began to take off, the entertainment industry and growing tech scene were already strong sources of freelance gigs in L.A.

"Even back in 2012, L.A. had twelve percent of people report themselves as self-employed on the Census," Ziers said.   "You know your Ubers and companies like that  are really bringing a lot of attention to the contractor market, but it was a very robust community before."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Video of the B9 robot from "Lost In Space" and his most famous catchphrases.; Credit: timtomp (via YouTube)

Robert Kinoshita, the Los Angeles native who designed the iconic robots from "Lost in Space" and "Forbidden Planet," has passed away. He was 100 years old.

Konishita died Dec. 9 at a Torrance nursing home, according to the Hollywood Reporter, citing family friend Mike Clark. His creations included "Forbidden Planet's" Robby the Robot, the B9 robot from "Lost in Space," Tobor from "Tobor the Great" and more. Kinoshita also created "Lost in Space's" iconic flying-saucer-shaped Jupiter 2 spaceship.

Kinoshita built the original miniature prototype of Robby the Robot out of wood and plastic by combining several different concepts, according to the Reporter; the Rafu Shimpo reported that he struggled with the design.

"I thought, what the hell. We’re wasting so much time designing and drawing one sketch after another. I said to myself, I’m going to make a model," Kinoshita told the Rafu Shimpo in a 2004 interview. "Then one day, the art director sees the model. He says, ‘Give me that thing.’ He grabbed it and ran. ... Ten minutes later, he comes running back and puts the model back on my desk and says, ‘Draw it!’"

Watch Kinoshita and his colleagues talking about the construction of Robby the Robot:

Robby the Robot's construction

The 1956 classic sci-fi movie "Forbidden Planet" — based on Shakespeare's "The Tempest" — went on to be nominated for a special effects Oscar.

Kinoshita later served as art director on the 1960s sci-fi TV series "Lost in Space," creating the arm-flailing robot — named B9 — who delivered the classic line "Danger! Danger, Will Robinson!" That robot received as much fan mail as the actual humans on the show, according to the Reporter.

Watch the robot's feud with "Lost in Space's" Dr. Smith:

The robot vs. Dr. Smith

The "Lost in Space" robot even inspired a B9 Robot Builders Club, featured in Forbes. Kinoshita sent a message in 2000 to the club, thanking them for their support for the robot he originally nicknamed "Blinky."

"I'm truly flabbergasted and honored by your support for 'Blinky!' It's a well-designed little beauty," Kinoshita wrote. "Your thoughtful remembrance is something we designers seldom are lucky enough to receive."

Kinoshita described the thought process behind its design in a 1998 interview.

"You're laying in bed, and something comes to you," he said. "Until, finally, you get to a point where you say, 'This could work,' 'OK, let's see what the boss man says.' And you present it to him."

He told the Rafu Shimpo that he tried to create his robots to disguise the fact that there was a person inside. "I tried to camouflage it enough so you’d wonder where the hell the human was," he said.

Both the Japanese-American Kinoshita and his wife, Lillian, were sent to an Arizona internment camp during World War II, though they were able to get out before the end of the war and moved to Wisconsin, according to the Reporter.

While in Wisconsin, Kinoshita learned industrial design and plastic fabrication, designing washing machines for the Army and Air Force before returning to California, according to the Rafu Shimpo.

Kinoshita said that he had to overcome racial prejudice to break into working in Hollywood.

Kinoshita attributed his long life to clean living — along with daily doses of apple cider vinegar, family friend Clark told the Reporter.

Kinoshita also worked as a designer and art director on numerous classic TV shows, including "Kojak," "Barnaby Jones," "Hawaii Five-O," "Bat Masterson," "Sea Hunt," "Tombstone Territory," "Star Trek" creator Gene Roddenberry's "Planet Earth" and more, according to his IMDB. His last TV show was 1984's "Cover Up."

Kinoshita grew up in Boyle Heights, according to the Reporter, attending Maryknoll Japanese Catholic School, Roosevelt High School and USC's School of Architecture. His career began with work on 1937's "100 Men and a Girl." Kinoshita graduated cum laude from USC, according to the Rafu Shimpo.

Watch Kinoshita speak at his 95th birthday gathering with the B9 Robot Builders Club. He said he hoped to make it to 100, and he ended up doing so.

Kinoshita's 95th birthday speech

This content is from Southern California Public Radio. View the original story at SCPR.org.

The backdrop of the stage with the Oscar Award is seen onstage during the 84th Academy Awards announcement held at the Academy of Motion Picture Arts and Sciences Samuel Goldwyn Theater on Jan. 24, 2012 in Los Angeles.; Credit: Kevin Winter/Getty Images

The Academy Awards have made history with breakthroughs for minorities in the past — but with this year's nominations, observers are noting how white the Oscars are, with no actors of color nominated in any of this year's acting categories.

It marks the least diverse nominations since 1998. People have been speaking out about this disconnect, with films like "Selma" being shut out of the acting nominations (though it did pick up a Best Picture nomination).

This content is from Southern California Public Radio. View the original story at SCPR.org.

A screenshot from Maroon 5's "Sugar" music video.; Credit: Maroon 5

Maroon 5 has a new music video built around a simple, viral-bait premise: Adam Levine and the rest of the band trying to crash as many weddings around Los Angeles as they can in one day (Dec. 6 of last year). It's a lot of fun, directed by "Wedding Crashers" movie director David Dobkin, but it appears that some of those "crashed weddings" may have been staged.

Watch the video (warning: contains adult language):

Maroon 5: Sugar

Fans have noticed that several of the couples seen in the video appear to be actors. Actors Stephen and Barbara Woo posted on Facebook that they played the parents of one of the brides in the video and said that not only were the weddings staged, they didn't even take place on one day, claiming that all the weddings were shot in the same location over the course of three days.

Facebook post by actors

The groom from the wedding featured the most in the video has been named by observers as Nico Evers-Swindell, according to Cosmopolitan. Evers-Swindell was already married to actress Megan Ferguson since 2011 — and she's not the "bride" in the video.

Fans have fingered one of the models as "America's Next Top Model" runner-up Raina Hein, according to Cosmopolitan. Also, the man believed to be her long-term boyfriend isn't the groom in the Maroon 5 weddings.

Don't lose heart, though — at least one of the weddings in the video appears to be real, with wedding photographer Duke Khodaverdian telling E! that yes, it was the real deal.

"It was an incredible surprise and everyone at the wedding is going to cherish those memories," Khodaverdian told E! in December.

Instagram 1

Instagram 2

A representative for the band told "Entertainment Tonight" that only the grooms knew about the band in each case — but it looks like that means in the case of the real crashed weddings. The representative did concede that some shots "had to be shot separately from the real weddings due to time and space constraints that were given," and the article does note that the video was shot over three days.

Levine expressed his excitement about crashing the weddings in an interview with People magazine.

"I had no idea I would be affected by the overwhelming reactions we received from the couples and guests," Levine said. He told "Entertainment Tonight" that it was stressful to arrange, but that the surprise felt good. "[We were] happy that they liked our band, too – [that] would have been a total disaster."

They also solicited Twitter to find people lip-syncing "Sugar" to possibly put in their music video, but it doesn't look like those submissions got used.

Maroon 5 Sugar tweet

If you want to see Levine involved in a different dubious outfit, you can see him back hosting "The Voice" on Feb. 23. Open call auditions for the show begin Jan. 24 in New York, with Los Angeles auditions on Jan. 31 and Feb. 1.

Did you spot any more actors you recognize in this video? Do you have any more evidence of any of these weddings being either real or faked? Let me know on Twitter at @MikeRoe.

This content is from Southern California Public Radio. View the original story at SCPR.org.

The covers to the last issues of the current runs of "Avengers" and "New Avengers," leading into "Secret Wars."; Credit: Marvel

Marvel Comics held a press conference this week announcing details about "Secret Wars," a company-wide comic book crossover that they promise will change everything.

Promises of change in comics often don't amount to much, but here's why this one just might, with Marvel teasing that it will produce a whole new world for its characters.

"We see this as putting an endcap to decades of stories and starting a new era," said Marvel Editor-in-Chief Axel Alonso. "And when you see the scope of the event, you see what we're doing, what we're willing to do, this is a place where we're going to be bringing new pieces onto the board and taking old pieces off. You guys will be yelling and screaming, you'll be loving, hating, and in equal measure."

Reboot history

Rival DC Comics has always been quick to have stories designed to streamline their history, with the "Crisis on Infinite Earths" being the most famous one — a story that destroyed the DC Comics universe of the time, birthing a new timeline that gave us the versions of DC's heroes we know today. Several minor and major reboots followed, with the biggest since then being 2011's New 52 (and a tease of another one with this April's "Convergence").

Meanwhile, Marvel still refers back to stories from their early days, beginning with the first issue of "Marvel Comics" in 1939, and more so since the launch of "Fantastic Four" and the interlinked Marvel Universe in the 1960s, led by Stan Lee and Jack Kirby.

Marvel previously launched a line of comics meant to offer a fresh vision of the Marvel characters called Ultimate Comics, but now the worlds of those characters and the traditional Marvel universe are getting combined thanks to "Secret Wars."

"The Ultimate Universe, the Marvel Universe, they're going to smash together," said Alonso. "This is the Marvel Universe moving forward."

"We've never done anything like this, ever," said Marvel senior vice president and executive editor Tom Brevoort. "And what we're going to do to top it, I don't know. Hopefully that will be somebody else's problem."

The stories leading to "Secret Wars," and what is Battleworld?

The story that's been built up so far has to do with different universes colliding into each other — and in the first issue of "Secret Wars," the Marvel and Ultimate Earths collide, with the heroes of those worlds unable to stop it. What's left behind is what Marvel is calling "Battleworld," a patchwork planet with different parts of it inhabited by the characters from different famous Marvel crossovers of the past (you can see some of those past titles in the slideshow above).

Marvel released this video to help you visualize what exactly Battleworld is:

Battleworld video

See a map of Battleworld here, showing the different worlds made up of old storylines to be explored in "Secret Wars" (and click to enlarge):

Brevoort described Battleworld as "The little melting pot in which the new Marvel Universe will be created" after the Marvel and Ultimate versions of Earth are destroyed. He said that Battleworld is what Marvel is going to be "during, through and after" the beginning of "Secret Wars."

"Once you hit 'Secret Wars' 1, there is no Marvel Universe. There is no Ultimate Universe. All there is is Battleworld, and a whole lot of empty void," Brevoort said.

"Every single piece of this world is a building block for the Marvel Universe moving forward," Alonso said. "None of these stories are Elseworlds, or What Ifs, or alternative reality stories. They aren't set in the past or the future. They're not set in an alternate reality. They're set in the reality of the Marvel Universe."

It's also a story that uses an old name — the original "Secret Wars" involved an alien taking heroes from Earth and forcing them into battle for the fate of the universe. It remains unclear if the villain from that crossover will play a role here.

Why is Marvel rebooting?

Observers were quick to speculate on some of the behind-the-scenes reasons for the change. Combining the Ultimate Universe with the traditional Marvel Universe would let them incorporate the half-black, half-Latino Spider-Man from the Ultimate line that grabbed headlines a few years ago. It would let them do something different with characters like the X-Men and the Fantastic Four, who have been a flashpoint for controversy due to Fox retaining rights in perpetuity to any films based on those characters.

It also opens the door to a longtime comic book trope: Bringing back to life the dead.

"If we were to want to resurrect Gwen Stacy, this would be the place to do it, wouldn't it?" Alonso said.

What do creators and fans think about "Secret Wars"?

Speaking of the death of Gwen Stacy, the writer who pulled the trigger on killing her, Gerry Conway, tells Newsarama that he's on board.

"I think like with any idea, the execution will matter more than the idea itself. The idea of a reset is, by itself, not a bad idea," Conway said.

One who's less on board with it: longtime Spider-Man artist John Romita.

"My guess is new fans will be okay with it, and old fans will grumble," Romita told Newsarama. "I’m not a businessman, but I do know that comic companies, for almost 100 years now, do whatever they can for shock value. They grab attention. Personally, I hate all the goofy things they do. When I was there, I used to fight stuff like this. But you can’t stop them."

Current Marvel writers have been sworn to secrecy about what happens once "Secret Wars" is done:

Dan Slott tweet

The lack of certainty about what this all means has led fans to wildly speculate, as well as poke fun at what might happen:

Fan tweet 1

Fan tweet 2

It's a story that's been years in the making.

"Every single time we've done an event, we've always had to be mindful of 'Secret Wars,' and we've had to make decisions based on the fact that we knew that 'Secret Wars' was headed our way," Alonso said.

Brevoort said that Hickman proposed a version of "Secret Wars" years ago, but that vision has since become significantly larger.

"It sounds like typical Stan lee hyperbole — and there's nothing wrong with typical Stan Lee hyperbole — but it is difficult to imagine something that would be larger in scope, in scale, than what we are doing with 'Secret Wars,'" Brevoort said.

That father of the modern Marvel comics world, Stan Lee, tells Newsarama that the reboot is "probably good."

"Anything they do that’s unexpected and different usually captures the attention of the fans," Lee said. "It sounds intriguing to me."

Lee also tells Newsarama that if he were to do it all again, he'd do it basically the same, describing what he did as "the right way to go, and maybe sometimes, even the perfect way to go."

"I liked making the Fantastic Four superheroes without a secret identity. I liked the tragedy of Spider-Man’s origin, the ‘with great power, there must also come great responsibility.’ I thought it was the right way of doing things at the time. And I still like what I’ve done," Lee said. "I can’t think, off the top of my head, of anything I’d really want to change."

What does "Secret Wars" mean for fans?

More details are promised in the weeks to come, with a free preview issue being released on Free Comic Book Day, May 2. While fans wait, they may want to heed the wait-and-see approach advocated by Conway and famed "Thor" artist Walt Simonson.

"Maybe this is coming back out of my old geology days, but I try not to have instant reactions to things and say, ‘Oh my God! That’s terrible!’" Simonson told Newsarama. "My basic reaction is usually ‘let’s see the evidence in the field.’ Let’s come back in a year and see what we’ve got. That will tell the story.”

And for those who say that Marvel is ruining their childhood by messing with the history of their favorite characters, Conway tells Newsarama:

"I would say to them, no, your childhood is still your childhood. There’s a point to be made, and it’s a universal one: We have to see that there’s a difference between what people do today, and what they did yesterday. Yesterday still exists, those stories still exist. Now someone else is getting a chance at a new childhood. And that’s nice."

Watch the full "Secret Wars" live press conference below:

Secret Wars press conference video

This content is from Southern California Public Radio. View the original story at SCPR.org.

Host Jon Stewart of Comedy Central's "The Daily Show with Jon Stewart" watches a video while taping "The Daily Show with Jon Stewart: Restoring Honor & Dignity to the White House" at the McNally Smith College of Music Sept. 5, 2008 in St. Paul, Minnesota.; Credit: Ethan Miller/Getty Images for Comedy Central

Host Jon Stewart announced at Tuesday's "The Daily Show" taping that he is leaving the show.

Comedy Central confirmed the news in a statement, saying that Stewart will be leaving later this year:

"For the better part of the last two decades, we have had the incredible honor and privilege of working with Jon Stewart. His comedic brilliance is second to none. Jon has been at the heart of Comedy Central, championing and nurturing the best talent in the industry, in front of and behind the camera. Through his unique voice and vision, ‘The Daily Show’ has become a cultural touchstone for millions of fans and an unparalleled platform for political comedy that will endure for years to come. Jon will remain at the helm of ‘The Daily Show’ until later this year. He is a comic genius, generous with his time and talent, and will always be a part of the Comedy Central family."

The news comes less than two months after Stephen Colbert brought "The Colbert Report" to an end in order to prepare for hosting CBS's "Late Show," replacing David Letterman after he leaves later this year.

"The Daily Show" existed before Jon Stewart, hosted from 1996 until 1998 by Craig Kilborn, but Stewart took the show into a bolder political direction and made it a cultural landmark, becoming the go-to news source for numerous young people. Polls started to show Jon Stewart as being one of the most trusted newsmen in America.

It's just over three weeks after Comedy Central launched "The Nightly Show" with Larry Wilmore and details have yet to be announced about the future of Comedy Central's late night lineup.

The show has created hosts for other networks, with Colbert leaving for CBS after getting his start as a "Daily Show" correspondent and John Oliver, who served as a fill-in host while Stewart shot the film "Rosewater," left for his own weekly rundown of the news "Last Week Tonight" at HBO. The show's starmaking power also includes actors such as Steve Carell, Ed Helms and more, and new "Saturday Night Live" Weekend Update anchor Michael Che.

Stewart didn't announce his plans for what comes next. He directed the 2014 film "Rosewater," based on journalist Maziar Bahari's memoir detailing his imprisonment in Iran following an interview with "The Daily Show's" Jason Jones.

Stewart previously talked about "Rosewater" with KPCC's "The Frame," saying at the time that "The Daily Show" isn't all fun.

"As sad as it sounds, people might say, 'Man, working at 'The Daily Show,' that's gotta be a blast. You just sit around and laugh all day,'" Stewart said. "And you're like, 'No, we have a meeting at 9, and the 9 meeting has to be over by 9:30, and the scripts have to be in by 11, because if they're not, then we miss this deadline.'"

He also told the Hollywood Reporter last summer that he didn't know how much longer he would stay with the show.

"I mean, like anything else, you do it long enough, you will take it for granted, or there will be aspects of it that are grinding. I can't say that following the news cycle as closely as we do and trying to convert that into something either joyful or important to us doesn't have its fraught moments," Stewart said.

The show, one of Comedy Central's top franchises, will likely continue. John Oliver and Stephen Colbert would have seemed like the heirs apparent before they left; of the current staff, Samantha Bee, Jason Jones and Aaasif Mandvi are the longest-running correspondents, with Bee starting all the way back in 2003. Jones filled in for Stewart as anchor last fall, assisted by his wife Samantha Bee, when Stewart was out sick.

The show has also pushed for expanded diversity in its own cast, along with launching "The Nightly Show" with a black host and a minority panel, so that could point to a more diverse host in the future. The show has also recently expanded its international perspective, with Trevor Noah covering international news, Hasan Minhaj as the new Indian correspondent and Egyptian satirist Bassem Youssef joining as a Middle East correspondent.

Correction: An earlier version of this story referred to "Rosewater" as a documentary; it is a drama, based on Maziar Bahari's memoir. KPCC regrets the error.

This story has been updated.

This content is from Southern California Public Radio. View the original story at SCPR.org.

File: (L-R) "The Sarah Silverman Program" writer Harris Wittels, comedian Sarah Silverman, executive producer/head writer Dan Sterling and actress Laura Silverman, arrive at Comedy Central's Emmy Awards party at the STK restaurant Sept. 21, 2008 in Los Angeles.; Credit: Ethan Miller/Getty Images

Harris Wittels, a comedy writer who worked on "Parks & Recreation," has died at 30, the Los Angeles Police Department's Jane Kim tells KPCC.

Wittels was discovered by his assistant around 12 p.m., Kim said, and was already dead. Kim said that Wittels' death was a possible overdose, but that the Coroner's Office would determine the cause of death. Wittels had attended drug rehab twice.

Comedy Central, where Wittels worked on "The Sarah Silverman Program" and "Secret Girlfriend," confirmed Wittels' death, as did the comedy show he appeared at Wednesday night.

Comedy Central tweet

Meltdown Show tweet

Wittels was also well known for his @Humblebrag Twitter account and later book, helping to popularize the idea online of the false modesty of bragging while trying not to look like you're bragging.

Wittels had spoken about his struggles with addiction in places including Pete Holmes's podcast "You Made It Weird" in a November episode.

"I just really stopped caring about my life," Wittels said on "You Made It Weird," explaining how he got into doing drugs. "I just really started to think, well, if I'm only here for 80 years, then who cares if I spend it high or not?"

Wittels received his first big break when Sarah Silverman saw him performing comedy and gave him a job writing for her Comedy Central show.

Wittels also wrote for HBO's "Eastbound & Down," several MTV awards shows and the American Music Awards. He had a recurring role on "Parks & Recreation" and was a regular guest on the "Comedy Bang Bang" podcast.

Comedians, actors and fans mourned Wittels' death online.

Harris Wittels Storify

See Wittels in a scene from "Parks & Recreation":

Wittels on Parks & Recreation

Listen to Wittels on "Comedy Bang Bang":

Wittels on Comedy Bang Bang

This story has been updated.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A Nintendo Entertainment System.; Credit: Mark Ramsay/Flickr Creative Commons

There have been plenty of video game movies over the years, but there have been far fewer actually good ones. "Ready Player One," based on the 2011 video game-inspired novel, has the chance to be a great one thanks to the announcement that Steven Spielberg has signed on to direct.

That book was inspired by classic video games, and was written using classic video game cheats to play parts of classic games and write them into his book, author Ernest Cline said in a recent talk. That got us thinking about the classic video game cheats and secrets that stuck with us from our younger days playing classic video games — here's our top 11.

1. The Konami Code

Up up down down left right left right B A start! This code became such a part of video game culture that it got its own name. It was popularized in various games made by Konami, particularly Contra, leading to it also being known as the "Contra Code" for its ability to give you 30 lives in the game. Before the Internet, it was spread through gaming magazines and word of mouth — it was so influential that there are still developers who put it in their games. (There's even an entire Wikipedia page of games, both from Konami and others, that use the Konami Code. It's even been used on some websites.)

What is the Konami Code

2. Street Figher II Turbo's turbo

The game that I actually used a code for the most as a kid, the Super Nintendo code down, R, up, L, Y, B on the second controller didn't give you any advantages — it just kicked the speed up. By default, you had a few selections for how fast the game would be, but you could multiple that several-fold with this code, letting you and your friends battle at what at the time felt unbelievably fast.

3. Super Mario Bros.'s Minus World

This one doesn't involve a code, but players managed to discover what was deemed a glitch in the game that put you into a messed up version of another level, dubbed by fans the Minus World due to just "-1" instead of a full level number appearing at the top of the screen. There was no way to escape the glitched level, no matter how hard you might try, sending you to play it over and over again until your time ran out or you were killed by enemies. Still, modern players have found that you can go on thanks to various computer emulators and the like; see some of the worlds beyond below:

Minus World video

4. Metroid and Justin Bailey

Fans early on discovered that the password JUSTIN BAILEY allowed you to start with all of the available weapons along with plenty of life and ammo. Fans didn't know whether Justin Bailey was a reference to an actual person, just a code coincidence or something else, but that didn't stop them from eagerly playing through with this code. It also removed lead character Samus Aran from her armor, allowing players to discover that the game's star was an early female lead character, even if her armor didn't clue players in before the end of the game without the code.

Justin Bailey video

5. Doom's God mode

By typing the letters iddqd in PC game Doom, players could enable God mode, making them essentially invincible and letting them power through the early first-person shooter. The code had been available in developer id's earlier game Wolfenstein, but hadn't been quite as easily accessible. So, if you ever need a power boost when you're fighting on Mars, Doom has the answer. (Unfortunately, we don't believe this provides any extra protection for NASA's Mars rovers.)

6. Mortal Kombat's Reptile

The developers of Mortal Kombat made a battle against Reptile unbelievably hard for Mortal Kombat fans, including putting some randomness into whether doing what you were supposed to do to unlock the character would even work. Still, players happily pumped in extra quarters for the chance to face off against Reptile, a character with a look that mirrored that of characters Sub-Zero and Scorpion, just with a different color. Players had to achieve a Double Flawless victory on the Pit level, finish the match using their fatality move, and there also had to be a silhouette flying past the moon in the background — which only happened every sixth game.

Mortal Kombat: Reptile

7. The Legend of Zelda's Second Quest

The Legend of Zelda was a pretty challenging early adventure game, one of the first releases for the Nintendo home video game console. When you beat the game, you were given the option to go on a "Second Quest," which was a tweaked version of the game you just played except waaaaay harder. However, if you thought you were the coolest kid on the block and were so awesome you didn't need a warmup, you could name your character "ZELDA" (in one of the more obvious cheats in video game history) and skip ahead to that Second Quest from the start. You would then likely cry from how hard it was and start another new game with a different name.

8. NBA Jam's celebrity secret characters

A variety of celebrities from sports, music, and even politics were available by putting in various initials combined with buttons on the controller. These included then-President Bill Clinton, Al Gore, Warren Moon and more. That tradition has been continued in more recent NBA Jam games, with President Obama and others available for your video gaming pleasure.

9. GoldenEye's extra modes

There were a wide variety of cheat codes for GoldenEye, widely considered one of the all-time great first-person shooters. Sure, you could use codes to unlock different levels, but the reason these codes are remembered is because it gave you all sorts of new ways to play against your friends. The game also had an actual cheat menu that would appear if you accomplished one of a variety of goals, and from that menu you could cheat extra hard by using your controller to unlock things like a paintball mode, turbo mode, modes with both giant heads and teeny-tiny James Bonds and more.

10. Sonic The Hedgehog 2's Debug Mode

The Sonic debug mode is the perfect example of why so many games included cheats back in the day: They were often for the developers to be able to more easily play the games while looking for bugs and doing other testing. Sonic 2 let you get to an actual debug mode by playing various sounds from the level select screen (1, 9, 9, 2, 1, 1, 2, 4, for your reference), then pressing start and holding the A button. Developers later put them in for fun and intended them for the players to discover, but some of the early cheat codes were just meant for developers — but players proved more intrepid than they may have anticipated.

Sonic debug mode

11. Mike Tyson's Punch-Out: Go straight to Mike Tyson

There was actually a password mode in this game — before games had the option to save, plenty of games gave you codes that let you get back to where you were before. This is one of the examples from that darker time, where whether you played through opponents like Glass Joe and Bald Bull or not, you could try your changes against Lightning Mike (at least until the video game's license ran out and he was replaced in future editions with the way less exciting "Mr. Dream"). You better have had a pen and paper ready when your friend started yelling at you 007 373 5963 for you to use on your own copy of the game — no sharing. The game is hard enough that even Mike Tyson had some trouble fighting himself:

Mike Tyson vs. Mike Tyson

Let us know in the comments the classic video games — and the classic cheat codes and secrets — that inspired you.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Jerry "The King" Lawler with Jim Ross.; Credit: WWE

Jim Ross is the most famous pro wrestling play-by play commentator of all time. He's a native Californian, but grew up in Oklahoma and took his trademark drawl into doing commentary. He's worked in wrestling for more than 40 years, calling matches on shows seen by millions of people around the world.

This weekend, he's in the Bay Area for Wrestlemania weekend (the first Wrestlemania in Northern California, and the first in California in 10 years). Ross no longer commentates for WWE, but he's still a storyteller, online and in person. He hosts regular live storytelling shows with stories from his decades-long career and a bit of comedy, along with a live guest, and he also has a huge online presence including a podcast that went to number one in sports its first week out.

Ross has been watching wrestling since he was a kid.

"My dad wasn't a big fan of it. He missed the point. The point is not whether it's real or if it's staged. The point is, are you entertained by it, or not? And I was," Ross said.

He's been at ringside for numerous historic matches, helping the wrestlers to tell their stories ever since he got his first job in wrestling out of college at 22.

"The greater the star, the easier it is to tell their story," Ross said. "Those participants make music. They make different kinds of music, and the announcers, the broadcasters, have to be able to provide the adequate lyric to the competitors' music."

Ross's voice is so powerful that it's become a meme online to pair his voice with another dramatic footage, from sports and beyond — you can even find it paired with dramatic moments from shows like "Breaking Bad" and "Game of Thrones." Ross says that the first time he saw someone do that was with a hit by Michigan running back Jadaveon Clowney, a video which went viral and sparked others to do likewise.

The JR Treatment

"I get sent these memes all the time. 'Hey JR, check this one out.' Or people will say, somebody will make a great dunk at an NBA game, and somebody will say 'I can't wait to see this get the JR treatment.' And now there are major sports websites that will send out a tweet, 'Here's a great play from Sunday's 49er-Charger game that's got the JR treatment.' So now it's got a name. 'The JR Treatment.'"

Those viral videos have even helped him land new commentating roles since leaving WWE. He did a call of a fight between NASCAR drivers for the Daytona 500 for a special pre-show video, and it's led to him having opportunities in traditional sports.

"It's been done in boxing, and MMA. Believe it or not, I've gotten feelers that we're entertaining now from a variety of combat sports entities that actually heard what my call would sound like doing their product," Ross said. "It had my tone, had my inflection, had my level of enthusiasm."

Ross also played a huge role behind the scenes, working as WWE's executive vice president of talent and signing future stars like the Rock, Mick Foley and more. He says that Mick Foley's match against the Undertaker in 1998's Hell in a Cell match was his most memorable to call.

"I have people walk up to me and start quoting my commentary when Undertaker threw Foley off the Hell in a Cell, this massive cage with a roof on it, that was about 17 feet high from the roof to the floor," Ross said. "It looked like no human being, quite honestly, could survive that fall. You don't practice falls like that in wrestling school."

Ross has managed to stay relevant with the help of a popular podcast and 1.3 million followers on Twitter, where he regularly dispenses his thoughts on wrestling and beyond. He started doing that podcast after being lobbied to do it by "Stone Cold" Steve Austin, and continues to try new things.

"I was very reluctant to engage in social media, and primarily because we sometimes get set in our ways, especially the older we get," Ross said. "But change, for any of us, in any walk of life, whether it's your diet, it's your relationships, the way you approach your job, or any changes that you need to affect, whether it's on doctor's orders, your significant other's suggestions — change is not always a negative thing. So I got on Twitter, and then Twitter connected me to so many people."

While some may feel that pro wrestling, given its predetermined results, doesn't need real athletes, Ross disagrees and says there are plenty of reasons to want real athletes.

"They're competitive. They don't want to be on the second team. They want to be in the game. And they've been in that mindset since some of them were in little league, or Pop Warner football, or elementary school wrestling, or whatever it may be."

He says they also understand how to be coached and how to play well with others, as well as handling the bumps and bruises that come with the territory and the difficult travel schedule.

"I don't know that anybody in any entity, unless you're the most well-traveled comedian or entertainer, has that. Because the thing about pro wrestling is it doesn't have an off-season, so you don't get a chance to really go recharge your batteries. You've got to maintain that competitive edge to survive."

Ross says there's one match he wishes he had another shot at calling: Ric Flair's retirement match against Shawn Michaels at Wrestlemania 24 in Orlando at the Citrus Bowl. While Ross has traditionally been a play-by-play commentator, that night he was assigned to be a color commentator, which gave him some different challenges.

"I thought I had great stories to tell because of my relationship with Ric — I've known him for 25 years — and I didn't think that I contributed as much to that match from an emotional standpoint as I could. I was obligated to get in soundbites and get in, get out," Ross said. "That's the biggest match at the biggest stage, and I love both those guys, and I really wanted to be extra special that night, and I just don't know in my heart that we got there."

He says California has its own wrestling legacy to be proud of. The California Wrestlemania match that Ross says he'll always remember: Bret Hart versus Shawn Michaels at Wrestlemania 12 in Anaheim, where two now wrestling legends wrestled for more than an hour.

He also thinks the economics of Wrestlemania make a lot of sense for whichever city hosts it, thanks to the travelers it draws in from around the world. Cities now bid to try to bring in Wrestlemania, Ross says. With Los Angeles gearing up to build a new stadium, Ross has a Wrestlemania prediction for that stadium.

"I will bet you money — I will bet you some of my barbecue sauce — if L.A. builds a stadium, that Wrestlemania will be one of the first non-football events in that stadium. And they will sell it out. They'll fill every seat. And it'll be great for the city, and the businesses of Los Angeles.

Ross says that what made him a great broadcaster is the same thing that can make someone a success in wrestling or anywhere else — most importantly, don't talk down to your audience.

"You have to be a fan of the genre, or a fan of the game, and you have to be willing to prepare and be ready for your broadcast," Ross said. "You have to be willing to tell the story that the average fan — not the hardcore fan, but the average, casual fan can understand and relate to. ... You know, we're storytellers, and some people are just natural-born storytellers."

Ross plans to continue telling stories for the foreseeable future, on stage, online, calling matches in the legit sports world and wherever else his life takes him. He's even gotten into acting — you can see him in the new film "What Now."

"I think retirement is overblown. How many days can you go fishing? How many rounds of golf can you play?" Ross said. "I had the idea when I left WWE after 21 years, I'm going to reinvent myself. I'm not going to become a trivia answer. ... I don't think you're going to read anywhere, anytime soon, that Jim Ross has finally retired — until you read my eulogy."

Listen to the audio for the full hour-long interview with Jim Ross, talking his career past, present and future — along with the origins of his signature barbecue sauce.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Brock Lesnar after losing his championship in the main event of Wrestlemania 31.; Credit: WWE

World Wrestling Entertainment held their annual Wrestlemania show last weekend in Northern California, the culmination of another year's worth of spectacle. According to the company, it was their highest grossing event of all-time, drawing $12.6 million, with an official attendance placing it fifth on their list of all-time crowds for the event. The show was headlined by former UFC Heavyweight Champion Brock Lesnar going up against up-and-coming star (and a relative of Dwayne "The Rock" Johnson) Roman Reigns.

WWE Network

It comes at a time when the company has embarked on a new way of making money: their over-the-top online programming provider, the WWE Network, where fans can pay $9.99 a month to see programming including what formerly used to cost $45 for most shows and $60 for Wrestlemania. They're one year in now on gambling that enough fans will want the Network that it will ultimately make them more money in the long-term, despite losing that pay-per-view revenue. Wall Street doesn't appear to be buying it — after announcing the day after Wrestlemania that they'd hit 1.3 million subscribers, WWE's stock took a significant loss.

"The point is not whether it's real or if it's staged. The point is, are you entertained by it, or not?" former WWE announcer Jim Ross told KPCC in an interview. WWE is looking for more fans to be entertained enough to plunk down $9.99 for all the pro wrestling content they want.

NXT

They're also in a transitional period with their audiences. They've launched a new show that's only on the Network called "NXT," turning their minor league into a program targeting hardcore pro wrestling fans with a different style of show than the more family-targeted "Raw" and "Smackdown." It's also where they groom potential future stars, many of whom seem to break the mold of some of the traditional stars on WWE's main roster.

They're signing up talent that's been getting buzz on the independent circuits, trying to create their own underground movement that hopefully spells money, and taking the NXT brand on tour for the first time. On the Raw after Wrestlemania, several NXT stars made their debut on the main roster. That follows a sell-out crowd (albeit at a smaller 5,000 seat venue) on the Friday night before Wrestlemania for a non-televised NXT show.

Give Divas a chance

WWE also faces cultural forces pushing them in new directions, including a difference in how society deals with gender. When WWE executive Stephanie McMahon, daughter of the famed Vince McMahon, tweeted in support of Patricia Arquette's speech calling for greater equality for women at the Academy Awards, one of their own wrestlers, AJ Lee, responded by publicly calling Stephanie McMahon out on Twitter for not promoting the women in her own company equally and paying them less than the male stars.

AJ tweet 1

AJ tweet 2

Of course, the women in the company aren't given the same prominence as the men in part because it's felt that they won't make the company as much money. Still, it forced WWE's hand and Stephanie McMahon and the company as a whole publicly embraced the idea of giving the women (who WWE brands as "divas") a chance with the Give Divas A Chance movement (and accompanying trending hashtag).

What's next

The women have been promoted nearly equal to the men in that underground NXT league, but only time will tell if it continues to trickle upward. Wrestlemania didn't seem to show huge promise of that happening, with the one women's match of the show only getting a few minutes in the ring. However, the show also included a high-profile storyline with UFC female fighter and champion Ronda Rousey alongside the Rock, going up against Stephanie McMahon and Triple H, so there appears to be the room for women in prominent positions when they have the right storyline.

Whether WWE is able to wade through these forces of change to make more money — and perhaps regain some of the cultural currency that they've lost since becoming a monopoly and purchasing their top competition in 2001 — remains to be seen. They've stayed relatively steady despite a challenge from UFC, which many see as being what pro wrestling would be like if WWE didn't present fictional  They'll have to hope that giving new stars, including "divas," a chance will take them to another level.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A cosplay gathering in the Anaheim Convention Center's Grand Plaza during WonderCon Anaheim 2014.; Credit: Kevin Green/SDCC

For all the sad comic book and pop culture fans who weren't able to get tickets to San Diego Comic-Con, we've got good news for you: They run another convention, and it's closer to Los Angeles. Their little brother WonderCon Anaheim has been growing, with some comparing it to the Comic-Con of old — before it got way too crowded. It's this Friday through Sunday, April 3-5. They're starting to have big stars and lots of great panels, so if you want to get your geek heart sated, here are some of the events you won't want to miss.

Warner Bros. Presentation: San Andreas, Mad Max: Fury Road

San Andreas trailer

The most highly anticipated event at this weekend's convention, Warner Brothers is putting on a special presentation with footage from these two upcoming action films. They haven't announced which stars will be on hand, but these panels often surprise with star power, so you may get a visit from stars like "San Andreas's" Dwayne "The Rock" Johnson or "Mad Max: Fury Road's" Tom Hardy or Charlize Theron. At the Comic-Con panel last year for the "Mad Max" flick, the director talked in detail about the film, so you'll probably at least get his take on the franchise and its resurrection.

DC Comics TV shows: The Flash, Gotham, iZombie

The Flash trailer

While Marvel has been dominant on the big screen, DC has put out a diverse slate of TV shows, with "The Flash" being the biggest hit among them. It's among those getting a spotlight at WonderCon, with creators and stars dishing on the programs that have captured the imaginations of TV fans and comic fans alike. All three shows are also getting special video presentations, likely showing clips of what you can expect the rest of this season. And in case you didn't already know, "iZombie" comes from "Veronica Mars" creator Rob Thomas, so come find out about his latest project.

World Premiere: Batman vs. Robin

Batman vs. Robin trailer

It's become a tradition at both WonderCon and San Diego Comic-Con for DC Comics to debut their latest animated movie, and the new one is based on the critically acclaimed "Court of Owls" storyline by writer Scott Snyder. (Be sure to check out our previous interviews with Snyder — he's even an NPR fan.) The original story is based on how Batman thinks he knows everything there is to know about Gotham City and faces the discovery that there are deep secrets about the city that he had no idea about, and the film also emphasizes him fighting his son Damian.

Sing-alongs: Dr. Horrible & Batman's The Music Meister

Batman: The Brave and the Bold: Drives Us Bats

People go to comic conventions to geek out, and what's geekier than a good old-fashioned singalong? In addition to one for geek god Joss Whedon's much loved Web series "Dr. Horrible's Sing-Along Blog," they're also doing one for the musical episode of animated series "Batman: The Brave and the Bold" — which, just like "Dr. Horrible," features singing by the one and only Neil Patrick Harris. In the Batman cartoon, he plays the Music Meister, a Batman villain who makes both heroes and villains sing, as he drops some tunes of his own.

Superman: The Richard Donner Years Celebrity Super Reunion

Superman: The flying sequence

There's a reunion of stars from the first two of the classic Christopher Reeve Superman movies, including Lois Lane herself, Margot Kidder. You can also see the actors who played characters like Jimmy Olsen, several of the villains and more, as well as two of the producers. Find out what you don't know about the movie that broke ground when it came to depicting flight on-screen and, like the ads promised, made you believe a man could fly.

TV writing panels

Two panels will give you a peek into the world of the writers who write some of the hottest shows on TV: "TV Guide Magazine's Fan Favorites Showrunners" and "Inside The Writers' Room: Earth's Mightiest Writers Re-Assemble Redux." The first of those includes legendary TV showrunners like Dan Harmon of "Community" and the minds behind shows including "Orphan Black," "The Goldbergs" and more. Meanwhile, at the writers room panel, you'll get writers who've worked on shows like "Lost," "Firefly," "Heroes," "The Big Bang Theory," "Agent Carter" and more.

Fan culture programming track

This includes a lot of different panels, but it's a sign of the way fandom is shifting — it's a lifestyle that's far more diverse than it used to be, with a lot more gender parity. This track includes panels on topics like body confidence in cosplay, fashion, fitness, race and more. See what sparks your interest and might invite you into having an identity as a fan being a bigger part of your life while not letting anyone make you feel excluded.

There's so much more, like Will Forte doing a panel promoting his new show "The Last Man On Earth," the annual cosplay masquerade and so much more. Tickets are sold out for Saturday, but at press time, tickets were still available for both Friday and Sunday at WonderCon.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Yesterday, we heard about the hyper-loop, a system that could get you from L.A. to San Francisco in about 30 minutes without losing your eyeballs.

Steve Julian: Business analyst Mark Lacter, that might come in handy given how crowded California's air corridor has become...

Mark Lacter: We'll talk about the hyper-loop in a moment, Steve, but yes, the L.A.-to-San Francisco air route is the busiest in the U.S., and it's already the most competitive.  We're talking about more than 50 flights a day, which - if you spread them out between six in the morning and 10:30 at night - there'd be one flight every 20 minutes.  But, Delta obviously thinks there's room for more because it's announced an hourly shuttle between the two cities.  That's another 14 daily flights beginning September 3.  The airline will be using a somewhat smaller jet, and it sounds as if the focus will be on the business traveler, with free newspapers, wine, and beer.

Julian: How much will it cost, do we know?

Lacter: As usual, it's a lot cheaper if you make an advance purchase, but if you're buying your tickets at the last minute - which is what a lot of business travelers do - roundtrip runs a hefty $430.  Actually, this Bay Area shuttle is just the latest effort by Delta to expand out of LAX, which is different from other major airports in that it doesn't have any one airline that dominates (United has a slight edge in market share over American, with Delta about three percentage points behind).  American also has been adding flights out of LAX.

Julian: Sounds like the airline business is improving...

Lacter: That's what happens when you pack planes to the absolute max, which is bad news for travelers being crammed into coach seats.  But it's good news for LAX, which continues to be the airport of choice among airlines looking to add service - matter of fact, domestic passenger traffic was up almost 8 percent in June compared with a year earlier.  Some of those gains might be at the expense of service elsewhere - most especially Ontario Airport, which has seen a big exodus among airlines and passengers.  Ontario city officials have been trying to regain control of the airport, which has been operated by the city of Los Angeles.

Julian: Back to the hyper-loop - is this kind of transport possible?

Lacter: Well, it's the brainchild of billionaire Elon Musk, and you never say never with this guy.  He started the electric car company Tesla and the private space company Space X.  The hyper-loop is a high-speed system of passenger pods that would travel on a cushion of air (think of air hockey table).  The pods would travel at more than 700 miles per hour, but they wouldn't result in sonic booms that severely restricted the Concorde aircraft.  Of course, anything that promises super-speed travel is bound to get people talking - and, from what the physics professors are saying, the Musk idea seems feasible.

Julian: How would its cost compare to the bullet train?

Lacter: He says a lot cheaper.  The price tag on the train is $70 billion at last check; Musk says he can do his for $6 billion.  But, the issue isn't so much the cost or even the technology, but the politics.  As a rule, governments do not think outside the box, and that's what a project like this is all about.  Already, you have bullet train supporters saying that the hyper-loop is impossible, but what they're really saying is we have a lot riding on the train, and we don't want this guy to mess it up.

Julian: But, how much demand is there for high-speed transport?

Lacter: You'd think there would be a lot, but when Boeing came up with a nifty idea for a souped-up plane that would shave almost an hour from L.A. to New York, the airlines said no because it would require more fuel - and that would mean raising fares.  Musk says his system would be a lot cheaper than traveling by plane, which could be a game changer in the attitudes about going places.  But, those attitudes won't change until the thing is actually built, and that can't realistically happen until attitudes change.  That's the ultimate problem.

Julian: Hence, why we're content to squeeze into coach.

Lacter: Yep.

Mark Lacter is a contributing writer for Los Angeles Magazine and writes the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

When talk turns to the economy, it's clear that LA brings out the best and the worst.

Steve Julian: Business analyst Mark Lacter, where do you see the best of it here?

Mark Lacter: You see the best of the economy, Steve, with all kinds of startup activity - much of it tech-related - and you also see the large number of auto sales, the improved housing market, and the record number of people visiting Southern California - all indications of a growing economy.  But then, you have the other L.A. economy, with large numbers of families struggling to make ends meet, and seeing very little sign of recovery.  You know, the government has been releasing income data covering the last few years, and what you see is that the disparity between the richest 1 percent and the other 99 percent is at its widest point since the 1920s.  You especially see that kind of bifurcated economy in Southern California, which has some of the wealthiest people in the country, and also some of the poorest.

Julian: Now, the split between rich and poor has been happening for a good long time, hasn't it?

Lacter: Yes, but L.A. is in a special class because there are so many immigrants with limited job skills - in fact, a new study by the UCLA Anderson Forecast says it's a much higher percentage than immigrants living in Miami, San Francisco, and New York.  What's interesting is that 20 years ago the job skills among immigrants were significantly higher in L.A.  Limited job skills mean there's very little opportunity to move up the income ladder.  That factors into buying homes, sending your kids to college - really becoming part of the middle class.

Julian: I imagine that's particularly true for factory work…

Lacter: Yes, some of the same jobs that newly-arrived immigrants in previous generations would gravitate to.  Today, many of those jobs are gone, and they're being replaced by positions that require greater skill that's borne out of greater education.  And that, of course, is another problem: a sizable percentage of recently-arrived immigrants never finished high school, much less college, and that makes it even less likely that they'll be able to move up.

Julian: Related, or unrelated, to the recession?

Lacter: Actually, L.A. had serious income inequality in December of 2006, before the recession, when the county's unemployment rate was just 4.3 percent - a stunningly low rate when you consider that as of July, the jobless rate was almost 10 percent.  This points out that the division of haves and have-nots can happen even when the economy is doing well.

Julian: And it seems the last C-17 to be built for Air Force is a reminder of wage gap.

Lacter: That's right - it'll be up to foreign customers to keep the program in Long Beach alive.  Boeing currently has an order from India for 10 of the cargo planes, which will keep the line moving through the third quarter of next year.  Frankly, the only reason the C-17 has lasted this long is heavy political pressure by congressional lawmakers whose districts have an economic stake in the program.  At one time, as many as 16,000 people may have worked on the C-17 in Long Beach, but that number has fallen sharply over the years.

Julian: Still, this is the last airplane manufacturing plant in Southern California.

Lacter: And that, of course, speaks volumes about the state of the aerospace business, which had been one of the main economic drivers back in the days leading up to World War II.  Aerospace continued to be very important until the end of the Cold War, when you had a huge industry consolidation that resulted in the loss of tens of thousands of local jobs throughout the 1990s.  There's still quite a bit of aerospace activity locally that involves missiles, satellites, and electronics - both for the major defense contractors like Boeing and Northrop, and for smaller contractors and sub-subcontractors that still get a piece of the military pie.

Julian: But most of them require high skill levels…

Lacter: Yes, and that gets us back to the folks who are stuck in low-paying jobs with little prospect for moving up.  This is what the L.A. economy is all about, the good and the bad.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Sign ups for the Affordable Care Act start in a week, and the program is leading to changes in the way employers handle health coverage.

Steve Julian: Business analyst Mark Lacter, what's the most noticeable adjustment?

Mark Lacter: Steve, once you get beyond the squabbling over efforts to defund the new law, what's happening is quite remarkable: businesses are finding new ways to administer and pay for coverage - and some would say it's long overdue.  One interesting example: the grocery chain Trader Joe's, which is based in Monrovia, employs over 20,000 people, and shells out millions of dollars a year in helping provide its people with health insurance.  Well, Trader Joe's has decided to end coverage for part-timers working fewer than 30 hours a week - under the new law businesses are not obligated to provide benefits to employees who work less than that amount.  However, the company is giving those people $500 to go towards the purchase of premiums at the new public exchanges.  And that, along with the tax credits available, could make the new arrangement cost about the same or even cheaper than the current health care package.

Julian: How did TJ's explain this to its employees?

Lacter: The company cited the example of an employee with one child who makes $18 an hour and works 25 hours a week.  Under the old system, she pays $166 a month for coverage; under the new system, she can get a nearly identical plan for $70 a month.  Now, there are cases in which workers will end up paying more - usually it involves having a family member who makes more money, but who doesn't have access to coverage (good example would be an independent contractor or freelancer).  By the way, other companies - including the drug store chain Walgreen's - are also moving part-timers to the public market, and offering some sort of a subsidy.

Julian: I imagine not all companies are being as conscientious...

Lacter: No.  We've seen a number of corporations cut worker hours and not offer a supplemental payment.  Steve, it's worth remembering that administering health insurance is something that businesses fell into quite by accident 60 years or so ago - premiums cost next to nothing at the time, and it was seen as way of attracting workers without having to jack up wages.  The arrangement became more attractive over the years because of certain tax benefits.  But, it's far from ideal - workers move from job to job more often than they used to, and not all businesses are capable of handling the extra costs, especially small businesses.

Julian: Doesn't L.A. have a higher percentage of uninsured than elsewhere?

Lacter: Considerably higher - the Census Bureau show that 21 percent did not have coverage in 2012, which is higher than the overall national number.  Now, there are a bunch of reasons for this: L.A. has a large percentage of households that simply can't afford health insurance or don't have access to government programs, among them undocumented immigrants.  You also have big numbers of people who are self-employed and don't get covered - we're talking about freelancers or consultants of some sort.

Julian: …Or, they work for small businesses whose owners either can't afford, or don't want to provide coverage…

Lacter: That's right - the new law only requires businesses with more than 50 full-time workers to offer health insurance, and a lot of small businesses don't meet that threshold.  The Census Bureau says that in the L.A. area, one in four people with jobs do not have health insurance - and, by the way, there's been a drop-off both in the percentage of businesses in California that offer coverage.

Julian: Sounds dire.  Who picks up the cost?

Lacter: Well, we all do in one way or another - and that, of course, is the problem.  What the Affordable Care Act offers is a start in getting some of the uninsured onto the rolls.  Clearly, it's an imperfect solution that will require all sorts of adjustments, and even though everyone and their uncle seems to have formed a definitive opinion about the new law, it's going to be years before there's any real sense of how it's going.  And, let's remember, signing up for these programs is not some political act.  It's just a way for people to get health insurance for themselves and their families.

Mark Lacter writes for Los Angeles Magazine and pens the business blog at LA Observed.com.

This content is from Southern California Public Radio. View the original story at SCPR.org.

I know these Presidential debates aren’t debates in the historical sense.  Regardless, I’m looking forward to seeing how both men do on a topic of immense complexity.  Is Mitt Romney going to be more forthcoming about what tax deductions he’d want cut to keep his tax reform plan from ballooning the deficit?  Will President Obama  give more detail about how he would improve the economy, short of a government stimulus that could never get through a GOP Congress?

I’ll be live tweeting during the debate.  Join me @AirTalk #debates.

This content is from Southern California Public Radio. View the original story at SCPR.org.

After the San Francisco 49ers beat the Atlanta Falcons for the right to go to the Super Bowl, I tweeted my appreciation of a California team going to the game.  If no local team is in the running (or exists), I'm always glad to root for a Bay Area team that makes it.

My tweet got responses from some Southern Californians who have no interest in supporting a San Francisco team, especially given the Giants' World Series championship.  It goes without saying that many Dodger fans are loathe to support the Giants, under any circumstances. 

Given the historic bad blood between the teams, that's no surprise, but I think it runs even deeper.  The divide between Northern and Southern California is about more than sports, or even water rights.  It's rooted in distinct cultural differences between the two.

However, California has evolved to the point where the bigger cultural divide now might be between coastal and inland regions.  Rural Northern Californians typically dislike San Francisco far more than Angelenos do.  Similarly, inland Southern California residents often see Los Angeles as the prohibitively expensive home of two-hour traffic jams.

Until the Inland Empire or the San Joaquin Valley get major league teams, we won't see that rivalry playing out at a stadium near you.   In the meantime, I'm cheering on the Niners, and my state, on February 3rd.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Shout out to my 20 million brothers and sisters-  The one in seven U.S. taxpayers who waited until the last minute to file. 

This year, the IRS even gave us 'til April 18th-  So the 18th is when I filed- For my extension!  See you in October!

In my defense, it was not due to lack of effort.  It feels like I spent 200 hours on my taxes this year, because they were unusually complicated. 

Back when I was in my twenties?  Much effort was put into stacking red milk crates for bookshelves and trying to fold up a futon without mangling my fingers-30 years later, I'm trying to do really smart grown-up things.

To wit, my life partner and I have been business partners for almost 20 years.  We used to be young-  Now we're-ahem-"less young"-  Picture the Boomers you see in those ads, silver-haired, in wet suits, running towards the ocean with surfboards, very at peace with nature and our fully-funded 401-K plans - Except that we don't surf and, regarding those 401-K plans?

Well, what I have written on the notepad I stole from Charles Schwab is-  And I quote:
"Retirement and write it off, and something about medical." 

When I look at this enigmatic scribble, an image comes to me: A friendly thirty-something man dressed in charcoal gray business casual- And a desk, and a plant-  And that man is saying:

"Sandra, by all means, you need to form a C corp!  NOT an S corp!"

But wait, is that what he said? Maybe it was:
"Sandra, by all means, you need to form an S Corp!  NOT a C corp!"

It was like being in school and confronting a page of long division- Or sitting in a deadly after-lunch class like "US Government"-  There's this mix of incomprehension, coupled with boredom, that makes it all sound like white noise.

S corp, C corp-  These things involve a part of my brain that refuses to fire.  All I know is there was one kind that was right, it's not the one I did, at some moderate expense, and now I'm going to jail. 

Where at least I won't have to fold a futon.  I think.

Next week: Separate Bathrooms, Separate Quicken Accounts

This content is from Southern California Public Radio. View the original story at SCPR.org.

Dave Ramsey—  The financial radio talk show host—  Says every couple has two people.  One is the nerd with the calculator.   The other is the spendy free spirit. 

In my couple, I am the nerd.  I am calmed by a seven-by-seven Ken Ken and a mechanical pencil.  No surprise that I have used Quicken now for several decades.  But it seems in the last five or 10 years—  What with the Russian hackers stealing our info to get porn—  The cheapo, Windows-based laptops Quicken favors have gotten very buggy. 

So buggy, I bought a sacrificial Dell laptop just for Quicken.   But even that lasted barely six months without crashing.  So Charlie, the free spirit, took over paying the bills!  Writing checks by hand!  Notating them in a large, impressive leatherette binder!  The checks are pretty—tan and sort of antique-looking.  There's a stagecoach on them.

This was all charming until I realized it was tax time. To get all my financial info into the computer, I was going to have to hand-enter each check.  With a quill pen and a butter churn.

While in the joyous process of hand-inputting each check that went out in calendar year 2016— I learned some interesting things!

That beautiful 8-lane highway we drove on that time we visited friends in Orange County? That was a toll road that we apparently didn't pay for. 250 dollar fine! Plus--We're subscribers to something called Cook's Country Magazine, even though I am NOT into "homestyle cooking." And -- we've been paying hundreds of dollars a month for gym memberships that I didn't know we have!

Argh!

Losing it, I throw in the towel and buy myself my own personal version of Quicken—for Mac—  There's a help line to call—  And unbelievably, an operator immediately answers.  He's a courteous gentleman with a lilting, slightly British accent.  He answers my "sign in" question, and asks: "Do you want me to stay on the line while you try it?" "Sure!" I say, surprised.

We click pleasantly through a few more windows—  He's marvelously patient, and attentive—  Wanting to be entertaining, I actually start reciting my passwords aloud as I type them.  

"Let's see—2, 3, 4—asterisk, star, Sparky Sparky, that was my first pet— "Now I'm actually going to have to go downstairs to get my purse," I say, "and maybe go to the ladies' on the way 'cause I've had a lot of coffee— "
"It's fine!" he says—
"Well you can continue playing Solitaire or whatever you're doing!" I say.  And he chuckles!
Doing your taxes?  It takes a village.  And a butter churn.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Life is already hard enough, but with teen daughters—  of which I have two, ages 15 and 16 -- well, let's just say that, what with everything going on these days, my mind is a bit addled. And my latest TV obsession isn't exactly helping.

"I have such a sense of dystopia," I complained to my friend Carol. 

She replied: "Maybe you should stop binge-watching The Handmaid's Tale!

It's true.  I've watched so many hours of The Handmaid's Tale, I've started to involuntarily greet people with, "Blessed be the day," "Blessed be!"  If that's not  familiar to you, you're probably not aware that in the oppressive futuristic society depicted here—?   Fertile young women are farmed out to "commanders" and forced to have sex with them between their wives' legs, in order to birth mutant babies. . .

I'm old enough to remember "Happy Days."  Do you remember the sitcom "Happy Days"?  What was it about?  Days. . . that were Happy!  Teens hanging around the jukebox!  With poodle skirts!  The Fonz!  Having shenanigans! 

So I resolve to turn off the news—  Except for the headlines that actually leap out of the radio—  And maul you, like a wolverine—   Ever seen that?  Anyway—

I also take a break from The Handmaid's Tale—  I turn instead to the comedy Grace and Frankie, with Jane Fonda and Lily Tomlin!  I embrace their comforting presences like the stylish pashmina throw either might wear—  If The Cheese Nun was still on?  I would binge-watch that!  Very reassuring.  The Cheese and the Nun.

But then I start getting emails -- the Concerned Parent E-Blasts I don't recall ever signing up for, a la—?  "Does your teen get enough sleep?"  No.  "Is your teen ready for the SAT?"  No. "Does your teen eat too much sugar and waste a lot of time?"  Yes.   Apparently that's abnormal behavior and there's medication for that.  Good to know!

 Well—  The truly alarming news is that—  Often unbeknownst to their parents— All of our teens are secretly watching this new TV series called "13 Reasons Why."  As in, 13 reasons why this teenage girl commits suicide.  She leaves behind the reasons in a box of tapes.  One reason is rape.  Shown on screen. 

It's a long way from Happy Days.

As a responsible parent, I need to talk to my daughters. . . about this show.

 Next week: A Visit with Dr. Mom.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Life is stressful enough.  And now—?  I've been getting all these alarming missives from parenting organizations about the Netflix series "13 Reasons Why."  As in, 13 reasons why this teenaged girl commits suicide—  Which is depicted on screen, as is a rape!  Yikes!  Apparently all teens are secretly streaming it, so we parents need to open up the conversation.

But then I'm thinking: What if my two teen daughters are the only teens not watching it?  And then my raising the topic would be—what do you call it?  A trigger?  It's so confusing these days!  College campuses are full of "safe spaces"—  But middle schoolers can stream suicide shows!

And my younger daughter?  She's already fluttery, like a leaf.  Sample text—and I can't convey how terrifying these words look on one's phone: "Mom.  Mom.  Mom.  Please!  I'm so scared.  I don't know what to do!  Help me!"  Situation?  She was in the bathroom at Starbucks and the toilet wouldn't flush.  Fortunately Dr. Mom was right outside the door.

So with this one, driving home from school, I just ask, with an odd vague heartiness: "So. . . What movies or TV shows are all the kids watching these days?"

"All the kids?" she says.  "What are you talking about?  What kids?"

"You kids!" I say.  "You!  You and your peeps!"

"What?" she says.  "Nothing."  She goes on instead to describe her traumatic field trip.  Instead of studying tide pools at a nice quiet museum, her class went to the actual beach!  She slipped on a rock and all these kids from the Medical Magnet too-eagerly stormed her with gauze and bandages! 

Okay.  I'll let that fragile kid be.  Now it's on to my older, more sophisticated daughter.  The one with the nose ring—at least it's fake.  I ask her bluntly: "So, what's the deal with this '13 Reasons Why' show?"

 She groans.  "I already read the book back in sixth grade."
 

"In sixth grade?" I exclaim.

Apparently at her old middle school, everyone was reading books about teen suicide—  Which appears to have been an actual cottage industry, possibly it's own Young Adult genre.  Sheesh!  What happened to Nancy Drew?

She says she did watch the show but stopped during the rape scene, which was a bit much.  In fact, now, on social media, the show's premise had surfaced as a joke meme.  As in, "I asked to borrow a pencil.  You said you didn't have one."  Ominous pause.  "It's one of the 13 Reasons Why." Ba-dum-bum.

In the end, Dr. Mom felt a bit out of her league.  I guess I'll just have to trust that the teens are going to be fine.  And to be on hand to flush the toilet.}
 

This content is from Southern California Public Radio. View the original story at SCPR.org.

The Getty spent $65m (and change) for this late Manet masterpiece, "Spring."

A  132-year-old vision of springtime has landed permanently at the Getty Museum, smack in the middle of this California autumn: "Spring (Jeanne Demarsy)," one of Impressionist painter Edouard Manet’s  last completed pictures.

Here's what Getty Director Timothy Potts had to say about the artist:

Manet was the ultimate painter’s painter: totally committed to his craft, solidly grounded in the history of painting and yet determined to carve out a new path for himself and for modern art. ... Alone of his contemporaries (the only one who comes near is Degas), Manet achieved this almost impossible balancing act, absorbing and channeling the achievements of the past into a radically new vision of what painting could be.

"Spring" somehow manages to be the evocation of youth itself and all its hopes. The subject is 16-year-old actress Jeanne Demarsy, just then seeing her stage career ascend at the same time Manet neared the end of his own career. (He died at age 51 in 1883,  soon after the painting went on display.) 

For most of the years since its creation, the picture has been in private hands. It was recently on loan to the National Gallery.

Getty Assistant Curator Scott Allan said that the Getty worked hard to acquire "Spring" and was lucky to get her. According to news reports, the Christie's auction price paid was an eyebrow-lifting $65 million — about double the top previous sale price for a Manet. "We don’t discuss the price," Potts said.

At the Getty, "Spring (Jeanne Demarsy)" hangs next to an early Manet in the museum's Impressionist-Post Impressionist gallery. It was intended to be one of the "Four Seasons" by the late-19th century French master. The series was never completed (although "Autumn" hangs in a museum in France).

(More seasoning: Manet's "Autumn." Museum of Fine Arts of Nancy, France)

Allan said that, unlike many of Manet's early works, "Spring" was intended to hang in the Salon, the French art establishment’s showplace of traditional painting, which had rejected innovators like the Impressionists for decades. That led most of the Impressionists to disdain the Salon. But Allan said Manet was extremely pleased that his late work was accepted there. 

Here's Potts again:

So popular was it that "Spring" became the subject of one of the first color photographs of a work of art. Its acquisition by the Getty brings to Los Angeles the most important — and beautiful! — painting by this artist left in private hands and one of the great masterpieces of late-19th-century art. 

The painting depicts a lovely teenager, dressed in the peak of 1880s fashion in a blue-on-white printed dress; a flowered, fringed hat; and a parasol balanced on her left shoulder. The background features white rhododendrons, barely in blossom.

Mlle. Demarsy stares off to the left, the demure image of a confident young woman at the earliest spring of her adulthood, with an entire creative life before her, already immortalized before the world by one of the century’s greatest artists.

But Manet was himself at the peak of his accomplishments,  just before his sudden demise.
 
"Spring" became one of Manet’s most popular works, deeply appreciated by art lovers young and old and by critics of both the old guard and the avant garde. It was his last picture to hang in the Salon. Manet’s powers would soon decline, and he devoted much of his last few months to watercolors, said Allan.

(Getty director Timothy Potts looks at the Getty's new painting, Manet's "Spring." Getty Museum)

This content is from Southern California Public Radio. View the original story at SCPR.org.

Frank Romero with one of his French paintings, in his home in the South of France. But every year, he and his wife Sharon throw a big studio sale for Christmas, and you're invited.; Credit: John Rabe

"Live! Life's a banquet and most poor suckers are starving to death!" - Auntie Mame.

Your calendar is filling up, but here are four holiday events you'll want to make room for:

Every year, pioneering Chicano artist Frank Romero and his wife Sharon throw a big studio sale that includes works by a wide group of artists, and a lot of food and drink. It's just as much a party as a sales event, and Frank and the other artists are always there to meet and greet. And now that the couple is spending more time at their home in France, it's a chance for their old friends to catch up with them, so who knows who you'll see from L.A.'s arts community.

RELATED: See Frank's new works - French scenes with an East LA flavor

The Romero Studio annual Christmas party and sale is Saturday, Dec. 6, 6-10pm; and Sunday, Dec. 7, 1-5pm, at Plaza de la Raza, Boathouse Gallery, 3540 North Mission Rd., LA CA 90031 (in Lincoln Park across from the DMV — which BTW is a very good DMV).

Then, on Sunday, Dec. 14, at 4:30pm,  it's the Advent Procession of Lessons and Carols, at St. James Episcopal Church, which a friend describes as "one of the truly beautiful choral events of the season," and the highlight of the Choir of St. James' season. It's free and it's at St. James' Episcopal Church in Koreatown (3903 Wilshire Blvd., Los Angeles 90010).
 

"Auntie Mame," the 1958 Rosalind Russell movie with more quotable quips than a weekend getaway with Oscar Wilde, has become something of a Christmas tradition. It's screening at the American Cinematheque's Egyptian Theatre on Wednesday, Dec. 17, at 7:30. As delightful as this movie is any day of the week on your TV at home, this is a film to be seen in 35mm with a theater full of people reacting to every bon mot and heart-touching moment.

GO INSIDE: The Disney Hall organ, "Hurricane Mama," turns 10

Last year, my husband and I blindly went to Disney Hall for the Holiday Organ Spectacular. We expected some music and a little fun. But it really was spectacular. It's back this year, on Friday, Dec. 19, with organist David Higgs leading the evening from the console of Hurricane Mama.

If you've never seen or heard the organ in person, this is a great evening because Higgs — a teacher as well as master organist — gives you a guided tour of every stop, and every mood the organ can produce, from cathedral-loud to country-church-quiet. At the end of the night, he breaks the audience into parts to sing "The Twelve Days of Christmas," and you may sing as loud as you like.

These are just a few curated selections, but they're just the tip of the iceberg in Southern California; please make your own holiday event recommendations in the comments below. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

One of 4,000 "The Far Side" panels Gary Larson drew over 14 years. The full collection is now out in paperback.; Credit: Gary Larson

Off-Ramp animation expert Charles Solomon reviews "The Complete Far Side: 1980-1994" by Gary Larson.

It’s hard to believe the last panel of Gary Larson’s wildly popular comic strip “The Far Side” ran 20 years ago: January 1, 1995. The comics page of the LA Times (and many other papers) still feels empty without it.

RELATED: Charles Solomon interviews artists responsible for look of "Big Hero 6"

During its 14-year run, "The Far Side" brought a new style of humor to newspaper comics that was weird, outré and hilarious. The strip became an international phenomenon, appearing in over 1,900 newspapers worldwide. Larson won both the National Cartoonists' Society Reuben Award for Outstanding Cartoonist of the Year and the Best Syndicated Panel Award. An exhibit of original artwork from the strip broke attendance records at natural history museums in San Francisco, Denver and here in L.A. Fans bought tens of millions of "Far Side" books and calendars.

Much of the humor in “The Far Side” derived from Larson's seemingly effortless juxtaposition of the mundane and bizarre. When a bug-housewife declares "I'm leaving you, Charles...and I'm taking the grubs with me," it's the utter normalcy of the scene that makes it so funny. Mrs. Bug wears cats eye glasses, while Mr. Bug reads his newspaper in an easy chair with a doily on the back.

Or, a mummy sits an office waiting room reading a magazine while a secretary says into the intercom, “Mr. Bailey? There’s a gentlemen here who claims an ancestor of your once defiled his crypt, and now you’re the last remaining Bailey and … oh, something about a curse. Should I send him in?”

"The Complete Far Side" contains every strip ever syndicated: more than 4,000 panels. It should probably come with a warning label, "Caution: reading this book may result in hyperventilation from uncontrollable laughter." Except for a few references to Leona Helmsley or other now-forgotten figures, Larson’s humor remains as offbeat and funny as it was when the strips were first printed.

Andrews and McMeel initially released this collection in 2003 in two hardbound volumes that weighed close to 10 pounds apiece. You needed a sturdy table to read them. The three volumes in the paperback re-issue weigh in around three pounds and can be held comfortably in the lap for a while.

Because “The Far Side” ended two decades ago, many people under 30 don’t know it. The reprinted collection offers geezers (35 or older) a chance to give a present that should delight to that impossible-to-shop-for son, daughter, niece or nephew. How often does an older adult get a chance to appear cool at Christmas or Hanuka? 

And if that ingrate kid doesn’t appreciate it, "The Complete Far Side" also makes an excellent self-indulgence.

Charles Solomon lends his animatio expertise to Off-Ramp and Filmweek on Airtalk, and has just been awarded the Annie's (The International Animated Film Society) June Foray Award, "for his significant and benevolent or charitable impact on the art and industry of animation." Congratulations, Charles!

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A scene from Tomislav Mrisic's "Cowboys (Kauboji)," which screened at the Palm Springs Film Festival.; Credit: Kino films

It has escaped the average filmgoer's notice, but Eastern Europe has been in the midst of a cinematic renaissance for quite a while now. A few individual titles and filmmakers have bubbled to the surface in U.S. cinemas, including Danis Toanovic's Serbian antiwar satire "No Man's Land," which won an Oscar in 2001, and Cristian Mungiu's Romanian abortion drama "4 Months, 3 Weeks, and 2 Days," which nabbed the Palme d'Or at Cannes 2007.

Those are both great movies, but they are also the small tip of a very large iceberg. This year, Estonian filmmaker Zaza Urushadze's "Tangerines" — a humanist drama about the Georgian civil war of 1992 — is a leading contender for a foreign film Oscar.

As of now, its main competitor for the trophy would seem to be the Polish film "Ida" by Pawel Pawlikowski, which has taken most of the top critics prizes for foreign film this awards season. And who has heard of Radu Jude, the witty Romanian director of "The Happiest Girl in the World," or Kamen Kalev, Bulgaria's great hope for the cinematic future? Among so many others.

A sort of "Waiting for Guffman" with a Croat twist, the delightful Croatian Oscar entry "Cowboys (Kauboji)" isn't in the same league as the best Eastern Europe has to offer, and in an odd way this is one of its strengths.

Tomislav Mrisic's film utterly lacks pretension, which is not to say that it has no point to make. If there's an Eastern European precedent for "Cowboys'" assured mix of satire, drama and farce, it's probably the "Loves of a Blonde"-era Milos Forman.

Mrisic shares with Forman an acute eye for the foibles of small town bureaucracy and a soft humanism that simultaneously allows "Cowboys" to embrace its rag-tag ensemble of eccentrics and to spoof them mercilessly.

(A screen shot from Croation Oscar entry "Cowboys (Kauboji)")

The plot sees Sasa (Sasa Anlokovic), a failed and hangdog theater director with health problems, returning to his small and economically desolate Croatian town, where he is enlisted by an old friend-turned-local-bureaucrat to bring Big City "culture" to the sticks.

Aware that his lung cancer may have fallen out of remission and that time may be running out for him, Sasa sets about the task of creating what may be his last opus with the clay available to hand: a half dozen unskilled, uneducated and, in most cases, un-hygienic misfits, culled from the dregs of the town. They decide to create a Western stageplay based on their shared love of "Stagecoach," "High Noon" and John Wayne. Something decidedly unlike "Stagecoach" is the result.

There are titters and belly laughs abounding in "Cowboys" — a film that may actually be even funnier to an American audience than it is in Croatia, given Mrisic's deft mangling of the worn-out genre cliches of old school horse opera.

The performances are all solid and specific: This is no undifferentiated cluster of cliche yahoos, but rather a broadly drawn ensemble, in which each character has a specific logic and an unspoken need he or she is trying to fill.

WATCH the "Cowboys" trailer in the original Croatian

Mrisic finds much to mock in his small town provincials, but also much to celebrate. "Cowboys" is a smart film that still sees goodness everywhere it looks, which makes it a refreshing change not just from the American school of rote affirmation comedy but also from the relentless bleakness we associate with so much European fare.

For all the farce on hand, "Cowboys" is in the end a covertly passionate defense of the creative act: Its imperishability and its importance for its own sake, excluding aesthetic considerations. It is also a plea for that hoary old chestnut, the healing power of laughter. While that may read like a cliche, with "Cowboys," Mrisic's point is made.

Off-Ramp contributor R.H. Greene is covering the 26th Annual Palm Springs International Film Festival and will be posting regularly from there.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Andrew J. West stars in Anna Mastro's "Walter"; Credit: "Walter"

It's always dicey to characterize a major film festival based on the movies you personally see there, because no matter how diligent you try to be, your impression will always be statistically anecdotal.

I'll see perhaps 10 percent of the films at this year's Palm Springs International Film Festival by the time they roll up the red carpets for the final time, added to the 25 or so I'd watched before I got here, owing to the festival's unique programming policies.

Not bad considering there are 190 movies being screened. So I think I've got the feel of things here. I wouldn't want my doctor to diagnose me based on a test with a 35 to 40 percent chance of accuracy, but I'm not a doctor. Instead of "Do no harm," I quote Spencer Tracy to myself. He said the secret to the creative process is to "just look 'em in the eye and tell 'em the truth."

And the truth is, with the exception of a couple of documentaries and a horror movie, virtually every film I've seen at Palm Springs so far shared some obvious characteristics: the Palm Springs International Film Festival loves it some poignancy and affirmation.

I've already commented on "Match," the Patrick Stewart acting showcase, and "Cowboys," a very funny Croatian comedy with cross-currents of seriousness. I may comment later about "Today," Iran's Oscar submission. (It's terrific by the way, a deeply affecting story about a burnt out cab driver who gets yanked into the world of a battered, unwed mother who steps into his cab.)

(Still from "Today” (Emrooz) by Iranian filmmaker Reza Mirkarimi)

I also saw an Anne Hathaway passion project called "Song One" here. I'm not going to write about it because I'm not in the mood to stomp on somebody else's butterfly. Plus the dramedy "1001 Grams" by the splendiferous-ly named Norwegian Bent Hamer, whose deadpan satire is routinely compared to Jacques Tati.

WATCH the official trailer for "1001 Grams," which includes some foreign languages

At their best, these are all movies that want to move the audience to tears before bouncing a ray of hope off the screen at them. At their worst, these movies are about pain in the same way Novocain is. They acknowledge its reality, in order to neutralize it.

Filmmaker Anna Mastro's debut film "Walter" (one of the Palm Springs premieres) fits what seems to be the festival's programming model, too, and is, I think, a really quite appealing little indie film, with the by now familiar mildly magical realist bent.

It's is a story about grief, though one with a screwball premise so that it doesn't quite present that way at first. Walter (portrayed with charisma and nuance by Andrew J. West) is a 20-something slacker, but a very uptight one, with a soldier's commitment to dress and routine.

He still lives with mom (Virginia Madsen, now shifting toward the character actress portion of her career with ease and grace) and has a job one rung above fast food worker on the ladder of success: He's a ticket taker at the local multiplex.

But what the world surely sees as failure, Walter knows to be his cover for a far more important vocation. Walter's father died when he was just 10 years old; ever since the funeral, Walter has realized something we don't: His real job in life is to decide where people go after they die.

His snap judgments secretly send people to heaven or hell ... until a dead guy from Walter's past shows up and demands that Walter determine his fate, and then all hell breaks loose.

It's an odd premise, bordering on the labored, but Mastro and her extremely appealing cast pull it off, in part by wearing their influences on their sleeves. The fingerprints of Wes Anderson are all over this picture, especially in terms of the way shots are framed and music is used, and I was able to identify the pivotal contribution of "Beasts of the Southern Wild" co-composer Dan Romer by ear, long before I noticed his screen credit.

I suppose that's supposed to be a damning criticism of a first-timer, but I don't see it that way. Tarantino aped Scorsese for years and virtually remade a minor Hong Kong gangster picture when he debuted with "Reservoir Dogs."

Spielberg acknowledges his debt to David Lean. Hitchcock's apprenticeship at Germany's UFA film studio resulted in a lifelong visual and thematic debt to the great Expressionist master Fritz Lang.

The question is, what do you do with your influences, how do you make them your own? And Mastro — who has a real gift for casting, pacing a scene and maneuvering her actors easily between farce and seriousness — has her own talents. She understands how Anderson's visual syntax has become a cinematic shorthand for quirk, and she deploys it to that effect, then tells the story at hand.

There are some issues with that story, though. There's a girl in concessions (Leven Rambin) Walter likes, and there's a bully at work. For all its surface oddity, the mechanical underpinnings of "Walter" frequently feel like they belong in an "American Pie" sequel.

And yet this movie won me over. I liked its faith in the movie palace as a place that still vibrates with the marvelous. I found a dream sequence, where Rambin undresses to camera while sprawled on a rich yellow bed of movie house popcorn hilarious and deeply expressive.

But I think my affection for this picture is mostly centered on Mastro and her cast, which includes a standout performance by Justin Kirk as a very grounded ghost and a broad but successful cameo from William H. Macy as Walter's psychiatrist. They're all groping toward something rather grim and real about loss, while doing their best to serve up some laughs and wonder along the way.

It touched me, because it feels kind of wise.

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday at noon to Off-Ramp, when he'll interview Chaz Ebert about her late husband Roger Ebert's contributions to the film festival circuit.

This content is from Southern California Public Radio. View the original story at SCPR.org.

There are still a couple dozen tickets left for one of the most interestingly-cast performances of H.G. Wells, Orson Welles and Howard Koch's "War of the Worlds." On Saturday, Jan. 17,  generations of Star Trek actors will take on the world's most famous radio show.

The cast — directed by Jim Fall — features: René Auberjonois (“Star Trek: Deep Space Nine”), Michael Dorn (“Star Trek: TNG”), Dean Haglund (“The X-Files”), Walter Koenig ("Star Trek"), Linda Park ("Star Trek: Enterprise"), Jason Ritter (“The Event”), Tim Russ (“Star Trek: Voyager”), Armin Shimerman (“Star Trek: Deep Space Nine”) and Wil Wheaton, playing... Orson Welles.

The performance is a fundraiser for Sci-Fest LA, the new annual science fiction play festival, so tickets aren't cheap — but they're scarce, and this looks like a memorable night.

KPCC and "Off-Ramp" celebrated the 75th anniversary of the broadcast last year by distributing the original 1938 performance, and a new documentary, internationally... introduced by George Takei, another original Trek actor you might have heard of.

War of the Worlds: Sat., Jan. 17,  8 PM; The Acme Theatre, 135 North La Brea Ave. LA CA 90036

This content is from Southern California Public Radio. View the original story at SCPR.org.

Two tents in Hollywood erected beneath the 101 Freeway during a January rainstorm. (Matt Tinoco/KPCC)

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Albert Rad, a mobile phone wholesaler who fled religious persecution in Iran decades ago, said that he fully backs President Trump's decision to assassinate Iran's top military commander. ; Credit: Josie Huang/LAist

Los Angeles is home to the largest Iranian population outside of Iran. The killing of top Iranian commander Qassem Suleimani is generating some strong emotions here. KPPC’s Josie Huang reports from Persian Square in Westwood. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: Courtesy Randy Newman

Read the full article at LAist

Patt Morrison's outfit for March 26, 2013. ; Credit: Michelle Lanz/KPCC

For good or ill, I have six-months’ worth of winterish wardrobe in a part of the world with six weeks’ worth of winter. Indoors and AC are great equalizers, yet I am rushing to get in the wools and tweeds before we start sweating – probably in April. [President Richard Nixon loved to have a fire in the fireplace of the Lincoln Sitting Room in the White House, so much so that he cranked up the AC so he could enjoy a cozy fire even in August.]

So I had to give a season’s last hurrah to this Jacquard brocade coat with coppery embroidery and brown velvet piping, worn over your plain ol’ brand X brown jersey dress.

Rose-gold is such a flattering shade, hence the bracelets. [The lampshades at the Belle Epoque Paris restaurant Maxim’s were made of soft pink silk because it made ladies’ complexions look so much better.] 

Brown and orange doesn’t sound like a very tasty combination, but they do work, I think, in the subdued brown tartan shoes with rhinestone buckles the color of sunset. They put me in mind of the more prim Pilgrim buckles on Roger Vivier shoes like the ones Catherine Deneuve made famous in "Belle de Jour," a movie all about a young woman who was rather the opposite of prim behind closed doors.

The crosshairs tartan pattern in the center of the buckles make me think of a submarine periscope, which makes me think of the Lusitania — sunk 98 years ago this May 1 — which served to help nudge the United States into World War I. Now that I think of it, the brown felt and velvet hat is rather World War I-ish, too.

Hi, sailor!

This content is from Southern California Public Radio. View the original story at SCPR.org.

Audrey Hepburn I am not, but every once in a while, a girl’s gotta go for the gamine look, right? The ankle-length or capri trousers, the ‘50s pink and black color scheme. This is not the ‘’Breakfast at Tiffany’s” Audrey Hepburn, but the 1957 “Funny Face” Audrey, the intellectual beatnik girl who agrees to do a photo modeling shoot for Fred Astaire in exchange for a trip to Paris, where she can to worship at the feet of her “empathicalism” guru, Professor Flostre, who turns out to be just another “mec” on the make.
 
Of course I had to sneak in some commentary in this ensemble: the shirt in sweetheart-pink with stylized black silhouettes of classic runway shapes over the years …  and the shoes, with the pink-and-black face of a sassy manga girl. This one I like. Some of the sex-bomb manga girl illustrations look more like teen boy fantasy porn versions of those classic Keane portraits of solemn-faced, big-eyed children.
 
If you think Meryl Streep was a tough cookie in “The Devil Wears Prada,” check out the original: Kay Thompson and her star turn as the glamorous, tyrannical fashion mag editor in “Funny Face”! [Why do the handbags carried by women in the movies always look empty? Par for the fantasy, I suppose.

The only woman who comes close to achieving the empty handbag is the Queen, who, if rumor is believed, carries only a handkerchief and lipstick and eyeglasses in hers, maybe one or two other items, and on Sunday some money for the church collection plate. I’m convinced she keeps it handy mostly as a prop. Poor lady: it’s always a sedate British-made Launer handbag and she orders four new ones a year. Maybe at least in her imagination she goes online and buys a Stephen Sprouse Louis Vuitton neon graffiti bag, just for the heck of it.]
 
The Harry Potter cast did a little bit about the Queen’s handbag for her 80th birthday:

This content is from Southern California Public Radio. View the original story at SCPR.org.

Robert F. Kennedy's speech at the Ambassador Hotel. Sandi Gibbons the woman in the white dress on the bottom right.

She’s spent her life on both sides of the microphone.

For half of her career she was a reporter, finding herself in places like the Ambassador Hotel ballroom on the night Robert F. Kennedy was shot, and in the courthouse covering Charles Manson.

For the other half of her professional life, she spent a lot more time in L.A.’s courthouses as the spokeswoman for the L.A. County District Attorney’s office. She served three DAs, and now she’s hanging it up. Her retirement lunch was attended by three past and present DAs, with a fond message from a fourth, and as many of her reporter and DA friends could fit in the restaurant.

RELATED: Veteran reporter, DA spokesperson Sandi Gibbons is retiring

Sandi Gibbons has tales to tell, and here she recounts a few funny, moving and plain old perplexing ones from her life in court. And I can tell you from knowing her, she is one great dame.

Correction: Original headline spelled Sandi Gibbons' name "Sandy"

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Patt's Hats for Monday, April 8.; Credit: Michelle Lanz/KPCC

The twinset, in russet and camel colors, was my ‘homage’ to Margaret Thatcher, Britain’s first woman prime minister, who died Monday at the Ritz Hotel in London.
 
If you're unfamiliar with a twinset, it's the classic matching sweater-duo ensemble, sleeveless or short-sleeved sweater under a cardigan, a style much favored in the U.S. by June Cleaver and sorority girls in the 1950s, like the classic insufferable rich sorority girl parody from “Auntie Mame":

And in Britain by a lady of a certain age and certain class. It is usually worn with pearls, ideally three strands. Odd numbers of strands are considered more chic than even numbers. It’s probably what she wore “off duty” as prime minister.

One can’t see her [see, I’m channeling her already!] lounging about Number 10 Downing Street in velour sweats, but on duty and on display in her prime ministerial position, though, she almost always wore a kind of uniform, a brightly colored suit, ladylike but not alluring, and not unlike what the Queen wears. [In the same spirit, the Queen wears twinsets when she’s off-duty and having fun, which is to say at some horsy event or another.] 

Because Thatcher was Britain’s first woman prime minister, Britons enjoyed handicapping the relationship between their head of state [the Queen] and the head of government [the prime minister]. Theirs was not the affectionate relationship of, for example, the Queen and Winston Churchill. And the best sartorial story about the relationship is the story – which has entered into myth if not into the annals of fact – that Mrs. Thatcher’s office once called Buckingham Palace in advance of a joint appearance to find out what the Queen would be wearing so Mrs. Thatcher wouldn’t commit lese majeste and wear the same color.

The Queen, Mrs. T’s office was informed, doesn’t take any notice of what other people are wearing.
 
I wrote about Mrs. T when she came here in 1991 to celebrate the 80th birthday of her “political soulmate,” former president Ronald Reagan. She visited the Reagan library, under construction, and the JPL, among other spots. You can read that account here.
 
And here’s my obituary of the former PM.
 
I last saw her in 2002, in St. Paul’s Cathedral, at the celebration of the Queen’s golden jubilee. I actually heard her before I saw her – that unmistakably clear voice whose pitch she worked hard to shape into the pitch and tone that became part of her political toolkit. Her funeral, next Wednesday, will be at St. Paul’s. 

Now back to my outfit! The skirt is a vintage Sonia Rykiel, which is worth the constant battle with moths to keep it in repair. I like vintage for myriad reasons: no one else is wearing what you’re wearing … the fabrics are usually of much better quality and more interesting than present-day ones … and unlike current store-bought things, vintage has the merit of being environmentally friendly.
 
I was tickled to see my viewpoint endorsed by the accomplished Vanessa Paradis, the charming and glamorous French singer and actress, Chanel model, Lagerfeld muse, and the new face of H&M’s new environmentally conscious line. Here she talks about embracing those virtues herself. Merci, Vanessa!
 
Oh, I spared the oysters and didn’t wear pearls with my twinset. Rose gold is the choice du jour.  Real? I wish!

This content is from Southern California Public Radio. View the original story at SCPR.org.

Patt's outfit for April 12, 2013.; Credit: Michelle Lanz/KPCC

You don’t believe it looking out your windows in Southern California today, but spring it is. Perhaps I am forcing the spring by wearing bouquets on my stems – I think I can identify ranunculus, poppies, dianthus, and maybe roses?

I don’t know how authentically botanical fabric print designers think they ought to be, but I have an unshakable childhood recall of a bedroom in my great-grandmother’s house wallpapers in blue roses, and I was for years thereafter convinced that I could grow myself some blue roses.

And is there a happier color than this jacket’s coral/peach, or a springier fabric than the cotton-blend pique? It’s not as strenuous a shade as it would be in its brightness equivalent elsewhere on the color wheel, like electric blue or acid green. [And if it were, well, I’d wear it anyway!]

But the cloche hat – Daisy Buchanan, eat your platinum heart out. The ruched ombre silk ribbon on the crown and the minute bits of bent and curled ostrich feathers, like hatchlings on the hat! [I like saying that even more than I like writing it: "ruched ombre." It sounds like a fantastical concoction of molecular gastronomy: "the rambutan brûlée this evening is topped with ruched ombre."?     

Any bets on whether the May release of "The Great Gatsby" will revive 1920s chic? Who’s ready for dropped waistlines, lower heels and  long sautoir necklaces?

This content is from Southern California Public Radio. View the original story at SCPR.org.

Patt's Hats for April 17, 2013.; Credit: Michelle Lanz/KPCC

Is it, by chance, Helena Bonham Carter’s birthday? This begged me to take it out of the closet this morning, a frock very much a la Bonham Carter mode. [We all do know that her husband, Tim Burton, is from Burbank, right?]
 
The dress is from Stefanel – anyone know of Stefanel? An Italian company that’s done especially knockout knits. I don’t know that it has any shops here in the U.S. but I hazarded into Stefanel in Europe and liked the attitude, as well as the silhouettes, and this one in particular.
 
The sweater-ribbed knit band at the bottom puts an edge on the frou-frou of the skirt, as do the big hardware snaps on the bodice.  [That word, froufrou, or frou-frou, meaning fussy or embellished, or covered with "furbelows." "Furbelows"  is one of my favorite fashion words.
 
"Froufrou" dates to France in about 1870, when women’s clothes were exactly that. Sarah Bernhardt, one of my style icons, starred in a play entitled “Frou-Frou.”   

Of course Bernhardt gets to die ravishingly and at length in the play – she had more ways of expiring than James Bond’s villains ever dreamed up – and even though she only performed in French, American audiences ate it up when she toured here. Bernhardt said she could always recoup her fortunes in the United States, and “Frou Frou” helped her to do just that.
 
This dress, with the taffeta bubble skirt, reminded me of the style worn by Tom Wolfe’s New York society matrons in “The Bonfire of the Vanities.” It’s the magnificently seminal social novel about race and wealth in 1980s New York. Wolfe he called the women “social X-rays” for the bony gauntness they cultivated. If you have not read it, you really must. It lays the groundwork for the lifestyles of the Wall Street rich and notorious of today, and is one of my favorite novels.
 
The Lucite heel on the ankle boots – "Perspex," as the British call it – gives the effect of floating, ballerina-like, across the floor – an effect I will never achieve in real life, so must rely on footwear to give me a semblance of it.

I coveted the Lucite-wedge shoes that Maison Margiela sold briefly at H&M, but didn’t have the stamina to wake up at dawn and line up at 6 a.m. back when they went on sale, so these shoes gave me a bit of the same look, along with a full night’s sleep.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: Michelle Lanz/KPCC

This is my Earth Day homage, with the green cotton poplin coat and the nifty closures. Couture and hardware experts! Can I beseech you to tell us what this type of closure is called? The round metal gizmo is a grommet, but what do you call the short bar at the end of a chain that goes through the grommet to secure it?

I hope there’s some fanciful medieval word for it, because in my fevered romantic brain, it has the feel of the kind of clothing closure that might have been used for a coat of mail or doublet or surcoat or cotehardie or any of a number of divinely archaic phrases for wardrobe items.
 
Can a print still be spring-y when it’s on a black background, like this one? I’ve heard that there’s a new vogue for prints in tshirts. I would welcome that, because I’m weary of the myriad dreary fan-girl T-shirts, and the clever or hip ones meant to show that you are unique, along with the other two-million people wearing the identical shirt. I’ve seen enough devil’s horns and skulls and snakes to fill the Book of Revelations, so let’s just move along, shall we?
 
These shoes I wear, but rarely. Otherwise they doze quietly in their red flannel shoe bag: my green patent-leather Louboutins. I’d coveted them since seeing them new in a shop in London, when they cost about as much as my plane ticket. I lay in wait for years for someone to put them up on eBay.

The name of the style is “Iowa.” Did the person in charge of naming styles for M. Louboutin know that Iowa is a flat agricultural state smack dab in the middle of the United States? Or perhaps he or she simply liked the esthetics of a word with three vowels and a consonant. What leads me to suspect the latter is the fact that Paris has a wanna-be TexMex cafe named “Indiana.”

When I went there, it was chockablock with images of Indians, who have nothing to do with TexMex food and are not much associated these days with the state of Indiana.
 
For the life of me, I can’t remember where I got the bracelet, but the blue-green-colored “art glass” cabochons practically glow, like that magnificent iridescence that you find in nature. It goes by the fine name ‘’goniochromism,’’ which you should really start throwing around more in general conversation. It’s the purview of butterfly wings and peacock feathers and  scarabs and abalone shells, of course, and of that changeable taffets which seems to have a recrudescence every few years on the racks of prom gowns, and probably should not.

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; Credit: Michelle Lanz/KPCC

From brights the other day to mutes today. You could call this color palette "blush and sand," which sounds like the title of a romance novel with a Valentino lookalike on the cover!

This is exactly the kind of sweater I used to tease my grandmother about wearing, the elaborately beaded 1950s cardigans that you saw on everyone from Babe Paley to Lucille Ball to … your grandmother. 

Of course, now I wish I had more of them! The best are the silk-lined cashmere or merino wool ones made in what was, for more than 150 years, the British Crown Colony of Hong Kong. The work of Hong Kong tailors is legendary, and now all the 1950s and early 1960s pieces are enjoying a tremendous vogue.

In this case the colors – bronze, blush and sand – are hushed, which lets the beading look more pronounced. The sleeveless top is a silk jersey criss-crossed with stitched bands of darker silk chiffon. King’s X? And then the skirt is bias-cut chiffon in very quiet hues. If designers gave quirky names to prints the way cosmetics makers do to lipstick and cheek color, we could call this one, "Shhh! This is a library!’"

So I’m glad that the shoes get paroled to holler. The nude patent color is ladylike, not loud, which is why I’m surprised but gratified that it’s hung around for a couple of seasons now. It’s a very versatile hue, even if it’s not making it as Pantone's color of the year.

No, the troublemaker part of this ensemble is the jeweled heels. Paul Simon sang of diamonds on the soles of one’s shoes; these are big dazzling rhinestones on the heels of mine. They gleam, they coruscate, they twinkle, they flash – amid all these well-behaved quiet colors, they send out a wink and a message that "I’m really a lively girl at heart, and at my feet."

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Patt Morrison's outfit for May 20. ; Credit: Michelle Lanz/KPCC

Here’s another version of those capris – these are a lace print from H&M – and while I’ve seen women wearing them with high heels, it just doesn’t seem right somehow. It so sullies the legacies of Mary Tyler Moore and Audrey Hepburn to pair them with anything but flats!

This is my version of a cutaway coat. In a coat like this I could attend Royal Ascot, or invent the telegraph. Obviously it’s a girl version, but I feel empowered, even … princely. At least Fred Astaire-ish. Maybe a pair of spats would make me feel more so. And I could waltz facing forward, not dancing backward, a la Ginger.

As for the adornments, I am not a hearts-and-butterflies kind of girl, but I do like to wear themed brooches in clusters or multiples, and this pair of hearts – just like a poker hand – seemed to work. One is the arrow-pierced one [not to be confused with the Pierce-Arrow, one of the handsomest motorcars ever made].

And the other, the enormous bogus diamond heart, I got from Butler & Wilson, the imaginative London costume jewelry [or better yet ‘jewellery’] designer. It’s my homage to a recent auction of what may be the largest perfect diamond in the world, 101.73 carats.

Harry Winston, the legendary jeweler, bought it for nearly $24 million and has chosen to call it, I am sorry to say, the “Harry Legacy,” which is not the kind of name a diamond like this deserves, one redolent of romance and myth, like “the Hope Diamond” or “the Koh-I-Noor Diamond.”

If you have any suggestions about what to name this magnificent perfect diamond, I’d love to hear them.

My own faux diamond’s name, I have decided, is “The Rhinestone Corazon.” How do you like it?

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Patt Morrison's outfit from her June 5, 2013 Patt's Hats entry. ; Credit: Michelle Lanz/KPCC

There are so many things  I like about this dress – the sleeve length, the boat neck, the fact that it’s navy and not black, and the fact that it wasn’t made in Bangladesh – but mostly it’s the gaily asymmetrical floral design that caught my eye.

The pattern is front and back, and I’m a stickler about those things. It looks like I have been loaded down with festive leis, but also loaded with one too many Mai Tais, so the flower garlands are askew as if I were listing a little bit.

There’s more of my current yellow shoe madness with these very Michelle Obama kitten-heel slingbacks in two different tones of yellow, one a more acid shade and the other more canary, or perhaps chrome yellow. That’s not to be confused with “Crome Yellow,” a very sardonic Aldous Huxley novel parodying the artsy intelligentsia set of 1920s England.

I hope you can see this bracelet. It’s a piece of Victorian mourning jewelry. The Victorians went way, way over the top on this stuff; some of it borders on the ghoulish, with lockets containing elaborately braided locks or even portraits or scenes made entirely from the hair of the deceased. I can admire the artistry but the sentiment can seem excessive. This piece, though, has a black and white enamel border around a tiny fly. Why a fly, I wondered. Then I read the inscription inside:

“From JR to AHR [clearly a husband to a wife] in loving memory of our darling little May Queen, died 7th August 1880, age 14 Mos.”

That inscription made the fly make sense. It’s a mayfly, a creature that lives a few days, or even just a few minutes, and here was this little girl, born in May – hence the May Queen reference to the mythical springtime queen of antiquity -- and died barely a year thereafter. So sweet, so sad, so human, all from an inscription on a bracelet. The girl’s parents are long dead, and so too are any siblings she may have had, but it can touch us more than 130 years later.

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Patt Morrison models a headdress from the movie "The Lone Ranger."; Credit: Michelle Lanz/KPCC

Trust me – you’re going to be seeing a lot of these between now and Halloween.

I went to “The Lone Ranger” premiere last month, and outside the theater, Disneyland began selling a version of the Tonto headdress dreamed up by Johnny Depp and his folks for his role in the film, which I found to be a rollicking, ironic version of the classic action adventure with some very sober scenes evoking Native Americans’ tragic history.

The inspiration, Depp says, was artist Kirby Sattler’s interpretive 2006 painting “I Am Crow.”

Depp himself has claimed Native American ancestry, and the bird atop his bean plays a substantial if silent role in the proceedings. It is an interpretive painting, as I said, not a literal rendering of any tribal makeup. In the Sattler painting, the bird is flying above the figure’s head, not perched on it.

But the movie’s invested in storytelling, not the fine points of accuracy. If it had been, it wouldn’t have made the historical solecisms of relocating both Monument Valley and the transcontinental railroad to … Texas.

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Patt Morrison's ensemble for Aug 8, 2013.; Credit: Dave Coelho/KPCC

What shall we call this color scheme? How about ‘Manhattan Mermaid’?

The petrel blues, the turquoises, the aquas – and then that uptown/downtown black, in this case a black linen duster over a Peter Max-style splashy-print silk dress. The way the hem pools at the sides a bit reminds me of the cut of Pre-Raphaelite ladies’ tunics; I’d love to dress “period” for a week to see whether I’d like it.

Imagine, a week of hoop skirts … a week of 1950s tailleurs … a week of bustles … a week of hobble skirts … a week of liberated Pre-Raphaelite velvet gowns!

The hat is so unmistakably summer in fabric and color that it doesn’t get out of the hatbox as much as it should, poor thing. And the shoes – I did not get them together, honest, but even though the prints don’t match, it’s the dissonance that makes them work better together than if they had.

The fabric is a very textured canvas and printed like batik. [They are not the soul of comfort – oh what a dreadful pun, but is there any other kind of pun? – but they look smart hooked over the railing of a chair in a chic bistro, which is where I intend to take them!]

And the bracelets, one from a great-aunt who had a fine eye for jewelry – the turquoise is almost Persian, it’s so green, but it’s more likely to be American. The cuff is definitely Southwest, with the rope-pattern trim and the irregularly shaped bezels, although the turquoises themselves are symmetrical.

Because I’m left-handed, my right arm bears the singular honor of being “ornamental,” and bearing the burden of the bling.

Summer on, ladies!

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: Michelle Lanz/KPCC

Someone just told me that pink and gray were Vassar’s colors. I would say, “Go Vassarettes!” but, one, Vassarette is a line of brassieres, and, two, the Vassar mascot is The Brewer, for the profession of its founder, Matthew Vassar. You go, Seven Sisters girls and guys!

The scarf is one of two I picked up on vacation – for some reason insect themes are big just now. This one has little gray ants marching over a pink field, a reminder of – what? Teamwork? Conformity? Time to call the exterminator? The other scarf, which I’ll wear presently, is the color of a ripe nectarine, with a pattern of vividly colored beetles. Scarabus chic. Dashing, no?

The glittery pink shirt is one more example of that contrast that I like, against the matte gray knit of the sweater (indoor-outdoor wear for L.A. summers, going from AC to Fahrenheit in a flash). Which explains the vast and shady hat – like a veranda on my head!

I was surprised at myself for buying these shoes – silver and bright pink; when would I ever be wearing that? But there they are, slingbacks made by “Emma Hope’s shoes, Regalia for feet,” an irresistible name.

The oval seal with the maker’s name reminded me of the oval seal on shoes made by Rayne, the 19th-century London shoemaker that had shod the women of the royal family for decades (but not the last two generations of those chic ladies: Diana, Princess of Wales, and Katherine, Duchess of Cambridge).

Please don’t blame Rayne for the Queen’s inordinate fondness for platform peeptoe shoes – her mother made her do it. Literally. Those royal ladies – the Queen, her late mother and late sister, Margaret – were quite short, and those shoes boosted their height. But still …

Here is Rayne’s website for a look at some of the glamorous and glorious shoes for feet past and present – including Anna Pavlova’s, prima ballerina assoluta. Mary Quant designed for Rayne. And before you look, that old caution:  If you have to ask how much …  

A pair of Rayne shoes is on my fantasy list for thrift-store finds, along with a Fortuny dress and a wild Schiaparelli hat. I believe, I believe...

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Enjoy a festive and relaxing holiday shopping experience at the Garden’s Holiday Pop-Up Shop. Browse a curated selection of unique nature-themed gifts in the charming, historic Julia Morgan Hall. Find the perfect gift for everyone on your list from these vendors and more!Bird vs Bird: Whimsical bird theme gifts from Oakland artist, Pess Petty Coyote Brush Studios: California native plants + wildlife prints, cards and stickers Dana Gardner: Original paintings and ceramics featuring birds Inna Jam: Emeryville based artisanal jams + cocktail mixers Juniper Ridge: Natural fragrance products + teas Oaktown Spice Shop: Delicious spice mixtures + gift sets Young America Creative: Posters featuring seasonal fruits, vegetables + wildflowers