The election is over, but conversations surrounding the outcome are sure to continue for weeks to come. With Thanksgiving right around the corner, knowing how to engage with friends and family members with differing political views may help keep tempers at bay - and relationships intact. Virginia Tech expert Todd Schenk shared his advice for how to keep the peace.

U.S. President-elect Donald Trump has tapped Elon Musk and Vivek Ramaswamy to lead a new commission on cutting government spending and regulation. ...

The figure of Saint Michael, or Michael the Archangel, is one of the most powerful and revered beings in religious history. Known as the protector of the faithful and a warrior against evil, Archangel Michael is venerated across Christianity, Judaism and Islam.

The synthesis, crystal structure, and Hirshfeld surface analysis of N-(4-methoxyphenyl)picolinamide (MPPA), C13H12N2O2, are presented. MPPA crystallizes in the monoclinic space group P21/n, with a single molecule in the asymmetric unit. Structural analysis reveals that all non-hydrogen atoms are nearly coplanar, and the molecule exhibits two intramolecular hydrogen bonds that stabilize its conformation. Supramolecular features include significant intermolecular interactions, primarily C—H...π and various hydrogen bonds, contributing to the overall crystal cohesion, as confirmed by energy framework calculations yielding a total interaction energy of −138.3 kJ mol−1. Hirshfeld surface analysis indicates that H...H interactions dominate, followed by C...H and O...H interactions, highlighting the role of van der Waals forces and hydrogen bonding in crystal packing.

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David Rolf, International Vice President of the Service Employees International Union, stands in his downtown Seattle office. Rolf led the campaign to bring a $15 minimum wage to Seatac, Washington in 2013.; Credit: Ben Bergman/KPCC

As Los Angeles mulls a law that would raise the minimum wage above the current California minimum of $9 an hour, it's the latest city to jump on a trend that started as the by-product of a failed labor negotiation in the state of Washington.

The first city to enact a $15-per-hour minimum wage was SeaTac, Wash., — a tiny airport town outside Seattle. "SeaTac will be viewed someday as the vanguard, as the place where the fight started," the lead organizer of SeaTac's $15 campaign, David Rolf, told supporters in November 2013 after a ballot measure there barely passed.

Rolf never set out to raise SeaTac’s minimum wage, much less start a national movement. Speaking from a sparse corner office in downtown Seattle at the Service Employees International Union 775, which he founded in 2002, Rolf told KPCC that his original goal in 2010 was to unionize workers at SeaTac airport.

When employers – led by Alaska Airlines — played hardball, Rolf put the $15 minimum wage on the ballot as leverage. “We had some polling in SeaTac that it could pass, but it was not at all definitive,” Rolf said.

That proved prescient: In a city of just 12,108 registered voters, Rolf's staff signed up around 1,000 new voters, many of them immigrants who had never cast a ballot. The measure won by just 77 votes.

It's an irony that the new law doesn't apply to workers at the center of the minimum wage campaign: The airport workers at SeaTac. That's because the Port of Seattle, which oversees the airport, challenged the initiative, arguing that the city's new minimum wage should not apply to the nearly 5,000 workers at the airport. A county judge agreed. Supporters of the $15 wage have appealed.

Still, Rolf said, "I think people are proud that that’s what happening. There are leaders of the movement in Seattle, including our mayor, that said shortly after the victory, 'Now we have to take it everywhere else.'"

The $15 minimum wage spread to Seattle last June and to San Francisco in November. 

Why $15 an hour?

The $15 figure first came to people’s attention in a series of strikes by fast food workers that started two years ago in New York. 

“I think it’s aspirational, and it provides a clean and easy-to-understand number," Rolf said. "You can debate whether it ought to really be $14.89 or $17.12, and based upon the cost of living in different cities, you could have a different answer. But in the late 19th and early 20th century, American workers didn’t rally for 7.9 or 8.1 hour working day. They rallied for an eight-hour day.”

“What’s really remarkable about social protest movements in American history is that the radical ideas of one group are often the common sense ideas of another group in a matter of a few years," said Peter Dreier, professor of politics at Occidental College.

Rolf is hopeful the $15 minimum wage can spread to every state. But Nelson Lichtenstein, Director of the Center for the Study of Work, Labor and Democracy at the University of California, Santa Barbara, is skeptical.

“I don’t think having high wages in a few cities will mean it will spread to red state America,” he said. 

Lichtenstein said cities like L.A. have become more labor friendly, thanks largely to an influx of immigrants, but that’s not the case in the South. Oklahoma recently banned any city from setting its own minimum wage, joining at least 12 other states with similar laws, according to Paul Sonn, general counsel and program director at the National Employment Law Project.

In November, voters in four Republican-leaning states — Alaska, Arkansas, South Dakota, and Nebraska — approved higher minimum wages, but they weren’t close to $15.

A $15 dollar wage would have a much greater impact in Los Angeles than Seattle or San Francisco because the average income here is much lower than in those cities. Post-recession, income inequality has become much more of a concern for voters, which has made $15 more palatable, Sonn said.

This fall, the Los Angeles City Council enacted a $15.37 minimum wage for hotel workers that takes effect next year. A similar law has been in effect around LAX since 2007. 

But even though California cities have been allowed to set their own minimum wages for more than a decade, L.A. has never come close to doing so.

Until now.

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

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.

“Union members and non-union members have a strong interest in seeing our economy grow," said Rusty Hicks, the new head of the Los Angeles County Federation of Labor, which represents over 300 unions.; Credit: Ben Bergman/KPCC

Labor unions have led the fight to raise the minimum wage in several American cities, including Los Angeles, where the City Council is considering two proposals right now that would give raises to hundreds of thousands of workers (to $13.25 an hour by 2017 and $15.25 an hour by 2019).

But few of the unions' members have benefited directly from the initiatives. So why do unions care about a $15 wage for non-union workers? 

It’s part of a long-term strategy to protect the interests of their members, labor leaders say. They also see an opportunity to raise the profile of unions after years of falling membership.

"We can’t be the movement that’s just about us," said David Rolf, an international vice-president of SEIU, who led the first successful $15 minimum wage campaign in SeaTac, the town in Washington that is home to the region's similarly named airport. 

“We have to be the movement that’s about justice for all," Rolf added. "The labor movement that people flocked to by the tens of millions in the 1930s wasn’t known for fighting for 500-page contracts. They were known for fighting for the eight-hour day, fighting to end child labor.”

The idea that workers should earn $15 dollars an hour first came to the public’s attention during a series of fast food strikes that started in New York City in late 2012. Those workers didn’t just walk off the job by themselves. They were part of a campaign organized by unions, led by SEIU, which is made up mostly of public sector and health care workers.

$10 million fast-food strikes

The Service Employees International Union spent $10 million dollars on the fast food strikes, according to The New York Times. But none of those restaurants have unionized, and because it’s been so hard to form private sector union these days, they probably never will, said labor historian Nelson Lichtenstein.

“In effect what you have now is the SEIU – its hospital membership or its members working at the Department of Motor Vehicles – helping to raise the wages of fast food workers, but not their own wages,” Lichtenstein said.

That's because unionized workers earn far more than the current or proposed new minimum wages, in L.A. an average of more than $27 an hour, according to UCLA's Center for Research on Employment and Labor. 

The spread of the $15 minimum wage from SeaTac to Seattle to San Francisco — and now possibly Los Angeles — is a huge victory for labor unions, but it’s unlikely most of the people getting raises will ever be part of organized labor.

Still, the rank and file seem to support their unions' efforts.

“I personally support using our organization as a way to advocate for those who don’t have a voice," said Rafael Sanchez III, a teacher's assistant at Bell High School who's a member of SEIU Local 99. 

A challenging time for the labor movement

In the 1950’s, about one in three American workers belonged to a union. Last year, just 11 percent did – or 6 percent of private sector workers – the lowest numbers in nearly a century.

Rolf says the minimum wage campaigns mark a change in tactics for organized labor; Rather than the shop floor, the focus is on the ballot box and city hall.

“Since at least the 1980s, winning unions in the private sector has been a Herculean task," Rolf said. "The political process provides an alternative vehicle.”

And an increasingly successful one. It was voters who approved the first $15 wage, in Washington state in 2013, and another one in San Francisco last year.  

In Los Angeles, the issue is before the city council. Mayor Eric Garcetti opened the bidding, proposing a raise of $13.25 on Labor Day before six council members countered with $15.25.

The Los Angeles County Federation of Labor – lead by Rusty Hicks — is pushing for the higher option.

“Union members and non-union members have an interest in seeing our economy grow," said Hicks. "You can’t continue to have a strong, vibrant economy if in fact folks don’t have money in their pockets.”

Other benefits for unions: A safety net and a higher floor

Some union members see a higher minimum wage as a safety net.

Robert Matsuda is a studio violinist represented by the American Federation of Musicians, part of the AFL-CIO. Even though he’s not working for the minimum wage now, he worries that may not last: He’s getting fewer and fewer gigs as more film and TV scoring is outsourced overseas.

“I might have to take a minimum wage job in the near future, so it might directly affect me,” said Matsuda.

There’s also a more tangible benefit for unions, says Nelson Lichtenstein, the labor historian: A higher minimum wage means a higher wage floor to negotiate with in future contracts.

“It’s one labor market, and if you can raise the wages in those sectors that have been pulling down the general wage level – i.e: fast food and retail – then it makes it easier for unions to create a higher standard and go on and get more stuff,” said Lichtenstein.

On Friday morning, union members will rally in front of Los Angeles City Hall, calling on the council to enact a $15.25 an hour minimum wage as soon as possible.

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.

More than 70 passengers travelled through LAX last year, an all-time record.; Credit: Photo by monkeytime | brachiator via Flickr Creative Commons

Here’s a pop quiz: What is the world’s busiest airport?

Almost two weeks ago, Chicago's O'Hare International claimed the honor.

"As Chicago reclaims its place with the world’s busiest airport, it speaks to the strength of our city’s economy," bragged Chicago Mayor Rahm Emanuel.

Not so fast, said Dubai, which last week said it was number one.

“This historic milestone is the culmination of over five decades of double-digit average growth," announced HH Sheikh Ahmed Bin Saeed Al Maktoum, Chairman of Dubai Airports.

Then, on Wednesday, Atlanta weighed in, and yes, it also claimed to be the champion.

“I am pleased to announce that once again – for the 17th year in a row – Hartsfield-Jackson Atlanta International Airport is the busiest airport on Planet Earth, with more than 96.1 million passengers,” Atlanta Mayor Kasim Reed said. 

Airports Council International ranks Atlanta as number one in passenger traffic, but those are based on 2013 numbers. The group's 2014 numbers will be out in a few months, but until then we know that LAX proudly takes an undisputed sixth place.

Gina Marie Lindsey, Executive Director of the Los Angeles World Airports, announced her retirement Tuesday after a 33-year career in the aviation industry. Since Lindsey started in 2007, passenger traffic has grown by 15 percent. 

Aviation consultant Jack Keady doesn’t think LAX stands a chance of competing with rapidly expanding Dubai, which state-owned Emirates airlines has made its glitzy global hub.

"Dubai has bumped everyone down,” said Keady.

Still, Keady says LAX will keep growing, even though it’s going to be working with the same number of runways for the foreseeable future.

“Instead of running 30-passenger turboprops and 100-passenger planes, you start bringing in the heavy metal,” said Keady.

Bigger planes are especially important because under a 2006 settlement with airport neighbors, once LAX hits 75 million passengers, it has to start closing gates.

More than 70 million passengers travelled through LAX last year, an all-time record.

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

(Stock photo); Credit: Meathead Movers/flickr Creative Commons

As of today, KPCC is moving Breakdown coverage to our main business page, where you will find KPCC’s ongoing news and information about Southern California business and the economy.

As a result, the Breakdown blog will no longer be updated. All previous Breakdown posts will remain available here as an archive.

Please let us know if there are issues you feel merit coverage. You can comment below, by email, on our Facebook page or on our Twitter feed (just "@" mention @KPCC).

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.

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.

A large The Actor statue is placed on stage during 21st Annual SAG Awards Behind The Scenes At The Shrine Auditorium Jan. 23, 2015 in Los Angeles.; Credit: Kevork Djansezian/Getty Images

Click here for KPCC's Awards Tracker

This Sunday's Screen Actors Guild Awards aren't as high profile as the Academy Awards, or even the Golden Globes, but they serve as one of the best predictors of who's going to take home a gold statue come Oscar night. Here's why.

Who votes for the SAG Awards?

SAG Award nominees are chosen by a committee of about 2,100 of the guild's members, according to awards news site Gold Derby. Then, all of the 111,228 members of the Guild have the chance to vote for their picks.

Meanwhile, the acting nominees for the Academy Awards are chosen by the 1,100 members in the Academy's actors branch, before being voted on by the Academy's full 5,700 members. Those actors are all part of SAG, so you're likely to see a strong correlation most years between the awards, particularly in the acting category.

How often do the SAG Awards predict the Oscar winners?

The SAG Awards have proven to be the best Oscar predictor in the acting category of any other major awards season prize since they began in 1995, both in nominations and winners. Of the 20 nominations and four winners from each shows, the overlap between the SAG Awards (aka "the Actors") and the Academy Awards in the last few years:

• 2009: 18 nominations; 3 winners
• 2010: 19 nominations; all 4 winners
• 2011: 17 nominations; all 4 winners
• 2012: 16 nominations; 3 winners
• 2013: 15 nominations; 3 winners
• 2014: 14 nominations; all 4 winners

This year, 17 nominees crossed over between the awards shows, with the Oscars matching up on all five nominations for best supporting actor and four of the five nominations in the other three acting categories.

Where have the SAG Awards differed from the Oscars?

SAG voters have lined up with the Academy on Best Actor 16 out of 20 times. The last time they differed from the Oscars was 2003, when Johnny Depp won at the SAG Awards for "Pirates of the Caribbean: Curse of the Black Pearl" before Sean Penn took the statue home at the Oscars for "Mystic River."

For Best Actress, SAG last split from Oscar in 2011, going with Viola Davis for "The Help" over eventual Oscar winner Meryl Streep for "The Iron Lady." They've matched up 14 out of 20 years.

In the supporting categories, the SAG Awards haven't fared as well. They went 12 for 20 in Best Supporting Actor, and 13 for 20 in Best Supporting Actress. That one also has an asterisk — one of those was a tie, so if you don't count that one, they're also only 12 for 20.

What does this all mean for the Oscars?

The SAG Awards remain the ones to watch when it comes to the acting awards — though their Best Ensemble category, the SAG Awards version of Best Picture, doesn't have a particularly strong correlation to the Oscars Best Picture winner. (For that, you'll want to watch for the Producers Guild Awards.)

We're tracking awards season and what experts are predicting; see KPCC's Awards Tracker below or click here to see the full page. You can watch the Screen Actors Guild Awards this Sunday at 5 p.m. Pacific, 8 p.m. Eastern on both TBS and TNT.

Disclosure: Mike Roe, along with other members of KPCC's staff, are members of the Screen Actors Guild as part of their employment with KPCC.

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

An image from a teaser for Marvel Comics' 2015 "Civil War," part of crossover "Secret Wars." Could Spidey appear in the new Captain America: Civil War film now that Marvel and Sony have worked out a deal?; Credit: Marvel

Spider-Man is coming home to join the rest of the Marvel movie family (um, except for the Fantastic Four and the X-Men) in upcoming films under a new deal struck between Sony, the home for Spider-Man movies, and Disney's Marvel Studios, home of Iron Man and the Avengers

It's been a bumpy road for Spidey for almost a decade, but now he's set to be part of the largely critically and financially successful Marvel Cinematic Universe films. He's already made history, and he could make more history soon. 

Here's a brief history of cinematic Spider-Man, looking ahead to his new adventures with Marvel's large and growing stable of movie superheroes.

Coming out of the superhero dark ages

Spider-Man was one of the catalysts for the current superhero movie boom. Superhero films were seen as potentially dead following the bomb of "Batman & Robin" with George Clooney, a critical failure and a mixed bag commercially.

Marvel dipped its toes in superhero movies with 1998's "Blade," which was a big hit, followed by 2000's "X-Men," but they both tried to distance themselves from their comic book source material (and the Joel Schumacher Batman movies) by putting their heroes in black leather and grounding them as much as possible in real-life aesthetics.

Sony's first "Spider-Man" movie came out in 2002 and showed that there was still room for an optimistic comic book take. The Sam Raimi-directed film also had a huge cultural impact as one of the first big summer movies following 9/11 — an early teaser that showed Spidey trapping bad guys between the two towers had to be pulled following the disaster.

Spider-Man 9/11 trailer

The movie ended up pulling in almost $822 million at the box office, including almost $404 million domestically, helmed by genre director Raimi, who had previously been best known for the horror-comedy "Evil Dead" films.

Spider-Man trailer

Tobey Maguire surprised as the star, pulling off the nerdy, earnest Peter Parker while also being believable enough as an action star in the Spider-Man suit. Maguire starred alongside Kirsten Dunst as love interest Mary Jane and Willem Dafoe as the villainous Green Goblin, and the film included the not-yet-a-superstar James Franco as Harry Osborn and now-Oscar-nominated J.K. Simmons as Daily Bugle publisher J. Jonah Jameson.

A sequel, 2004's "Spider-Man 2," continued the success of the first, with only a slight dip in overall box office while proving that the first film's success wasn't just a flash in the pan, that there was room for a relatively bright superhero in a dark time.

Spider-Man 2 trailer

Maguire almost ducked out of filming during negotiations, complaining of back pains following injuries while filming "Seabiscuit," and Jake Gyllenhaal almost stepped into the role — but Maguire recovered and held onto his spot. The escapist entertainment of superhero movies was starting to take hold in a growing way, but the superhero train was about to come off the rails for a few years.

The twilight of Tobey Maguire

As "Spider-Man 2" was hitting theaters, 2004 also brought "The Punisher," "Blade: Trinity" and "Catwoman," none of which showed superheroes as particularly promising movie saviors.

Marvel turned out more superhero movies that weren't loved by critics, including "Elektra," "Fantastic Four" and "X-Men: The Last Stand," though the latter two still did well at the box office (all were released by 20th Century Fox). DC Comics made the critical and commercial hit "Batman Begins" in 2005, but stumbled in 2006 with the underperforming "Superman Returns."

In 2007, "Spider-Man 3" dropped, and while it did great at the box office — it was the series' most popular film worldwide, though it dipped domestically — it was slammed by fans and critics. They took that Spider-Man optimism and tried making him emo, while overstuffing the bad guys — going from one villain in the previous films and upping it to three — and turning the campy dialogue up to 11.

Spider-Man 3 trailer

Trying to be 'Amazing' in a new superhero era

While Spidey stumbled, the next year Marvel released its first film from its own studio, the groundbreaking "Iron Man." It showed that you could make a franchise from a hero who was big in the comics but didn't have the same mainstream recognition.

It revitalized Robert Downey Jr.'s career and put Marvel Studios on the map, with a post-credits sequence laying the seeds for completely tying the films together in a way that hadn't been done on this scale ever before.

While Marvel started to crank up their self-produced film, Spider-Man lay dormant. Eventually, it was decided to reboot the character with Andrew Garfield taking over the role in 2012's "The Amazing Spider-Man." It scored the lowest domestic take of the series, while still excelling overseas.

Amazing Spider-Man 2 trailer 1

Sony quickly followed up with a sequel, while announcing their own plans to ape Marvel and try to create their own cinematic universe.

Amazing Spider-Man 2 villains trailer

The second "Amazing Spider-Man" movie set up other potential villains, and holding off the payoff of what exactly happened to Peter Parker's parents as Marvel tried to stretch Spider-Man into a female-led film, one focused on the villains, a movie led by Spidey character Venom and more.

Amazing Spider-Man first 10 minutes

The sequel showed diminishing returns, though, and plans for further sequels and spinoffs began to seem up in the air.

Hacked

In the midst of the Sony hack, documents revealed that Sony and Marvel had been negotiating over Marvel using Spider-Man in its own films — despite Sony having the rights to the character in perpetuity as long as they kept producing films, a deal worked out before Marvel had the resources and the belief in their own filmmaking capabilities. Still, the documents also showed that the talks had fallen apart, and hopes for Spider-Man appearing with Iron Man, Captain America, Thor and the rest of his Marvel friends appeared dim.

Then, Monday, Marvel shocked everyone by announcing that Spider-Man was coming home and would be part of the Marvel Cinematic Universe after all. There had been reports that they'd wanted Spider-Man for the third Captain America film, and with that film set for 2016, that may still happen. They also pushed back four of their "Phase Three" movies to make room in 2017 for a new "Spider-Man" movie, with reports indicating that the movie will feature a new actor taking over and Andrew Garfield getting pushed aside.

Spider-Man comes home

Andrew Garfield will likely go down in comics movie history as the right guy at the wrong time. He was a likable lead with a strong supporting cast, but Marvel looks ready to turn the page. Those on the Marvel side have previously indicated they'd avoid doing another origin story, so we'll probably skip seeing Uncle Ben killed to inspire Peter Parker once again.

"The new relationship follows a decade of speculation among fans about whether Spider-Man – who has always been an integral and important part of the larger Marvel Universe in the comic books – could become part of the Marvel Universe on the big screen," Marvel said in the announcement of the new deal.

Fans online have been largely ecstatic over the announcement of Marvel getting control of the character. Reports indicate that Sony still gets final say over Spider-Man, but that they're letting Marvel take the creative lead. Marvel also announced the possibility that other Marvel characters could appear in future Spider-Man films.

While Sony's Amy Pascal stepped down as the motion picture head of Sony following the hacking scandal and its associated public embarrassments, she's staying on as a producer — including co-producing the next Spider-Man film with Marvel creative film leader Kevin Feige.

Some fans have also asked for an even bigger step away from the traditional Spider-Man by introducing Miles Morales, the popular half-black/half-hispanic Spider-Man from an alternate universe in the comics, but the official Marvel press release does mention Peter Parker, and Marvel executives have previously taken a strong stance against moving away from Parker as the secret identity.

Still, as Badass Digest's Devin Faraci notes, the executive who'd taken the strongest stance against Miles Morales — Avi Arad — isn't mentioned in the press release about the new film, so maybe Marvel will surprise fans once again. Also, relations have apparently been icier between Marvel and Fox, with fans speculating that Marvel is trying to ice out the X-Men and the Fantastic Four from their comics — but if the companies could work out a deal to use those heroes in a Marvel Cinematic Universe film, it could prove to be an even bigger surprise.

The new Spider-Man film is set for July 28, 2017, and he may appear in another Marvel film sooner.

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: A general view during player introductions before game one of the National League Division Series between the Los Angeles Dodgers and the New York Mets at Dodger Stadium on Oct. 9, 2015 in Los Angeles.; Credit: Stephen Dunn/Getty Images

Do you want to track the Dodgers as the new season gets underway, but either don't have cable or are at work during the game? Maybe you want to keep an eye on the boys in blue but have an office job that gives you checks in black and white, and you want to keep your bleeding red for your favorite team from sending your bank account into the red as well. Or maybe you just aren’t going to have access to a TV at the time. Here are four ways to check the Dodgers out this season.

1. Track what’s happening with MLB.com’s free Gameday service

Want to see what’s going on as if the Dodgers game was a video game? You have to pay if you want to watch video (with alternate angles!) or listen to audio with Major League Baseball's MLB.tv service — but you can watch virtual avatars simulating the game with MLB Gameday for free. Just visit MLB.com/scores, then click on the Gameday button beneath the game you want to follow. Or, you can keep it more old school by tracking scores on the scores page — alongside video highlights.

2. Follow what’s going on on Twitter

Want to keep an eye on things but don’t want to stare at a streaming video feed? You can follow what’s happening with Twitter. The Dodgers themselves tweet highlights and results at @Dodgers, plus you can do a search for “Dodgers” or track what’s happening on various popular hashtags, including #Dodgers, #ThinkBlue and #ITFDB (It’s Time For Dodgers Baseball).

3. Listen to the radio, over the air or online

The official Dodgers radio broadcaster in L.A. is AM 570 L.A. Sports. As noted above, you can also pay to listen to audio from MLB.tv — but the service isn't available for local, "in-market" games, which are blacked out as part of their contracts with local broadcasters. The Dodgers broadcasts are also available in Spanish on 1020 AM KTNQ.

4. Stream ESPN on your computer, phone or tablet

ESPN lets you watch the opening day game and others throughout the season online... well, some of you, at least. Due to various cable company deals and other red tape, you have to already be a cable subscriber — sorry, cord cutters — but most major cable company subscribers can log in and stream the Dodgers online, or using ESPN's mobile apps available on iOS and Android. That also means you can find a friend who has cable, and team up with them to watch online — or just hang out at their place for the foreseeable future.

Many other Dodgers games throughout the season will be on SportsNet L.A., but you have to subscribe to Charter Spectrum, Time Warner, or Bright House in the L.A. area to get this channel. However, five of the games this season will be shown on KTLA, expanding your options for potentially checking the Dodgers out. You can find out more in the SportsNet L.A. FAQ.

How are you tracking the Dodgers? Let us know in the comments or by tweeting us at @KPCC.

This story has been updated; it was originally published in 2013.

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

When you look at fast growing private companies in the U.S., you need look no further than a small city next to Los Angeles International Airport.

Steve Julian: Business analyst Mark Lacter, tell us about the company that's based in El Segundo.

Mark Lacter: It's called Fuhu, Steve - that might ring a bell with some parents because Fuhu is the maker of the Nabi.  The Nabi is an Android tablet for kids, and it's a very cool device that mimics a lot of the capabilities of regular tablet, including the ability to play games and get onto the Web (with controls that parents are able to set up).  Last year, they sold 1.2 million Nabis, and that helped push the El Segundo company to the very top of Inc. magazine's list of fastest-growing businesses.  That's number one on a list of 5,000 companies, with a three-year growth rate of 42,148 percent.  Or, to put it another way, company revenue was $279,000 in 2009; it was almost $118 million in 2012.  Now, by the standards of an Apple or a Samsung, those are still not huge numbers -

Julian: - and maybe that explains why there's been relatively little media coverage of this company.

Lacter: It might also explain why local tech companies in general get short shrift.  Many of them are quite successful, but they're often on the small side, and they're also privately held as opposed to publicly-traded on a stock exchange.  That's one big difference from Silicon Valley, which has so many huge public corporations: Apple, Intel, HP.  L.A. County has only six Fortune 500 companies, and not a single one devoted solely to technology.  In Silicon Valley, there are 22 in the Fortune 500.

Julian: And yet, the L.A. economy has more than held its own without those large corporations.

Lacter: Matter of fact, the accounting firm PriceWaterhouse studied more than two dozen cities around the world to determine where it was easiest to do business (that's based on factors like access to labor), and what they found - somewhat surprisingly - was that L.A. ranked ahead of both San Francisco and Tokyo.  And, you can see evidence of that with the increase in venture capital money coming into all parts of L.A.  Now, it's important to keep an eye on all these up-and-coming companies because these businesses are helping generate higher-wage jobs.  And, for an area with a still-high unemployment rate - still over 10 percent in some places -- that's a big deal.

Julian: Speaking of companies, does anyone want to buy the L.A. Times?

Lacter: The answer is yes - most recently, the controlling owner of the Dodgers, Mark Walter, said he was interested in both the Times and the Chicago Tribune (though there's no way to know whether there are actual discussions taking place).  You also have several local groups, including one that involves billionaire Eli Broad, that have been interested to one degree or another.  But what was thought would be a fairly straightforward auction process has turned enormously complicated.  It's now to the point where the Tribune board has decided spin off the papers into a separate business, and that process will take until next year to complete and could preclude any sales for quite some time after that.

Julian: So, it's Limbo-land for the Times for who knows how long.

Lacter: Steve, it's not that Tribune really wants to keep the newspapers.  But, selling them off presents huge tax implications.  Also, there are assets that the potential buyers thought would be part of the package - assets that include real estate - that Tribune wants to hold onto.  So, what's left to sell are just the newspapers themselves, and frankly, they're among the least valuable properties.

Julian: Now, last week came word that the billionaire Koch brothers, who were believed to be interested in the Tribune properties, decided not to pursue a deal...

Lacter: ...that's right, they don't consider the Times or the other dailies to be economically viable.  You might recall a bit of an outcry over the prospect of having the Kochs, who are staunch conservatives, becoming the owners of these papers.  So, they're out of the picture.  But for the L.A. Times, it's really the worst of all worlds: no new owner and no vision for recasting the paper, at least in the near term.

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.

Now that we have a deal between Time Warner Cable and CBS, we can turn our Hollywood focus back on the movie industry.

Steve Julian: Business analyst Mark Lacter, would you agree it's been an up and down summer at the box office?

Mark Lacter: It's been a flaky summer for Hollywood, Steve.  On the plus side, ticket revenue was up more than 10 percent, and attendance increased around six-and-a-half percent compared with last year (this covers the first week of May through Labor Day weekend).  The problem is that the studios and their investors spent huge amounts of money to make a lot of these movies, and they had to compete in a very crowded market - 23 big-budget films came out this summer, which is way higher than normal, and some of them never had a chance.

Julian: Some examples?

Lacter: Probably the biggest clunker was "The Lone Ranger," which could end up losing close to $200 million for Disney.  Another big disappointment was "White House Down," which was distributed by Sony and brought in only $140 million, which for a big-budget action film is really bad.  Even a film like "Pacific Rim," which did well at the box office, might still end up in the red because the production and marketing costs were so high.

Julian: And summer, of course, is the time when studios want to bring out these monster releases -

Lacter: - right, what they call "tent poles" - and in that category, the biggest winner was Disney's "Iron Man," which took in $1.2 billion.  Also having a great summer was "Monsters University" from Pixar, with $700 million.  You also had "Despicable Me 2" and "Fast and Furious 6," which might not be our cup of tea (speak for yourself, it takes me back to my police car days!), but did very well for Universal.  Eight of the top 12 films this summer were sequels - and yet, sequels were no guarantee of success (a number of them really struggled).  And, some non-blockbuster films found considerable success: "Now You See Me" from Lionsgate only cost $75 million to make.

Julian: So, in some ways, Hollywood was its usual unpredictable self.

Lacter: That's right - and don't expect any big changes in strategy when it comes to big-budget films.  The prospect of having huge success with one of these blockbusters is just too great, but perhaps more important is the fact that many of these films are financed by multiple groups of investors, and so the risk is spread around.  It's not like the old days when a studio bankrolled the whole thing.

Julian: Though, sounds like it's bad news for the city of Los Angeles: the "Man of Steel" sequel is going to be shot in Michigan?

Lacter: Mayor Garcetti has actually declared a state of emergency because the city keeps losing business to other states that offer big tax incentives to films - what's known as runaway production.  The truth is that business has been lost over the years, but L.A. is hardly in any danger of losing its spot as the center of entertainment.  And, you can see that with the L.A. County Board of Supervisors signing off on Disney's plan for a TV and movie production facility near Santa Clarita that will add more than a half-million square feet of studio space.

Julian: And, Universal's expanding, too.

Lacter: Earlier this year, Universal was given the approval to build more production facilities, and Paramount is planning an expansion, as well.  Now, these are all very ambitious projects - not the sort of investments that would be made if these studios were looking elsewhere to make movies and TV shows.  And, of course, they mean jobs - actually, employment levels in the entertainment industry have remained fairly steady going back the last decade.

Julian: Are there states that are pulling back their incentives?

Lacter: Yes, the state of North Carolina, which has been especially aggressive in using tax incentives to draw in movies and television going back to the 80s, is phasing out the giveaways because legislators have decided that the economic benefits aren't worth the tax revenues being lost.  And, other states with tax incentive programs are pulling back as well - they're finding that the payback is very difficult to measure.

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.

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.

We've been reporting on the city of Los Angeles approving major developments without seismic studies attached.

Steve Julian: Business analyst Mark Lacter, why is this?

Mark Lacter: Steve, this is a real gotcha moment for the L.A. Planning Department, the City Council, and everyone else at City Hall who signed off on these projects.  The latest revelation, which was reported by the L.A. Times, shows that a planned 39-story residential tower in Century City is just 300 feet from the active Santa Monica fault.  And, we're only learning about this because the Metropolitan Transportation Authority did its own seismic testing near the site when it was looking for potential subway stops, and officials decided that it was too close to the fault.  This also comes after three large-scale projects in Hollywood were found to be located quite close to the active Hollywood fault.

Julian: The concern is that if any faults were to rupture, the foundation of a building could be split apart.

Lacter: Kind of an inconvenient truth both for the developers, who have millions of dollars riding on these projects, and for L.A. city officials who are betting on a future that will include many more high rises.  And, we should note that more than two-dozen high rises are either in the process of going up, or are at least on the drawing board.  In case you're wondering why there aren't regulations that monitor this sort of thing, the answer is that there are regulations.  California has a law that requires state geologists to map active earthquake faults, and then set zones on either side of the fault line.

Julian: Has the state done this?

Lacter: The state says it hasn't had the time nor the money to map areas within the city of L.A., though the faults have been known to be in the general vicinity of these projects - and so, you'd think the city would want them tested extensively.  Of course, that would mean more delays, which the developers wouldn't be happy with.

Julian: Of course, seismic studies are not always definitive.

Lacter: They're not - and it's possible that different geologists would come up with different findings.  But so far, most of the information seems to be coming from the developers, and you have to wonder whether it's a great idea to rely on folks who have a financial interest in a project to tell us what's safe and what isn't.  Probably not.

Julian: Your article in the new issue of Los Angeles Magazine raises a broader point about the city's business climate.

Lacter: Steve, for many years, L.A. has been branded as a terrible place to do business because of government interference, but that's largely a myth.  If anything, city officials have been too accommodating.  Frankly, the anti-business rap never made much sense when you consider the thousands of companies that start up here each year.  A study by the accounting firm PricewaterhouseCoopers ranks L.A. particularly high when it comes to ease of doing business, which runs counter to the conventional wisdom.

Julian: You're not saying it's truly easy, are you?

Lacter: Easy, no.  There certainly are plenty of reasons for business owners to pull out their hair.  And those hassles, along with an unemployment rate that remains quite high, has given developers and others the leverage to ask for various giveaways.  All they have to do is say that their projects will generate more jobs, and city officials tend to respond favorably - no matter how questionable those proposals might be.  And, by the way, job creation doesn't always determine economic growth, certainly not in the short term.

Julian: We all remember during the mayoral campaign, candidates were talking about how their policies would lead to lower unemployment...

Lacter: ...right, almost like they could pick up jobs at Ralphs.  Well, it doesn't work that way.  Thing is, the city of L.A. doesn't need to cut so many deals - the local economy is rich enough and broad enough to keep prospering.  Which is why city officials would be much better off laying off the incentives, and focusing on the basics - public safety, transportation, the parks, and libraries.  Do that right, and the business climate will take care of itself.

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.

The partial federal government shutdown is one week old, but economists are still saying that its impact in Southern California and elsewhere will be limited.

Susanne Whatley: Business analyst Mark Lacter, why is that?

Mark Lacter: If you look back on the history of these things, Susanne, you see that the disputes are resolved before too much damage gets done.  As for Southern California, I notice that KPCC's Alice Walton was asking around over the weekend about the shutdown, and most folks gave it a shrug.  The regional economy is just too diversified - and not especially tied to federal employment.  You have about 46,000 federal workers employed in L.A. County in one capacity or another - that's out of a workforce of nearly 5 million.  And, now it appears as if the federal employees who have been furloughed are going to receive their back wages whenever the shutdown finally ends.

Whatley: That still might make things dicey when it comes time to pay the monthly mortgage...

Lacter: ...but at least money will be available before most folks run into serious liquidity issues.  That's what the shutdown really comes down to - inconvenience rather than dislocation.  And, you see this with the various government services affected: the E-Verify website is down - that lets business owners know whether the people they're wanting to hire can work legally in the U.S., which obviously is important.  The Small Business Administration has stopped processing loan applications, and the Federal Housing Administration is reporting delays in its loan processing, which could mean a home buyer might not complete his or her paperwork all that quickly.

Whatley: But, what if this were to go on for months?

Lacter: Well, then it would create problems, but nobody really thinks that's going to happen.  The real issue, not just nationally and regionally - but globally - is the refusal by Congress to raise the debt ceiling.  The deadline is a week from Thursday, and - of course - there's been all sorts of debate about what this would mean for the economy.

Whatley: All right, so what would this mean for the economy?

Lacter: Well, no one knows exactly.  But, then again, no one knows exactly what would happen if you fell out of a airplane without a parachute.  I just wouldn't want to test it out.  And, of course, let's keep in mind that these are manufactured crises - not reflective of anything that's going on with the real economy.  It's certainly not reflective of anything that's going on in L.A., which saw a big jump in payroll jobs for 2012 - actually it was the sharpest increase since 2005, and nearly double the national rate (that's despite an unemployment rate that remains very high in certain parts of Los Angeles).

Whatley: What about some of the big locally based companies?

Lacter: Well, if your company is publicly traded, there's a good chance your shares took a dip these past few days.  Going back to September 18, the Dow has lost almost 700 points, which - percentage-wise - is not very much, but it is reflective of how uneasy Wall Street has become.  Public companies based in the L.A. area are taking it on the chin - Disney, Amgen, Mattel, DirecTV - their stock prices are all down going back to the middle of September.

Whatley: Even so, hasn't this been a good year for the stock market?

Lacter: It has - those local companies are up anywhere from 13 percent 30 percent year to date, and the Dow is up 14 percent year to date.  Of course, the stock price of a company doesn't always match the amount of money it makes, and this year, even before worries about the debt ceiling, the numbers haven't been as good as they should be at this stage of a recovery.  And, that's why there's particular concern about next week.  You do have to wonder whether a default could have ripple effects involving trade, consumer spending, the dollar - who knows what?  Now, it's still a pretty good bet that saner heads will prevail, although there are no guarantees - and again, if worse came to worse, do you really want to be jumping out of that plane?  Guess we'll find out.

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.

Police say TSA agent Gerardo Hernandez was shot and killed last Friday at the base of the escalators of LAX Terminal 3, and not at the checkpoint gates.  Paul Ciancia is accused of killing Hernandez and wounding several others.  Ciancia remains hospitalized in critical condition.

Steve Julian: Business analyst Mark Lacter, how did the airlines respond to shooting and its aftermath?

Mark Lacter: Generally pretty well, Steve, considering that the airport was effectively closed for several hours on Friday, and most of Terminal 3 was out of commission until Saturday afternoon.  You know, there's always this precarious balance in operating airlines and airports, even in the best of circumstances.  Just so many flights coming in and going out, and so many thousands people using the facility at any given time - and it really doesn't take much to upset the balance.  So, when you have something horrific take place and you see all those travelers stranded outside the terminals, the ripple effects are enormous - not just at LAX but all over the country.

Julian: More than a thousand flights were either canceled or delayed on Friday.

Lacter: And, there was a further complication because the airlines flying out of Terminal 3 are not the legacy carriers like United, American, and Delta that have all kinds of resources, but smaller operations with less flexibility.  It's not like there's an empty aircraft just sitting in a hangar waiting to take passengers wherever they want to go.  Actually, the airlines have gotten better at arranging re-bookings when there's a snowstorm or some other emergency that gives them advance warning.  But obviously, there was no advance warning last Friday, so the carriers needed to improvise in handling passengers whose flights were cancelled.

Julian: What did they do?

Lacter: One step was waiving the fees normally charged to re-book flights (and that's gotten to be a pretty penny).  Another was waiving the difference in the price of the original ticket and the re-booked ticket.  But, the policies varied according to the airline, and we heard about travelers not receiving hotel or food vouchers, or having to buy a brand new ticket on another airline if they wanted to avoid the wait - and that can be expensive.  Which raises another issue: planes tend to be completely full these days because airlines have been cutting back on the number of flights.  And that can be a problem if you're taking a route that doesn't have too many flights in the first place.  So, it gets really complicated.

Julian: Why do you think we haven't we heard more horror stories from passengers?

Lacter: Well, look at the cities that the airlines in Terminal 3 fly to - New York, San Francisco, Seattle, Dallas.  They're all served by several other carriers.  L.A. to New York, in particular, is one of the busiest routes in the world, which means that it's also one of the most competitive.  So, even if your flight was cancelled, there's a good chance you'd be able to find space by Saturday (which is normally a slower day for air travel).  This is a big reason, in general, why people like LAX.

Julian: Why don't other local airports handle more of the load?

Lacter: You might remember a few years ago local officials were promoting something called "regionalization" - the idea was that as LAX maxed out on the number of passengers it was allowed to handle each year, then other airports would make up the difference - places like Ontario, Bob Hope in Burbank, and John Wayne in Orange County.

Julian: Right, and they talked about easing traffic congestion by spreading around the flights.

Lacter: Well, regionalization never happened because, first of all, passenger levels at L.A. International didn't come close to maxing out.  But, more importantly, because the airlines decided that using LAX was more efficient for everything from handling baggage to arranging international connections.  So, through the first nine months of the year, passenger traffic at LAX is up 4.2 percent from a year earlier, while at Ontario traffic was down 9.3 percent.  And, we've seen that John Wayne, Bob Hope, and Long Beach are all struggling.  Of course, the challenge at a busy place like LAX is making it as safe as possible, and that will no doubt become a priority in the weeks ahead.

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.

Yesterday may have been a holiday on paper, but if you were navigating LA's major freeways, there was no sign people had the day off.

Steve Julian: Business analyst Mark Lacter, is this more evidence that Southern California traffic getting worse?

Mark Lacter: Steve, L.A. continues to be the most clogged-up city in the U.S. - according to something called the TomTom Traffic Index - with commuters caught up in delays, on average, 35 percent of the time.  Or, to put it another way, L.A. commuters are in congestion up to 40 minutes of each hour they're driving.  The worst time of the week to commute is Thursday night; that's when there's congestion more than 80 percent of the time.  Monday morning commutes are the lightest.

Julian: After L.A., where should you not live if congestion bugs you?

Lacter: The next worst cities in the U.S. are San Francisco, Honolulu, Seattle, and San Jose.  Now, the Census Bureau comes up with its own commuting surveys, and if you compare the most recent numbers with those back in 2000, you'll see that things aren't all that different.  Matter of fact, the percentage of commuters driving alone to work actually increased a little over the last decade to 72 percent, while the percentage of those carpooling has declined.

Julian: What about public transit?

Lacter: Well, the numbers are up slightly from 2000, but only to 7.3 percent of all commuters.  So, even assuming that the number inches up in the next couple of years when the Expo Line extends into Santa Monica, it's still a smallish piece of the pie.  And, since many of the other public transit projects being planned are decades away from being completed, those numbers might not change much.  One other thing, Steve: less than 1 percent of all L.A. commuters bike to work, which would throw cold water on the idea that biking in L.A. is becoming a popular way of getting to the office.

Julian: People just prefer commuting by car…

Lacter: It remains the most convenient way of getting around - despite the congestion.  New car sales are up 14 percent through the first nine months of the year in Southern California.  Add to that are generally affordable gas prices (they've been especially low in the last few weeks).  In other parts of the world, congestion is considered a good thing because it means that the economy is doing well.  Which explains that while L.A. is the most congested city in the U.S., it doesn't rank among the 10 around the world.  On that front, Moscow is tops, followed by Istanbul, and Rio de Janeiro.

Julian: What about driverless cars?

Lacter: Well, these vehicles hold the most promise for reducing accidents, lowering travel times, and improving fuel economy - and you don't have to give up your car.  Actually, a lot of the technology is already in place - that includes stuff like radar-based cruise control, and devices that keep you at a safe distance from the car in front of you.  The trick, of course, is taking these individual capabilities and integrating them into an entirely driverless car.  Several car companies say they could be ready to start selling by 2020, with Google saying that its car could be ready even sooner.

Julian: Is that realistic?

Lacter: Who knows?  But even if the dates can be met - and that's a big if, considering how complex these systems are - legislatures will have to determine, among other things, whether vehicles can be fully autonomous (meaning that you can curl up and take a nap while the computer is driving by itself).  Or, whether they will only be semi-autonomous, which would be like an airline crew using automatic pilot, but always prepared to take over the controls.

Julian: Is that a liability issue?

Lacter: Yes - if something does go wrong, who will get the blame?  The owner of the vehicle?  The carmaker?  The suppliers of the car companies?  These questions might take years to get resolved in the courts - and even then, it could be years before the percentage of these vehicles on the road is large enough to truly have an impact.  But, considering that most commuters aren't willing to give up their cars, this would seem to be the most exciting, most desirable idea.  One day.

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.

The news seems better on Tropical Storm Isaac and its potential threat to next week's events. However, from network news, you'd never know it mattered much if the storm damaged other countries or American cities outside Tampa. Isaac coverage is a wonderful example of how we as journalists care so much about something when we'll personally be affected.

Monday morning at 10 we begin our live coverage from the convention. Patt Morrison will follow at 11 with an hour of regular talk programming. I'll be back at 1 p.m. for another hour from Tampa, followed by Patt at 2.  We'll follow this schedule for the days of the convention, Monday through Thursday.

Patt will make her way to Charlotte, North Carolina for the Democratic Convention the following week. It will be fun to compare the cultures of the two conventions, aside from the platforms and PR spin we'll be exposed to for two straight weeks.

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

Larry Mantle interviews Tom Brokaw at the 2012 Republican National Convention.; Credit: Lauren Osen/KPCC

Our trip to the RNC in Tampa is coming to a close, but we’ve spent time with so many interesting people that our memories will stay strong.  We hope you’ve enjoyed the photos, tweets, and blog postings that have expanded our coverage beyond what we provide live on the air two hours a day.

This is the first political convention where KPCC has used multiple ways of bringing you here without time off from work or having to take a plane ride.  There are many great stories to tell and people to share.  We trust our photos give you a more complete sense of how much goes on at a massive convention like this.

For KPCC journalists, it’s particularly exciting to interact with you in these new ways.  We welcome your tweets and retweets (@AirTalk), comments on our blog postings (www.kpcc.org/blogs/politics), and feedback on our “AirTalk” segment pages. 

All this helps create a real-time way to connect listeners and users of social media in one big conversation.  We hope you enjoy taking part in the convention with us, as much we enjoy sharing it with you.

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

I’ll be live tweeting @AirTalk tonight during the debate.  Of greatest interest to me about President Obama is whether he’ll be able to crisply make his arguments and maintain a high level of energy for the full 90-minutes.  With Mitt Romney I’ll be looking to see whether he can loosen up in the town hall format and make a good connection with the questioners.

What was most striking for me about the first debate was how strongly Romney played with women.  That had been a huge problem for him throughout the campaign.  In fact, a couple of months ago I joked about the “ten single women in the country who were voting for Romney.”  He found a way to connect with women two weeks ago and he’ll attempt to build on that tonight.  The President, obviously, hopes to reverse his loss.

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

US President Barack Obama and Republican Presidential nominee Mitt Romney debate on October 16, 2012 at Hofstra University in Hempstead, New York. Undecided voters asked questions during a town hall format.; Credit: STAN HONDA/AFP/Getty Images

There continue to be questions about how moderators approach Presidential debates and about whether the extra time President Obama has received in the first two debates indicates moderator bias in his favor. 

I had chalked up the concerns to Republican hyper-partisanship, such as we saw with many Democrats criticizing Jim Lehrer for his moderating — as though Obama would’ve won the first debate if only Lehrer had asserted himself more.   However, even CNN has been doing significant follow-up on its own Candy Crowley’s performance in debate number two. 

Maybe it’s not just hardcore GOP loyalists who are questioning Crowley’s decision-making on when to cut in and when to allow the candidates to take more time. I thought she did pretty well, but there are plenty of critics.

As someone who has moderated hundreds of debates, I thought I’d share my thoughts on what we’ve seen so far in this election. Though I’ve never moderated a Presidential debate, with its incredible level of attention, concern about rules, and demands by campaigns, there are certain fundamentals regardless of the office or issue at stake.

Time Doesn't Matter...Too Much
First, as strange as this may sound, the time taken by each candidate has little to do with who has an advantage.   Yes, it’s always possible for a candidate to use another minute to fire off the defining line of the night. However, the well-practiced zingers or essential policy explainers are not left to the end of a candidate’s statement, as the clock is running out. 

I’m sure Mitt Romney wasn’t thinking after the last debate, “If only I would’ve had that extra 90-seconds, and Obama hadn’t gotten 90 more than he deserved.”  Both men front-loaded their major talking points and were going to get them in. Neither man could legitimately say he didn’t have a chance to make his strongest points. At some point, a time advantage could make a difference in who wins or loses, but an extra 90-seconds in a debate longer than 90-minutes isn’t going to do it.

Serving The Audience
As a moderator, you also have to think about what best serves your audience. I never guarantee candidates equal time, as it’s my job to serve the listeners, not their campaigns. I strive to get close to equal time, but can’t make any guarantee. Some speakers get to the point succinctly and have their points well put together. Others are messier in their arguments and eat up time just building up any head of steam. 

If the moderator holds to a strict time limit, you run the risk of frustrating listeners by cutting off the rambler just as the candidate is getting to the point. There are methods a moderator can use to help guide the speaker toward being more succinct, but there’s no guarantee the person will be able to comply.

Isn’t this inherently unfair to the succinct speaker? No. The purpose of the debate is to allow the ideas to compete.  It’s not a boxing match that’s about landing punches in a given time. The succinct debater has a big advantage, regardless of how much time the candidate has. That’s why Mitt Romney’s victory in the first debate was so lopsided — he won on the conciseness and clarity of his answers, coupled with Obama’s inability to get to his central points.  Obviously, there are those who thought Obama’s arguments were still more compelling than Romney’s, and that Romney lacked essential details.  However, for most viewers of the first debate, it was stylistically no contest.

Equal Time Is Not A Guarantee
When candidates are allowed to talk to each other directly, it’s very difficult to assure equal time. Even CNN’s clock that registers elapsed time for each candidate is subject to squishiness. Unless a debate is extremely formal, with carefully controlled time limits and a ban on candidates following-up with each other, you’re only going to have an approximation of time balance. I thought Crowley did pretty well to land the second debate with the balance she did. I’m not sure I could get it that close for a debate of that length. She had the added challenge of trying to determine when to cut in on President Obama’s lengthier answers. Also, Romney’s speaking rhythm allows more space for interruption. It’s tougher to break in on Obama.

Moderating Is A Balancing Act
Moderators are always trying to balance a need to move on to the next topic with allowing a candidate to answer an opponent’s charge. Sometimes, you open that door for a candidate, only to regret it later when the politician starts into a monologue, instead of confining the response to the previous challenge. Sometimes moderators, having gotten burned, will become less tolerant of such expansive rebuttals, as the debate goes on. Moderators are always juggling competing goals, and it’s a difficult job (at least for me).

Unfortunately, there are those who think debate moderators attempt to influence the outcome of the debate and the performances of the candidates. Maybe I’m naïve, but I can’t imagine any journalist who’s worked hard enough to get to the position of Presidential debate moderator subordinating his or her career in an effort to getting someone elected. Mainstream political journalism is like national sports reporting. You really don’t care who wins the Super Bowl, you want great story lines to explore with your audience. Yes, sports reporters have affinities for the hometown teams of their youth, but that can’t compete with the professional goal of covering great stories. 

Yes, most journalists in mainstream media probably have a stronger cultural and political affinity for Obama, as he’s more like them. However, it doesn’t mean a journalist is going to sacrifice the better story to intentionally provide a benefit to the President.

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

Yes, we've finally reached the culminating day that we've been pointing to for the past 18 months -- Election Day!  However, it's quite different from those of the past.  An estimated 40% of voters have already cast ballots, so it makes the actual day a bit less climactic.  We might also lack a clear winner by Wednesday morning. 

It's possible that the swing state votes are so close that it's impossible to accurately determine the electoral vote.  Then we'll have to exercise extreme patience through the official counts and inevitable legal challenges.  It could be a mess.

It could also, of course, be over by the time polls close in California.  We only have a few hours to wait until we'll know.

I'll be anchoring KPCC's election night coverage, starting at 8 p.m.  NPR's coverage starts us off at 5 p.m., and we'll intersperse national and California returns into our comprehensive KPCC coverage until late Tuesday night.  I hope you'll join me, Patt Morrison, and the full KPCC news team.

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

When "Offramp" host John Rabe's father, Bill, created the list at Lake Superior State University in Michigan he likely didn't know it would thrive nearly 40 years later.  As language evolves there should never be a shortage of words and phrases we want to "kick to the curb."

This morning on "AirTalk," I asked listeners to pick the ones they "hate on."  We got some good ones, including my overused "unpack," as in "let's unpack that idea."  Falling into word patterns can happen so subtly that we don't even know it until someone points it out.

My nomination for the list -- "it is what it is."   What are yours?

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

Director Michael Apted (L) with Larry Mantle in the AirTalk studio.

This past Wednesday on "AirTalk," film director Michael Apted came in to talk with us about his eighth documentary in the series that's followed the lives of 13 people, beginning in 1964 when the kids were seven.  They've shared their stories with Apted every seven years, and he's clearly invested a lot of emotion into this project.

"56 Up" is wonderful for how it shows the mid-life evolution of the participants.  Apted includes scenes from earlier interviews, so that we see what aspects of today's 56-year-olds were present in childhood and what turns their lives have made over these years. 

"56 Up" is showing at the Nuart in West Los Angeles, and Apted will be doing Q-and-A at some of the screenings.

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.

In case you missed the March for Science, last month?  I have the report!  Not that I went, no. Science enthusiasts all, my household was planning on going—  But then my younger teen daughter got felled by "bacteria"—  Possibly brought on by a dubious "pizza day" at her science magnet.

So I spent that Saturday at home, taking care of her— But we streamed the Washington DC and other marches, live on CNN!  So here is my report!

Let's quickly review the main points.  Worldwide, there were 600-plus cities participating, with high levels of enthusiasm.  The March for Science's stated mission was to be a positive, non-partisan march for scientists and scientific principles.  That alone is such a wonderful, counterintuitive idea.  Much humor and wit was seen.

As I did not get to go, and make my own hilarious sign—?  To honor the spirit of the occasion I would like to share two favorite jokes.

First: How do you tell the difference between an introverted and an extroverted mathematician? 
For the whole time the introverted mathematician is talking to you, he looks down at his shoes.  When the extroverted mathematician talks to you, the whole time he looks down at your shoes.  Ba-dum-bum.

I know I used the pronoun "he" in that joke—  As if to imply all left-brained people are male.  But no!  So here's the saying from when I attended Caltech—  Way back in the '80s—  And the male to female ratio was 7 to 1.  "Caltech: where the odds are good, but the good are odd."

Now to some of the funny—and sometimes punny—March for Science signs:

"If you're not the solution, you're the precipitate!"

That was next to: "Protest Cosine, Protest Sine."  Get it?  Protest. . . Sine?  Puns are hard on the radio.  So let's finish with the more "meta": "What do we want?  Evidence based research!  When do we want it?  After peer review!"  

Of course, there were less than non-partisan messages, too.  Just reporting here?  There were signs with the phrases "Black Hole" and "Absolute Zero" ghosted over our president's recognizeable silhouette.  The live feed from San Francisco brought: "Trump believes there's no global warming, as nothing is hotter than Ivanka."

That one made me snort, but I had to quickly tell my daughter, "that is totally inappropriate."
We decided a good sign was: "Mitosis, Not Division."

And a cute one on a dog that everyone can agree on.  "Support Labs."  Labs. 

Next week: Science is Love!

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

 
So, my 15 year old science magnet daughter and I experienced last month's exciting March for Science—!  From home, as she was temporarily felled by some bacteria.  Consuming an unscientific "cure" of chocolate pudding—?  We watched the march on CNN.

Now, the news changes so quickly you may not remember that just one month ago—?  There were shock waves due to proposed massive federal budget cuts—  Not just to climate change research, but to—surely the more non-controversial —National Institutes of Health.  I mean, health?  Who's anti-health?  Even MacDonald's is serving apple slices now, and kale!

The march was a mix of passion and fun. There were lots of great signs, including one with the classic line: If you're not the solution, you're the precipitate! Marchers came dressed as Einstein, dinosaurs, polar bears.

Then again—  And admittedly, at home, we were wearing bathrobes rather than labcoats—? A couple of humble notes.

 Some of the speakers in DC were less scientists than YouTube science explainers.  And pure research scientists—not to mention philosophers—might question some of the applause lines.  And I quote: "Science is inherently political!"  "Science is objective, but it is not neutral!"  What?  Then some of the marchers chanted back, with a decided New Age lilt: "Science is hope!"  "Science is our planet!"  "Peace, love, science!"  

I heard myself grousing to my daughter: "Sure.  It's like 'Nature.'  To some, 'Nature' is a beautiful flower.  But 'Nature' is also Stage 5 hurricanes and poison frogs who eat their own offspring.  And—and pitcher plants!  Have you seen pitcher plants?" 

The chants continued:  "Health is science!  Safety is science!  Clean water is science!  I yell at the TV: "PS: Nuclear missiles from North Korea?  SCIENCE!"

There were also heartfelt pleas from the stage for more "K-12 hands-on STEM-based learning."  I sympathize. I marched for that when my daughters were in elementary school.  Of course we want our children to be turned on to science—  To the classroom volcanos comically exploding with baking soda. To the wonders of milk carton pea plants, sunny farms of ladybugs.

But eventually, inexorably, comes The Ugly.  The multiplication tables, long division, algebra, trig, then calculus, if a career in science is really being pursued.  I just heard about a senior I know, an exceptional—and well-rounded—student.  He has a 4.5 GPA and almost-perfect SAT's, nosebleed-high!  But he has been shut out by all the UC's he applied to, including his third choice, UC San Diego.  Mwah!  SCIENCE!

Still, quibbles aside, science is the future.  We applaud all, and must forge on. Chocolate pudding recommended.

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

True story.  It may not be incredibly exciting, but it's true!

So!  I work at home, on my laptop—  Writing, editing, corresponding—  In between I pay bills, schedule appointments, shop online for household necessities—  In fact, in spring my to do list got so long I just took to bed.  Oprah-style!  I'm pretty sure she does that— I remember seeing something like it in O Magazine.  Oprah's office is less a conventional box with desks than a soft boudoir of inspiration.  With cozy couches, pashmina throws, vases of fresh cut flowers.

So in the name of what we women of a certain age call "self care"—   I would plump pillows behind me, place my laptop on a blanket in front of me, sip herbal Teavana and I would type mindfully away for hours and hours.  And one afternoon?  I see it's time to pick up my kids from school—  So I swing my legs over the edge of the bed, put my weight on them, and— 

I can't walk!  I literally can't move!  My left hip is completely stiff!  Maybe Oprah has people turn her during the day!  As for me, I could star in that commercial: "I've fallen down and I can't get up!"

I drag myself down the stairs, hanging on to the bannister like an 85 year old.  Correction!  When my now-96 year-old dad was 85, he was doing handstands on the beach and swimming in the ocean!

And I realize, I've come to the age of that dreadful saying: "Use it or lose it."

I used to engage in regular exercise, it's true.  My VISA bill—  So heavy to lift!  Suggests I even pay monthly dues to a gym.  But I don't have the vanity I once had.  Since turning fifty, I've acquired this new "menopot" on my belly.  First I was panicked.  But then I discovered "mom jeans" and even better, at Costco?   Next to a $500 above-ground family pool?  A heap of "Ladies Power Stretch Capris."  How do I look in them?  Fortunately I don't see very well in my Costco glasses. 

And anyway, I have two teen daughters at home, for three more years.  I'd started thinking: if I don't go to the gym, that's 90 minutes more in the day.  90 more minutes to not argue with them and just go buy the strawberry pineapple shampoo they're always requesting—  And Prismacolor gray chisel tip markers—  And mochi, has to be the green tea mochi—  Flabby upper arms are a small price to pay for peace in the house!

But now I can barely even get to the car and, oh no!  Can I even push the gas pedal?

Next week: Fear and Loathing at Zumba

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

I had taken to working at home, on my laptop, in bed. But, talk about first world problems!  After working in bed all day my hip went out and I could barely walk.

So I realized—  I had to return to the gym.  Where I hadn't been for a few weeks.  Or maybe a couple of months.  Where was my gym bag?  In the trunk of my car, under some. . . Christmas stuff that I was planning to return.  OK, so it had been half a year.  Closer inspection revealed there were no less than two locks in the bag, both locked forever—  Because so much time goes by between gym visits I forget the combination. 

The first thing I notice, when I return to my fancy, brightly-lit yuppie gym, blinking like nosferatu—  Is that if I'm going to show up for classes like Cardio Barre, I need better outfits.  All the other Cardio Barristas are in stylish Lulumon wear—  These sort of fabulous. . . yoga. . . leotard. . . cat lady. . . jazz pants—  From the future—  And I am basically wearing floppy board shorts.  With paint on them.  I have come dressed to clean out my garage. 

So I purchase some athletic leggings, pair those with a tank—  Now I look in the mirror and realize—?  Stylish workout clothes only accentuate the fact that my body's not like everyone else's.  My hips are bigger than my waist.  I'm pear-shaped.  All the other Cardio Barre ladies have lean tomboy bodies like swimmers.  Who are they?  How much do they train?  Is cardio barre their actual job?

I switch to Zumba, where the crowd seems more mixed—  Which is to say, now there are also men in shiny leotard jazz pants.  And listen.  I'm not invested in being good at Zumba, the international Latin dance fitness sensation.  I'm a fiftysomething Chinese-German Lutheran.  You know how they say, "The Rhythm is Going to Getcha?"  Well, it doesn't.  And when I'm bested at Zumba by an 80 year old woman in a tennis skirt speaking Cantonese?  The ego smarts.

Thank God for Cardio Broadway.  My spirits rose when I saw a line of gold top hats along the mirror.  "One!  Singular sensation!"  We began with Cabaret.  "Wilkommen!  Bienvenue!"  To little knee bends and plies.  But then our too young, too hip instructor starts going, "And this next number's from Hamilton!"  Haven't seen it!  "And this is from Kinky Boots!  Newsies!"

Now, I've got my boss futuristic outfit, but I prefer an old-fashioned jam – say, Fiddler or Sound of Music. I guess I'll have to join the Senior Center.  Where they do "Broadway" with walkers.

That's more my speed.
 

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.

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.

"Sailor Moon" cosplayers at Anime Revloution 2014 in Vancouver, Canada.; Credit: GoToVan/Flickr Creative Commons

Japanese animation — anime — offers very different visions from its American counterparts, and it's extremely popular with college and high school students. They can be extremely difficult for well-meaning parents, uncles and aunts to shop for, so here, in no particular order, are some titles that can transform an adult’s image from clueless doofus to knowing friend. Plus, we have a few suggestions for younger children (who can also be a pain to shop for).

Cardcaptor Sakura: Complete Collection
NIS America: $249.99; 9 discs, Blu-ray, plus book
When cheerful fourth-grader Sakura Kinamoto opens an odd book in her father's study, strange lights fly out. Kerberos, who looks like a plushie of the lion on the book's cover, explains that she's inadvertently released a deck of magical cards. Despite her protests that’s she just an ordinary little girl, Kero insists Sakura must become a Cardcaptor and retrieve them before they work mischief on the world. Many American series talk about empowering girls — in this one, the viewer sees Sakura grow stronger and more confident as she learns to master the magical cards.

Cowboy Bebop: The Complete Series
Funimation: $59.98; Blu-ray, 4 discs
The sci-fi action series "Cowboy Bebop" redefined cool in animation when it debuted in 1998. Twenty-first-century bounty hunter Spike Spiegel is an anti-hero in the tradition of '40s film noir detectives. Spike is a tough guy; a crack shot, an ace pilot and a skilled martial artist. But his cynical exterior conceals a never-healed wound left by the woman he loved and lost. Seventeen years later, "Cowboy Bebop" is so popular that two special editions of the series for holiday gifting have already sold out (!). But it’s available on DVD and Blu-ray.

Dragon Ball Z: Battle of the Gods
Funimation: $34.98; DVD/Blu-ray combo pack; 3 discs
The first new "Dragon Ball Z" animation in 17 years, "Battle of the Gods" (2013) proved how popular the franchise still is, selling over 1 million tickets in just six days in Japan. The filmmakers keep the animation flat, limited and hand-drawn, so "Battle of the Gods" looks like the classic TV series and delivers the mixture of slapstick, friendship and over-the-top battles Dragon Ball fans remember and want to see again — especially guys in their 20s who grew up watching it.

Naruto Shippuden: Road to Ninja: The Movie 6
VIZ: $29.99 DVD/Blu-ray combo; 2 discs
The title hero of the long-running "Naruto" and "Naruto Shippuden" series is a come-from-behind hero whose world centers on magical ninja techniques, outrageous fights, slapstick, friendship and ramen. "The Road to Ninja" incorporates these well-loved elements, but stresses the lonely, compelling side of the title character. Audiences would quickly weary of Naruto if he were just a knuckleheaded prankster. His dedication to overcoming his weaknesses and achieving his goals makes him heroic, as well as comic — and one of the most popular animated characters of the new millennium.

(A scene from "Ranma 1/2," an anime series about a 16-year-old boy who's transformed into a girl whenever he's splashed with water.)

Ranma 1/2: Sets 1, 2, 3 & 4
VIZ: $54.97 each, Blu-ray; $44.82, DVD: 3 discs
Because he once fell into a cursed spring, black-haired high school martial artist Ranma Saotome turns into a buxom, red-haired girl when he’s hit with cold water. (Hot water restores his proper gender.) Ranma and his father Genma are freeloaders in the home of Suon Tendo. To ensure the continuation of the family dojo, the fathers have decided that the loutish Ranma and Suon’s hot-tempered daughter Akane are engaged. "Ranma 1/2"  supplies the slapstick insanity animation can provide in abundance. The filmmakers carefully sneak in just enough grudging affection between Ranma and Akane to keep the series from feeling mean-spirited.

Pokémon: Indigo League (Season 1): Complete Collection
VIZ: $54.98  9 discs          
"Pokémon" is no longer the trend du jour it was 20 years ago, when it swept America. But the games and the animated series remain popular. Although it's product-based and sometimes cloying, "Pokémon" is an agreeable show for elementary school children that stresses friendship, perseverance, fair play and good sportsmanship. These early adventures take the main characters through the first part of the game in its original Red/Blue versions. With his friends Misty and Brock, aspiring master Pokémon trainer Ash Ketchum defeats other trainers, captures wild Pokémon and outwits the inept comic villains of Team Rocket.

Princess Nine Complete Series
Bayview Entertainment: $39.99 DVD
Ryo Hayakawa inherited her late father’s talent as a pitcher, but she works as a waitress in her mother’s tiny cafe. Determined to overcome sexist opposition and create a girls’ baseball team that can compete in the national championships, Ms. Himuro, the head of prestigious Kisaragi High, gives Ryo a scholarship. She must recruit players and build an effective team. Ryo is a very likable character — she’s proud of her abilities, but surprised at where they take her. "Princess Nine" ranks among the better girls’ series of recent years, with characters who are strong, capable individuals but who exhibit human weaknesses.

Short Peace
Sentai Filmworks: $29.98 Blu-ray
For "Short Peace," Katsuhiro Otomo ("Akira") and three other directors made short films in personal styles they felt suited the stories they’d chosen, two of them evoking the look of 19th century woodblock prints. In Shuhei Morita’s Oscar-nominated "Possessions," a wandering tinkerer seeks refuge from a storm in a remote forest shrine. Inside, he  must pacify umbrellas, bowls and other household objects that resent being thrown away after years of devoted service. Otomo’s "Combustible" focuses on childhood sweethearts Owaka and Matsukichi, the son and daughter of wealthy merchants in 18th century Edo (Tokyo). The climactic blaze that brings the star-crossed lovers together — only to separate them forever — is stunningly beautiful.

(Oscar-winning Japanese animator and film director Hayao Miyazaki walks past an advertisement following the release of his film "Ponyo.")

No figure in contemporary animation is more admired than Hayao Miyazaki. Walt Disney Home Entertainment has just released to DVD/Blu-ray 2-disc sets of three of his major films at $26.95 each:

Kiki's Delivery Service
A charming coming-of-age story, "Kiki's Delivery Service" (1989) follows the very human ups and downs of an adolescent witch who must leave her family for a new city where she’ll discover her special talent. Kiki copes believably with tight budgets, self-doubt and the awkward attentions of a flight-obsessed boy. The late comedian Phil Hartman gave his final performance as Gigi, the sardonic black cat who provides a running commentary on Kiki's misadventures.

Princess Mononoke
The ecologically-themed "Princess Mononoke" (1999) was the first of Miyazaki’s features to receive a major theatrical release in the U.S. The problems posed by rampant development and consumerism figure prominently in the film. “If you want to discuss any aspect of the problems we face as humans, you cannot ignore ecology,'' he said. Miyazaki juxtaposes visually and emotionally intense scenes of the characters, with quiet images of clouds, streams and forests. When rain begins to fall, he lingers on a stone that darkens as it absorbs moisture.

(A screenshot from Japanese director and animator Hayao Miyazaki's "Princess Mononoke.")

The Wind Rises
In "The Wind Rises" (2013), Miyazaki carries the viewer through rapturously beautiful fantasies, hard-won pleasures and poignant sorrows in this biopic of Jiro Horikoshi, who designed the A6M Zero Fighter for Mitsubishi during World War II. "The Wind Rises" isn’t focused on speed — Miyazaki concentrates on the magic of flight. Instead of launching the viewers on a CG rollercoaster ride, he enables them to savor the magic of escaping gravity in a way that approaches visual poetry. "The Wind Rises" may be Miyazaki’s last feature, but the director is still clearly at the height of his powers; although premature, it’s a glorious exit.

Death Note: The Complete Series

Light Yagami, the hero of the dark fantasy-adventure "Death Note" (2006) is brilliant, alienated— and murderous. He found the Death Note: the notebook of a Shinigami (god of death). If anyone writes the name of a human in the book, that person dies within minutes. Light launches a vigilante campaign to rid the world of criminals and create his vision of a perfect society. But the unexplained string of deaths attracts the attention of the police, who turn the case over to the secretive master crime solver known only as L. Although it begins slowly, "Death Note" gets better with each installment, as the stakes grow higher in the macabre duel of wits between Light and L.

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.