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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.

For the first time, Uber will guarantee drivers an hourly wage of $20 an hour in Los Angeles, or $26 during peak times.; Credit: David Ramos/Getty Images

To keep demand high during the slower winter months, the ridesharing service, Uber, has cut fares by 20 percent in 48 markets – including Los Angeles and Orange County.

The company says a trip from West Hollywood to downtown will now be around nine dollars, instead of $11.

When Uber lowered prices in the past to muscle out competitors like Lyft and taxi services, passengers loved it but drivers have complained it puts an unfair squeeze on them, complaining their already low take went even lower.

Uber stresses the fact cutting fares actually helps drivers because they get more business. In a blog post, the company points to data from Chicago where fares dropped 23 percent last month compared to December 2013 while drivers' income increased by 12 percent.

But drivers have been skeptical whether volume can make up for the price drop. The company's claim that New York city drivers earn a median of $90,766 a year has been refuted. Slate talked to New York UberX driver Jesus Garay in October:

“They say it doesn’t hurt the pocket of the drivers,” Garay says of the 20 percent fare cuts. “It does. Because it’s impossible with those numbers to be in business.”

The way drivers see it, ride volume can only increase so much in response to lower prices. Garay says that on average, a ride takes him 20 minutes from start to finish: five minutes to reach the pickup location, five to wait for the customer, and 10 to drive to the destination. For a trip of that length, Garay says he’ll make $10 or $11. “So if you’re busy, you’re going to make three rides in an hour,” he explains. 

Newly flush with a $40 billion valuation, Uber is now willing to put its money where its mouth is; For the first time, Uber will guarantee its partners – as it calls them -  an hourly wage of $20 an hour in Los Angeles, or $26 during peak times. (The guarantee comes with a few conditions: Drivers have to accept 90% of trips, average at least one trip per hour, and be online for 50 minutes of every hour worked)

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

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

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

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

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

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

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

Why diversity is important

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

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

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

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

Big competition, small talent pool

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

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

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

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

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

Pay vs. passion

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

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

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

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

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

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

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

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

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

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

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

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

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

Walter Flores was unemployed for 8 months in 2014 but is now working in sales for Workforce Solutions in Compton; Credit: Brian Watt/KPCC

California's unemployment rate continued its decline in December, ending the year at 7 percent, according to figures released Friday by the state Employment Development Department.

But in Compton, Willowbrook and the Florence-Graham section of Los Angeles County, it remains about double that, data show.

“You might have work this week. But next week, you won’t have work,” said James Hicks, 36, 0f Compton. He's worked in warehouses through staffing agencies, but said the jobs have always been temporary.

Statewide, California has added jobs at a faster rate than the United States for three straight years, according to Robert Kleinhenz, Chief Economist with the Los Angeles County Economic Development Corporation. He pointed out the statewide unemployment rate is now where it was June 2008. 

"All in all, with the recession now five years back in our rearview mirror, we’re finally at the point where we can say that we have shrugged off quite a bit of the pain that occurred back during those times," Kleinhenz said.

The Los Angeles County metro area saw a net gain of almost 71,000 jobs in 2014.  The County's overall unemployment rate has fallen to 7.9 percent from 9.2 percent a year ago.

But Compton's unemployment rate was 13 percent in December.

“I’d rather have a  full-time type of gig, working 40 hours a week, but right now, even if you get 25 hours, it’s a blessing,” said Hicks, the warehouse worker in Compton.

On Thursday, he interviewed to be a guard with a security firm, but was told there weren’t any positions available. He had another security guard job six months ago that he thought might become full time and permanent. 

"It was going all right for about two to three months, until they cut my hours and days," Hicks said. 

Walter Flores lives in La Mirada but currently works as an account executive in the Compton office of Workforce Solutions. He was unemployed for about eight months last year after a car accident.

"Losing what you love to do is a tough one, but I'm back," he said. "2015 is going to be a great year."

Flores said most major warehouse and logistics companies prefer to hire temporary workers through industrial staffing firms like the one where he's working because their needs are sporadic.  

But he said it's still a potential opportunity.

"It doesn't matter that it's a temporary position, as long as you put your foot in the door, and then you let the employer know how much value you are for the company," Flores said.  

Hicks, who's earned a GED, wants to find a program to study physical therapy. But first, he’d like to find a job. 

He said you can't judge Compton’s residents by its unemployment rate.

"Some of us out here who [are] looking for jobs, but sometimes it’s the luck of the draw," he said. "It’s kind of scarce out there.” 

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

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

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

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

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

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

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

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

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

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

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

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

What's not doing well? 

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

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

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

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

A rendering of he new stadium and complex to be built near the Forum in Inglewood was released by the Hollywood Park Land Company, Kroenke Group and Stockbridge Capital Group earlier this month.; Credit: Courtesy Hollywood Park Land Company

A measure that would allow an 80,000-seat NFL-caliber stadium to be built in Inglewood could be on that city’s ballot by this summer after developers submitted almost three times as many signatures than needed for a voter initiative.

“22,216 signatures were submitted to the city clerk today,” said Gerard McCallum, project manager with the Hollywood Park Land Company. “It was unbelievable. The response was more than we could have ever anticipated.”

Normally, before construction can begin on any project there has to be an environmental review, but that can take a long time and time is something in short supply for St. Louis Rams Owner Stan Kroenke and his plan to move the team to L.A.

“We would be going through another three year project process, and the current construction wouldn’t allow that,” said McCallum, referring to the redevelopment of 238 acres of the old Hollywood Park site that was permitted in 2009.

“If we were going to make any modifications, it would have to be approved this year,” said McCallum.

To speed things up, developers decided to bring the stadium project directly to Inglewood voters, which required 8,000 signatures.

Once the signatures are verified, Inglewood’s City Council will consider the measure, then developers hope a special election would take place before the start of the next NFL season.

McCallum says construction would begin whether the Rams or any other team decides to move here, though on Monday Kroenke made another move suggesting a return of the NFL to Los Angeles could be closer than it has been at any point during the last two decades, though not until after the 2015 season. From The St Louis Post-Dispatch:

Rams management sent a letter to regional officials on Monday afternoon. The letter said the team was converting its 30-year lease to an “annual tenancy,” effective April 1 and, “in the absence of intervening events,” extending through March 31, 2016.

The notice, which has long been expected, does two things:

• It allows owner Stan Kroenke to pull the team out of St. Louis as soon as 2016, because the Rams lease will now expire at the end of every season. The original lease was to expire in 2025.
• It also legally binds the Rams to play at the Edward Jones Dome next fall — a point on which many here were uncertain.

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.

Tesoro says it’s been planning for a strike and will continue operating two of the effected refineries, including one in Carson.; Credit: Getty Images

More than 800 workers walked off the job early Sunday at an oil refinery in Carson because of a labor dispute, joining workers at eight other refineries around the country. 

National strikes have been rare in the refining business. The last one happened in 1980, and it took three months to resolve. If this dispute lasts that long, analysts say gas prices could rise.

“It’s very possible we may have seen the last of two dollar gasoline in the near term,” said Carl Larry director of oil and gas at consulting firm Frost & Sullivan. “Without production from these refineries, we’re going to see tighter supply and higher prices."

Making matters worse, many refineries are switching over to summer blend gas, which is cleaner burning, but also more expensive.

Jim Burkhard, Managing Director at IHS Cambridge Energy Research Associates, cautions that it is too soon to know what the effect of the strike will be, and even though the steelworkers have 64 percent of U.S. oil output in their hands, there’s still a lot of other supply.

 “Remember the oil market overall is very well supplied right now,” said Burkhard. "There's plenty of refining capacity around the world, you would just have some modification of trade flows."

The Carson refinery processes 363,000 barrels per day at peak capacity and employs 1,450 workers. Tesoro Corporation, which operates the plant, says it’s been planning for a strike and will continue operations.

"Tesoro is confident that the Company can continue to safely operate the refineries and meet customer commitments until resolution is reached with the [United Steel Workers]," Tesoro said in a written statement.

The USW represents workers at 65 U.S. refineries. It says the facilities where workers have not walked out will continue operating under a rolling 24-hour contract extension. 

“This work stoppage is about onerous overtime; unsafe staffing levels; dangerous conditions the industry continues to ignore; the daily occurrences of fires, emissions, leaks and explosions that threaten local communities without the industry doing much about it; the industry’s refusal to make opportunities for workers in the trade crafts; the flagrant contracting out that impacts health and safety on the job; and the erosion of our workplace, where qualified and experienced union workers are replaced by contractors when they leave or retire,” USW International Vice President Gary Beevers said in a written statement.

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

The LAEDC helped Huy Fong Foods reach a compromise to keep operating its Sriracha factory in Irwindale ; Credit: Maya Sugarman/KPCC

Even as California loses manufacturing jobs, a program run by the Los Angeles County Economic Development Corporation has fought to save some. 

When a company is considering relocating to take advantage of lower costs or an easier business climate, the LAEDC’s business assistance program steps in.  

It did so in the well-publicized case of Huy Fung Foods last year.  

When the city of Irwindale filed a lawsuit against the Sriracha sauce-maker because of bad smells, politicians from other states - most notably Texas - began to circle, offering the company a new home.  

Fighting against those suitors is a  familiar dance for the nonprofit Los Angeles County Economic Development Corporation. Many states and municipalities have similar agencies, whose job it is to try to attract and keep employers.

In the Sriracha case, the LAEDC prepared an economic impact analysis, met with the company and the South Coast Air Quality Management District and negotiated a compromise that kept the hot sauce manufacturer here, according to Carrie Rogers, Vice President of Business Assistance and Development with LAEDC.

"We all love Sriracha," she said, adding that she was happy to keep the "180 jobs and really to thwart the efforts of Governor Perry from Texas to try to lure our company away to their state."

The LAEDC estimates its business assistance program has played a role in keeping or luring 200,000 jobs since 1996, when it was formed. It's being recognized by the County Board of Supervisors for those efforts today.

But plenty of jobs still leave.

In a study published in July, the LAEDC said between 1990 and 2012, California lost about 40 percent of its manufacturing jobs – 842,180. 

"We compete internationally so a lot of our competitors have gone to Mexico," said Jeff Hynes, CEO of Covina-based Composites Horizons Incorporated, which makes ceramic structures for jet engines. "A week doesn’t go by that I don’t get a call from an economic development corp out of Texas or the South."

He scored a big contract recently and needed to expand fast to begin fulfilling orders. 

"Los Angeles  - in our particular industry - has a very good supplier base with materials and equipment," he said "but certainly facility costs are lower in other areas of the state and country."  

He said the LAEDC helped him get the permits quickly to buy and modify another building on its street and they decided to stay put. 

Composites Horizons currently employs 200 people but plans to add 50 employees this year and another 50 next year, he said. 

Rogers, of the LAEDC, said that may not seem like much, but it's important to support businesses like this one.

"When you take a step back and think about it, here’s a company that’s growing when many businesses aren’t," she said. "We know there are suppliers that feed into Composites Horizons. So when they get millions of dollars worth of contracts, we know that many more companies and employees around the county will be employed doing work directly for this company."

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.

People using a coworking space.; Credit: Cross Campus

In a sign of increased desire of professionals to work remotely, the successful Santa Monica shared workspace Cross Campus is opening a second location in Pasadena later this month, and the company hopes to open eight others in Southern California and beyond in the next two years. 

Dubbed by one user as  the “nerve center” of the Silicon Beach tech scene, Cross Campus opened its membership-based workspace facility in Santa Monica in 2012.   

But co-founder Ronen Olshansky said the shared workspace phenomenon isn't limited to coders. 

"Fewer and fewer people are making the traditional drive into the corporate office," Olshansky said. "They're working remotely as professionals, going off on their own as freelancers, or they're starting their own companies as entrepreneurs."  

A forecast from Forrester Research says that 43 percent of workers will telecommute by 2016, compared to estimates of about a quarter of the workforce telecommuting last year. 

Olshansky said that, for many people, working from home or in a coffee shop isn't productive. 

That's led shared workspaces to pop up in Los Angeles, Culver City and Santa Monica. Among them: Maker City L.A., WeWork, NextSpace, Coloft and Hub LA.  

Los Angeles-based tech investor David Waxman said these kind of shared spaces are crucial for the early stages of tech ventures.

"When you’re just starting out, and capital is very scarce, having not to commit to an entire office but having part of an office is very important," Waxman said.  “There comes a collective energy when a bunch of entrepreneurs get together in the same space, even if they’re not working on the same project."

And he said Pasadena is a good choice for a shared workspace.

"It is the home of Caltech, the Arts Center, and IdeaLab — probably the world’s first tech incubator — started there," he said.

But he said the need isn't limited to Pasadena.

"In Silver Lake, in South Pasadena, in Glendale, you see a lot of little pockets of  people getting together, and as soon as there’s a critical mass, we’ll see co-working spaces like Cross Campus come into being," said Waxman, who named his investment firm TenOneTen after the two freeways that connect Santa Monica and the Westside to Pasadena. 

Alex Maleki of IdeaLab in Pasadena is happy a well-known company is opening up in his city. 

"Anything that helps attract talent and capital to the region," Maleki said, "is absolutely fantastic."

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

In this Jan. 14, 2015, photo, shipping containers are stacked up waiting for truck transport at the Port of Los Angeles.; Credit: Damian Dovarganes/AP

The Ports of Los Angeles and Long Beach reopened Monday after ship loading and unloading was suspended this weekend because of a long-running labor dispute, which caused the worst delays the ports have seen in more than a decade.

The stoppage led to a queue of 31 ships, according to Kip Louttit, Executive Director of the Marine Exchange of Southern California, the agency that manages ship traffic.

“It’s quite unusual,” said Louttit.

There was a 10-day lockout at the ports in 2002, and an eight-day strike by port clerks in 2012, but even during those standoffs, the queue never exceeded 30 vessels.

The last time that happened was in 2004, because of staffing shortages at the Union Pacific Railroad. Some 65 ships were anchored, "backed up halfway down to San Diego, like 50 miles down the coast," Art Wong, spokesperson for the Port of Long Beach, told JOC.com, a container shipping and international supply chain industry website.

By Monday afternoon, the situation had improved some: 24 vessels were waiting to dock.

Louttit says all those ships waiting at sea means cargo is not getting where it needs to be.

“We had an automaker from the Midwest stop by, trying to get an idea of what the flow would be, because their plants are running out of parts to make cars,” he said.

Los Angeles Councilman Joe Buscaino, who supports the dockworkers union, called on both sides to reach an agreement quickly. To underscore the delays the dispute is having, he travelled a mile and a half out to sea Monday morning to count the number of anchored ships for himself. He posted a video of his trip on Youtube:

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.

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

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

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

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

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

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

Robby the Robot's construction

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

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

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

The robot vs. Dr. Smith

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

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

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

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

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

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

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

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

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

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

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

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

Kinoshita's 95th birthday speech

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

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

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

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

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

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

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

Watch the video (warning: contains adult language):

Maroon 5: Sugar

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

Facebook post by actors

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

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

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

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

Instagram 1

Instagram 2

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

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

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

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

Maroon 5 Sugar tweet

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

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

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

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

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

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

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

Reboot history

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

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

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

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

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

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

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

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

Battleworld video

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

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

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

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

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

Why is Marvel rebooting?

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

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

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

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

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

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

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

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

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

Dan Slott tweet

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

Fan tweet 1

Fan tweet 2

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

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

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

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

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

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

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

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

What does "Secret Wars" mean for fans?

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

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

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

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

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

Secret Wars press conference video

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

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

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

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

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

Comedy Central tweet

Meltdown Show tweet

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

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

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

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

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

Comedians, actors and fans mourned Wittels' death online.

Harris Wittels Storify

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

Wittels on Parks & Recreation

Listen to Wittels on "Comedy Bang Bang":

Wittels on Comedy Bang Bang

This story has been updated.

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

Announcement cards and envelopes by designer Marc Friedland which are used by presenters at the Oscars to announce winners are on display at the food and decor preview Feb. 4, 2015 of this years Governors Ball, the post-Oscar celebration which follows the 87th Oscars ceremony on Feb. 22 in Hollywood.; Credit: Robyn Beck/AFP/Getty Images

Ready for your 2015 Oscars party? We've got printable Oscars ballots and the bingo cards you need to prove your superiority over your movie-loving friends during your Academy Awards viewing party. Here are the party printables you'll need to play along with Sunday's show, with TV coverage kicking off at 4 p.m. Pacific. (Get caught up on KPCC's 2015 Oscars coverage right here to have more fun and help make your picks!)

Printable official Oscars ballot

• Download, print, and play at home. Listen to "The Frame's" preview of the Academy Awards, see what "FilmWeek's" critics have to say about who will win, then make your own decisions on Sunday. Our crystal ball Oscars predictor/awards tracker can also help the prognostication efforts with a rundown of nominee buzz, awards already won, official trailers, photos and more.
• You can also play along with friends online on the official Academy Awards site or with the New York Times. (If you want to see KPCC's Mike Roe's picks and play against him in either online game, go here for the official site and here for the New York Times.)

2015 Oscars ballot

Printable Oscars bingo cards

• Download, print and play at home. Use our custom generator to create as many cards as you need for your party.
• How to play: Mark off each block when you hear these words or see these things happen during the Oscars telecast on Sunday. When you get five blocks in a row (horizontally, vertically, or diagonally) stand up and shout "OSCAR!!" Alternate rules: Play as a drinking game and for every block, take a sip. Finished a row? Finish your scotch.

Interactive Oscars bingo cards 

• WNYC pays tribute to the annual exercise in entertainment award show parody with a portable, computerized bingo. Play on your phone, iPad, computer or print a card. Refresh for new combinations.

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

A still from "POWER/RANGERS," a highly-produced Power Rangers fan film starring James Van Der Beek and Katee Sackhoff.

Update 2/28: The "POWER/RANGERS" film is back on YouTube and Vimeo. Watch the censored YouTube version with a new viewer discretion disclaimer here:

POWER/RANGERS

You can also watch the Vimeo version, featuring more adult content. The video's description emphasizes its lack of connection in any official way to the Power Rangers:

"Deboot of the Power Rangers. My take on the FAN FILM. Not a pilot, not a series, not for profit, strictly for exhibition. This is a bootleg experiment not affiliated or endorsed by Saban Entertainment or Lionsgate nor is it selling any product. I claim no rights to any of the characters (don't send me any money, not kickstarted, this film is free). This is the NSFW version. An alternate safe version is on youtube."

Director Joseph Kahn tells Deadline, "They put these disclaimers on so kids so don’t confuse our super-violent film with their Power Rangers brand. There are no hard feelings. We signed contracts. We can play it anywhere we want on all platforms. I think they realized that people just want to see it."

Previously: A Power Rangers short film went viral this week, starring Katee Sackhoff (Battlestar Galactica) and James Van Der Beek (Dawson!) in a Tarantino-meets-sci-fi take on a dark future for the formerly Mighty Morphin'.

The company behind the 22-year history of the kids/toy icons issued takedown requests, leading to it being pulled from Vimeo and, on Thursday afternoon, a toned-down version being taken off YouTube. At the time, the video had received over 10 million views. It's still available to watch in this Facebook embed from the producer's Facebook page:

POWER/RANGERS Facebook embed

The film was directed by Joseph Kahn, best known as the music video director behind clips like Taylor Swift's "Blank Space" as well as videos for Britney Spears, U2 and others, and produced by Adi Shankar, who was also behind "The Grey" and "Dredd." Kahn co-wrote the film with Van Der Beek and lesser-known writer Dutch Southern.

This isn't the first quasi-legal fan film produced by Shankar. He's also done the same with Marvel Comics characters the Punisher and Venom. The Punisher film even had one of the actors who played the character on screen, Thomas Jane.

Watch those films (Warning: Adult language and violence):

Punisher short

Venom short

Kahn tells HitFix that Shankar came to him, offering him the chance to reboot an existing property.

One reason for the current legal contentiousness: The Power Rangers are set to hit the big screen next year in a Lionsgate film. Kahn says that, if that film was offered to him, he wouldn't be interested.

"I wouldn't even want to make 'Power Rangers: The Movie' for real," Kahn told HitFix. "Like if I had to make a 'Power Rangers' movie, this is it. It's 14 minutes long, and it's violent, and this is what I have in me. If they offered me the $200 million version, the PG-13 version, I literally wouldn't do it."

There's been a strong response to the video, but the response has been mixed — among the original Power Rangers. The original Green Ranger, actor Jason David Frank, said on Facebook that he was approached to be in the movie but declined. (The film's director denies this claim, saying that Frank must have confused them with another project.) Frank also criticized the adult content.

"I'm just a PG-13 guy," Frank said. "The cuss words, the drugs, all this other stuff, it doesn't fly with me." He says that he thinks the Power Rangers are still connected with kids, and he didn't like the idea of doing a dark and gritty version in that context. (Watch his video below.)

Green Ranger video

But the original Pink Ranger, actress Amy Jo Johnson, gave the film her stamp of approval, which Sackhoff enthusiastically responded to.

Amy Jo Johnson tweet 1

Amy Jo Johnson tweet 2

Katee Sackhoff tweet

Sackhoff told the Nerdcore Movement site that she loves fan films.

"Doing a fan video is kind of the biggest honor you can give a franchise. It’s something that inspired you so much that you want to create," Sackhoff said.

Kahn defended "POWER/RANGERS" on Twitter as being protected due to it being a satire and also cited fair use laws and free speech. He argued that there are lots of other fan films and pointed out that YouTube showed more leniency, leaving it up.

"Every image in POWER/RANGERS is original footage," Kahn wrote in a series of tweets to Vimeo. "Nothing was pre-existing. There is no copyrighted footage in the short."

He also said that it's being given away for free and that Kahn paid for it himself.

Kahn tweet

"It is just as if I drew a pic of Power Rangers on a napkin and I gave it to my friend," Kahn wrote. "Is it illegal to give pic I drew of a character on a napkin to someone for free? No. The world is watching your actions right now."

In a touch of irony, the video had been selected as a Vimeo staff pick before the service took it down. They also responded to complaints about it being taken down, saying that they had to due to the Digital Millennium Copyright Act, and that they would restore the video immediately if the copyright claim was withdrawn, telling fans to complain to Power Rangers copyright holder Saban.

YouTube tweet

Despite the short film's success, hardcore Power Rangers fans are less sure about it, Shamus Kelley tells KPCC. Kelley created his own Rangers fan series, as well as co-hosting a Power Rangers podcast with over 300 episodes so far.

Casual fans are "far more open to the idea of dark/gritty because they see it as the show growing up with them," Kelley says. To hardcore fans, "it was either an abomination or the greatest unintended parody ever."

Kahn tells HitFix that the parody, of both Power Rangers and fan films in general, is definitely intended.

"The dark and gritty reboot thing is such a cliché that the intention was not only to make it dark and gritty but make it even darker and grittier than you could possibly imagine, hence the brains, the blood and the violence and the sex," Kahn said.

Kahn is set to answer questions about the film in a Reddit AMA on Friday at 2 p.m. We'll have to wait and see if there will be anywhere to watch it at the time.

Take a look behind the scenes of "POWER/RANGERS" via posts from the director and stars:

Behind the scenes tweet

Behind the scenes Instagram

Fight training 1

Fight training 2

The film also includes a techno take on the classic Power Rangers theme song, which you can listen to here:

Techno Power Rangers

This story has been updated.

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

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

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

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

1. The Konami Code

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

What is the Konami Code

2. Street Figher II Turbo's turbo

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

3. Super Mario Bros.'s Minus World

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

Minus World video

4. Metroid and Justin Bailey

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

Justin Bailey video

5. Doom's God mode

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

6. Mortal Kombat's Reptile

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

Mortal Kombat: Reptile

7. The Legend of Zelda's Second Quest

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

8. NBA Jam's celebrity secret characters

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

9. GoldenEye's extra modes

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

10. Sonic The Hedgehog 2's Debug Mode

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

Sonic debug mode

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

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

Mike Tyson vs. Mike Tyson

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

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

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

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

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

Ross has been watching wrestling since he was a kid.

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

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

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

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

The JR Treatment

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

WWE Network

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

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

NXT

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

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

Give Divas a chance

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

AJ tweet 1

AJ tweet 2

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

What's next

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

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

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

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

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

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

San Andreas trailer

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

DC Comics TV shows: The Flash, Gotham, iZombie

The Flash trailer

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

World Premiere: Batman vs. Robin

Batman vs. Robin trailer

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

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

Batman: The Brave and the Bold: Drives Us Bats

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

Superman: The Richard Donner Years Celebrity Super Reunion

Superman: The flying sequence

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

TV writing panels

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

Fan culture programming track

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

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

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