Lifestyle
L.A. Affairs: I found love in a truly hopeless place. Yes, the office
Heartbroken after a breakup that was long overdue, crushed by a stalled entertainment industry and depressed by my temporary day job at a dementia center, I grasped at any semblance of stability. Desperation led me to apply for an office job at a law firm in Westwood despite having zero legal experience and a unique disdain for cubicles and fluorescent lighting.
Months of hopeful waiting ended with a curt dismissal: “We’ve decided to move forward with another candidate.”
I was bitter, and my mind was overflowing with imagined shortcomings directed at the other candidate. The guy they chose was probably fluent in legal jargon and adept at being mundane as hell. He probably penciled in his laughter. He probably was awful, I thought.
Two months later, I received a phone call. The firm was expanding and wanted to hire me. I knew I would have to work with the person who got the job I had applied for, but I needed the income, so I dusted off my loafers and put my ego aside.
I wasn’t going to be there for the long-term and I certainly wasn’t going to make friends, I decided. Naturally the universe had other plans for my time in the office. My aloof facade crumbled upon meeting Chris.
When we were introduced, I politely asked him how he was doing, and he proudly belted out, “L-I-V-I-N!”
It was obvious why Chris was selected for the job that I had wanted. He didn’t know about statutes or precedents. He wasn’t stuffy or boring, and his laughter was far from regulated. Everyone loved him. And why wouldn’t they? I’d never met anyone like him.
His smile was like a floodlight. He repelled negative energy, and anxiety feared him. In an office that made the DMV look like Disneyland, he was everything.
Chris was training me, and we were the only people in our department. I started wearing mascara, removing my headphones and asking Chris questions I already knew the answer to. He would leave notes on my car. We exchanged screenplays, and he would text me after work, referencing inside jokes that we pretended were funnier than they were.
But I’ll admit that I was stubborn. I couldn’t let myself enjoy anything about this job or this phase in my life. I needed to focus on my writing. The strike would end, the clouds would lift, and this blip in time would be forgotten. I couldn’t admit that I was in love with Chris. It wasn’t part of my plan.
We would go to Barney’s Beanery together on our lunch breaks but pretend that we weren’t going on dates. We would take our 15-minute breaks together to “get fresh air.” We made a combined Spotify Blend playlist, revealing our mutual love of Green Day and the Smashing Pumpkins. Sometimes I even forgot how much I hated going to the office.
Chris had an AMC Movie Pass, and I was a good liar. He would see movies after work to beat traffic, so I bought the pass and acted like I’d always had it.
The day we planned to see a movie after work, Chris received terrible news of a death in his family. I offered my condolences at the office. I wanted to hold him but didn’t know if I could so much as pat his arm. I asked if he’d still like to see the movie, and he insisted he needed the distraction.
It was Christmas for all of December in Century City. As we drank three limoncellos each, Chris told me stories about his uncle who made Southern California feel like home, and we shared our first hug. He smelled like clean laundry, and I was drunk enough to tell him.
We sneaked more drinks into the theater and watched Paul Giamatti in “The Holdovers,” which made me cry. Chris held my hand. We stumbled into another movie — a private screening of a live production of “Titanic the Musical.” We didn’t want our night to end, so we went to Barney’s for a nightcap. Standing outside of our favorite bar, we shared our first kiss. It felt overdue.
Since then, we’ve met each other’s families and friends, taken road trips together and seen many more movies. (For me, the AMC Pass was a great investment.)
We also finished all of our work assignments at the law firm. Three weeks ago, the firm let Chris go. I wondered if I should quit. I wanted to. Chris was the best thing about that office, and I couldn’t bear the thought of being there without him. Thirty minutes after Chris was let go, I was let go. We were so happy to be free. The next day we went to Universal Studios to celebrate.
The maze of dead-end interviews, the drudgery of temporary gigs and the tumultuous nature of making a living as a writer don’t feel so bad anymore. We have new day jobs but still go to Barney’s Beanery. We also work on our screenplays and write bad jokes.
Occasionally I make arbitrary plans and ridiculous statements about how things ought to pan out. And I find myself laughing. Not a penciled-in laugh. An unchecked laugh. A Chris-inspired free laugh. I don’t know what the future holds for us, but for now, Chris and I are falling deeper in love and “L-I-V-I-N.”
The author is a screenwriter living in West Hollywood. She’s on Instagram: @mlindz
L.A. Affairs chronicles the search for romantic love in all its glorious expressions in the L.A. area, and we want to hear your true story. We pay $400 for a published essay. Email LAAffairs@latimes.com. You can find submission guidelines here. You can find past columns here.
Lifestyle
How does the Kennedy Center board make decisions? This legal filing sheds some light
The Kennedy Center, the facade of which remains covered with a tarp, is seen in Washington, DC, on June 28, 2026. A US federal judge asked on June 24 for an explanation for why a tarpaulin continues to cover the facade of the Kennedy Center where President Donald Trump’s name was recently removed. District Judge Christopher Cooper gave the board of trustees of the performing arts venue until the end of July to explain “the purpose for and status of the tarp and scaffolding that Defendants have erected on the front portico of the Center.”
ALEX WROBLEWSKI/AFP via Getty Images
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ALEX WROBLEWSKI/AFP via Getty Images
More than two weeks ago, President Trump’s name was removed from the Kennedy Center facade though it is still covered by a tarp and the legal battle continues.
On Monday, a U.S. Department of Justice filing on behalf of the Kennedy Center included some surprises. The document was submitted in response to issues raised by lawyers for ex-officio board member Rep. Joyce Beatty of Ohio who is suing to remove President Trump’s name from the center and stop its closure for renovations.
Among the revelations, the Kennedy Center admitted that, during a board meeting on December 18, 2025, Beatty had been “muted and prevented from speaking.” It was at that meeting that the board voted to add President Trump’s name to the center. The filing later acknowledges the congresswoman was “prevented from voicing her opposition.”
The John F. Kennedy Center for the Performing Arts is a living memorial to its namesake. The guidelines for how the theatre complex spends federal dollars are very specific. Among other rules, it states that “no additional memorials or plaques shall be designated or installed.” Beatty argues adding Trump’s name runs afoul of those rules and that any change requires approval from Congress.
According to one of Beatty’s filings, “There was no advance notice in the agenda that the Board would be considering a name change,” a statement the Kennedy Center now does not deny. The center admits that, prior to voting, there was “no discussion about potential risks or downsides of the vote to adopt a secondary name for the Center.” Nor was there a board discussion “about any potential conflict of interest that might result from the vote.”
The center’s lawyers previously contended that if Trump’s name were to be removed, it would “lose money from donors who support” him and “impede the Center’s fundraising efforts.”
Closing for renovations
Earlier this year, Trump announced on social media that the Kennedy Center would close for two years for renovations. He wrote that he made the decision after “a one year review” with “Contractors, Musical Experts, Art Institutions, and other Advisors and Consultants.”
But, according to the center’s lawyers, Trump’s announcement “was made without presenting any plans, analyses, timelines, or funding information to his cotrustees and without any Board vote.”
The Kennedy Center has long denied reporting by The Washington Post that ticket sales plummeted after President Trump became the Center’s board chair. In Monday’s legal filing, the Center admits that, by October 2025, “nearly half of the Center’s tickets were going unsold.”
Lifestyle
ICICLE: Capturing Interest in Chinese Brands
Lifestyle
‘Dead but Dreaming of Electric Sheep’ is full of beautifully written grotesqueries
Paul Tremblay has made a career of pushing the horror genre – and the novel format – in strange and exciting new directions.
In his latest, Dead but Dreaming of Electric Sheep, the author offers an amalgamation of genre elements that can be best described as psychological-dystopian-science-fiction horror. It’s a mouthful, but the narrative does all of that and more in a way that defies categorization.
Julia Flang is a former semiprofessional gamer working two mediocre jobs she dislikes and living in a modest ranch house in a San Fernando Valley suburb with her retired uncle, whom she calls Uncle Fun. Julia likes movies and gaming but there’s little else going on in her life, so when her estranged mother, the CFO of a large tech company, contacts her with a possible job offer – a “once-in-a-lifetime thing” that pays handsomely just for doing the interview – she hesitantly agrees.

The job is relatively simple and perfect for someone with gaming skills: using a controller built into a phone to get a man, who is stuck in a vegetative state, from California to the East Coast. It will require her to learn how to control his body – walking, moving, sitting, standing, using his arms – so she can maneuver him out of the facility where he is located and into cars and planes and through crowded airports. A fan of movies, Julia decides to call the man Bernie – after the movie Weekend at Bernie’s. When the ethics of the job start to bother her, Julia realizes it’s too late and she must go through with it. However, she’s soon contacted by people interested in sabotaging the whole thing, people who, like her, don’t align with the shady interests of conglomerates and those set to make “gobs of money” from this new, somewhat inhuman technology.
As with every Tremblay novel, any synopsis barely scratches the surface. The novel’s chapters alternate between Julia and you (yes, you). Julia’s chapters are “normal” in the sense that they obey a chronological order and have action, basic descriptions of movement and places, and dialogue. The chapters in second person are like fever dreams from a shadow world; the desperate experiences of a man trapped inside his own body with no control of it, no clue what’s happening to him, and only a few fragmented memories of his life. Also, Tremblay uses a similarly fragmented style of storytelling (including words and sentences trapped in boxes and/or “moving” on the page) to keep things interesting but also confusing and creepy.
This novel operates on several different levels and – planes of existence? Bernie has a head full of AI that controls his body, but his consciousness is still there and struggling to regain control, struggling to remember things. There are monsters, leeches, mysterious rabbits, and eerie shadows in his world, but the true horror comes from the lack of control, from being moved around against his will and having no clue what comes next. Bernie is the embodiment of losing control to AI, and when taken together with the commentary of creativity and AI and the meta interludes in which the author takes a wrecking ball to the fourth wall and addresses readers, this is the best anti-Generative AI story horror has produced so far.
Despite the horror of it, this is a very funny novel. Julia is sarcastic and struggles to keep her comebacks in line, but the conversations she has and messages she writes are always entertaining. However, the humor is far from the crown jewel here. That title belongs to a plethora of big ideas Tremblay juggles. The nature of life, death, and consciousness, the evils of conglomerates, inhuman practices in the name of capitalism, and AI, and even what it means to be human are all explored here: “Is Bernie alive? Is he feeling pain? Is he experiencing everything as a prisoner looking through the bars of his body? Has his consciousness been winnowed to a metaphysical keyhole? Where does consciousness begin or end?” There are no definite answers here, but the way Tremblay infuses humanity, love, the importance of relationships, and humor throughout the narrative provides the kind of answers that can’t and don’t need to be spelled out.
A genre-bender full of big ideas that constantly switches between a world full of real or uncomfortably plausible nightmares and a bizarre hellscape in which loss of self, memory, and autonomy are only the tip of the proverbial iceberg, Dead but Dreaming of Electric Sheep is a horrific and terrifyingly disorienting novel that invites readers to consider a future that already started. Tremblay has always been an innovator, but this beautifully written collection of real and imagined grotesqueries cements him not only as one of the most original and exciting voices in horror but also as one of the smartest, most engaging authors in contemporary fiction.
Gabino Iglesias is an author, book reviewer and professor living in Austin, Texas. Find him on X, formerly Twitter, at @Gabino_Iglesias.

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