Lifestyle
'It’s going to be the Wild West.' Devastated by fire, Altadena artists vow to rebuild
A week after the devastating Eaton fire tore through Altadena, killing 17, with 24 people missing as of this writing, and destroying more than 7,000 structures, cars were double-parked outside Knowhow Shop in Highland Park. People from all over Los Angeles, their faces obscured by masks due to raining ash, carried bags of toys and clothing to donate to Altadena Kindred, a fundraiser for Altadena children who have been displaced.
Just a month ago, one of the event’s organizers, Linda Hsiao, an Altadena ceramist and industrial designer, had helped host a similarly community-minded event in the foothill town. At the holiday craft fair at Plant Material, local artists shared handmade ceramics, knives, jewelry, hot sauce, embroidery and tie-dyed textiles. Adding to the family-friendly vibe, the St. Rita Cub Scout Pack showed up to sell mistletoe foraged from the nearby trails.
Bianca D’Amico, an artist who helped organize the December event — her son attended the preschool on Christmas Tree Lane that burned down — is proud of the hyperlocal market they created together in the former gas station, which amazingly survived, on Lincoln Avenue. “There is something deeply personal about our fellow vendors who pour so much of themselves into their work and are the spirit of Altadena,” D’Amico said, calling them a “creative, plant-loving, dog-friendly, kid-wrangling community of makers, artists and designers.”
In December, Altadena artists gathered at Plant Material on Lincoln Avenue to sell their handmade wares for the holidays. Many of them have lost their homes.
(Lisa Boone / Los Angeles Times)
Today, nearly all the vendors, including Hsiao; her husband, architect Kagan Taylor; and their two children, are homeless. “Our house is still standing, but it’s not safe for us to return,” she said of the smoke damage. “Right now, all I can think about is how we’ve lost our friends, our schools, our entire community.”
Hsiao’s shock was evident as she welcomed friends and accepted donations for Altadena Kindred. “This is where we were supposed to grow old,” she said haltingly. “This is where my son was supposed to ride his bike to school.”
With the loss of neighborhood schools, Hsiao is determined to find a way to create a place where all of the community’s children can gather.
But how do you create something like that when all of your neighbors are gone?
Located at the foot of the San Gabriel Mountains, the unincorporated community of more than 42,000 people has long been a refuge for artists, according to glass and metal artist Evan Chambers, who was born and raised in Altadena, just like his parents and grandparents.
“It’s always been a very accepting community of eccentric people of all types,” said Evan Chambers, pictured in his Pasadena studio.
(Evan Chambers)
“It’s always been a very accepting community of eccentric people of all types,” said Chambers, who purchased his home from the estate of the infamous compost czar Tim Dundon, also known as Zeke the Sheik.
He credits gallery owner Ben McGinty with creating a space for all artists at his Gallery at the End of the World, which survived the fire. “He accepted all of us,” Chambers said of the gallery, which has existed for more than two decades. “I had my first show there.”
Chambers, 44, grew up surrounded by river-rock walls and Arts and Crafts homes that have informed his aesthetic as a glassblower. He lost his home, including the ceramics studio he built for his wife, Caitlin, but is adamant that he will rebuild. “We’re going to rock this,” said the father of two. “With climate change, there is no safe place to go. All that matters is that you suffer with the people you want to help and be helped by. If you’re going to burn, you burn with your people.”
Born and raised in Los Angeles, ceramist Victoria Morris has lived in many neighborhoods throughout the city. But when she purchased a small midcentury house in Altadena a decade ago, the artist felt like she had found a home, personally and professionally. “I thought, ‘This is my last stop,’” Morris said.
The ceramist worked in a studio on Lake Avenue, two miles from her home, where she stored photographs and hard drives in the basement. Just a month ago, Morris hosted a holiday sale, and people packed the showroom to shop for her midcentury-inspired lamps and vases.
Today, it’s all gone.
Morris feels fortunate to have a second home in Ojai. Still, she grapples with the nightmare of evacuating on Jan. 7 and what she has lost. “My husband, Morgan [Bateman], said, ‘Grab your wedding ring, your passport, the animals, and get a jacket and some sturdy shoes.’ There was this beautiful vintage Japanese print that cost nothing, but I loved her so much. And as I was leaving, I thought, ‘Should I grab her?’ Something in my brain said no. I have a notebook where I write the formulas for all my work. It’s been my bible for the last 20 years. Did I grab that? No. Our hard drives? Gone.”
When Bateman finally managed to get access to their property, he found their home and beloved garden smoldering. “All our neighbors are gone,” he told her, rattled.
Brendan Sowersby and Annabel Inganni’s Altadena home, which burned down, was filled with custom furnishings and accessories designed by the couple. Their son Bird stands outside Lake Avenue’s Cafe de Leche, which is also gone. (Annabel Inganni)
On Wednesday, Wolfum textile designer Annabel Inganni was thinking about her 14-year-old son as she waited to pick up a free mattress and box spring at Living Spaces in Monrovia.
“He is in eighth grade, and his school in Pasadena has something like 67 families that have been impacted,” she said. “They are such a supportive community, but I’ve been burying my sadness just to get Bird back to school. And I know it’s not just us. It’s the entire town.”
Inganni lived in the Rubio Highlands neighborhood with her husband, furniture designer Brendan Sowersby of 100xbtr, their two dogs and three cats (all were evacuated safely). Their home was filled with custom furnishings the couple designed. Now, everything is gone. Many of her neighbors lived in their childhood homes. She describes the community as “heaven on earth.”
“Altadena is the most special, innovative, diverse, accepting, core-values town I’ve ever lived in,” she added. “The sense of community is strong. Now, we don’t even have a post office. I lost my home, studio and the archives of everything I’ve ever done. It’s a lot.”
Chris Maddox and Thomas Renaud lost their Altadena home in the Eaton fire. (Thomas Renaud)
After temporarily evacuating to Moorpark last Tuesday, Thomas Renaud returned to Altadena after learning his neighbors’ home was still standing.
“They wanted to go back and get some things, and I offered to drive them,” he said. Renaud was hopeful that the home he shared with his partner, Chris Maddox, and their dog, Van — who both got out safely — would also be left unscathed. But as he drove down Altadena Drive after dropping off his neighbors on Wednesday, all he could see was ash and fire. “When I rounded the corner to my street, I saw that the entire neighborhood was gone,” he said, “and I just lost it.”
When the LGS Studio ceramist and Maddox purchased their house about five years ago, they immediately fell in love with Altadena’s creative community.
“Many artists, musicians and writers live here, and we felt like we had our slice of that,” he said. “We put so much love into that house; it was a place for all our friends and family. It wasn’t just that we lost a house but a home.”
Although Renaud returned to work at his studio in Glassell Park this week, he said he is still in shock. “I don’t think I’ve slept more than one night in the past week,” he said. “Everything right now feels so overwhelming. All the support humbles us, but where do we begin?”
He said that, like many others without homes, finding semipermanent housing is a good start.
Ceramist Linda Hsiao with her children, Wawona, 3, and Saben, 5, in her Altadena home studio in November. Their home is still standing, but the family is unable to live there.
(Robert Hanashiro / For The Times)
As artists, it’s unsurprising that many are haunted by the things they left behind. For Morris, it’s a set of mugs by Los Angeles ceramists Kat and Roger, a quilt she made with her mother, a pencil drawing of her grandmother by her grandfather.
Chambers mentions a lamp by Pasadena artist Ashoke Chhabra and his great-uncle Charles Dockum’s mobile color projector, as well as Dockum’s correspondence with architect Frank Lloyd Wright.
The journals that Inganni had been keeping since she was 6, along with irreplaceable family mementos, are destroyed. “Brendan’s father passed away two years ago, and we had his ashes and photos, and they’re all gone,” she said. “That’s what gets him the most.”
When it came time to evacuate, Renaud grabbed one bag of clothes, the dog, the dog bed and his great-grandfather’s watch. “I didn’t think the fire would come this far,” he said. “My grandmother was a painter, and I had her original artwork. Those are the things I’m grieving for the most. I was thinking, ‘We’ll come back.’ But it’s family history that we can’t get back.”
“Everyone at the hardware store knew my name and would always offer my dog treats,” said artist Victoria Morris.
(Colleen Shalby / Los Angeles Times)
During the COVID-19 pandemic, Morris sought refuge in her studio. But now the businesses near her studio are gone, like Altadena Hardware on Mariposa Street, Grocery Outlet Bargain Market, Café de Leche and Steve’s Pets. Added Morris: “Everyone at the hardware store knew my name and would always offer my dog treats.”
Despite all they have lost, the artists acknowledge moments of grace. Friends have set up GoFundMe accounts to help them with their short-term needs. Chambers’ friends from preschool and elementary school built beds for him and his family. Morris has received notes that have brought her to tears.
“Two people sent me pictures of one of my vases and a bowl and told me they survived,” she said. “And it has brought them so much happiness. They offered them to me, and I told them no. I want them to keep them.”
Hsaio received a photo from a tequila maker in Altadena who went through his rubble and found one of her Tiki tumblers intact. “These people weren’t just my customers,” she said. “They were my community.”
Still, some are filled with trepidation about what comes next.
Renaud and Taylor have received text messages from strangers offering to purchase their damaged homes. “It’s still smoldering,” Renaud said in disbelief.
“It’s going to be the Wild West,” Inganni said. “Everyone I’ve spoken to is rebuilding. That’s what is percolating in the community. But I think people are very nervous about land grabs and worried about people who don’t have the financial capability to cover themselves.”
In the meantime, Morris just wants to get back to work. “I don’t want to miss being a part of rebuilding Altadena,” she said. “It may be a collective. It may be a store. There’s no way I can cut and run out of a place that’s so special.”
Inganni said Sowersby is considering building desks for the community and developing a fireproof home system.
Renaud, temporarily living in a friend’s accessory dwelling unit, or ADU, in Mount Washington, also wants to help.
“I needed to go and see our house because I needed to grieve,” he said. “If you don’t see what you’ve lost, it’s always a question mark in your mind. But now, I want to be a part of the rebuilding. I have a truck. I’m ready.”
Lifestyle
‘American Classic’ is a hidden gem that gets even better as it goes
Kevin Kline plays actor Richard Bean, and Laura Linney is his sister-in-law Kristen, in American Classic.
David Giesbrecht/MGM+
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David Giesbrecht/MGM+
American Classic is a hidden gem, in more ways than one. It’s hidden because it’s on MGM+, a stand-alone streaming service that, let’s face it, most people don’t have. But MGM+ is available without subscription for a seven-day free trial, on its website or through Prime Video and Roku. And you should find and watch American Classic, because it’s an absolutely charming and wonderful TV jewel.
Charming, in the way it brings small towns and ordinary people to life, as in Northern Exposure. Wonderful, in the way it reflects the joys of local theater productions, as in Slings & Arrows, and the American Playhouse production of Kurt Vonnegut’s Who Am I This Time?
The creators of American Classic are Michael Hoffman and Bob Martin. Martin co-wrote and co-created Slings & Arrows, so that comparison comes easily. And back in the early 1980s, Who Am I This Time? was about people who transformed onstage from ordinary citizens into extraordinary performers. It’s a conceit that works only if you have brilliant actors to bring it to life convincingly. That American Playhouse production had two young actors — Christopher Walken and Susan Sarandon — so yes, it worked. And American Classic, with its mix of veteran and young actors, does, too.

American Classic begins with Kevin Kline, as Shakespearean actor Richard Bean, confronting a New York Times drama critic about his negative opening-night review of Richard’s King Lear. The next day, Richard’s agent, played by Tony Shalhoub, calls Richard in to tell him his tantrum was captured by cellphone and went viral, and that he has to lay low for a while.
Richard returns home to the small town of Millersburg, Pa., where his parents ran a local theater. Almost everyone we meet is a treasure. His father, who has bouts of dementia, is played by Len Cariou, who starred on Broadway in Sweeney Todd. Richard’s brother, Jon, is played by Jon Tenney of The Closer, and his wife, Kristen, is played by the great Laura Linney, from Ozark and John Adams.
Things get even more complicated because the old theater is now a dinner theater, filling its schedule with performances by touring regional companies. Its survival is at risk, so Richard decides to save the theater by mounting a new production of Thornton Wilder’s Our Town, casting the local small-town residents to play … local small-town residents.
Miranda, Richard’s college-bound niece, continues the family theatrical tradition — and Nell Verlaque, the young actress who plays her, has a breakout role here. She’s terrific — funny, touching, totally natural. And when she takes the stage as Emily in Our Town, she’s heart-wrenching. Playwright Wilder is served magnificently here — and so is William Shakespeare, whose works and words Kline tackles in more than one inspirational scene in this series.
I don’t want to reveal too much about the conflicts, and surprises, in American Classic, but please trust me: The more episodes you watch, the better it gets. The characters evolve, and go in unexpected directions and pairings. Kline’s Richard starts out thinking about only himself, but ends up just the opposite. And if, as Shakespeare wrote, the play’s the thing, the thing here is, the plays we see, and the soliloquies we hear, are spellbinding.
And there’s plenty of fun to be had outside the classics in American Classic. The table reads are the most delightful since the ones in Only Murders in the Building. The dinner-table arguments are the most explosive since the ones in The Bear. Some scenes are take-your-breath-away dramatic. Others are infectiously silly, as when Richard works with a cast member forced upon him by the angel of this new Our Town production.
Take the effort to find, and watch, American Classic. It’ll remind you why, when it’s this good, it’s easy to love the theater. And television.


Lifestyle
The L.A. coffee shop is for wearing Dries Van Noten head to toe
The ritual of meeting up and hanging out at a coffee shop in L.A. is a showcase of style filled with a subtle site-specific tension. Don’t you see it? Comfort battles formality fighting to break free. Hiding out chafes against being perceived. In the end, we make ourselves at home at all costs — and pull a look while doing it.
It’s the morning after a night out. Two friends meet up at Chainsaw in Melrose Hill, the cafe with the flan lattes, crispy arepas and sorbet-colored wall everybody and their mom has been talking about.
Miraculously, the line of people that usually snakes down Melrose yearning for a slice of chef Karla Subero Pittol’s passion lime fruit icebox pie is nonexistent today. Thank God, because the party was sick last night — the DJ mixed Nelly Furtado’s “Promiscuous” into Peaches’ “F— the Pain Away” and the walls were sweating — so making it to the cafe’s front door alone is like wading through viscous, knee-high water. Senses dull and blunt in that special way where it feels like your brain is wearing a weighted vest. The sun, an oppressor. Caffeine needed via IV drip.
The mood: “Don’t look at me,” as they look around furtively, still waking up. “But wait, do. I’m wearing the new Dries Van Noten from head to toe.”
Daniel, left, wears Dries Van Noten mac, henley, pants, oxford shoes, necklace and socks. Sirena wears Dries Van Noten blouse, micro shorts, sneakers, shell charm necklace, cuff and bag and Los Angeles Apparel socks.
If a fit is fire and no one is around to see it, does it make a sound? A certain kind of L.A. coffee shop is (blessedly) one of the few everyday runways we have, followed up by the Los Feliz post office and the Alvarado Car Wash in Echo Park. We come to a coffee shop like Chainsaw for strawberry matchas the color of emeralds and rubies and crackling papas fritas that come with a tamarind barbecue sauce so good it may as well be categorized as a Schedule 1. But we stay for something else.
There is a game we play at the L.A. coffee shop. We’re all in on it — the deniers especially. It can best be summed up by that mood: “Don’t look at me. But wait, do.” Do. Do. Do. Do. We go to a coffee shop to see each other, to be seen. And we pretend we’re not doing it. How cute. Yes, I’m peering at you from behind my hoodie and my sunglasses but the hoodie is a niche L.A. brand and the glasses are vintage designer. I wore them just for you. One time I was sitting at what is to me amazing and to some an insufferable coffee shop in the Arts District where a regular was wearing a headpiece made entirely of plastic sunglasses that covered every inch of his face — at least a foot long in all directions — jangling with every movement he made. Respect, I thought.
Dries Van Noten’s spring/summer 2026 collection feels so right in a place like this. The women’s show, titled “Wavelength,” is about “balancing hard and soft, stiff and fluid, casual and refined, simple and complex,” writes designer Julian Klausner in the show notes. While for the men’s show, titled “A Perfect Day,” Klausner contextualizes: “A man in love, on a stroll at the beach at dawn, after a party. Shirt unbuttoned, sleeves rolled up, the silhouette takes on a new life. I asked myself: What is formal? What is casual? How do these feel?” What is formal or casual? How do you balance hard and soft? The L.A. coffee shop is a container for this spectrum. A dynamic that works because of the tension. A master class in this beautiful dance. There is no more fitting place to wear the SS26 Dries beige tuxedo jacket with heather gray capri sweats and pink satin boxing boots, no better audience for the floor-length striped sheer gown worn with satin sneakers — because even though no one will bat an eye, you trust that your contribution has been clocked and appreciated.
Daniel wears Dries Van Noten coat, shorts, sneakers and socks. Sirena wears Dries Van Noten jacket, micro shorts and sneakers.
Back at Chainsaw the friends drink their iced lattes, they eat their beautiful chocolate milk tres leches in a coupe. They’re revived — buzzing, even; at the glorious point in the caffeinated beverage where everything is beautiful, nothing hurts and at least one of them feels like a creative genius. The longer they stay, the more their style reveals itself. Before they were flexing in a secret way. Now they’re just flexing. Looking back at you looking at them, the contract understood. Doing it for the show. Wait, when did they change? How long have they been here? It doesn’t matter. They have all day. Time ceases to exist in a place like this.
Daniel wears Dries Van Noten tuxedo coat, pants, scarf, sneakers and necklace and Hanes tank top. Sirena wears Dries Van Noten jacket, micro shorts, sneakers and socks.
Creative direction Julissa James
Photography and video direction Alejandra Washington
Styling Keyla Marquez
Hair and makeup Jaime Diaz
Cinematographer Joshua D. Pankiw
1st AC Ruben Plascencia
Gaffer Luis Angel Herrera
Production Mere Studios
Styling assistant Ronben
Production assistant Benjamin Turner
Models Sirena Warren, Daniel Aguilera
Location Chainsaw
Special thanks Kevin Silva and Miguel Maldonado from Next Management
Lifestyle
Nature needs a little help in the inventive Pixar movie ‘Hoppers’ : Pop Culture Happy Hour
Piper Curda as Mabel in Hoppers.
Disney
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In Disney and Pixar’s delightful new film Hoppers, a young woman (Piper Curda) learns a beloved glade is under threat from the town’s slimy mayor (Jon Hamm). But luckily, she discovers that her college professor has developed technology that can let her live as one of the critters she loves – by allowing her mind to “hop” into an animatronic beaver. And it just might just allow her to help save the glade from serious risk of destruction.
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