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L.A. Affairs: My fling's words took me by surprise. ‘I’m not committed to you’

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L.A. Affairs: My fling's words took me by surprise. ‘I’m not committed to you’

It was a beautiful February day in Los Angeles after the fires. The sun burned hot overhead. I pulled my Ducati motorcycle into a spot outside his restaurant in the Arts District. I was hot, thirsty, hungry — three simple needs that instantly faded when I saw him.

Michael.

Even with my darkened helmet shield, our eyes locked. He was wheeling produce up the ramp to the kitchen, his movements as familiar to me as my own breath.

For a moment, time slowed. The weight of unspoken words, of unresolved heartbreak, of unanswered questions hung between us. I had spent two months trying to make sense of the silence he left me in. The last time we spoke, he had dropped a bomb on me late on a Friday night, a few days before Christmas, in the casual way only he could.

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“I’m not committed to you,” he said. Just like that, a simple sentence out of the blue that blindsided me.

And then, the knife twisted.

“I really like this woman in San Diego. I’m seeing her at Christmas.”

I could still hear the words, feel the numbness settle in, like a short circuit in my brain.

Hadn’t we just spent a perfect weekend in L.A.? Having dinner at Bavel, watching Liverpool play, the quiet intimacy of me reading while he walked his dogs. Hadn’t we just gone to the Bread Lounge for my favorite pastry, taken his vintage BMW for a ride, shared a moment that felt uniquely ours?

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And what about the sweetness of those two days in Orange County: dinner, the Christmas play in Laguna, the laughter in the photo booth at A Restaurant, just like our first date 18 months prior, giggling and capturing our undeniable joy in snapshots?

The memories flooded in as I sat on my Ducati, wondering why he was here, why his restaurant, which he was selling, hadn’t yet closed escrow and why this pain still gripped me. Why had he gone dead silent after treating me so carelessly? His last text on Dec. 31 saying he was OK, he needed time, he’d been sick, but would be in touch felt like an echo in an empty canyon. I gave him time. But what I got in return was nothing.

And nothing is a kind of cruelty all its own.

Michael’s voice jolted me.

“Rainie, I’m late! I don’t have time to talk to you.”

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I motioned him over. The heat pressed against my face as I pulled off my helmet and then my leather jacket. I met his gaze and asked the question that had burned inside me for weeks since the last time we spoke in December and his last text on Dec. 31.

“Why did you ghost me? Ghosting was what you do to strangers — to people who don’t matter.”

Had I really meant so little to him?

He had no real answer, just a feeble, “I thought it was better this way for you.” He agreed we could make a plan to talk “later,” sometime after the restaurant closed escrow, which was still up in the air. Then he told me to make myself at home in the restaurant and he told his staff to take care of me. Then he was gone.

I should have left too. But I stayed.

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Sitting at the bar, I found myself in conversation with a stranger. Another Ducati rider.

Tim.

Three seats down, he had chimed in when the bartender asked about my bike. Within minutes, we were deep in conversation, drawn together by something simple, something easy.

I glanced at my watch — 3:09 p.m. What! How did it get so late? I had to get up to Mt. Wilson before it got dark and cold. I handed Tim my card and left, expecting nothing.

That night, he texted. Then he called.

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For three hours, I was laughing — genuinely laughing for the first time in months.

Two days later, Tim and I met for a relaxed dinner at the Farmhouse in Roger’s Gardens. Afterward, when he kissed me, it wasn’t just lips meeting — it was a balm, a quiet reassurance that I was still here, still capable of connection, still alive.

The next morning, he skipped out on his conference and brought me breakfast in bed. We decided to ride together. But first, a stop at the motorcycle shop and then a half-hour appointment at my oncologist’s office. When I stepped out, there he was — on his Ducati, next to mine, waiting.

We rode the coastline, winding through Laguna Canyon, El Toro Road, Santiago Canyon, stopping at Cook’s Corner for burgers. The conversation flowed as effortlessly as the miles beneath our tires. His laughter felt like sunlight filtering through a dense forest, reaching places in me that had been dark for too long.

Tim had raced Ducatis. He was an expert. And yet, when he looked at me, he said something unexpected.

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“You’re a good rider and your form is perfect. You ride better than any of my friends.”

The words hit differently than any compliment I had received in a long time. Somewhere in Michael’s silence, in his rejection, in the weeks of self-doubt, I had started to believe I wasn’t enough.

That night, lying alone in my bed, I felt something shift.

Michael, who had once occupied every thought, every breath, who still hadn’t reached out to talk with me, suddenly seemed … distant. Less important. The weight of his absence felt lighter.

Not because Tim had replaced him. But because Tim had reminded me of something I had forgotten: myself.

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Michael’s silence had stolen pieces of my confidence, had made me question my worth. But an afternoon of laughter, of conversation, of reaching speeds over 100 mph on my Ducati with someone who seemed to value me and didn’t make me doubt myself — it brought my confidence front and center.

I may never see Tim again. But I will always be grateful for what he unknowingly gave me: the realization that I am whole. That I am enough. That I don’t need Michael’s love, or his silence, to define me.

The next morning, I slept in, letting the experience settle, letting myself feel it.

Then I threw on my jacket, grabbed my helmet, and walked out to my Ducati.

I was bursting with joy and ready to go. I was finally moving forward.

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The author is a personal assistant in Orange County. She lives in the Newport Beach area. She’s on Instagram: @rainienb

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.

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‘The Middle’ Actor Pat Finn Dead at 60 After Cancer Battle

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‘The Middle’ Actor Pat Finn Dead at 60 After Cancer Battle

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In Brooklyn’s Park Slope neighborhood, children’s entertainment comes with strings

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In Brooklyn’s Park Slope neighborhood, children’s entertainment comes with strings

The Tin Soldier, one of Nicolas Coppola’s marionette puppets, is the main character in The Steadfast Tin Soldier show at Coppola’s Puppetworks theater in Brooklyn’s Park Slope neighborhood.

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Every weekend, at 12:30 or 2:30 p.m., children gather on foam mats and colored blocks to watch wooden renditions of The Tortoise and the Hare, Pinocchio and Aladdin for exactly 45 minutes — the length of one side of a cassette tape. “This isn’t a screen! It’s for reals happenin’ back there!” Alyssa Parkhurst, a 24-year-old puppeteer, says before each show. For most of the theater’s patrons, this is their first experience with live entertainment.

Puppetworks has served Brooklyn’s Park Slope neighborhood for over 30 years. Many of its current regulars are the grandchildren of early patrons of the theater. Its founder and artistic director, 90-year-old Nicolas Coppola, has been a professional puppeteer since 1954.

The outside of Puppetworks in Park Slope.

The Puppetworks theater in Brooklyn’s Park Slope neighborhood.

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A workshop station behind the stage at Puppetworks, where puppets featured in the show are stored and regularly repaired.

A workshop station behind the stage at Puppetworks, where puppets are stored and repaired.

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A picture of Nicolas Coppola, the founder and artistic director of Puppetworks, in the theater space.

A picture of Nicolas Coppola, Puppetworks’ founder and artistic director, from 1970, in which he’s demonstrating an ice skater marionette puppet.

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For just $11 a seat ($12 for adults), puppets of all types — marionette, swing, hand and rod — take turns transporting patrons back to the ’80s, when most of Puppetworks’ puppets were made and the audio tracks were taped. Century-old stories are brought back to life. Some even with a modern twist.

Since Coppola started the theater, changes have been made to the theater’s repertoire of shows to better meet the cultural moment. The biggest change was the characterization of princesses in the ’60s and ’70s, Coppola says: “Now, we’re a little more enlightened.”

Michael Jones, the newest addition of puppeteers at Puppetworks with Jack-a-Napes, one of the main characters in "The Steadfast Tin Soldier." (right) A demonstration marionette puppet, used for showing children how movement and control works.

Right: Michael Jones, Puppetworks’ newest puppeteer, poses for a photo with Jack-a-Napes, one of the main characters in The Steadfast Tin Soldier. Left: A demonstration marionette puppet, used for showing children how movement and control works.

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Marionette puppets from previous shows at Puppetworks hanging on the wall.

Marionette puppets from previous Puppetworks shows hang on one of the theater’s walls.

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A child attending a 12:30PM showing at Puppetworks on December 6, dressed up in holiday attire featuring the ballerina and tin soldier also in "The Steadfast Tin Soldier."

A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire that features the ballerina and tin soldier in The Steadfast Tin Soldier.

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Streaming has also influenced the theater’s selection of shows. Puppetworks recently brought back Rumpelstiltskin after the tale was repopularized following Dreamworks’ release of the Shrek film franchise.

Most of the parents in attendance find out about the theater through word of mouth or school visits, where Puppetworks’ team puts on shows throughout the week. Many say they take an interest in the establishment for its ability to peel their children away from screens.

Whitney Sprayberry was introduced to Puppetworks by her husband, who grew up in the neighborhood. “My husband and I are both artists, so we much prefer live entertainment. We allow screens, but are mindful of what we’re watching and how often.”

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Left: Puppetworks’ current manager of stage operations, Jamie Moore, who joined the team in the early 2000s as a puppeteer, holds an otter hand puppet from their holiday show. Right: A Pinocchio mask hangs behind the ticket booth at Puppetworks’ entrance.

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A child attending a 12:30PM showing at Puppetworks on December 6, dressed up in holiday attire.

A child attends Puppetworks’ 12:30 p.m. showing on Saturday, Dec. 6, dressed in holiday attire.

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Left: Two gingerbread people, characters in one of Puppetworks’ holiday skits. Right: Ronny Wasserstrom, a swing puppeteer and one of Puppetworks’ first puppeteers, holds a “talking head” puppet he made, wearing matching shirts.

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Other parents in the audience say they found the theater through one of Ronny Wasserstrom’s shows. Wasserstrom, one of Puppetworks’ first puppeteers, regularly performs for free at a nearby park.

Coppola says he isn’t a Luddite — he’s fascinated by animation’s endless possibilities, but cautions of how it could limit a child’s imagination. “The part of theater they’re not getting by being on the phone is the sense of community. In our small way, we’re keeping that going.”

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Attendees of a 12:30PM showing of "The Steadfast Tin Soldier" and "Nutcracker Sweets" at Puppetworks on December 6, 2025.

Puppetworks’ 12:30 p.m. showing of The Steadfast Tin Soldier and The Nutcracker Sweets on Saturday, Dec. 6.

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Children meeting and seeing up close one of the puppets in "The Steadfast Tin Soldier" after the show.

Children get a chance to see one of the puppets in The Steadfast Tin Soldier up close after a show.

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Left: Alyssa Parkhurst, Puppetworks’ youngest puppeteer, holds a snowman marionette puppet, a character in the theater’s holiday show. Right: An ice skater, a dancing character in one of Puppetworks’ holiday skits.

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Community is what keeps Sabrina Chap, the mother of 4-year-old Vida, a regular at Puppetworks. Every couple of weeks, when Puppetworks puts on a new show, she rallies a large group to attend. “It’s a way I connect all the parents in the neighborhood whose kids go to different schools,” she said. “A lot of these kids live within a block of each other.”

Three candy canes, dancing characters in one of Puppetworks' holiday skits, hanging in the space waiting to be repaired after a show.

Three candy canes — dancing characters in one of Puppetworks’ holiday skits — wait to be repaired after a show.

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Anh Nguyen is a photographer based in Brooklyn, N.Y. You can see more of her work online, at nguyenminhanh.com , or on Instagram, at @minhanhnguyenn. Tiffany Ng is a tech and culture writer. Find more of her work on her website, breakfastatmyhouse.com.

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The Best of BoF 2025: Fashion’s Year of Designer Revamps

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