Lifestyle
L.A. is too ugly now to host the Olympics. Here's how we can fix it before 2028
If you overlook the polluted Seine, Paris looks so pretty on TV, so quintessentially Parisian, that it raises the question: How will Los Angeles compare when it hosts the 2028 Olympics?
We can rhapsodize about our fabulous mountains and beaches, gorgeous parks and gardens, and many breathtaking residential drives. But that’s not what people see when they first arrive to Los Angeles or what we encounter most days as we go about our business.
Instead, it’s long bleak corridors of concrete and traffic, off-ramps and intersections choked with weeds and trash, blocks of faceless (or defaced) buildings and front yards with boring (or dying) swaths of lawns.
Things are especially grim at the entry point for most visitors — that interminable construction zone known as Los Angeles International Airport, where the main message after leaving the terminal appears to be “Welcome to Hell.”
We can do better, we must do better, not only for our visitors but ourselves. And the 2028 Olympics are a golden opportunity to make some substantial changes that will not only beautify our city, but celebrate our unique natural history while supporting our threatened pollinators and wildlife.
Imagine our parkways lined with stunning stands of California buckwheat (Eriogonum fasciculatum) instead of weeds.
(Marie Astrid Gonzalez)
Here’s the plan: Let’s create a campaign to line our yards, our streets and even our airport thoroughfares with the beautiful and fragrant plants that grow natively in this region. And let’s get started in the coming year, so by 2028, when the city is hosting athletes and guests from around the world, the plantings will be mature and thriving.
Otherwise, our international guests might notice that L.A.’s public landscapes are embarrassing, “with horribly topped trees, artificial grass and really drab plants,” said Evan Meyer, executive director of the Theodore Payne Foundation, one of the region’s premier nurseries and education centers for California native plants.
Forget speed-planting ornamentals for TV close-ups. Creating a native plant landscaping campaign around the Olympics is a better way to extol the region’s ecological heritage while giving Los Angeles a badly needed sprucing up, Meyer said.
“The big question is: What story does Los Angeles want to tell about itself?” Meyer said. “Are we going to be an environmental leader and show the world what California has to offer from a botanical perspective? Or are we going to talk about artificial grass?”
Wispy California sagebrush leaves capture the light and are so fragrant the plant has earned the nickname “cowboy perfume.”
(Katie Falkenberg / Los Angeles Times)
Good thing L.A. is full of all kinds of storytellers — starting with our indigenous people who can advise us on the historic uses of these plants for food, tools, shelter and medicine, said Bob Ramirez, president of the Gabrielino Tongva Springs Foundation’s Kuruvungna Village Springs in Sawtelle, a natural spring used by Native Americans for thousands of years.
California is one of the world’s top 10 biodiversity hot spots, with plants that grow nowhere else, Ramirez said. And Native people incorporated those plants into their lives for generations. “It‘s important that people understand the history that was here before the Spaniards,” he said. “People go to Europe to see the ruins of early empires, but they don’t know about the ancient history of our region, and native plants can provide a context for that.”
We have plenty of time to get this done. “It’s just a question of planning,” said horticulturist Carol Bornstein, former director of the nature gardens at the Los Angeles County Natural History Museum and co-author of “California Native Plants for the Garden,” one of the region’s most definitive books about native plant landscaping.
White sage only grows in Southern California and northern Baja, so it will feel right at home in most landscapes around L.A.
(Francine Orr / Los Angeles Times)
A native plant landscaping campaign isn’t just about beautifying the city for the Olympics. “It’s about reflecting who we are as Southern California,” she said. “It’s a way to puff up our chests, so to speak, to show what we are doing in preserving and enhancing our biodiversity.”
To help tell this story, Bornstein suggests using graceful desert willow trees, which bloom profusely in the summer and are small enough to live in containers, and two perennial natives, Gran Canon Baja bush snapdragon and De La Mina verbena, that bloom almost year-round and do very well in pots.
Tim Becker, horticulture director of the Theodore Payne Foundation, said the push for more native plantings could expand L.A.’s identity beyond Hollywood and giant traffic jams. His plant suggestions for a campaign would include using California sagebrush, bush sunflower, California fuchsia and fairyduster.
“The plants are the easy part; they’re beautiful, they attract beneficial pollinators and they create a sense of place,” he said. “The hard part is getting a seat at the table. How do we [native plant advocates] inject ourselves into that decision-making process?”
City officials have supported green initiatives on paper, “but now is the time to get these plants in publicly visible spaces,” he said.
Cleveland sage’s frilly wands of flowers tower over the plants gray-green leaves and turn into sculptural brown spikes in late summer. Bonus: This native plant stays powerfully fragrant year-round.
(Marie Astrid Gonzalez / Los Angeles Times)
What Angelenos decide now can have a huge effect on the region’s image, now and in the future. Just consider how the beautification work for the 1932 Olympics changed L.A.’s skyline.
Palms trees were already a SoCal gardening craze around the turn of the 20th century, according to the PBS history show “Lost LA.” But starting in March 1931, the city cemented their future as L.A.’s iconic trees by planting some 40,000 palms along 150 miles of streets, according to the show, in part to prepare for the Olympics, but also to provide jobs for 400 unemployed men during the Great Depression.
That Olympics’ beautification project happened more than 90 years ago, and it’s still reverberating today. Palm trees, which feed into the tourism fantasy that Southern California is a tropical paradise, provide zero shade, their heavy fronds are a dangerous nuisance and keeping them trimmed is a large municipal expense.
Landscapes with native plants, on the other hand, will require less water use, less pollution from gas-powered lawn mowers and better support for our threatened birds and insect pollinators.
Tree planting and creating a consistent tree canopy is an overarching suggestion in the city of Los Angeles Public Works Committee’s LA 2028 Olympics Legacy Street Improvement Plan, but the document doesn’t list what trees should be included. Why not go with suggestions from native plant experts such has Mike Evans, who started his Tree of Life native plant landscaping company and nursery in San Juan Capistrano nearly 50 years ago?
Evans’ list of native plant suggestions is long, but highlights include using two of the region’s keystone trees — coast live oak and Western sycamores — for shade and any variety of ceanothus and manzanitas (both of which come in many shapes and sizes).
Angelenos need to understand that diversity — at least 15 to 20 species of plants — is key to creating a natural landscape, especially if they hope to help pollinators and other wildlife. “It’s not enough to just plant a row of ceanothus,” Evans said. “We have a traditional culture of spending time outdoors, and we should celebrate that in our gardens with native plants, because they tell the story of our land.”
No one is suggesting a native plant mandate or advocating that Angelenos rip out existing non-native landscapes (well, except maybe for water-thirsty lawns), but there are so many shade trees that need planting, intersections that need weeding and replanting and businesses that need something besides concrete. Why can’t we set some community goals around using native plants?
Actually, we shouldn’t wait for the city to do all the cleanup work. The city’s Office of Community Beautification offers resources to help community members volunteer for cleanups around their neighborhoods.
Toyons have handsome green holly-shaped foliage in the summer, bright flowers in the spring and cheerful sprays of red berries in the winter.
(Dania Maxwell / Los Angeles Times)
Meyer suggested that Angelenos consider a Victory Garden approach for sprucing up their yards, balconies or business fronts. During World War II, families helped the war effort by planting vegetable gardens in their yards to free up farm-produced food for our soldiers overseas — except in this case, we’d be growing Olympic gardens to help Los Angeles tell its story through native plants.
He also advocates planting native milkweeds like narrow leaf and woollypod, summer bloomers that will attract lots of pollinators, especially the endangered Western monarch butterflies.
Chaz Perea, a horticulture professor at Mount San Antonio College and landscape manager at Dodger Stadium, is transforming the grounds of the stadium with predominately native plantings. The stadium has nearly 20 round concrete planters four feet tall and four feet in diameter, which can be moved with forklifts, that might work for a citywide native plant campaign, he said.
The stadium’s containers are planted with native toyons. “They’re dark green and easy to grow and they create a wall of healthy lush plant material,” Perea said. Plus, they flower in the spring and provide clusters of decorative red berries in the winter beloved by birds.
Perea also likes the idea of growing native Roger’s Red grapes on trellises in large containers to provide summer greenery, fall color when the leaves turn red and gold, and sculptural vines in the winter. He also recommends planting lemonade berry and pink flowering sumac to replace non-native hedges.
“I see plants as unifiers,” said Brandy Williams of Garden Butterfly in Vermont Knolls. She weaves native plants, Mediterranean climate plants, succulents, vegetables and herbs into her landscape designs. One way to honor the athletes, she said, would be to create plantings from the five different Mediterranean climates, recognizing the countries from each region.
California native plants would still be featured prominently, she said, to support local pollinators. Her recommendations include multiple buckwheats, including California buckwheat and Yankee Point ceanothus, an evergreen groundcover that has beautiful spring flowers. After it blooms, the plant’s dark green branches still look lovely in the ground or spilling out of a pot.
Plants can bring us all together, said Williams, “and featuring California native plants is just another unique way to showcase unity. When people come to our gardens, they can better understand our culture.”
Lifestyle
Video: Prada Peels Back the Layers at Milan Fashion Week
new video loaded: Prada Peels Back the Layers at Milan Fashion Week
By Chevaz Clarke and Daniel Fetherston
February 27, 2026
Lifestyle
Bill Cosby Rape Accuser Donna Motsinger Says He Won’t Testify At Trial
Bill Cosby
Rape Accuser Says Cosby Won’t Take Stand At Trial
Published
Bill Cosby‘s rape accuser Donna Motsinger says the TV star can’t be bothered to show up to court for a trial in a lawsuit she filed against him.
According to new legal docs, obtained by TMZ. Motsinger says Bill will not testify in court … she claims it’s “because he does not care to appear.”
Motsinger says Bill won’t show his face at the trial either … and the only time the jury will hear from him will be a previously taped deposition.
As we previously reported, Motsinger claims Bill drugged and raped her in 1972. In the case, Bill admitted during a deposition that he obtained a recreational prescription for Quaaludes that he secured from a gynecologist at a poker game.
TMZ.com
Bill also said he planned to use the pills to give to women in the hopes of having sex with them.
Motsinger alleged Bill gave her a pill that she thought was aspirin. She claimed she felt off after taking it and said she woke up the next day in her bed with only her underwear on.
Here, it sounds like Motsinger wants to play the deposition for the jury.
Lifestyle
Baz Luhrmann will make you fall in love with Elvis Presley
Elvis Presley in Las Vegas in Aug. 1970.
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“You are my favorite customer,” Baz Luhrmann tells me on a recent Zoom call from the sunny Chateau Marmont in Hollywood. The director is on a worldwide blitz to promote his new film, EPiC: Elvis Presley in Concert — which opens wide this week — and he says this, not to flatter me, but because I’ve just called his film a miracle.
See, I’ve never cared a lick about Elvis Presley, who would have turned 91 in January, had he not died in 1977 at the age of 42. Never had an inkling to listen to his music, never seen any of his films, never been interested in researching his life or work. For this millennial, Presley was a fossilized, mummified relic from prehistory — like a woolly mammoth stuck in the La Brea Tar Pits — and I was mostly indifferent about seeing 1970s concert footage when I sat down for an early IMAX screening of EPiC.
By the end of its rollicking, exhilarating 90 minutes, I turned to my wife and said, “I think I’m in love with Elvis Presley.”
“I’m not trying to sell Elvis,” Luhrmann clarifies. “But I do think that the most gratifying thing is when someone like you has the experience you’ve had.”
Elvis made much more of an imprint on a young Luhrmann; he watched the King’s movies while growing up in New South Wales, Australia in the 1960s, and he stepped to 1972’s “Burning Love” as a young ballroom dancer. But then, like so many others, he left Elvis behind. As a teenager, “I was more Bowie and, you know, new wave and Elton and all those kinds of musical icons,” he says. “I became a big opera buff.”
Luhrmann only returned to the King when he decided to make a movie that would take a sweeping look at America in the 1950s, ’60s, and ’70s — which became his 2022 dramatized feature, Elvis, starring Austin Butler. That film, told in the bedazzled, kaleidoscopic style that Luhrmann is famous for, cast Presley as a tragic figure; it was framed and narrated by Presley’s notorious manager, Colonel Tom Parker, portrayed by a conniving and heavily made-up Tom Hanks. The dark clouds of business exploitation, the perils of fame, and an early demise hang over the singer’s heady rise and fall.
It was a divisive movie. Some praised Butler’s transformative performance and the director’s ravishing style; others experienced it as a nauseating 2.5-hour trailer. Reviewing it for Fresh Air, Justin Chang said that “Luhrmann’s flair for spectacle tends to overwhelm his basic story sense,” and found the framing device around Col. Parker (and Hanks’ “uncharacteristically grating” acting) to be a fatal flaw.
Personally, I thought it was the greatest thing Luhrmann had ever made, a perfect match between subject and filmmaker. It reminded me of Oliver Stone’s breathless, Shakespearean tragedy about Richard Nixon (1995’s Nixon), itself an underrated masterpiece. Yet somehow, even for me, it failed to light a fire of interest in Presley himself — and by design, I now realize after seeing EPiC, it omitted at least one major aspect of Elvis’ appeal: the man was charmingly, endearingly funny.
As seen in Luhrmann’s new documentary, on stage, in the midst of a serious song, Elvis will pull a face, or ad lib a line about his suit being too tight to get on his knees, or sing for a while with a bra (which has been flung from the audience) draped over his head. He’s constantly laughing and ribbing and keeping his musicians, and himself, entertained. If Elvis was a tragedy, EPiC is a romantic comedy — and Presley’s seduction of us, the audience, is utterly irresistible.
Unearthing old concert footage
It was in the process of making Elvis that Luhrmann discovered dozens of long-rumored concert footage tapes in a Kansas salt mine, where Warner Bros. stores some of their film archives. Working with Peter Jackson’s team at the post-production facility Park Road Post, who did the miraculous restoration of Beatles rehearsal footage for Jackson’s 2021 Disney+ series, Get Back, they burnished 50-plus hours of 55-year-old celluloid into an eye-popping sheen with enough visual fidelity to fill an IMAX screen. In doing so, they resurrected a woolly mammoth. The film — which is a creative amalgamation of takes from rehearsals and concerts that span from 1970 to 1972 — places the viewer so close to the action that we can viscerally feel the thumping of the bass and almost sense that we’ll get flecked with the sweat dripping off Presley’s face.
This footage was originally shot for the 1970 concert film Elvis: That’s The Way It Is, and its 1972 sequel, Elvis on Tour, which explains why these concerts were shot like a Hollywood feature: wide shots on anamorphic 35mm and with giant, ultra-bright Klieg lights — which, Luhrmann explains, “are really disturbing. So [Elvis] was very apologetic to the audience, because the audience felt a bit more self conscious than they would have been at a normal show. They were actually making a movie, they weren’t just shooting a concert.”
Luhrmann chose to leave in many shots where camera operators can be seen running around with their 16mm cameras for close-ups, “like they’re in the Vietnam War trying to get the best angles,” because we live in an era where we’re used to seeing cameras everywhere and Luhrmann felt none of the original directors’ concern about breaking the illusion. Those extreme close-ups, which were achieved by operators doing math and manually pulling focus, allow us to see even the pores on Presley’s skin — now projected onto a screen the size of two buildings.
The sweat that comes out of those pores is practically a character in the film. Luhrmann marvels at how much Presley gave in every single rehearsal and every single concert performance. Beyond the fact that “he must have superhuman strength,” Luhrmann says, “He becomes the music. He doesn’t mark stuff. He just becomes the music, and then no one knows what he’s going to do. The band do not know what he’s going to do, so they have to keep their eyes on him all the time. They don’t know how many rounds he’s going to do in ‘Suspicious Minds.’ You know, he conducts them with his entire being — and that’s what makes him unique.”
Elvis Presley in Las Vegas in Aug. 1970.
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It’s not the only thing. The revivified concerts in EPiC are a potent argument that Elvis wasn’t just a superior live performer to the Beatles (who supplanted him as the kings of pop culture in the 1960s), but possibly the greatest live performer of all time. His sensual, magmatic charisma on stage, the way he conducts the large band and choir, the control he has over that godlike gospel voice, and the sorcerer’s power he has to hold an entire audience in the palm of his hands (and often to kiss many of its women on the lips) all come across with stunning, electrifying urgency.
Shaking off the rust and building a “dreamscape”
The fact that, on top of it all, he is effortlessly funny and goofy is, in Luhrmann’s mind, essential to the magic of Elvis. While researching for Elvis, he came to appreciate how insecure Presley was as a kid — growing up as the only white boy in a poor Black neighborhood, and seeing his father thrown into jail for passing a bad check. “Inside, he felt very less-than,” says Luhrmann, “but he grows up into a physical Greek god. I mean, we’ve forgotten how beautiful he was. You see it in the movie; he is a beautiful looking human being. And then he moves. And he doesn’t learn dance steps — he just manifests that movement. And then he’s got the voice of Orpheus, and he can take a song like ‘Bridge Over Troubled Water’ and make it into a gospel power ballad.
“So he’s like a spiritual being. And I think he’s imposing. So the goofiness, the humor is about disarming people, making them get past the image — like he says — and see the man. That’s my own theory.”
Elvis has often been second-classed in the annals of American music because he didn’t write his own songs, but Luhrmann insists that interpretation is its own invaluable art form. “Orpheus interpreted the music as well,” the director says.
In this way — as in their shared maximalist, cape-and-rhinestones style — Luhrmann and Elvis are a match made in Graceland. Whether he’s remixing Shakespeare as a ’90s punk music video in Romeo + Juliet or adding hip-hop beats to The Great Gatsby, Luhrmann is an artist who loves to take what was vibrantly, shockingly new in another century and make it so again.
Elvis Presley in Las Vegas in Aug. 1970.
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Luhrmann says he likes to take classic work and “shake off the rust and go, Well, when it was written, it wasn’t classical. When it was created, it was pop, it was modern, it was in the moment. That’s what I try and do.”
To that end, he conceived EPiC as “an imagined concert,” liberally building sequences from various nights, sometimes inserting rehearsal takes into a stage performance (ecstatically so in the song “Polk Salad Annie”), and adding new musical layers to some of the songs. Working with his music producer, Jamieson Shaw, he backed the King’s vocals on “Oh Happy Day” with a new recording of a Black gospel choir in Nashville. “So that’s an imaginative leap,” says Luhrmann. “It’s kind of a dreamscape.”
On some tracks, like “Burning Love,” new string arrangements give the live performances extra verve and cinematic depth. Luhrmann and his music team also radically remixed multiple Elvis songs into a new number, “A Change of Reality,” which has the King repeatedly asking “Do you miss me?” over a buzzing bass line and a syncopated beat.
I didn’t miss Elvis before I saw EPiC — but after seeing the film twice now, I truly do.
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