Lifestyle
L.A.’s Sphere-like venue Cosm turns 'The Matrix' into an immersive experience
When you watch “The Matrix” at Cosm, you’re essentially seeing a film within a film. A shot inside an apartment becomes a glimpse into an entire complex. A fight scene on a rooftop is now one small part of a giant cityscape. Look to the left, and a once off-screen helicopter is suddenly entirely visible.
Cosm has won attention and a fan base for its focus on sports programming. A domed, 87-foot-diameter wraparound screen surrounds audiences at the Inglewood venue, creating an illusion of in-the-flesh presence. Can’t make it to that NBA Finals or World Series game? Cosm wants to be your fallback plan, combining front-row-like seats with unexpected views.
And now, Cosm aims to redefine the moviegoing experience. A revival of “The Matrix” opens Thursday in what the company calls “shared reality,” a marketing term that ultimately means newly created CGI animation towers, over, under and around the original 1999 film. Cosm has in the past shown largely short-form original programming, and “The Matrix” marks its first foray into feature-length films.
Carrie-Anne Moss and Keanu Reeves in “The Matrix,” which is opening at Cosm with newly created CGI that surrounds the original frame.
(Cosm )
The hope is to not only see the film with fresh eyes but to create a sensation of being in the same environment as Keanu Reeves’ Neo, Carrie-Anne Moss’ Trinity and Laurence Fishburne’s Morpheus. “The Matrix” is an ideal film for this experiment, its anti-AI message decidedly topical while its themes grapple with dual visions of reality.
There’s been a host of so-called immersive ambitions to alter the moviegoing experience over the decades, be it the on-and-off flirtation with interactive cinema, a brief trend in the ’90s that recently lived again on Netflix (see “Black Mirror: Bandersnatch”), to more recent 4-DX theaters with movement-enabled seats (see the light, water and wind effects of “Twisters”). Cosm, like the bigger, more live music-focused Sphere in Las Vegas, seems to have a different pitch: an all-encompassing screen that can provide previously unexplored vantage points, even at times creating a theme park ride-like sense of movement.
Cosm’s interpretation of “The Matrix,” a collaboration with experiential creative agency Little Cinema, envelopes audiences from its opening action sequence when a nighttime view of a city skyline seemingly places us on a rooftop. Elsewhere, Neo’s office building becomes a maze of cubicles. The film’s centerpiece red pill versus blue pill moment centers the frame among oversized, glowing capsules. When Neo awakens, we are lost amid mountainous, industrial pods.
The challenge: To not make it feel like a gimmick, yet to also know when to pull back and let the film stand for itself. “The No. 1 core principle was to enhance and don’t overshadow,” says Jay Rinsky, founder of Little Cinema. “Metaphorically for us, the movie itself is the lead singer and we are the backing band. Let the movie be the star. Let it sing. And basically follow the key beats — follow the sound design, the emotional moments and enhance the action.”
The red versus blue pill scene in “The Matrix” is framed with newly created animation.
(Cosm)
The accompanying images get more aggressive as the film races toward its climax. The animations are most effective when they’re expanding the screen rather than echoing the action — showing us the viewpoint of a careening helicopter for instance, rather than repeating or mimicking a beat of the film. Having seen “The Matrix” before, I know the story and its cadence, and was perhaps more willing to turn my attention away from the film, which is placed in the center of the screen and often set within a picture frame.
In turn, I was dazzled by the scenes shot inside Morpheus’ hovercraft the Nebuchadnezzar, in which the vessel’s surroundings — its buzzing, electrical core and its assortment of monitors — are fleshed out around the screen. Film purists, I wonder, may balk at seeing images beyond the director’s vision — Rinsky says he hasn’t been in touch with directors Lana or Lilly Wachowski — but I found it could help build a world, especially for revival cinema on a second or third viewing.
A scene of “The Matrix” starring Carrie-Anne Moss is surrounded with an all-surrounding view of a skyline.
(Cosm)
Expectedly, the film’s final act becomes a bevy of secondary action. Bullets that fly off the frame of the film now find a landing spot, as building walls shatter and crumble around us. Cosm’s screen is crisp and encompassing enough that it can mimic movement or flight, and thankfully this is used sparingly, twisting only when the film’s characters take to the skies.
When Cosm opened last summer Chief Executive Jeb Terry stressed the venue wasn’t in the business of showing films, wanting to focus on sports or original programming. “We’re not a first-run theater,” said Terry. “We’re leaning into the experiential side.” Seemingly, “The Matrix” fits this plan, as the accompanying CGI images have been in the works since about August 2024, says Rinsky, with the bulk of the heavy lifting beginning in January.
Rinsky acknowledges “The Matrix” fits the format particularly well because it “plays in a realm of fantasy that allows you to change environments around,” but is quick to add that Cosm and Little Cinema hope to expand the program of enhancing Hollywood products. “It is a bit of a mission and a philosophy,” he says. “Every film in every genre has its own unique propositions and can be adopted and suited well. We’re excited about horror, and we’re excited about comedy.” Future projects have not yet been announced.
Cosm also has a venue in Dallas, with spots in Atlanta and Detroit on the way. Rinsky’s hope, of course, is that Cosm someday has enough market penetration that filmmakers can create the format from the ground up.
“I’m really bullish about this being the new cinema,” Rinsky says. “I think in five to 10 years, there will be 100 of these around. Once it hits scale, then big studios will have releases created specifically for this format.”
It’s an optimistic view of the future that’s arriving at a time of disruption in Hollywood, from shake-ups due to the streaming market to artificial intelligence. For Cosm, it’s the early days, but it’s a vision that needs neither a red nor blue pill. Its outlook is much more rose-colored.
Lifestyle
‘Wait Wait’ for December 13, 2025: With Not My Job guest Lucy Dacus
Lucy Dacus performs at Spotlight: Lucy Dacus at GRAMMY Museum L.A. Live on October 08, 2025 in Los Angeles, California. (Photo by Rebecca Sapp/Getty Images for The Recording Academy)
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This week’s show was recorded in Chicago with host Peter Sagal, guest judge and scorekeeper Alzo Slade, Not My Job guest Lucy Dacus and panelists Adam Burke, Helen Hong, and Tom Bodett. Click the audio link above to hear the whole show.
Who’s Alzo This Time
Mega Media Merger; Cars, They’re Just Like Us; The Swag Gap
Panel Questions
An Hourly Marriage
Bluff The Listener
Our panelists tell three stories about a new TV show making headlines, only one of which is true.
Not My Job: Lucy Dacus answers our questions about boy geniuses
Singer-songwriter Lucy Dacus, one third of the supergroup boygenius, plays our game called, “boygenius, meet Boy Geniuses” Three questions about child prodigies.
Panel Questions
Bedroom Rules; Japan Solves its Bear Problem
Limericks
Alzo Slade reads three news-related limericks: NHL Superlatives; Terrible Mouthwash; The Most Holy and Most Stylish
Lightning Fill In The Blank
All the news we couldn’t fit anywhere else
Predictions
Our panelists predict what will be the next big merger in the news.
Lifestyle
L.A. Affairs: I had casually known her for 5 years. Was I finally ready to make a move?
In Fairfax, nestled on Beverly Boulevard near Pan Pacific Park, I ran a modest yet beloved pan-Asian restaurant called Buddha’s Belly. More than a place to eat, it was a gathering spot where our team and loyal regulars created an atmosphere of warmth and community. Every day, we exchanged stories about our guests, the generous, the quirky and the kind souls whose smiles lit up our little corner of L.A.
For five years, one regular stood out. The Buddha’s Belly team referred to her as “Aloha.” She had a familiar and beautiful face and she adored our shao bing finger sandwiches and pad Thai. During those five years, all I ever said to her was: “How’s your pad Thai?,” “Nice to see you” and “Thanks for coming in!” Her friendly smile and presence were the highlights of our routine interactions.
Then one hectic afternoon changed everything. Rushing to a meeting and about to leap into my car, I caught a glimpse of Lynda sitting at Table 64, smiling at me through our bamboo-lined patio (a.k.a. “bamboo forest”). I went over to say a quick hi.
“How’s your pad Thai?” I asked, and then I was off.
A couple blocks from the restaurant, I was struck by the feeling that our brief encounter was different this time. There was a spark — a look in her eye. So I did something out of character: I called the manager on duty and asked him to go to Table 64, Seat 3, and ask for her number.
The next day, I found a business card on my desk with Lynda’s cell number. It was on! That small gesture signaled the start of something extraordinary.
Eager to seize the moment, I called and invited her out for a date that same weekend. However, it was her birthday month, and that meant her calendar was booked solid for the next three to four weekends. Not wanting to let time slip away, I proposed an unconventional plan: to join me and an octogenarian friend at our annual opening night at the Hollywood Bowl. Little did I know this would turn out to be equal parts amazing and mortifying. My friend was so excited — she had no filter.
Shortly after picking up our dinner at Joan’s on Third, my friend started asking Lynda questions, first light questions like “Where are you from?” and “What do you do?” Then once seated at the Bowl, her questions continued. But now they were more pointed questions: “Have you ever been married?” and “Do you have kids?”
Amazingly, Lynda didn’t flinch, and her honesty, unfiltered yet graceful, was refreshing and alluring. She had been through life’s fires and knew that when it’s a fit, it should not be based on any false pretense. Although I did manage to get a few questions in that evening, I still chuckle at the memory of myself, sitting back, legs extended with a note pad in hand taking notes!
After dropping her off, she didn’t know if she would hear from me, as she didn’t know anything about me. But I didn’t wait three days to contact Lynda. I called her the next day to make plans to see her again. With it still being her birthday month, I asked her to join me that night for a surf film at the Ford with my best buddy. She said yes, and there we were on another chaperoned date.
By our third date, we were finally alone. We ventured to an underground gem affectionately dubbed the “Blade Runner” restaurant. Hidden on Pico Boulevard behind no obvious sign and characterized by hood-free mesquite grills and stacked wine crates, the place exuded a secret charm. Sharing a bottle of wine with the owner, our conversation deepened, and the electricity between Lynda and me became undeniable.
Our story took another turn when I was opening a new bar named Copa d’Oro (or Cup of Gold) in Santa Monica that was similar to a bar down the street called Bar Copa. The owner of Bar Copa invited me to discuss whether the concept was going to be too like his own. While we waited in the packed room, I instinctively put my hand around the small of Lynda’s back to steady us from the ebb and flow of the crowd of people around us. The intensity of our closeness and the energy between us was palpable, and we soon found ourselves at a quieter bar called Schatzi on Main where we had our first kiss.
Our courtship continued, and it would be defined by ease and grace. There were no mind games or calculations. One of us would ask whether the other was free, and it was an easy yes. Our desire was to be together.
I fondly remember being at a Fatburger not far from where Lynda lived, and I phoned her to ask if she wanted to sit with me as I scarfed down a Double Kingburger with chili and egg (yum!), and she said yes. By the time she arrived, I was halfway through eating the sandwich. But I was practicing a new way of eating a sloppy burger that my brother taught me. Why bother to continuously wipe your mouth when you’re only going to mess it up with the next bite? To save time and energy, wipe your mouth once at the end.
I was practicing this new technique with a smear of sauce on my face, and it didn’t faze her one bit. I could only imagine what her internal monologue was!
After six months of effortless companionship, I asked Lynda to move in, and a year later, while at Zephyr’s Bench, a serene and cherished hiking spot in the Santa Monica Mountains behind Bel-Air, I asked her to marry me.
Now, more than 17 years later, with two beautiful boys and our pandemic dog in tow, I can say I found my own aloha right here in the vibrant chaos of Los Angeles.
The author lives in Santa Monica with his wife and two children. They go to the Hollywood Bowl every chance they can. He’s also aspiring to make it into the Guinness World Records book.
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
‘The Mask’ and ‘Pulp Fiction’ actor Peter Greene dies at 60
Actor Peter Greene at a press conference in New York City in 2010.
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Actor Peter Greene, known for playing villains in movies including Pulp Fiction and The Mask, has died. Greene was found dead in his apartment in New York City on Friday, his manager and friend, Gregg Edwards, told NPR. The cause of death was not immediately provided. He was 60 years old.
The tall, angular character actor’s most famous bad guy roles were in slapstick and gritty comedies. He brought a hammy quality to his turn as Dorian Tyrell, Jim Carrey’s nemesis in the 1994 superhero movie The Mask, and, that same year, played a ruthless security guard with evil elan in the gangster movie Pulp Fiction.
“Peter was one of the most brilliant character actors on the planet,” Edwards said.
He went on to work steadily, earning dozens of credits in movies and on TV, such as the features Judgment Night, Blue Streak and Training Day, a 2001 episode of Law & Order, and, in 2023, an episode of The Continental, the John Wick prequel series.
At the time of his death, the actor was planning to co-narrate the in-progress documentary From the American People: The Withdrawal of USAID, alongside Jason Alexander and Kathleen Turner. “He was passionate about this project,” Edwards said.
Greene was also scheduled to begin shooting Mickey Rourke’s upcoming thriller Mascots next year.
Rourke posted a close-up portrait of Greene on his Instagram account Friday night accompanied by a prayer emoji, but no words. NPR has reached out to the actor’s representatives for further comment.
Peter Greene was born in New Jersey in 1965. He started pursuing acting in his 20s, and landed his first film role in Laws of Gravity alongside Edie Falco in 1992.
The actor battled drug addiction through much of his adult life. But according to Edwards, Greene had been sober for at least a couple of years.
Edwards added that Greene had a tendency to fall for conspiracy theories. “He had interesting opinions and we differed a lot on many things,” said Edwards. “But he was loyal to a fault and was like a brother to me.”
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