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Meow Wolf announces its Los Angeles venue

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Meow Wolf announces its Los Angeles venue

Immersive entertainment firm Meow Wolf, whose multiple locations of floor-to-ceiling psychedelic-leaning art have attracted about 10 million visitors across its four venues since 2016, has revealed the location of its in-development Los Angeles-based exhibition.

Meow Wolf Los Angeles will be located in a portion of what is currently the Cinemark complex at Howard Hughes L.A. The rest of the multiplex is expected to remain open to moviegoers, according to a spokesperson for the Santa Fe, N.M.-based Meow Wolf.

The exhibit is expected to open in 2026.

“We’re crafting our next surreal dream world in a movie theater in West Los Angeles, a nod to the cinematic soul of the city,” said Amanda Clay, chief development officer at Meow Wolf, in a release.

“HHLA, nestled close to LAX, and just off the 405, is positioned at the convergence of abundant culture and opportunity,” Clay added in the statement. “Meow Wolf Los Angeles will draw inspiration from its surroundings and translate them into something otherworldly, never-before-seen, and yet familiar to Angelenos.”

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In an interview with The Times, Meow Wolf artists said the Howard Hughes location will play into the space’s theatrical roots. The goal is to turn our city’s most ritualistic experience — that is, the act of going to the movies — into an interactive, art-driven wonderland.

Santa Fe, N.M.-based Sean Di Ianni is helping to oversee Meow Wolf’s West Los Angeles exhibit, noting it will lean into the space’s movie center roots.

(Ethan Benavidez / For The Times)

Anticipate multiple rooms of narrative-based art that strive to test perceptions, grappling with not only the stories we tell one another but why we tell them, says Meow Wolf co-founder Sean Di Ianni, 39, who is overseeing the L.A. project.

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“There are stories told in movie theaters, and then there are stories of movie theaters and stories of the people who work at movie theaters,” Di Ianni said. “But when you get into that auditorium, it’s meant to be a blank space where stories are told. It’s a little meta. This is a storytelling space about storytelling.”

Like past Meow Wolf exhibitions, a significant number of installations will come from the local art community. Meow Wolf curator Han Santana-Sayles, 31, a Murrieta native who now resides in Pasadena, will lead the outreach into L.A.’s art world, a process that is in its infancy. A Meow Wolf space is a mix of elaborately designed environments and commissioned works from artists who reside in the host city.

A portrait of a woman with dark hair and colorful dress.

Meow Wolf’s Han Santana-Sayles will lead the collective’s outreach into the L.A. art community.

(Ethan Benavidez / For The Times)

“I’m looking for a super broad range,” she says. “I want to include people who do wild projection mapping. But I also want to find people who do just pastels — really, really well. Or they’re painters. Or they draw. They’ve honed in on this one thing. We don’t want it to read as a theme park. We’re a contemporary arts platform.”

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While Di Ianni is keeping much of the narrative a secret, he said the team envisioned as its setting “a world at a distant crossroads” in the midst of some sort of ritual.

“What if this place we’re creating has some event that occurs, and people are drawn to this event the way people are drawn to a panda being born at a zoo?” Di Ianni says.“

This exhibit,” Santana-Sayles added, “grapples with big mystical and religious questions. Not overtly, but in a way people will read themselves into. I think there’s a lot to be explored there.”

The Los Angeles location will be Meow Wolf’s sixth exhibit. Last year, the group opened a location outside of Dallas in Grapevine, Texas. A Houston exhibit is expected to open later this year. There are additional spaces in Denver, Las Vegas and Meow Wolf’s home city of Santa Fe.

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

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‘Stranger Things’ is over, but did they get the ending right? : Pop Culture Happy Hour

Millie Bobby Brown in the final season of Stranger Things.

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After five seasons and almost ten years, the saga of Netflix’s Stranger Things has reached its end. In a two-hour finale, we found out what happened to our heroes (including Millie Bobby Brown and Finn Wolfhard) when they set out to battle the forces of evil. The final season had new faces and new revelations, along with moments of friendship and conflict among the folks we’ve known and loved since the night Will Byers (Noah Schnapp) first disappeared. But did it stick the landing?

To access bonus episodes and sponsor-free listening for Pop Culture Happy Hour, subscribe to Pop Culture Happy Hour+ at plus.npr.org/happy.

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

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JasonMartin Says Adin Ross Disrespecting Doechii Stops in 2026

JasonMartin
Adin Ross Disrespecting Doechii …
Will Not Be Tolerated!!!

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

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‘Everything I knew burned down around me’: A journalist looks back on LA’s fires

A firefighter works as homes burn during the Eaton fire in the Altadena area of Los Angeles County, Calif., on Jan. 7, 2025.

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Josh Edelson/AFP via Getty Images

On New Year’s Eve 2024, journalist Jacob Soboroff was sitting around a campfire with a friend when he made an offhand comment that would come back to haunt him: The last thing he wanted to do in the new year, Soboroff said, was cover a story that would require donning a fire-safe yellow suit.

Just one week later, Soboroff was dressed in the yellow suit, reporting live from a street corner in Los Angeles as fire tore through the Pacific Palisades, the community where he was raised.

“This was a place that I could navigate with my eyes closed,” Soboroff says of the neighborhood. “Every hallmark of my childhood I was watching carbonize in front of me. … There were firefighters there and first responders and other journalists there, but it was an extremely lonely, isolating experience to be standing there as everything I knew burned down around me in real time.”

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In his new book, Firestorm: The Great Los Angeles Fires and America’s New Age of Disaster, Soboroff offers a minute-by-minute account of the catastrophe, told through the voices of firefighters, evacuees, scientists and political leaders. He says covering the wildfires was the most important assignment he’s ever undertaken.

“The experience of doing this is something that I don’t wish on anybody, but in a way I wish everybody could experience,” he says. “It’s given me insane reverence for our colleagues in the local news community here, who, I think, definitionally were exercising a public service in the street-level journalism that they were doing and are still doing. … It was actually beautiful to watch because they are as much a first responder on a frontline as anybody else.”

Interview highlights

Firestorm, by Ben Soboroff

On the experience of reporting from the fires

You’re choking with the smoke. And I almost feel guilty describing it from my vantage point because the firefighters would say things to me like: “My eyeballs were burning. We were laying flat on our stomach in the middle of the concrete street because it was so hot, it was the only way that we could open the hoses full bore and try to save anything that we could.” …

I could feel the heat on the back of my neck as we stood in front of these houses that I remember as the houses that cars and people would line up in front of for the annual Fourth of July parade or the road race that we would run through town. Trees were on fire behind us — we were at risk of structures falling at any given minute. It was pretty surreal because this is a place I had spent so much time as a child and going back to as an adult. … I had no choice but to just open my mouth and say what I saw to the millions of people that were watching us around the country.

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On undocumented immigrants being central to rebuilding the city

These types of massive both humanitarian and natural disasters give us X-ray vision for a time into sort of the fissures that are underneath the surface in our society. And Los Angeles, in addition to being one of the most unequal cities between the rich and the poor, has more undocumented people than virtually any other city in the United States of America. Governor Newsom knew that with the policies of the incoming administration, some of the very people that would be responsible for the cleanup and the rebuilding of Los Angeles may end up in the crosshairs of national immigration policy. And I think that that was an understatement. …

Pablo Alvarado in the National Day Laborer Organizing Network said to me that often the first people into a disaster — the second responders after the first — are the day laborers. They went to Florida after Hurricane Andrew, to New Orleans after Katrina, and they’d be ready to go in Los Angeles. And I went out and I cleaned up Altadena and Pasadena with some of them in real time.

And only months later did this wide-scale immigration enforcement campaign begin … on the streets of LA as sort of the Petri dish, the guinea pig for expanding this across the country. And it’s not an exaggeration to say that the parking lots of Home Depots, where workers [were] looking to get involved in the rebuilding of Los Angeles, has been ground zero for that enforcement campaign.

On efforts to rebuild

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The pace is slow and it’s sort of a hopscotch of development. And I think for people who do come back, for people who can afford to come back, it’s going to be a long road ahead. You’re going to have half the houses on your street under construction for years to come. And for people that do inhabit those homes, it’s going to an isolating experience. But there’s an effort underway to rebuild. …

There’s also a lot of for-sale signs. And that’s the sad reality of this, is that there are people who, whether it’s that they can’t afford to come back … or that they just can’t stomach it, I think, sadly, a lot people are not going to be returning to their homes.

On what the Palisades and Altadena look like today

They both look like very big construction sites in a way. There are still some facades, some ruins of the more historic buildings in the Palisades. … But mostly it’s just empty lots. And in Altadena, the same thing. If you drive by the hardware store, the outside is still there. But it’s a patchwork of empty lots. Homes now under construction. And lots and lots of workers. … There are still a handful of people who are living in both the Palisades and in Altadena, but for the most part, these are communities where you’ve got workers going in during the day and coming out at night. …

We have designed this community to be one that’s in the crosshairs of a fire just like the one we experienced and that we will certainly, certainly experience again, because nobody’s packing it up and leaving Los Angeles. People may not return to their communities after they’ve lost their homes, but the ship has sailed on living in the wildland urban interface in the second largest city in the country.

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On seeing this story, personally, as his “most important assignment”

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

Jacob Soboroff is a correspondent for MS NOW, formerly MSNBC.

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Jason Frank Rothenberg/HarperCollins

I don’t think I realized at the time how badly I needed the connections that I made in the wake of the fire, both with the people who have lost homes and the firefighters, first responders who were out there, but also honestly with my own family, my immediate family, my wife and my kids, my mom and my dad and my siblings and myself. I think that this was a really hard year in LA, and I think in the wake of the fire, I was experiencing some level of despair as well. Then the ICE raids happened here and sort of turned our city upside down. And this book for me was just this amazing cathartic blessing of an opportunity to find community with people I don’t think I ever would have otherwise spent time with, and to reconnect with people who I hadn’t seen or heard from in forever.

Anna Bauman and Nico Wisler produced and edited this interview for broadcast. Bridget Bentz, Molly Seavy-Nesper and Beth Novey adapted it for the web.

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