The Brief

When he was looking for ‘80s tech inspiration and equipment for the fifth and final season of Stranger Things, special effects designer Shane Dzicek knew exactly where to go: Apex Surplus, a scrap metal recycling and industrial surplus business in Sun Valley.

“They're well known in the industry for being a place to rent a lot of hard-to-find electronics,” Dzicek said. “Imagine walking into a shop that would be in the world of Harry Potter, and there's just racks that go to the ceiling with everything that you can think of … military and airplane supplies to electronics … vintage microphones and knife switches.”

In addition to various knobs that he repurposed for the show, Dzicek also found an FM signal generator from the ‘80s, which served as a model for a decibel-reading device used by the character Steve Harrington, as seen in the teaser trailer:

Dzicek isn’t the only special effects designer who’s walked the halls of Apex Surplus. The shop’s co-owner, Adam Isaacs, estimates their credits span 5,000 different productions, including sci-fi classics like Back to the Future, Mad Max, Star Wars, Star Trek and 2001: A Space Odyssey.

A hallway at Apex Surplus.

(

Courtesy Apex Surplus

)

So how did a nearly 70-year-old recycling business become a go-to destination for Hollywood designers?

The origins: A Holocaust survivor meets the SoCal aerospace industry 

Apex Surplus is a third-generation family-owned business, first opened in 1958 by husband and wife Bill and Charlotte Slater.

Bill Slater was a Holocaust survivor who fled Austria in the 1940s and served in the U.S. army during World War II. After the war, he moved to Southern California, which was at the height of the aerospace industry boom.

With the space race raging, aerospace companies like Boeing, Northrop Grumman and Bendix Company were building at a rapid rate, with lots of materials left over. Slater decided to leverage his military connections and open an aerospace liquidation business and surplus front.

Bill Slater standing in Apex Surplus in the 1960s.

(

Courtesy Apex Surplus

)

“ My grandpa would drive around with a semi-truck in the ‘60s and ‘70s and essentially recycle all of their old scrap metal,” according to Isaacs, who said subsidiaries of the aerospace hub in San Fernando Valley would then come to Apex to shop for secondary parts.

As Apex’s inventory grew in the 1960s, Isaacs said the business expanded and started catching the eye of set decorators and production designers in the TV and film industry.

Apex today: From oddball artist haven to film prop shop

After Bill and Charlotte Slater’s death, Apex was passed down to their children, Melissa and Don Slater.

Melissa now co-owns Apex Surplus with her son, Adam Isaacs, who said customers today range from folks outside the film industry, like electricians, plumbers, sculptors and artists, to set and production designers who work on films — anyone with a practical, aesthetic or historical interest in vintage or obsolete electronics.

Outdoor yard of Apex Surplus.

(

Courtesy Apex Surplus

)

Isaacs said, at heart, Apex still is a scrap metal, electronics and aerospace recycling and surplus business, though its also has embraced its role as a film prop and rental house.

More recently, its products have been featured in Agents of S.H.I.E.L.D., 13 Reasons Why, A.P. Bio and Avatar. 

“Our close proximity to Hollywood has allowed us to open up this prop division and work with a lot of talented people,” Isaacs said. “There's so much creativity and artistry being produced in L.A. … We're very fortunate that we were able to reinvent ourselves as a production hub.”

Check out LAist host Julia Paskin's interview with Stranger Things special effects designer Shane Dzicek here:

When you’re drinking a glass of water, you might not think about the potential for microplastics floating around inside the cup.

Earlier this month, the Environmental Protection Agency proposed new standards for monitoring our drinking water, a move that lays the groundwork for future safety regulation.

But microplastics aren't included on the list — and many advocacy groups are concerned.

More than 250 health professionals added their names to a May letter to the EPA that called microplastics "a public health crisis that can no longer be ignored."

“It is estimated that the average person consumes 4,000 or more microplastic particles annually from drinking water alone,” the letter continued.

The EPA released a statement to LAist Wednesday saying the agency "acknowledges the interest in and concern for microplastics in drinking water" and is in the process of taking steps to prioritize the needed research.

Why it matters

The proposed new testing program would require public water facilities to test for a list of up to 30 chemicals and contaminants such as pesticides and PFAS — dubbed "forever chemicals" — which are found in products like nonstick cookware.

Water safety advocates say it’s important to test for those chemicals because they can seep into water systems by runoff, factory leaching and landfill leakages. Experts say testing the substances helps identify what contaminants pose a health risk, and how much is present in water systems.

Safety advocates say they want microplastics added to the list because research has shown that ingesting them is potentially harmful to humans.

Over the past few years, governors, attorneys general and almost 200 organizations sent letters to the EPA urging the agency to include microplastics on the test list.

Among them is California Attorney General Rob Bonta, who is part of a 14-state coalition petitioning to add microplastics to the proposed new screening list, known formally as the UCMR 6.

“Microplastics clearly warrant further monitoring and regulation due to their prevalence throughout the environment and the rapidly growing evidence of their negative impact on the environment and public health,” Bonta and others stated in a joint letter to the EPA last month.

So what’s the challenge?

It takes time to develop, test and approve methods for testing certain contaminants in water so that public systems can uniformly and consistently measure them. With microplastics, the research just isn’t there yet, according to EPA officials.

“There is no validated EPA or consensus drinking water analytical method with the proper quality control data, accuracy, and precision that could be used for UCMR 6,” agency officials said in a filing published early this month in the Federal Register.

What this means locally

The good news for Southern California residents concerned about microplastics is that the state has pulled ahead of the federal government in microplastic screenings. A law passed in 2018, Senate Bill 1422, called on regulators to implement a testing plan for microplastics in large community water systems.

Implementation of the law is still in its early stages, so only certain providers are required to test for microplastics. The state chose departments based on water supply, size of agency and forms of treatment.

Once more analysis is done with these agencies, the law is designed to expand its reach to all water departments.

The Irvine Ranch Water District is one of the agencies selected by the state to perform testing.

Although validated methods have not yet emerged, Jim Colston, the district's director of water quality and regulatory compliance, said he is confident that the area’s water is safe.

“There are many pervasive sources of microplastics in the environment, but the public water supply has not been shown to be a significant source,” Colston said.

LAist spoke to authorities at several Southern California water departments, and all said that consumers should not worry about their drinking water.

“Our drinking water is safe,” said Pat Versluis, director of water quality for the Orange County Water District, which serves 2.5 million people in the central and North Orange County area.

“I'd say the state of California's process, it's been methodical for several years," Versluis said. "They seem to be getting closer to a more refined sample collection, sample analysis, and kind of process for monitoring water sources.

"And we're following that closely.”

Where you come in

• The UCMR 6 program still needs to be finalized by the end of the year.
• Once it goes into effect in January 2028, the list of substances will be tested in a three-year sample period. The process of examining the research can then take two or more years after that.
• The EPA is accepting public comments on this issue until Aug. 31.
• If you want to weigh in on microplastics testing, you can contact local government representatives or the EPA. (Food and Water Watch, a nonprofit advocacy group, provides templates for people who don’t know where to begin.)

For a city that has more than its fair share of movie shoots — from Barbie’s high-speed chase along Chestnut Place to serving as Hollywood’s budget-friendly stand-in for Miami and San Diego — it’s high time that Long Beach sets aside time to celebrate it.

The inaugural Long Beach Film Festival will run Aug. 29–30, mooring its first-year slate at the historic Art Theatre on Retro Row with four feature films, multiple short film blocks and industry panel discussions.

The idea, according to organizers, came together exactly where one assumes — a kids’ birthday party at a Signal Hill playground. Festival board president Teodor Todorov struck up a conversation with local filmmaker Hunter Stiebel after spotting him with a Sundance T-shirt.

At first, Stiebel refused; it’s difficult to put together, he said, and hardly worth the headache. “It’s so much work,” he continued. But he quickly reconsidered, thinking how he’s always wanted a stronger local cinephile presence since moving to the city. “How best to find it rather than make it yourself?” said Stiebel, who now serves as the festival’s director of programming.

The festival’s four main narrative features span genres from psychological horror to romantic science fiction. Leading the slate is “Downbeat,” a 91-minute South by Southwest entry directed by Danny Madden (“Everything Everywhere All at Once”) that follows a musician caught between personal relationships and artistic ambition. The lineup also includes “Ugly Cry,” a 94-minute psychological horror film directed by Emily Robinson that explores an actor’s dangerous obsession with perfection following a devastating audition.

Rounding out the feature selections are “Again Again,” a time-loop romantic sci-fi feature written by and starring Mia Moore and executive produced by Lilly Wachowski (“The Matrix”) about a woman facing the terrifying uncertainty of a new day after escaping a decade-long loop, and “Rescued,” written, directed by, and starring local filmmaker DJ Hale alongside Lindsay Shaw (“Pretty Little Liars”). There will also be four 90-minute segments of short films.

Filmed on location in Long Beach, “Rescued” explores homelessness and redemption through the story of a man whose life transforms after adopting a stray dog.

Hale, who based the movie on experiences faced by himself, his friend and producer Dominique Smith, and his mother, says it’s “a tremendous honor” to show the film here. “It feels perfect, it feels like it was supposed to happen,” he said.

Moving to Long Beach in 2020, he started working on the film in late 2022 and finished in January after an eight-month hiatus to get money for production. “(Smith) just randomly got this huge settlement check from a work injury that happened years ago, and he selflessly just put a big chunk of that to restoring the project,” Hale said.

He hopes the film can dispel myths and misconceptions about being homeless, and remind people that anyone can fall into homelessness.

“A lot of times, it’s just people who are literally living paycheck to paycheck, and then something happens that is unforeseen that causes them to get behind,” Hale said. “Hours can get cut, they could lose a job, get sick for an extended period of time, so on and so forth. … It’s just a snowball effect.”

The timing of the festival — in the dead of summer and amid a boon in indie theater attendance — almost couldn’t be better. Kerstin Kansteiner, vice president of the nonprofit Art Theatre, said the venue has a lot more flexibility with its schedule in the summer as opposed to the fall and winter, when major films are shown on studio-mandated terms leading up to the awards season.

And there’s a strong appetite for independent film, she added, saying the theater has had a strong increase in ticket sales she says is tied to event programming over the past couple of years.

“This new generation is embracing film, but it’s more than just film. … I think what they’re looking for is community and an event-based experience,” Kansteiner said, adding that summer programming allows the theater to run unique screenings, Q&A sessions, and local festivals like the Cambodia Town Film Festival and QFilmFest. “It’s been very, very successful.”

Where other festivals, including new ones in Glendale and Santa Monica, have relied on grants for funding, the Long Beach festival is seeded mainly by small monetary gifts and in-kind donations, with an almost entirely volunteer-based workforce.

Organizers say they want the festival, in years ahead, to become a happy medium between a benefit for local talent and a must-stop in the region to see films that dominate the festival circuit.

“A festival that feels both world-class and deeply rooted in Long Beach,” Stiebel said. “So, at this time when film and TV production has been fleeing California, Los Angeles, even the United States … we feel that it’s time that we are able to plant a flag here locally.”

Ahead of the August weekend, festival organizers will host a fundraiser Wednesday at Wine on Second in Naples. The event features a preview of “Rescued,” along with wine and hors d’oeuvres. Proceeds will support LBFF StoryLab, a local youth filmmaking initiative.

Individual screening tickets start at $10, while $150 VIP passes offer access to an opening night party at the Queen Mary, filmmaker mixers, panel sessions, and the festival’s VIP lounge. Tickets and schedule details are available on the festival website.

University of California officials announced Wednesday they have offered admission to a record number of California students. Around 102,000 residents were offered seats, about 1,400 more than last year. UC also admitted about 29,400 California community college transfers, another record high, officials said.

In Southern California, UCLA offered seats to 57% of California residents who applied, UC Irvine 52% and UC Riverside 87%. Around 2,500 of the admitted California students at UCLA are first-generation college students.

“For generations, a University of California education has been one of the state’s most powerful engines of social mobility, opening doors for talented students from every background and region of the state,” said UC President James B. Milliken. “The record number of California students we’re welcoming this year reflects UC's enduring commitment to expanding opportunity while preparing the next generation of leaders, innovators, educators and public servants."

UC has also increased its offer of admissions to out-of-state students and international students.

Why it matters

UCs increasing California student admissions is tied to a deal the university system struck with lawmakers after facing increased complaints from parents and students that the top UC schools — UCLA, UC Berkeley and UC San Diego — were so hard to get into.

The deal, UC’s Multi-Year Compact, requires UCs to increase in-state students by 1% every year and make it easier for community college students to transfer. In turn, the state would increase its funding to UCs to make up for the loss of revenue from non-state students — about a 5% increase every year.

The University of California has said it's on track to meet that goal.

Race and ethnicity in admissions

Earlier this year, the Justice Department accused UCLA of “intentionally” selecting students based on their race, favoring Black and Latino students. This is part of a larger trend of the Department of Justice pursuing legal action against the University of California in President Donald Trump’s second term, including suing UCLA over allegations that the university allowed antisemitism on campus. The Justice Department also unsuccessfully demanded a range of concessions to bring UCLA more in line with its ideology, in addition to more than $1 billion in fines. The administration also tried to freeze the university’s research funding, prompting an effort to have the state of California be a backstop.

But admission trends in race stayed mostly the same as in previous years.

Around 6% of California students offered admissions at UC identify as Black, proportional to the state’s Black population, while around 38% of the in-state admitted students are Latino. Around 40% of the state’s population is Latino.

Around 18% of the in-state students offered admissions identified as white and 33% Asian.