The Brief

One day before the Writers Guild of America is set to start talking with major studios about reopening negotiations, the union issued a fiery statement Thursday, telling members they’ve “been down this road before.”

The guild and the Alliance of Motion Picture and Television Producers (AMPTP), which represents the major studios and streamers, are slated to begin talks Friday on restarting negotiations in order to end a strike that has now lasted for more than three months. Meanwhile, SAG-AFTRA members are about three weeks into a strike of their own.

“So far, the companies have wasted months on their same failed strategy,” the WGA said in its statement.

The guild pointed out that negotiations broke off multiple times during the WGA strike of 2007/08. “We won’t prejudge what’s to come. But playbooks die hard,” the guild added.

The writers union also challenged the AMPTP to come to the table on Friday “willing to make a fair deal and begin to repair the damage your strikes and your business practices have caused the workers in this industry.”

On Thursday evening, the AMPTP responded with their own statement calling the WGA Bargaining Committee’s rhetoric "unfortunate."

"Tomorrow’s discussion with the WGA is to determine whether we have a willing bargaining partner," the AMPTP said. "Our only playbook is getting people back to work."

So how long could the Hollywood strikes last?

Todd Holmes, a professor of entertainment industry management at Cal State Northridge says the current WGA strike has already lasted about as long as the last writers strike in 2007/08.

“It’s a little more complicated this time,” Holmes told LAist.

That’s because writers and performers are dealing with not only streaming residuals and other money issues, but also the existential threat of artificial intelligence, which wasn’t on the table in 2007.

While Holmes says the plans to “discuss negotiations” are a step in the right direction, “Sometimes... just because talks begin does not mean things are going to be figured out. Because whatever is discussed on Friday, maybe it’s just not acceptable.”

In 2007, it took about 100 days for a deal to be hammered out.

Holmes says he’s hearing from industry professionals that the strikes could go into October.

In 1988, the WGA members held a strike for about 150 days before eventually winning increases in pay.

At a meeting in July, the L.A. County Board of Supervisors agreed to send a letter to the Alliance of Motion Picture and Television Producers, urging them to return to the negotiating table.

Gov. Gavin Newsom’s office said he had been in touch with both sides of the Hollywood strikes in order to try and help broker a deal.

Timeline: SAG-AFTRA strike

Some things to note: This is the first SAG strike since 1980. The 1960 strike, which took place while the WGA was also striking, was led by Ronald Reagan, then the president of SAG. Current events:

• May 17: Union leaders ask for and receive a strike authorization vote ahead of contract talks.
• June 7: SAG-AFTRA begins negotiations with the AMPTP; contract due to end June 30.
• June 30: Both sides agree to extend talks through July 12.
• July 12: Federal negotiator is brought in
• July 13: The national board of SAG-AFTRA authorizes its 160,000 members to go on strike.
• July 14: Picketing begins at 9 a.m. at major studios and streamer HQ’s across the city.

Timeline: WGA strike

Some things to note: It is the first WGA strike in 15 years. The last work stoppage began in November 2007 and lasted 100 days. Current events:

• April 18: 98% of WGA members vote to go on strike if the contract talks fail.
• May 1: WGA contract expires with no agreement between sides.
• May 2: WGA strike begins

The issue: Actors

Minimum earnings: SAG is asking for an 11% general wage increase to reflect inflation. The AMPTP is countering with 5%.

Share of revenue: Actors feel they haven’t received their fair share of revenue from hit streaming shows.

• Traditionally compensation has been linked to ratings. Streamers like Netflix, however, don’t release how many people watch their shows, so it’s difficult to know which ones are major hits. SAG-AFTRA proposed bringing in a third-party company to measure ratings and devise residuals. The AMPTP rejected this. 
• Executives at studios and streamers maintain they’re still recovering from pandemic losses and have spent billions of dollars creating and buying content for new streaming platforms, some of which are far from profitable.
• While some streamers are thriving (Netflix recently reported $1.71 billion of quarterly operating income), The Walt Disney Co. has announced the firing of 7000 employees to save money, having lost close to $10 billion to date on its streaming platforms. Warner Bros. Discovery is making deep cuts because of its $50 billion in debt. 

Artificial intelligence: There is deep concern about how artificial intelligence will be used, with particular anxiety about the use of a performer’s image and likeness. The union wants to prevent studios from training AI programs on actors’ work without permission, and for actors to consent and be paid if AI is used to replicate them. The AMPTP offered what it called a groundbreaking proposal that it said “protects performers’ digital likenesses." The union rejected this.

Self-taped auditions: Since the pandemic, self-produced audition tapes have become the norm — meaning actors light and film themselves. It’s labor intensive, with no pay, and widens an already competitive pool of performers. The union says it understands self-taped auditions can be useful, but wants to put restrictions around them.

• Read SAG-AFTRA’s summary of negotiation points 
• And what the AMPTP has to say about the negotiations

The issues: Writers

Maintaining a liveable wage: The WGA says that companies’ business practices have “slashed our compensation and residuals and underminedour working conditions”, and that the current contract terms failed to anticipate the explosive growth of streaming.

• It says that most of its nearly 12,000 members are making less than they once did, and that after factoring for inflation, average WGA pay has actually dropped 14% over the last five years. 
• Meanwhile the AMPTP says it’s offering the highest first-year general wage increase in more than 25 years, while also offering to create "an entirely new category of rates that will establish a new and higher floor for mid-level writers’ compensation”.

"Gig economy": The union says that shorter schedules and small writers room means writers have to cobble together jobs, similar to the gig economy. The AMPTP says screenwriting has almost nothing in common with standard "gig" jobs. Writers often have a guarantee of specific weeks or episodes, and writing jobs come with benefits such as employer-paid health care and pension plan contributions.

Staffing and duration of employment: The union wants a minimum number of weeks on a project, and a certain number of writers. The AMPTP sees this essentially as a hiring quota that's "incompatible with the creative nature of our industry", and says it's a one-size-fits-all solution to shows that are each unique.

Artificial intelligence: Writers want to make sure that AI isn’t used to replace their creative output. Meanwhile the AMPTP says "AI raises hard, important creative and legal questions for everyone. For example, writers want to be able to use this technology as part of their creative process, without changing how credits are determined, which is complicated given AI material can't be copyrighted. So it's something that requires a lot more discussion, which we've committed to doing."

• Read the full WGA statement
• Hollywood producers released a statement on May 4 that addressed specific points of the WGA's concerns. 

Why it matters

What you'll be watching:

• Ahead of the WGA contract’s expiration, studios and streamers stockpiled scripts so they would have content to produce if there were a strike. But now the actors are on strike, even that content cannot be filmed, and some productions have been cancelled mid-shoot. Expect game shows, talk shows, docu-series and reality shows in the fall (which are covered under different contracts).

• Companies like Netflix release series in multiple languages, however, so their production schedules often run many months ahead of traditional TV networks, which means they tend to have a bigger shelf of completed shows.

• Movies have a fairly long lead time, so almost all of the movies due to come out through the end of the year have already finished filming. Movies that were slated to begin production soon and come out next year or later are being pushed back, like Gladiator 2 and Deadpool 3.

The local economy:

For the 2007 - 2008 writers strike, the Milken Institute estimated the resulting economic losses were $2.1 billion, along with a net loss of 37,700 jobs directly and indirectly tied to the entertainment industry.

Those 2007-2008 losses worked out to about $20 million a day, or close to $30 million in today’s dollars. But the number of scripted series and streaming movies has grown exponentially since then.

The financial and job loss estimate includes not only lost pay for screenwriters, but also for people who work in production, and businesses that either cater to or depend on production: everything from costume and prop rental companies to caterers and equipment rental outfits.

Learn more

• TV And Movie Writers Strike Over 'Gig Economy' Conditions. What’s At Stake In The WGA Walkout
• From Gas Stations to Restaurants: How The WGA Strike Will Hit The LA Economy
• This Hollywood Writers Strike Could Have Massive Economic Impact. An Economist Explains What We Can Learn From 2007
• How The WGA Strike Of 2007 Strike Brought Donald Trump To Power
• A History Of Strikes: How The WGA Has Played Catch-Up As Emerging Technologies Made Others Richer

Your questions or ideas

When Bengara opened in Los Angeles' Arts District earlier this year, its owner and head chef had something special lined up in their kitchen arsenal.

It was genshiyaki, a rare traditional Japanese grilling method that dates back 1,500 years.

Chef and co-owner Tyler Burges had only encountered it once while traveling in Japan at a robatayaki spot in Fukuoka, a port city on the island of Kyushu.

Robatayaki, a style of slow, ember-cooked grilling rooted in Japan's rural coastal kitchens, usually centers on an open charcoal hearth. But the restaurant Burges visited had something even more noteworthy: a genshiyaki pit, a gentler, ambient method of cooking that uses radiant heat instead of direct flame.

Loving the unusually subtle, delicate flavor and texture it produced, he and head chef Phil Mireles decided to bring genshiyaki back to the U.S. and build their Arts District restaurant around it. The genshiyaki pit is a rare enough technique that Burges had to work with fabricator Phil Roxworthy for six months just to get the grill built to spec.

It's Burges' and Mireles' first L.A. project. The pair are also behind Smoke Door, their acclaimed Lake Tahoe restaurant, and Bengara brings a more casual, day-to-day take on the same fire-driven cooking.

All roads lead to the Arts District

Chef/owner Tyler Burges (left) and head chef Phil Mireles at Bengara.

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Wonho Frank Lee

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Courtesy Bengara

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Burges and Mireles both got their start at San Francisco's Saison and Angler under chef Joshua Skenes — who's now just down the street in L.A. at LYNX with fellow alum Brandyn Tepper.

Burges traces Bengara's DNA back to two mentors: Ron Siegel, who introduced him to Japanese ingredients and technique in his mid-20s, and Skenes, who taught him to cook with live fire. It was Skenes, Burges said, who showed him that fire didn't have to mean char and bravado.

"The one thing I loved about wood-fire cooking is you get this subtle, sweet barbecue flavor when you cook correctly over embers, and you don't cook directly over the fire," Burges said. "Most places, when you think about grilling something, you think of char, bold flavors, masculine flavors. But Chef Josh — it's like a master art, getting really delicate, subtle flavor using that grill method."

The uni kiritampo, Bengara's take on a traditional Akita-prefecture rice skewer, finished with scallion.

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Wono Frank Lee

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Courtesy Bengara

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What sets the food apart

Take their luscious miso cod. On a normal grill, the marinade's sugars would blacken before the fish cooked through. On the genshiyaki pit, the cod sits at a distance from the embers, cooking gently until the very end, when it's given one last pass directly over the coals — what Burges describes as a final "kiss" of heat before it hits the plate.

To fuel genshiyaki's slower, ambient style, ordinary charcoal or wood is replaced with binchotan, an ultra-dense, pure-carbon hardwood charcoal traditionally made in Japan, which burns hotter and cleaner.

The signature dish

A perfect example of how this cooking style comes together is the uni kiritampo, the Akita prefecture rice skewer, reimagined with uni and cooked via genshiyaki — born of an offhand kitchen conversation with one of the restaurant's Japanese chefs about regional dishes cooked over fire.

Once they realized genshiyaki was the dish's original, historic cooking method, the rest fell into place.

"It's like the most delicious thing," Burges said. "I don't know why it never made it over to the United States earlier."

Bengara's Arts District dining room pairs industrial bones with warm, low lighting and long communal tables.

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Wonho Frank Lee

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Courtesy Bengara

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The chewy exterior, with just a hint of smoke, gives way to a creamy inside, like a caramelized custard, that’s topped with a decadent amount of uni, providing a semi-sweet finish — one memorable bite.

Tasting menu option

Bengara recently added a daily eight-course tasting menu ($98) that doubles as a greatest-hits tour of the kitchen — Toyosu carpaccio with chili coffee oil, pork belly "tacos" wrapped in mochi crepes, miso cod, Mary's half chicken, and handmade citrus soba, with optional wagyu and uni add-ons.

The price includes a beverage pairing, with a full non-alcoholic option alongside the boozy version. Walk-ins are welcome, and reservations can be booked via OpenTable.

Topline:

Why it matters: Museum officials said you will “likely experience high demand and long wait times in the queue" and thanked people for their patience.

LAist saw estimated wait times up to 6 hours, and it took a little more than 4.5 hours for this reporter to get through. On the bright side, there were still plenty of tickets left, including for the first day. Do not refresh the page or you may lose your spot.

The details: All tickets are timed entry. Tickets are $25 for adults and $21 for those 65 and older. Children, members, active-duty military, personal aides or attendants and EBT cardholders have free entry. Museum neighbors in the LM37 program will also be free, with that pass opening in August.

But how do I buy: Each person is limited to nine tickets, and you’ll have 20 minutes to check out once they’re added to your cart, according to the museum. You can find the link here.

What's next: The grand opening is Sept. 22.

Go deeper: How to secure Lucas Museum of Narrative Art tickets ahead of the fall opening

Inglewood officials are working on a full rewrite of the city map for the first time in nearly 40 years, laying out how they want the city to grow and change for the next two decades.

Along part of Manchester Boulevard, city planners are setting up an option for developers to rebuild rows of small storefronts with a mix of homes and commercial space. On La Brea Avenue, south of Centinela Avenue, they envision the possibility of dense housing and business blocks as high as six stories.

Jerome Johnson, an Inglewood local, said he’s lived through three decades of change in the city. He recalled watching a “raggedy market” at the corner of La Brea and Centinela make way for the two-story shopping center that’s there today. He said the potential developments around the intersection could be a catch-22.

“There’s a shortage of housing,” Johnson said. “But you don’t want it to turn into New York City.”

It’s all part of the ongoing process for Inglewood’s new general plan, the foundational guide that governs things like what kind of buildings can be built where in the city and how they need to look. A draft land-use plan will go before the Inglewood City Council on Tuesday, then go into the environmental impact review process.

“This is really a historic milestone for the city,” Bernard McCrumby, Inglewood development services director, told The LA Local. 

McCrumby said planners are aiming to open up room for new housing and to revitalize some of the city’s flagging business corridors, without changing the city’s existing residential blocks or sacrificing the grocery stores, barbershops and local restaurants that make neighborhoods tick.

“The stadiums and arenas are here, they’re not going anywhere,” McCrumby said. “Now we can plan around those.”

The last time the city did a full update of its general plan was 1987, when horses were still racing at Hollywood Park and the “Showtime” Lakers were winning championships at the Forum. Edward Vincent Jr., the city’s first Black mayor, had only been in office for four years. 

The city has made intermittent updates to its planning guidelines since then — notably remapping a band of Inglewood along the Metro K line before it opened — but city documents indicate planners spent the past couple years working on a comprehensive rewrite. 

The new update to the general plan could set the city’s direction until 2050.

Planners hope to change some of the city’s commercial corridors into mixed-use zones that allow for housing and businesses alongside each other or even stacked on top of each other.

Those zones could go in place along Century Boulevard and Arbor Vitae Street as well as Manchester, Centinela and La Brea.

The rest of the update, McCrumby said, is aimed at lining the city’s zoning regulations up with state law and the city’s current reality on the ground.

City staff held several community meetings over the last year as they put together the draft and still aren’t done gathering feedback. 

The next year will see at least one more community meeting and a 45-day public review period, according to city documents. McCrumby said that, with the anchor of the land-use map in place, planners will continue to work on the rest of the general plan, targeting final City Council approval of the plan and accompanying environmental impact report next spring.

You can get all the details on the general plan at nextlevelinglewood.com and attend the City Council meeting at 2 p.m. on Tuesday to give a public comment.

We also want to know what you think of the proposed changes. Email isaiah@thelalocal.org with your questions or thoughts.

Students within the Los Angeles Unified School District showed improvements on state reading, math and science standardized tests for a third consecutive year, district authorities announced Tuesday.

Superintendent Andrés Chait revealed the preliminary results at the annual opening-of-schools address at East L.A.’s Garfield High School— his first as the district’s leader since the board appointed him to the job in June.

“ These are not just numbers on a page,” Chait said to an audience that included about 1,000 principals, administrators and district supporters. “They are the result of your passion, your persistence, your belief in what students can achieve. These are collective accomplishments.

"They reflect the dedication, skill, and commitment of our entire community,” he said.

Jai Gant-Leau, principal of Eagle Tree Continuation High School, said the “back-to-basics” focus of Chait’s speech was a welcome departure from the tone of recent opening addresses.

“We will continue to rise for the outcomes and expectations for the success of our students. That's the message I got,” Gant-Leau said. “Very different than the others where it was a lot of… bells and whistles.”

Why it matters

Student achievement, as measured by test scores, plummeted during the pandemic. Los Angeles Unified’s growth in 2025 outpaced the state, as test scores exceeded pre-pandemic levels.

This year the percentage of students in all grades who met or exceeded the standard are 39.7% for math, 48.3% for English and 32.1% for science. It’s unclear how this compares to students statewide because those results have yet to be released.

Challenges ahead

Chait also acknowledged the challenges posed by declining enrollment, community fears of immigration enforcement actions and proposed budget cuts.

 “The decisions will be hard, but we cannot lose sight of what defines us,” Chait said. “We are the system that lifts students to opportunity, turns potential into achievement, creates spaces of belonging, healing, growth.”

This is a developing story and will be updated.