Monica Bushman
produces arts and culture coverage for LAist's on-demand team. She’s also part of the Imperfect Paradise podcast team.
Published May 21, 2026 5:00 AM
Edward Furlong and Arnold Schwarzenegger in a scene from the 1991 film 'Terminator 2: Judgment Day.'
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via film-grab.com
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Topline:
Terminator 2: Judgment Day is back in select theaters this weekend, in celebration of the movie’s 35th anniversary. Considered one of the best action films and best sequels of all time, it’s also celebrated among film experts for its groundbreaking use of CGI visual effects — most notably for the T-1000 character, a liquid metal cyborg masquerading as an LAPD officer.
Where to see the film in LA: American Cinematheque, The Academy Museum and The Vista are hosting screenings of Terminator 2: Judgment Day starting on May 22, but they’re already selling out. Additional screenings are on May 29 at Los Feliz 3, May 30 at Aero Theatre in Santa Monica and June 6 and 7 at The Vista in Los Feliz.
Read on ... for behind-the-scenes details from the film's Oscar-winning visual effects supervisor.
You could call it a fulfillment of Arnold Schwarzenegger’s famous promise from the first Terminator movie in 1984: “I’ll be back.”
Terminator 2: Judgment Day (1991), the bigger budget, multi-award winning follow-up to that first film is coming back to theaters in Los Angeles starting this weekend, in celebration of the film’s 35th anniversary.
Considered one of the best action films and best sequels of all time, it’s also celebrated among film experts for its groundbreaking use of CGI visual effects — most notably for the T-1000 character, a liquid metal cyborg masquerading as an LAPD officer, played by Robert Patrick.
Where to watch ‘T2’ on the big screen
While the American Cinematheque’s first two 35th anniversary screenings of Terminator 2 are already sold out, as of this article’s publishing time, tickets to screenings on May 29 (at Los Feliz 3) and May 30 (at Aero Theatre in Santa Monica) are still available.
Tickets for screenings on May 22 at The Ojai Playhouse and June 6 and 7 at The Vista in Los Feliz are also still available, and Rialto Pictures also lists screenings on July 2-5 at The Frida Cinema in Santa Ana.
And while the screening at The Academy Museum on May 27 (with the film’s Oscar-winning visual effects supervisor Dennis Muren in person) is sold out, we have you covered with some highlights from Muren’s interview with LAist below.
Making the impossible possible with CGI
Terminator 2, director James Cameron’s follow up to his surprise 1984 hit, The Terminator, was the first (and still only) movie in what would become the six-film Terminator franchise to earn an Oscar win or nomination.
Ultimately, the film took home four Oscars — for visual effects (for Dennis Muren, Stan Winston, Gene Warren, Jr. and Robert Skotak), makeup, sound, and sound effects editing — and also earned nominations for cinematography and film editing.
The visual effects studio responsible for the T-1000 character’s CGI effects was Industrial Light & Magic (ILM), founded in 1975 by Star Wars creator George Lucas. Dennis Muren headed up their Terminator 2 team, which consisted of about 35 artists.
Muren remembers first being taken with visual effects at the age of 6 or 7, watching The War of the Worlds (1953) in Los Angeles. He made his first film — a “creature feature” called Equinox — the summer between his freshman and sophomore years at Pasadena City College, and would go on to work for ILM on visual effects for movies like Star Wars, Indiana Jones, Terminator 2, Jurassic Park, and (fittingly) the 2005 version of War of the Worlds.
A scene from 'Terminator 2' (1991).
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via film-grab.com
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ILM and Muren began development on the CGI techniques that would be needed to pull off Terminator 2’s T-1000 character in movies like 1985’s Young Sherlock Holmes and 1989’s The Abyss, which was also directed by James Cameron.
“ILM has been so good at being able to really do the impossible,” Muren said. “And we kind of joke about that, but we've got many different ways of doing things.”
When the opportunity for Terminator 2 came up, Muren had also just returned from a year-long sabbatical he spent studying computer graphics, and said he was confident ILM had the tools needed to make the T-1000 character a reality.
“We were ready to input the film digitally,” Muren explained. “[To] do all the manipulation in a computer instead of with optical film running through printers and going to labs for processing.”
And when ILM got that digital system for “compositing” — combining live-action images, practical and CGI effects — working seamlessly, Muren says, “That was an incredible tool.”
But that didn’t mean that pulling off a shiny, shape-shifting, liquid metal character successfully would be easy.
“It's just complicated,” Muren explained. “You've just got this reflective material [and] how are we supposed to be able to see depth or shape when it's deforming?” But at the same time, Muren said, “that's what was exciting about it.”
Muren says the trickiest scene for the team to figure out is when the T-1000 walks through a cell door made of metal bars. While it happens in a matter of seconds on screen, it amounted to 14 to 16 weeks of work for the visual effects team.
“I always said that shot, even as we were doing it, and we got close to finishing, I said, ‘This is an absolutely impossible shot,’” Muren explained. So when they got it right, he said, “It was like a new world.”
Today, while he says Jurassic Park (1993) is the film he’s now asked about most often, he always reminds people: “T2 was really the breakthrough film.”
Courtney Eileen Fulcher
is the apprentice news clerk for AirTalk and FilmWeek, hosted by Larry Mantle.
Published June 29, 2026 5:32 PM
A 1938 photo of KNX's studios.
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Herman J Schultheis
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Los Angeles Public Library
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Topline:
With KNX's shift last month back to AM radio only, we asked Southern Californians to share their memories of listening to the radio.
Why now: Back in April, broadcast company Audacy announced it was moving KNX News — one of the last-remaining all-news FM stations — off 97.1 FM, but keeping the long-running news format on 1070 AM where it's been for more than 100 years. The move officially happened in May to make way for a new sports talk station.
A radio time capsule: AirTalk, LAist's flagship daily news show which airs on 89.3 FM, asked listeners to share their favorite memories of listening to the radio.
Continue reading... for vintage photos from The Los Angeles Public Library's digital archive collections highlighting Southern California's rich radio history.
Southern California was built on radio.
"I can still hear the jingle KFWB News 98,” wrote Taline in Los Feliz, during a recent conversation on LAist's daily news show, AirTalk, which airs on 89.3 FM. “I grew up hearing that in my dad's minivan on the way to and from school. It has a special place in my heart.”
Back in April, broadcast company Audacy announced KNX News — one of the last-remaining all-news FM stations — was leaving the FM dial where it had simulcast on 97.1 FM since 2021. The station, which is also one of the oldest in L.A., is not budging from 1070 AM where it has been on the air for more than 100 years. The move away from FM officially happened in May to make way for a new sports talk station, which Audacy officials called an area of growth for advertisers in today’s media landscape.
The move is one in a long line of changes for radio and a reminder that before podcasts, playlists and algorithms, many Southern Californians built their days around radio broadcasts.
Radio, a daily ritual
The construction of KNX
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Herman J. Schultheis
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Los Angeles Public Library
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Michael Jackson, a well-known KNX, personality
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Los Angeles Public Library
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Larry Mantle, now in his 41st year hosting AirTalk, remembers being a kid and dreaming of what it might be like to be behind the mic at one of these radio stations.
“ I grew up with KNX," he said. “My dream job as a kid was to be an anchor on KNX or KFWB, the two local all-news radio stations, 'cause there was nothing like hosting AirTalk that even existed at that point.”
Mantle opened up the phone lines on a recent show to hear from his fellow SoCal radio lovers about the shows they miss and the memories they have. Here's what they had to say:
A love for radio, then and now
A pilot of KMPC's traffic alert helicopter pictured with his daughter and grandson.
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Los Angeles Public Library
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A 1963 picture of Valley State College (now Los Angeles Valley College) preparing to launch KVCM
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Larry Leach
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Los Angeles Public Library
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“When you'd walk down Hollywood Boulevard where the station was, you could hear it playing as you went down the street,” said Olivia in Glendale about KLAC 570 with Al Jarvis.
Larry in Yorba Linda shouted out KBCA Jazz for its 24-hour jazz, saying “When I first moved out here in '68 from Phoenix, which had like an hour a week, it was a real wonder.”
Mark in Glassell Park emailed that he loves KCRW’s Henry Rollins, writing, “I used to bristle at his unique DJ persona, but over time, I came to love him and his crazy eclectic playlists. I find his knowledge in history and punk rock fascinating. He's a gem and a legend."
"I'd like to give a shout-out to all the DJs working at KXLU, the college station at Loyola Marymount University, said Jeremy in Culver City in an email. “That station's been on the air for nearly 60 years. I believe it's one of the best examples of what's possible with radio."
"KFWB and KRLA back in the day when they were rock music stations — Dr. Demento, one of my favorite on-air personalities, also had eclectic music taste," said Carrie in Desert Edge.
“ Dr. Demento was must listening when I was a kid in junior high school at Le Conte Junior High in Hollywood,” Mantle added. “Every Sunday night on KMET, we would make sure we were listening to Dr. Demento and his funny records.”
The question remains…
An 11-year-old winning a car in a KMPC contest in 1963.
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Los Angeles Public Library
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Listener support is vital to any radio station, and it’s clear KNX has many lifelong fans. AirTalk listeners highlighted their support for household KNX names over the decades like Bill Keene, Melinda Lee, Mike Roy and Jackie Olden.
As KNX makes changes, many are watching closely and thinking about the future of radio.
Listeners like Tommy in La Quinta are left wondering if the radio dial will be the same…
“I’m a hardcore listener, but I don't know about casual listeners [and] if they'll tune to AM,” he said.
Libby Rainey
has been tracking how L.A. is preparing for the 2028 Olympic Games.
Published June 29, 2026 5:02 PM
LA28 chair Casey Wasserman speaks with L.A. Mayor Karen Bass at the Olympic Games Paris 2024 on August 10, 2024.
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Luke Hales
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Getty Images
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Topline:
After months of hand-wringing, Los Angeles and LA28 have come to a tentative agreement on how Olympics organizers will reimburse the city for its expenses for the 2028 Summer Games.
What's in the deal? The private Olympic organizing committee will pay upfront for the estimated cost of services that are not eligible for federal reimbursement, like trash pick-up and traffic control. Under another proposal, the city would also be able to tap an LA28 contingency fund if it isn't fully repaid by the federal government for policing costs at Olympic venues.
What happens now: The agreement is nearly nine months overdue and still needs approval by Mayor Karen Bass and the city council. The City Council's ad-hoc committee on the 2028 Games will meet Tuesday afternoon to vote on the agreement.
Concerns remain: The contract between the two parties doesn't fully resolve one of the biggest areas of financial risk for the city: the enormous cost of security for an event as extensive and high-profile as the summer Olympics and Paralympics.
Read on...for more on concerns over security costs for 2028.
After months of hand-wringing, Los Angeles and LA28 have come to a tentative agreement on how Olympics organizers will reimburse the city for its expenses for the 2028 Summer Games.
According to the deal, the private Olympic organizing committee will pay upfront for the estimated cost of services that are not eligible for federal reimbursement, like trash pick-up and traffic control. Under another proposal, the city would also be able to tap an LA28 contingency fund if it isn't fully repaid by the federal government for policing costs at Olympic venues.
The agreement is nearly nine months overdue and still needs approval by Mayor Karen Bass and the City Council.
The 2028 Olympics are intended to be privately financed, and an existing city agreement with LA28 states that the Olympics organizers, not L.A., will pay for extra costs for public services in support of the Games. But L.A. is the financial back-stop for the Olympics, meaning if LA28 goes in the red, taxpayers will pick up the bill.
Beyond that, the city services agreement presents another area where L.A. could incur additional unexpected expenses for hosting the Games. L.A. City Councilmember Monica Rodriguez warned LA28 CEO Reynold Hoover earlier this year that a bad deal could "bankrupt" the city.
Jacie Prieto Lopez, an LA28 spokesperson, and Paul Krekorian, who leads the city's office of major events, said in statements that the freshly inked agreement would help deliver a fiscally responsible Games.
"Mayor Bass’ priority is that the 2028 Olympic and Paralympic Games be fiscally responsible, protect taxpayers, and benefit Angelenos for decades to come. This agreement helps deliver that commitment," Krekorian said.
But the contract between the two parties doesn't fully resolve one of the biggest areas of financial risk for the city: the enormous cost of security for an event as extensive and high-profile as the summer Olympics and Paralympics.
The federal government has so far allocated $1 billion for security costs for the Olympics. Exactly where those federal funds will go has not yet been determined, and there's no guarantee they will cover all of L.A.'s policing costs.
To address this, city officials have also proposed an amendment to a 2021 agreement between the city and LA28. That amendment would establish that if L.A. is not reimbursed by the federal government for all its eligible expenses, it could dip into LA28's contingency fund of $270 million before the private organizing committee could use those funds for any legacy projects.
But that bucket of money will first be used for any costs that Olympics organizers still owe if they run out of revenue — meaning if the Olympics don't turn a profit, the city's access to that money will depend on how much is left for the taking.
Civil rights attorney Connie Rice, who has been tracking the city's negotiations with LA28, told LAist the agreement was a "PR document" not a deal. She pointed out that if the federal government does not pay up for security spending as expected, L.A. could be in trouble.
" It leaves the taxpayers with a GoFundMe strategy," she said.
The city services agreement lays the groundwork for more negotiations between LA28 and the city. Each venue will require its own agreement, to be negotiated by July 1, 2027. Venues in the city of L.A. include Dodger Stadium, the L.A. Convention Center, L.A. Memorial Coliseum and the Venice Beach Boardwalk.
The City Council's ad-hoc committee on the 2028 Games will meet Tuesday afternoon to vote on the agreement.
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Lucas Brady Woods
covers the weather and disasters, among other climate and science topics.
Published June 29, 2026 4:54 PM
Cleanup is underway now at the Boyle Heights food storage warehouse that spewed smoke around L.A. earlier this month.
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Alejandra Molina
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Boyle Heights Beat
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Topline:
Los Angeles Mayor Karen Bass signed a pair of executive orders Monday to ramp up efforts to clean the mess left by the fire that burned for a week at a Boyle Heights warehouse.
Why now: Since the warehouse fire was put out, the 85 million pounds of frozen food stored inside is now rotting, spreading foul smells throughout surrounding neighborhoods and raising concerns about an influx of pests. Residents have also been left with worries about air and water contamination after the fire and possible long-term public health effects.
Spoiled food removal: Bass and city officials said Monday the warehouse owner, Lineage, began moving food debris on Sunday to landfills in Ventura and Riverside counties. The company predicts it will take 5,000 truckloads to remove it all.
Reducing odors: Lineage plans to apply a chemical deodorizer, likely chlorine dioxide, to the food, debris and trucks leaving the warehouse. It’s also installing devices within the warehouse that will spray mist over the food inside until it is moved.
Pest control: Lineage is responsible for pest management inside the warehouse, while the city of Los Angeles is responsible for it outside the warehouse. Both have hired private contractors to manage pest control.
Air and water testing: The South Coast Air Quality Management District is overseeing efforts to measure harmful material in the air and posting data to its online air quality map. Lineage also hired private contractor Onterris to monitor air quality in the community surrounding the warehouse, with South Coast AQMD’s oversight. The Los Angeles Department of Sanitation has been monitoring water flowing from the site since firefighting operations began. It’s using a variety of methods, including containment tanks and catch basins, to divert the runoff into the sewer and prevent it from flowing into the L.A. River.
What’s next: Bass’ two executive orders are intended to accelerate cleanup efforts, protect residents and hold accountable the companies responsible for the facility and its safety. One order directs the Fire Department to report on its investigation into the cause of the fire within 90 days. The orders also include a number of provisions to help Boyle Heights residents and businesses, including free public transit, financial assistance and expanded public health resources.
Why it matters: Officials and advocates have called for transparency around the cleanup, especially because they say the neighborhood has been historically under-resourced and disproportionately subjected to environmental burdens. One of the orders signed Monday directs city officials to compile a report within 45 days on industrial areas across Los Angeles that sit close to homes and schools. The report also must include possible zoning and land use changes that would reduce negative health effects from existing and future industrial facilities.
Aaron Schrank
has been on the ground, reporting on homelessness and other issues in L.A. for more than a decade.
Published June 29, 2026 4:36 PM
Tents in the Skid Row area of downtown Los Angeles on June 11, 2026.
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Apu Gomes / AFP
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Getty Images
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Topline:
L.A.’s lead homelessness agency, LAHSA, filed a lawsuit against the U.S. Department of Housing and Urban Development on Monday, asking a judge for relief from a federal funding suspension it calls unjustified.
How we got here: On June 11, HUD suspended the Los Angeles Homeless Services Authority from federal grant activity pending an investigation into alleged mismanagement. The federal agency said the suspension means LAHSA cannot fulfill its role as collaborative applicant for the entire region’s application for federal homelessness dollars for the upcoming fiscal year. In its lawsuit, LAHSA says the suspension is the Trump administration’s back door attempt to eliminate the Continuum of Care program in L.A., which gives local officials discretion over homelessness projects submitted for federal funding.
LAHSA’s challenge: LAHSA says HUD has failed to identify any public agreement or transaction that LAHSA has violated or cite proper evidence of mismanagement. LAHSA also claims several inaccuracies and misrepresentations in HUD’s original suspension letter, including relying on reviews that LAHSA says were irrelevant to federal funding. “HUD supports its position with an amalgamation of uncorroborated hearsay information apparently cherry-picked from the internet,” the complaint states.
Legal argument: LAHSA's attorneys contend that HUD unlawfully suspended funding, arguing that the action violates the Administrative Procedure Act, the Constitution's separation of powers principle, and the Tenth Amendment. LAHSA is asking for a stay of the HUD suspension pending judicial review and a permanent injunction barring head from suspending LAHSA or blocking the work of the Los Angeles Continuum of Care.
Why it matters: The deadline for the L.A. region to submit its application to HUD for regional homelessness grants is Aug. 26. LAHSA says the suspension jeopardizes $241 million in federal funding that supports more than 11,000 people across L.A. County. LAHSA says the HUD suspension could prevent the agency from other activities, including releasing the findings of its 2026 homeless count conducted in January.
