The Brief

Like single-family homeowners in California, landlords are facing higher insurance premiums, too. And they’re passing along some of those costs to their tenants.

Many insurance companies have stopped writing policies in the state because of increased wildfire risks, but that’s not the only reason. They say in the case of any catastrophe, the potential costs of replacing any residential or commercial property, from labor to material costs, is just plain more expensive now.

So even owners of properties in areas that are not at high risk for wildfires have had their policies canceled because their buildings may need repairs or improvements. Landlords are having to find other insurers, or having to turn to the ever-growing and more expensive FAIR Plan, the insurance industry-run plan that is mandated under California law to be the insurer of last resort.

This is where the insurance crisis could worsen the housing crisis, according to some experts. Increased insurance costs for properties other than single-family homes are starting to affect the rental market — in a state where almost half of residents are renters — and could compound the state’s housing problems, they say.

Josh Hoover, an insurance broker in the Los Angeles area, handles mostly commercial accounts and said “it’s almost impossible” to find coverage for any large structure. In late 2022, Allstate said it would stop writing new property insurance in the state, including commercial policies. Then State Farm, the biggest insurer in the state, recently canceled policies for tens of thousands of homes, residential community associations, business owners and commercial apartment properties.

“Even buildings made in the ‘80s are now considered old, which is ridiculous,” Hoover said. “Most carriers want everything updated in the last 30 years. They want a new roof, electrical redone, plumbing redone — they want you to have copper pipes.”

For landlords, 'death by a thousand cuts'

Earlier this year, Farmers canceled the policy on a 33-unit apartment building in San Bernardino that was built in the 1960s, said its co-owner, Uwe Karbenk. Karbenk found an out-of-state insurer instead of going with the more expensive FAIR Plan, but his premium has still increased by $28,000 to more than $41,000 a year.

Combined with state laws that limit how much he is allowed to raise the rent each year — 5% plus inflation, or up to 10% in some cases, with possibly other rent-control measures on the way — Karbenk said being a landlord in California is “a little bit like death by a thousand cuts.” He added that if his profit margin continues to shrink, he would rather invest in something else besides real estate.

“One of these measures, it’s not a big deal,” Karbenk said. “But over the years, it’s really difficult for mom-and-pops.”

Mike Placido and his wife are definitely a mom-and-pop. They own two rental properties, a four-unit building in San Gabriel and a duplex in Alhambra. He said they bought the properties as a way to supplement their retirement income when the time comes in a few years.

When State Farm canceled the policy on their San Gabriel property, Placido got a quote from the FAIR Plan for $8,600, much higher than their old $2,600 premium. Instead, he was able to cobble together three different policies from a Florida-based insurer to get the coverage the old policy provided for $6,500, a 150% increase. So he said he plans to raise rents in January.

“It’s not like I’m some land baron,” Placido said. “I’ll pass along as much as I possibly can, as much as the market can bear, and I’ll shoulder the rest. I have no choice.”

Yet another worry for renters

About 44% of Californians are renters, according to the U.S. Census. The median monthly rent in the state is $2,850, a third higher than the national figure, according to online real estate marketer Zillow. About 30% of the state’s renters are considered severely cost-burdened, meaning they spend at least half of their income on housing, according to an analysis by the Public Policy Institute of California. Now their rents could rise to even more burdensome levels.

Shanti Singh, legislative director for statewide renters’ rights organization Tenants Together, said “it’s still kind of an unknown how common it is” that tenants’ rents are rising along with insurance costs, partly because not all landlords say why they’re raising rents.

“It depends on the landlords,” Singh said. “Some are transparent; a lot of them aren’t.”

Any significant rent increases have not yet shown up in Zillow’s data, which shows California’s median rent is actually down about $100 compared with last year, though it has climbed higher since the beginning of the year.

Mike Placido in front of a four-unit rental property that he and his wife own and manage in San Gabriel.

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Jules Hotz

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CalMatters

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In the Bay Area, two renters who didn’t want to be named out of fear of retaliation from their landlord said the rents at their live-work complex jumped earlier this year, and the reason was spelled out to them in an email that had “insurance costs” in the subject line.

Singh said she fears things will only get worse for renters as the effects of climate change, such as wildfires, continue to weigh on the affordability of insurance, and in turn, housing.

“Tenants are going to have the least recourse,” Singh said. They “always end up bearing a disproportionate brunt of what they can afford.”

Housing and climate change

Singh and others who deal with California’s lack of affordable housing expressed concern about whether certain parts of the state will eventually be uninhabitable and uninsurable — whichever comes first.

Sarah Karlinsky, director of research at the Terner Center for Housing Innovation at UC Berkeley, said the lack of enough housing within already developed cities means more building “at the fringe of regions, in places that are more dangerous,” also known as the wildland urban interface, or the WUI, in wildfire speak.

“If we don’t want to continue down this road, we have to fundamentally rethink our development patterns,” Karlinsky added.

Laurie Johnson, an urban planner and former chief catastrophe response and resiliency officer for the California Earthquake Authority, pointed out that some property owners in the state who own their buildings and have no mortgages might choose not to insure their properties because of the rising costs. That’s worrisome, she said.

“It feels like we want to keep our multifamily stock insured and don’t want to take the risk of losing it,” Johnson said. Hoover, the insurance broker, agreed and said he has had some clients tell him they plan to forgo insurance.

Johnson added that just as jurisdictions have been requiring seismic retrofitting in case of earthquakes, protection against fires and other catastrophes — and the ability to replace whatever might be lost — is vital: “You would be displacing so many people.”

A rental sign in front of an apartment complex in Tower District in Fresno

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Larry Valenzuela

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The growing risks of climate change make it more important than ever for renters to have their own insurance, said Emily Rogan, senior program officer for United Policyholders, a consumer advocacy group.

Renters insurance would cover the costs for tenants to stay “somewhere else as you figure out where to live in case of a severe weather event,” Rogan said.

Effects on commercial properties and businesses

Small businesses that rent their space will be affected by their landlords’ rising premiums, too.

John Reed owns a mixed-use commercial property in Oakhurst, outside Yosemite — an area that has seen its share of fires in the past several years. Last year, his fire insurance cost about $2,800, but Berkshire Hathaway canceled his policy. He got three different quotes from the FAIR Plan, with the highest being $24,000. Then, he found a plan from Lloyd’s of London for about $14,000.

Reed said he will have to pass on his increased costs to his six tenants. “As a landlord, I can’t hit them with the whole burden all at once,” he said. “If I’m able to afford it, I will try to spread that out over a two- or three-year period.”

California’s insurance commissioner, Ricardo Lara, has unveiled a multi-part plan to address the state’s insurance woes, mainly focused on wildfires. For example, insurers will be allowed to use catastrophe models if they agree to write policies in certain areas of the state. But Insurance Department spokesperson Michael Soller pointed out that Lara also recently announced a deal with the FAIR Plan that creates a high-value commercial coverage option.

“The reforms will have broad benefits for the availability of insurance,” Soller said.

The Academy of Motion Picture Arts and Sciences has announced several significant rule changes for the 99th Oscars, including AI protections for actors and writers as well as expanded eligibility for international films.

In a statement to NPR, the Academy on Saturday said the changes are in response to listening to the global filmmaking community and addressing barriers to entry in its eligibility process.

The Academy added that its rules and eligibility standards have always evolved alongside technologies such as sound, color, and CGI, and that AI is no different. Awards rules and guidelines are reviewed and refined each year.

A blow for Tilly Norwood 

Among the most noteworthy changes, the Academy now explicitly states that only roles, "demonstrably performed by humans with their consent" are eligible for Acting awards. In other words, AI creations like the much-hyped Tilly Norwood cannot hope to win a Best Actress Oscar anytime soon.

Particle6, the production company behind Norwood, did not immediately respond to NPR's request for comment on Saturday about its creations' ban from consideration. In March, Norwood commented, "Can't wait to go to the Oscars!" in an Instagram post announcing its newly released music video.

The Academy also requires screenplays to be "human-authored" and said it reserved the right to investigate the use of generative AI in any submission.

Meanwhile, qualifying flesh-and-blood human actors can now be nominated for multiple performances in the same category if those performances get enough votes to land in the top five. So, someone like Anne Hathaway, who has five major movies scheduled for release in 2026, could now theoretically sweep the nominations – though that outcome seems extremely unlikely.

"If an actor has an extremely prolific year, might we even see someone swallow up three of the five nominations?," wrote Deadline's awards columnist and chief film critic Pete Hammond about the changes. "Probably won't happen, but it's now possible."

Under previous rules, an actor could only receive one nomination per category. If they had two high-ranking performances in Best Actor, for example, only the one with the most votes would move forward.

International films prioritizes filmmakers over countries

While international films can still be the official selection of their countries, now they can qualify by winning the top prize at a major international festival such as the Palme d'Or at Cannes, the Golden Lion at Venice, or the World Cinema Grand Jury Prize at Sundance.

Historically, countries "owned" the nomination, and only one film per country was allowed. The new rules allow multiple films from the same country to compete if they are critically acclaimed, and it shifts the honor from a geopolitical entity to the filmmakers themselves.

Largely positive response

The changes have prompted a largely positive reaction from the film community on social media, such as on the popular The Shade Room entertainment and celebrity-focused Instagram feed, where commenters widely praised the "human-only" move to protect creative jobs.

The Academy's Awards Committee oversees the rules in tandem with branch executive committees, the International Feature Film Executive Committee and the Scientific and Technical Awards Executive Committee.

The rules are scheduled to go into effect next year, covering films released in 2026.

Copyright 2026 NPR

Los Angeles changes fast, and oftentimes that means some of the architectural relics of our shared past get swept up and paved over in all the "progress." (RIP Garden of Allah.)

But there are still places where you can find ruins that tell a tale, like a long-forgotten speakeasy reputedly for old Hollywood near La Crescenta.

The ruins are still there 

On a recent afternoon, author and local historian Mike Lawler led me just beyond the boundary of Crescenta Valley Park. Joggers like me might have seen an old, towering stone arch shrouded by bushes there — and wondered what lies beyond.

Turns out there was once a place called the Verdugo Lodge back there and Lawler has spent years excavating its history.

A car speeds away from the lodge onto New York Avenue. The stone archway that still stands can be seen in the background.

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Kadletz Family Archives)

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“It was a very high-end speakeasy for a time,” Lawler, who also helps run the Historical Society of the Crescenta Valley, said. “An amazing thing. And all the ruins are still here, just like this arch.”

Lawler said we don’t know exactly when the lodge was built, but we do have some of the picture starting in the late 1920s. The place was set up kind of like a timeshare where people bought 10 x 10 foot ‘tent lots’ that gave them access to on-site amenities. There was a golf course, stables, trout stream, a swimming pool — and a lodge with gambling and alcohol.

“The Crescenta Valley in the teens and '20s was a hotbed of moonshine, prostitution, all that stuff," Lawler said. "It was a quiet little community. But in all these canyons up here, stuff was going on. Illegal stuff!”

We don’t have a full guest list, but Lawler said it’s likely at least a few Hollywood types had gone up to the lodge to circumvent Prohibition era laws.

In some ways, it was kind of like the original glamping. Lawler said patrons probably weren’t doing much sleeping, though.

“They might have been unconscious!” he said with a chuckle.

Lawler led me to a road that swooped around a meadow. We passed by a massive swimming pool nestled into the hillside.

Once known as the “Crystal Pool,” it’s now empty and fenced off, with pitch black locker rooms below.

The exterior of the locker rooms for the old Crystal Pool.

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We continued our journey up the hill and eventually arrived at a cascading stone stairway.

And at the top, the big show: overgrown with orange monkey flowers and goliath agaves lies the foundation of the old Verdugo Lodge, with lofty stone fireplaces the only guardians keeping the surrounding oak trees at bay.

Lawler takes out a floorplan that one of the former owners drew up for him.

“This is what it was laid out like on the inside. So a dancehall, and band stand on that side... And then upstairs was the gambling,” Lawler said.

Lawler had in hand a copy of a Los Angeles Times article from 1933 he found. The headline reads: “Revelers Flee in Lodge Raid.”

“The police that raided it were here at 3 o'clock in the morning. And there were still 500 people here. And they said it was the classiest joint they had ever raided... Anyway, people were diving out of windows and everything,” Lawler explained.

In a ruin like this, covered with moss and overgrowth, the imagination can run wild, too.

The archway that still stands outside of what's now known as Mountain Oaks.

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Lawler pointed out a questionable door jam below the old dancefloor that’s been cemented over.

“That is a door. So what is behind there? So there’s a room in there that got walled in for some reason,” he said.

What we do know is that, sometime after the raid, the tawdry Verdugo Lodge and the surrounding land were purchased and then renamed Mountain Oaks by the Kadletzes — an entrepreneurial family who had run everything from a Turkish bath to a mini golf course. Over the next few decades, the family would rent the place out to local groups for recreational retreats.

The future of Mountain Oaks 

After they sold it in the ‘60s, Lawler said Mountain Oaks faced a “nightmare” of development threats. Over the years, some of the subdivided "tent lots" had been combined and sold off, Lawler said. A dozen private homes now stand on these pieces of land, next to the ruins of the Verdugo Lodge.

A map showing the Mountain Oaks public property acquired by The Mountains Recreation and Conservation Authority (MRCA).

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Last year, with help from the City of Glendale, a U.S. Department of Housing and Urban Development grant among other funding sources, the Mountains Recreation and Conservation Authority (MRCA) put up $6.1 million to acquire 33-acres of the land — not including the private lots where the homes stand — so the public can continue to roam the meadow and ruins.

Paul Edelman, MRCA's director of natural resources and planning, said his group will continue to manage the land, doing things like brush clearance, trash pickup and sign maintenance. And he said there are no current plans to remove the ruins or make any major changes to the property.

“If somebody comes up with a grand idea where they can find some funding for us to do something to enhance it, we’re always open to it,” Edelman said.

The purchase was good news for local preservationist Joanna Linkchorst.

“I grew up directly up the hill. But I always saw the sign that said ‘private property’ and didn’t really think about it until several years ago when I finally asked Mike. And he said, ‘Oh yeah, we got a resort speakeasy down the street,’” Linkchorst said standing among the oaks and overgrowth.

Linkchorst, who founded the group Friends of Rockhaven to preserve another nearby historic site, said it’s been amazing to see all of the decaying structures that were still hiding out at Mountain Oaks.

“There’s almost like these little ghosts in your head as you imagine what it was like when there was a beautiful wood floor and there was a second floor that people came jumping out of,” Linkchorst said.

Now, let’s check in to the Overlook Hotel.

That’s the fictional place Stanley Kubrick brought to life in his 1980 film The Shining, loosely based on Stephen King’s novel of the same name.

A local architect who hails from South Pasadena meticulously crafted a 3D model of the iconic space so Shining fans everywhere never have to check out.

‘I just couldn’t stop’ 

At his day job, architect Anthony Chieh mainly works on residential and boutique commercial spaces. But over the course of five months, he spent his nights meticulously recreating a virtual replica of the Overlook Hotel from the film that first scared him when he was 12.

Of course he started with the deeply haunted Room 237. That’s where Jack Torrance, played by Jack Nicholson, has a terrifying encounter with a ghostly woman.

Chieh's 3D rendering of Room 237

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Anthony Chieh

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“But once I started, I just couldn’t stop,” Chieh told LAist.

“I ended up modeling the Colorado Lounge, and then after that I was thinking maybe I should make the lobby and then arriving to the Gold Room, and then Grady’s bathroom.”

“It’s like a rabbit hole,” he said.

Users who download Chieh’s free 3D model can fly through all of those spaces, immersed in atmospheric sounds and music from the film.

“It’s interesting to dive into these kind of fictional environments and try to make sense of it,” Chieh said. “And the hope is people will get a different perspective once they’re in there.”

Kubrick’s take on the Overlook was famously inspired by real hotels like the Timberline Lodge in Oregon and the Ahwahnee in Yosemite. But the interiors you see in the film were created on sound stages in England.

“Real architecture, physical buildings, are built for people to live. And for movies, these are more meant to express the emotional aspect of things. It’s a psychological construct,” Chieh said.

In a recently published video essay on YouTube, Chieh dives deep into those psychological constructs and how, as he puts it, “Kubrick designed the Overlook Hotel not as a backdrop, but as the film's true villain.”

How spaces scare 

Chieh said during the monthslong process he was reminded of the power of architecture and design in the real world too – whether it’s an uncomfortably repetitive carpet design or a claustrophobic hallway.

“A physical construct can affect your emotion,” Chieh said.

“You can use it in a way to make people feel comfortable and you can also use it in a way to create fear.”

Chieh's 3D rendering of the Torrance's apartment in 'The Shining'

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Anthony Chieh

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What’s next for this architect moonlighting as a 3D modeler?

Chieh says he’s thinking about giving the spaceship from “2001: A Space Odyssey" the virtual treatment next. Or maybe turning to a local non-fictional space, like the Stahl House.

That is, of course, if he can ever escape the Overlook.