The Brief

This story was produced by The Hechinger Report, a nonprofit, nonpartisan news outlet focused on education.

Tanish Doshi was in high school when he pushed the Tucson Unified School District to take on an ambitious plan to reduce its climate footprint. In October 2024, the availability of federal tax credits encouraged the district to adopt the $900 million plan, which involves goals of achieving net-zero emissions and zero waste by 2040, along with adding a climate curriculum to schools.

Now, access to those funds is disappearing, leaving Tucson and other school systems across the country scrambling to find ways to cover the costs of clean energy projects.

The Arizona school district, which did not want to impose an economic burden on its low-income population by increasing bonds or taxes, had expected to rely in part on federal dollars provided by the Biden-era Inflation Reduction Act, Doshi said.

But under HR1, or the “One Big Beautiful Bill Act” passed July 4, Tucson schools will not be able to receive all of the expected federal funding in time for their upcoming clean energy projects. The law discontinues many clean energy tax credits, including those used by schools for solar power and electric vehicles, created under the IRA. When schools and other tax-exempt organizations receive these credits, they come in the form of a direct cash reimbursement.

At the same time, Tucson and thousands of districts across the country that were planning to develop solar and wind power projects are now forced to decide between accelerating them to try to meet HR1’s fast-approaching “commence construction” deadline of June 2026, finding other sources of funding, or hitting pause on their plans. Tina Cook, energy project manager for Tucson schools, said the district might have to scale back some of its projects unless it can find local sources of funding.

“Phasing out the tax credits for wind and solar energy is going to make a huge, huge difference,” said Doshi, 18, now a first-year college student. “It ends a lot of investments in poor and minority communities. You really get rid of any notion of environmental justice that the IRA had advanced.”

Emma, far left, and Molly Weber, far right, work with climate leaders from the Boulder Valley School District’s Sunrise Movement to prepare for Colorado’s legislative session.

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Emma, far left, and Molly Weber, far right, work with climate leaders from the Boulder Valley School District’s Sunrise Movement to prepare for Colorado’s legislative session.

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Courtesy of Emma Weber

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The tax credits in the IRA, the largest legislative investment in climate projects in U.S. history, had marked a major opportunity for schools and colleges to reduce their impact on the environment. K-12 school infrastructure releases an estimated 41 million metric tons of emissions per year, according to an analysis from the New Buildings Institute. The K-12 school system’s buses — some 480,000 — and meals also produce significant emissions and waste. Clean energy projects supported by the IRA were helping schools not only to limit their climate toll but also to save money on energy costs over the long term and improve student health, advocates said.

As a result, many students, consultants, and sustainability leaders said, they have no plans to abandon clean energy projects. They said they want to keep working to cut emissions, even though that may be more difficult now.

Sara Ross, co-founder of UndauntedK12, which helps school districts green their operations, divided HR1’s fallout on schools into three categories: the good, the bad, and the ugly.

On the bright side, she said, schools can still get up to 50% off for installing ground source heat pumps — those credits will continue — to more efficiently heat and cool schools. The network of pipes in a ground source pump cycles heat from the shallow earth into buildings.

In the “bad” category, any electric vehicle acquired after Sept. 30 of this year will not be eligible for tax credits — drastically accelerating the IRA’s phaseout timeline by seven years. That applies to electric school buses as well as other district-owned electric vehicles. Electric vehicle charging stations must be installed by June 30, 2026, at an eligible location to claim a tax credit. EPA’s Clean School Bus Program still exists for two more years and covers two-thirds of the funding for all electric school buses districts acquire in that time. The remaining one-third, however, was to be covered by federal and state tax credits.

The expiration of the federal tax credits could cost a district up to $40,000 more per vehicle, estimated Sue Gander, director of the Electric School Bus Initiative run by the nonprofit World Resources Institute.

Solar projects will see the most “ugly” effects of HR1, Ross said.

Los Angeles Unified School District is planning to build 21 solar projects on roofs, carports, and other structures, plus 13 electric vehicle charging sites, as part of an effort to reduce energy costs and achieve 100% renewable energy by 2040. The district anticipated receiving around $25 million in federal tax credits to help pay for the $90 million contract, said Christos Chrysiliou, chief eco-sustainability officer for the district. With the tight deadlines imposed by HR1, the district can no longer count on receiving that money.

“It’s disappointing,” Chrysiliou said. “It’s nice to be able to have that funding in place to meet the goals and objectives that we have.”

LAUSD is looking at a small portion of a $9 billion bond measure passed last year, as well as utility rebates, third-party financing and grants from the California Energy Commission, to help make up for some of the gaps in funding.

Many California State University campuses are in a similar position as they work to install solar to meet the system’s goal of carbon neutrality by 2045, said Lindsey Rowell, CSU’s chief energy, sustainability, and transportation officer.

Tariffs on solar panel materials from overseas and the early sunsetting of tax credits mean that “the cost of these projects is becoming prohibitive for campuses,” Rowell said.

Sweeps of undocumented immigrants in California may also lead to labor shortages that could slow the pace of construction, Rowell added. “Limiting the labor force in any way is only going to result in an increased cost, so those changes are frightening as well,” she said.

New Treasury Department guidance issued Aug. 15 made it much harder for projects to meet the threshold needed to qualify for the tax credits. Renewable energy projects previously qualified for credits once a developer spent 5% of a project’s cost. But the guidelines have been tightened — now, larger projects must pass a “physical work test,” meaning “significant physical labor has begun on a site,” before they can qualify for credits. With the construction commencement deadline looming next June, these will likely leave many projects ineligible for credits.

“The rules are new, complex, [and] not widely understood,” Ross said. “We’re really concerned about schools’ ability to continue to do solar projects and be able to effectively navigate these new rules.”

Schools without “fancy legal teams” may struggle to understand how the new tax credit changes in HR1 will affect their finances and future projects, she added.

Some universities were just starting to understand how the IRA tax credits could help them fund projects. Lily Strehlow, campus sustainability coordinator at the University of Wisconsin, Eau-Claire, said the planning cycle for clean energy projects at the school can take 10 years. The university is in the process of adding solar to the roof of a large science building, and depending on the date of completion, the project “might or might not” qualify for the credits, she said.

“At this point, everybody’s holding their breath,” said Rick Brown, founder of California-based TerraVerde Energy, a clean energy consultant to schools and agencies.

Emma Weber, left, trains student leaders at Sunrise Movement’s “summer intensive” in Illinois this year.

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Courtesy of Emma Weber

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Brown said that none of his company’s projects is in a position where it’s not going to get done, but the company may end up seeing fewer new projects due to a higher cost of equipment.

Tim Carter, president of Second Nature, which supports climate work in education, added that colleges and universities are in a broader period of uncertainty, due to larger attacks from the Trump administration, and are not likely to make additional investments at this time: “We’re definitely in a wait and see.”

For youth activists, the fallout from HR1 is “disheartening,” Doshi said.

Emma and Molly Weber, climate activists since eighth grade, said they are frustrated. The Colorado-based twins, who will start college this fall, helped secure the first “Green New Deal for Schools” resolution in the nation in the Boulder Valley School District. Its goals include working toward a goal of “zero net energy” by 2050, making school buildings greener, creating pathways to green jobs, and expanding climate change education.

“It feels very demoralizing to see something you’ve been working so hard at get slashed back, especially since I’ve spoken to so many students from all over the country about these clean energy tax credits, being like, ‘These are the things that are available to you, and this is how you can help convince your school board to work on this,’” Emma Weber said.

The Webers started thinking about other creative ways to pay for the clean energy transition and have settled on advocating for state-level legislation in the form of a climate superfund, where major polluters in a community would be responsible for contributing dollars to sustainability initiatives.

Consultants and sustainability coordinators said that they don’t see the demand for renewable energy going away. “Solar is the cheapest form of energy. It makes sense to put it on every rooftop that we can. And that’s true with or without tax credits,” Strehlow 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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Robert Garrova / LAist

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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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Robert Garrova / LAist

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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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Courtesy 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.