The Brief

When Ariel Pittman thinks about the Eaton Fire, she said she thinks about the person with a disability who died waiting to be evacuated, and about the importance of knowing who’s in the area.

“We need to have a sense of responsibility for each other,” Pittman said.

And she thinks about how to get relief money to survivors immediately, Pittman said, “rather than making them fill out mountains of paperwork and drive all over town trying to get resources.”

Pittman, owner and founder of the art gallery Official Welcome in Westlake, is among a group of five women art workers and artists — including Kathryn Andrews, Andrea Bowers, Olivia Gauthier, and Julia V. Hendrickson — who created the mutual aid fund Grief and Hope.

Mutual aid refers to individuals pooling resources to help one another. This collective action can build new social relationships but can also represent a shared understanding that existing relief systems often fail to help everyone.

After the Palisades and Eaton fires a year ago, there was an outpouring of giving for artists and art workers who experienced loss. In small and large gestures, this aid created connection, served as recognition of this shared moment, and suggested new ways of relating to one another.

But those who received aid have ongoing needs beyond what those homegrown efforts have provided, and those who manage aid told LAist that more needs to be done to improve relief systems ahead of the next disaster.

Supporting the art community after the fires

The Grief and Hope fund was intended to draw attention to the economics of working in culture and to the art workers who go unrecognized. It was among a number of initiatives to support artists and art workers after the fires; it raised approximately $1.6 million, much of that already distributed to 271 people.

“I think we all had this shared sense too of just not wanting to see our art world disappear here. And that felt very prescient when the fires happened,” gallery director Gauthier said.

A recent survey about artists in the labor force found more than half of the artists reported being “somewhat or very worried” about being able to afford “food, housing, medical care, or utilities” and around 10% “juggled three or more jobs.”

While some artists do well financially, Pittman said, she has seen art workers living on the edge: self-employed workers, underpaid gallery and museum employees, people who are underemployed or managing multiple jobs.

A disaster only makes their situations more precarious.

The organizers of the mutual aid fund Grief and Hope. From left standing, clockwise: Olivia Gauthier; Ariel Pittman; Kathryn Andrews, Julia V. Hendrickson. Not pictured: Andrea Bowers.

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Grief and Hope’s organizers were already active in supporting artists before the fires, so it came naturally to continue to do so. They quickly set up a fiscal sponsor through The Brick nonprofit to manage the money and researched the minimum requirements needed to distribute aid.

Hendrickson, a small business owner of the arts agency Verge, checked applications for false information, but overall the group aimed to cut red tape — an example they hope bureaucracies can learn from.

The most dominant response Grief and Hope’s organizers heard from aid recipients in a survey was their gratitude for “how little information and hoops we required people to jump through,” Pittman said. She pointed out “the number of people who were just like, ‘thank you for not asking me to quantify my suffering to receive support.’”

Recipients also reported in the survey that they felt more connected.

With its organizers bearing close ties to the community, Grief and Hope was also a hub for information, channeling requests from people wanting to help and sharing opportunities like temporary housing, access to studio space and free art supplies.

In their efforts to distribute funding quickly, members of Grief and Hope recognized that they missed a lot of older people who weren’t on social media or connected to those that are. To remedy this, Grief and Hope organizers were able to distribute funding to those who were less online at a later date.

Pittman said this is another reason why there needs to be data for those distributing resources after a disaster, so that resources could be brought to people, rather than people having to find them or rely on an algorithm to learn about them.

Pittman said her group plans to make one more payment to applicants, but speaking for herself, she doesn’t see Grief and Hope being revived unless they’re uniquely situated to help.

“I hope that the people who saw what we did would do the same for us, that there would be another group like this in the future, for the next thing that needs it, you know?” she said.

And better data would mean future aid groups could get a head start. This group shares an understanding that with climate change, disasters will inevitably become more frequent.

One of Pittman’s collaborators, Andrews, an artist and founder of the gender equality nonprofit Judith Center, has now lost her home twice (first to the Bobcat Fire in 2020, second to the Palisades Fire).

She recognized this is a unique opportunity where people can come together and think about a different future, on how to construct a community anew, but also how to prepare for a different disaster response.

“I don't think a solution after the fact is the right approach because there's just not enough we can do. We need to reengineer it on the front end,” Andrews said. “And I think collectively we should make demands that the government does step up differently, that insurance performs differently.”

Needs after a disaster

Margaret Ross Griffith learned from her neighbor’s car camera that the Eaton Fire had made it to her Altadena home.

She also lost her and her husband’s art studios, their art storage, and also the period of time, the “soft space” she called it, that her family of four shared before her eldest daughter would go off to college.

When various relief efforts sprung up in the aftermath, the last thing she could imagine doing was driving anywhere to pick up anything.

“You're like, ‘I have to drive where?’” she recalled. “I mean, you're just in such a state of shock that driving anywhere is a hardship.”

Margaret Griffith learned from her neighbor’s car camera that the Eaton Fire had made it to her Altadena home.

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Griffith and her husband lost their art studios and their art storage in the Eaton Fire.

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Friends showed up for her and her family. At least two rented trucks to bring items to fill their empty rental home. One day five of her husband’s friends came with shovels and screen to remove and filter debris. The friends who took Griffith and her family in after the Eaton Fire said they could stay as long as they needed.

It also helped that she could receive funds quickly from Grief and Hope. There were immediate costs to cover, including paying for a security deposit and rent for a place that cost twice as much as their mortgage.

Even before having furniture for their rental, Griffith said with some amusement, she used aid from art groups to invest in a laser cutter. Griffith, an artist who makes intricate sculptures by cutting repeated patterns through metal and other materials, said it was an essential need for her art practice.

The value of having a space to create

At 72 years old, veteran artist Coleen Sterritt had retired from her teaching career, with plans to focus solely on her art practice and life in her community. She said that this has now been erased. The materials gathered for future projects have burned, along with her house and two art studios. The people in her former Altadena community who consider themselves too old to rebuild or who rented do not plan to return.

“It was like one day you had your life and the next day you did not,” Sterritt said. “It was just gone.”

After the Eaton Fire, Sterritt, her husband, and their two dogs have moved five times. She said it helps to be around people who understand what they went through. There is a sense of isolation among others, including family.

“They don't really understand that it's with us all the time. It's with us all the time,” she said.

Going to art galleries today is a reminder of the art she has lost: sculptural art in the last 15 years, and the works on paper that went back nearly 50 years, her notebooks, and her sketchbooks.

Sterritt received mutual aid from a GoFundMe a former student created for her. Sterritt was initially reluctant, but was persuaded that the GoFundMe was a connection to others who wanted to give, regardless of how much someone could contribute.

But as the one-year mark approached, she said she has noticed that the attention has begun to fade. Sterritt points out, for example, businesses that were so quick to offer discounts at the time of the fires, did not continue much past early 2025. By summertime, businesses appeared to have moved on, she said.

Recovery has been a full-time job — between working to create an inventory of all that was lost and participating in the lawsuit against SoCal Edison, Sterritt has not been able to make art.

Sterritt misses having a studio and the privacy it affords. The loss of a physical place for an artist isn’t the same as it is for a person whose profession isn’t so tied to having a space for creativity, Sterritt said. And space in Los Angeles is hard to come by.

Griffith, too, has found it challenging to make art since the fire. She said to do so, she needs to have three components — time, money and space. She recently was given access, however, to a temporary studio for her eight-week art residency with Arts at Blue Roof. There she seemed to relax.

“There're no distractions here. I'm not, you know, dealing with the burdens of the house rebuild when I come into this room,” she said in an interview at her Blue Roof studio. 

She is not expecting her new home to be ready until 2027, so she hopes that organizations continue to offer studio space to those affected by the fires.

And she hopes people do not forget how long recovery takes.

Funding for this story was provided by UC Berkeley's Greater Good Science Center, as part of its "Spreading Love Through the Media" initiative, supported by the John Templeton Foundation.

The Los Angeles County fires last year drove up insurance costs for many Californians. Now, a proposed settlement means some State Farm policyholders whose premiums rose won’t see additional increases, and others should even get refunds.

State Farm, the largest insurer in the state with about 20% market share, received approval for unprecedented emergency insurance rate increases in California last May. The company told the state that the billions of dollars it expected to pay out after the deadly fires placed it in financial peril.

The proposed deal among the state Insurance Department, consumer advocacy group Consumer Watchdog and State Farm, disclosed late last week, comes after months of public hearings convened by the insurance department and settlement talks.

Consumer Watchdog, which questioned the rate increases State Farm asked for, says the settlement saves the company’s California policyholders a total of $530 million. From the proposed settlement:

• Homeowners’ rate hikes will stay at the previously approved interim rate of 17% instead of the 30% the company sought.
• Condo owners who saw interim rate hikes of 15% will see their rates drop to an increase of 5.8%, and get refunds with interest dating back to June 1, 2025.
• Rental unit owners with interim rate hikes of 38% will see those increases drop to 32.8%, and receive refunds with interest. 
• Renter policyholders will see an increase of 15.65% vs. the interim rate hike of 15%.

In addition, State Farm has agreed not to cancel any new policies this year, and it won’t be canceling some policies it had planned not to renew in wildfire-affected areas. The insurance department characterized those provisions as important to the continued stability of the state’s insurance market, which has been beset with availability and affordability issues.

“When consumer advocates are able to challenge the data and present their own analysis, excessive requests are reduced and consumers are protected,” said Harvey Rosenfield in a statement. Rosenfield founded Consumer Watchdog and wrote Proposition 103, the voter-approved law that governs insurance in California.

State Farm has paid out more than $5 billion in claims from the L.A.-area fires so far, said spokesperson Tom Hartmann.

After consumer complaints and lawsuits, the insurance department is investigating the company’s handling of claims from the fires and expects results from that examination later this spring.

The agreement, which must be approved by an administrative law judge, also requires State Farm to undergo additional review of its rates in 2027. The company will be required to make a one time 2.5% premium discount available to renewing policyholders if its ratio of premiums to available cash reaches a certain level; Consumer Watchdog litigation director Will Pletcher said the deal will give the group more timely access to the company’s annual financial statements to help keep it accountable.

The insurance department expects the judge to decide on the settlement by April 7. Insurance Commissioner Ricardo Lara will then review the judge’s decision and have the final say.

This article was originally published on CalMatters and was republished under the Creative Commons Attribution-NonCommercial-NoDerivatives license.

Iran's state media issued what it said was a statement by Iranian Supreme Leader Mojtaba Khamenei, vowing to keep the Strait of Hormuz closed and keep up attacks on U.S. bases in the region, as the U.S.-Israeli war with Iran entered its 13th day.

It was purported to be the new leader's first statement since he succeeded his father Ayatollah Ali Khamenei, who was killed in an Israeli strike on the first day of the war.

The statement said Iran will avenge the blood of its "martyrs," including the victims of a March 1 attack on a girls school in the city of Minab, which Iranian officials say killed at least 165 people, many of them children. NPR has confirmed the U.S. military is investigating how it could have targeted the school.

The Iranian statement said the Strait of Hormuz, a key shipping route for a fifth of the world's oil supply, should remain closed. It said Iran continues to believe in friendship with its neighbors but will continue targeting U.S. bases in the region.

"The lever of blocking the Strait of Hormuz must undoubtedly continue to be used.," the statement said, according to an English version published by Tasnim News Agency, run by the Iranian Revolutionary Guard.

It's unclear if the statement was from Mojtaba Khamenei himself. Another person was heard reading out the remarks on Iranian state media, with a photo of Khamenei posted on the TV screen, as it was broadcast around the world.

There's been speculation about the leader's current condition and whereabouts. An Israeli official, speaking on condition of anonymity because they weren't authorized to speak publicly, told NPR that Khamenei was lightly injured early in the war.

This is a developing story that will be updated.

Here are other major updates about the conflict.

To jump to specific areas of coverage, use the links below:

Attacks on vessels | Oil stockpiles | Strikes across the Gulf | Israel-Hezbollah escalation | Iranian school attack

Two oil tankers hit in Iraqi waters

Two oil tankers were hit in Iraqi territorial waters near the southern port area of Basra, Iraqi officials said Thursday. It is the first oil-related strike reported in Iraq's waters during more than a week of war, in another sign of the conflict's escalation.

Iran, a critical ally of Iraq, took responsibility for attacking one of the tankers, which it said was owned by the U.S.

A port official said the attack targeted vessels near Basra's port approaches, and Iraq's security spokesman described it as sabotage.

Iraqi officials said one person was killed, and 38 crew members were rescued, with search operations continuing.

Iran has stepped up attacks on energy infrastructure and commercial shipping in response to U.S. and Israeli strikes, warning that the world should brace for oil prices to double.

— Jane Arraf

U.S. and allies to release record oil stockpiles  

The U.S. confirmed it will release 172 million barrels of oil from the Strategic Petroleum Reserve as part of a coordinated International Energy Agency (IEA) release of 400 million barrels from emergency stockpiles.

The U.S. contribution amounts to roughly 40% of the total, to be released gradually over about four months.

The IEA's executive director, Fatih Birol, said the goal is to keep the supply of oil flowing as the conflict disrupts shipping routes and energy infrastructure. But analysts warn stockpile releases can only partially offset prolonged disruption in the Gulf, where roughly a fifth of global oil consumption normally transits the Strait of Hormuz.

On Wednesday, President Trump said the price spike is temporary and said the reserve release would push prices down.

According to the popular app Gas Buddy, the current average cost of regular unleaded is now up to $3.61 a gallon.

- Camila Domonoske

Iran continues attacks on Gulf States

Countries in the Gulf reported new incoming threats and interceptions Thursday, as Iran continued firing drones and missiles across the region – including at U.S. military bases.

The UAE's defense ministry said air defenses were responding to Iranian missile and drone attacks, and that sounds heard in parts of the country were from intercepts.

Kuwait's defense ministry said its air defenses intercepted ballistic missiles and drones that penetrated the northern and southern parts of the country's airspace.

Saudi Arabia said it intercepted and destroyed drones headed toward the Shaybah oil field.

The United Nations Security Council adopted a resolution on Wednesday condemning Iran for recent attacks across the Persian Gulf region, calling them a "breach of international law" and "a serious threat to international peace and security."

- Rebecca Rosman

Israel launches large strikes on Hezbollah sites in Beirut after rocket fire into Israel

People inspect homes damaged by a projectile launched from Lebanon, in Haniel central Israel, on Thursday.

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The militant group Hezbollah launched its biggest rocket attack against Israel since the start of the war with Iran. The Israeli military said the Iranian-backed group fired heavy volleys toward northern Israel overnight into Thursday, triggering interceptions and sending residents repeatedly into shelters.

The Israeli military responded by launching more attacks against what it said were Hezbollah launch sites and command infrastructure.

Huge booms were heard across the capital and large black smoke billowed from the Dahieh neighborhood in south Beirut, while an attack in central Beirut – where thousands of people are displaced – killed 8 people and injured 31, according to Lebanese officials.

Wide evacuation orders for south Lebanon and Beirut's southern suburbs have displaced at least 800,000 people so far, according to the Lebanese government.

Lebanon, which does not have diplomatic ties with Israel, has unusually called for direct talks with Israel to end the escalating fighting with Hezbollah. Israel has not officially responded.

Israeli strikes on Iran have continued, with Iran firing missiles at Israel intermittently, including overnight.

Israeli military officials say about half of the missiles Iran has launched at Israel have carried cluster warheads, which spread out into smaller bombs over a wider area – increasing the risk to civilians.

- Daniel Estrin, Hadeel Al-Shalchi and Rebecca Rosman

Pentagon: Preliminary assessment suggests U.S. likely responsible for strike on Iranian school

The Pentagon has opened a formal investigation into the missile strike on an Iranian girls school that killed at least 165 civilians, many of them children, after a preliminary assessment suggested the U.S. was at fault, according to a U.S. official who was not authorized to speak publicly. The investigation is expected to take months and will include interviews with all those involved, from planners and commanders to those who carried out the strike.

If a U.S. role in the attack is confirmed, it would rank among the military's most deadly incidents involving civilians in decades. Congress created a special Pentagon office to prevent the accidental targeting of civilians but it was dramatically scaled back by Secretary of Defense Pete Hegseth soon after he took office last year.

"This investigation is ongoing. As we have said, unlike the terrorist Iranian regime, the United States does not target civilians," said White House spokesperson Anna Kelly.

The Pentagon did not respond to a request for comment.

NPR previously reported — based on commercial satellite imagery and independent expert analysis — that the strike was more extensive than initially reported and appeared consistent with a precision strike on a nearby military complex, raising questions about whether outdated targeting information contributed to the tragedy.

- Tom Bowman, Kat Lonsdorf, Geoff Brumfiel

Rebecca Rosman contributed to this report from Paris, Jane Arraf from Erbil, Iraq, Hadeel Al-Shalchi from Beirut, Daniel Estrin from Tel Aviv and Camila Domonoske, Tom Bowman, Kat Lonsdorf and Geoff Brumfiel from Washington.
Copyright 2026 NPR

The story first appeared on The LA Local.

If you’re a soccer fan — or just a fan of South Korean phenom Son Heung-min — you may have heard that the Los Angeles Football Club planned to put up a larger-than-life mural of the footballer in Koreatown last month. But the mural has yet to appear. 

LAFC planned to reveal the mural during the launch of their 2026/2027 jersey at The LINE Hotel. Now the reveal has been pushed back to sometime in June. 

The delay stems from issues with the city’s mural approval process, at least according to city officials. 

Gabriel Cifarelli, a spokesperson for the Los Angeles Department of Cultural Affairs, said they received a mural registration application for the site. But the department said it could not issue a notice to proceed because the application was “ineligible and incomplete” under the city’s mural ordinance and administrative rules.

“DCA staff offered the applicant advice and further guidance, and remains available for questions,” Cifarelli said. 

If a mural includes a team logo it is considered an advertisement and not original artwork, according to the city department. In that case, the permit must be issued through the city’s Building and Safety Department.

A new application has not been submitted through the mural program, Cifarelli said, and it was not immediately clear whether LAFC applied for a permit through the Building and Safety Department. 

LAFC spokesperson Danny Sanchez didn’t confirm if a new permit has been submitted.

“The mural unveil was rescheduled to June to better align with World Cup festivities,” Sanchez said. 

Dave Young Kim was commissioned to paint the mural and previously painted a Son mural on the side of the Crosby building in Koreatown in October, but that was only up for a few weeks.

He still plans to paint the mural on The LINE Hotel in June.

“I’m assuming at this point, LAFC is likely trying to line it up for a more opportune time,” said Kim. “The mural was originally supposed to line up with the launch of the new jersey so something similar.”

Leo Hernandez, 35, said he hopes the mural goes up before the World Cup.

“I didn’t know it was pushed back all the way to June,” he said. “I’ll be in Mexico for the World Cup.”

Hernandez, who goes by “El Soccer Guy” on Instagram and has nearly 50,000 followers, has been attending LAFC games since 2018. He said Son’s arrival to L.A. has brought a new wave of fans to the club.

“I’ve never seen so many Koreans,” he said. “He’s bringing a whole new community to LAFC. I don’t know if they love soccer or they love Son or both, but it’s amazing to see.”

“Son is starting to be my favorite on the team,” he added. “He’s so good. He wants the team to shine. And I love his positivity and energy.” 

The Marvel Cinematic Universe is all about people with superpowers living in a world very much like our own.

And there’s a lot of real Los Angeles mixed into the recent MCU series “Wonder Man,” now on Disney+, which makes for a version of the MCU that feels a little more grounded in reality, especially for Angelenos.

It's an action-comedy about two struggling actors also dealing with superhuman forces and secret government agencies. Think The Studio meets Agents of S.H.I.E.L.D.

Sir Ben Kingsley reprises his Iron Man 3 character Trevor Slattery, the messy British actor hired to play a bad guy called The Mandarin. And Yahya Abdul-Mateen II plays Simon Williams, aka Wonder Man.

Through their adventures trying to book the gig-of-a-lifetime while surviving the perils of the MCU, L.A. landmarks and cultural references abound, and ground the series in a relatability for many Angelenos, including lots of inside jokes for those working in the entertainment industry.

3 cultural references that make Wonder Man feel like real Los Angeles

Historic places, some we’ve had to part with

There’s a series of roughly 100-year-old small, independent movie houses used as locations in Wonder Man — the Eagle Theatre now home to Vidiots, Westwood's Village Theater now operated by American Cinematheque (with views of The Bruin Theater across the street), and the Highland Theatre which closed in 2024.

A scene from 'Wonder Man' on Disney +.

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Speaking of iconic L.A. spots breaking local hearts, the vintage bar within Echo Park’s Taix French Restaurant was used as an interior location for the series. Taix is closing at the end of the month to make way for new development.

“Taix, the Highland Park Theatre — these places that it was only three years ago were there,” Wonder Man showrunner Andrew Guest told LAist, “a lot of these establishments sadly, are not surviving. And this town is in a rough, rough place.”

(Though actor/director Kristen Stewart recently said in an interview with Architectural Digest that she bought The Highland Theatre and is restoring the building.)

L.A. traffic (especially around the Hollywood Bowl on a performance night)

Traffic is part of life in Los Angeles and with so many scenes shot in Hollywood, even the main characters of Wonder Man must experience that bumper-to-bumper frustration.

Though, because it is a TV show, they were able to indulge in the fantasy of beating that traffic in a way that in reality would be highly dangerous (and illegal).

“We got to shut down Sunset Boulevard for a little while to shoot a car going onto the sidewalk in front of the Palladium,” said Guest. And surprisingly, he explained, they didn’t have to shoot in the middle of the night to make the shot happen: “That was Friday night…. We didn't close all lanes of traffic. The street was open. We were shooting while Los Angeles was still going strong.”

The scene also references the frequent traffic back up during big shows at the Hollywood Bowl, even earning the show a social media repost of the scene from Chaka Khan.

Having family and friends 45 minutes away, who you rarely visit

Wonder Man includes an episode titled Pacoima where the main character visits his family and childhood home.

“My wife grew up in Chatsworth, and one of the things I found fascinating about her experience growing up there was that many of her friends and their families never went to Los Angeles,” said Guest.

“The idea that Simon grew up close to, but far enough away that Hollywood and Los Angeles did not feel like they were part of his life…so when he moved to the city, Pacoima is not a place he goes to a lot. And I feel like that's a part of L.A. that is true to this city. That doesn't get explored a lot and felt like it was another detail that we got to sort of throw into the show.”

There’s lots of other Southern California. references to enjoy from the Talmadge Apartments, an historic renaissance revival building on Wilshire Blvd., a mural of Danny Trejo, and even a cameo from Gisellle Fernandes, real-life L.A. broadcaster for Spectrum 1 News.

Should you get lost in the multi-verse, at least this L.A will be pretty familiar.

BONUS: Could there be a Season 2 of Wonder Man? And would it still be set in L.A.?

Guest couldn’t confirm anything about a possible Season 2, but told LAist, “It’s still on the table as an option, potentially."

As for whether a potential Season 2 would also film in Los Angeles and continue to highlight the city in new ways, Guest said it’s occurred to him that one of the best ways to write about Hollywood could be “ to send our show somewhere else because everybody in this town who's working has to move — whether it be Budapest or London or Ireland or Vancouver — very little is actually happening in this town. And that’s a story that I don’t think is being told right now about L.A.”

Season 1 of ‘Wonder Man’ is now streaming on Disney+.

Watch Julia Paskin's interview with actor/comedian X Mayo, who plays Simon Williams' agent in 'Wonder Man':