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The Brief

The most important stories for you to know today
  • Vote claws back funds for NPR and PBS
    People participate in a rally to call on Congress to protect funding for US public broadcasters, Public Broadcasting Service (PBS) and National Public Radio (NPR), outside the NPR headquarters in Washington, DC, on March 26, 2025.
    People participate in a rally to call on Congress to protect funding for US public broadcasters, Public Broadcasting Service (PBS) and National Public Radio (NPR), outside the NPR headquarters in Washington, DC, on March 26, 2025.

    Topline:

    Congress has approved the Trump administration's $9 billion rescission package aimed at clawing back money already allocated for public radio and television. The package now awaits President Donald Trump's signature.

    Why it matters: The Corporation for Public Broadcasting will lose $1.1 billion dollars meant to fund it through the next two years, while the bill also cuts $7.9 billion in other programs. CPB acts as a conduit for federal money to NPR, PBS and their member stations.

    What it means for LAist: LAist is an independent, nonprofit newsroom that is also home to L.A.’s largest NPR station, which broadcasts at LAist 89.3 FM. Annually, about 4% of LAist's budget has come from the Corporation for Public Broadcasting. That accounts for $1.7 million in annual funding — money that pays the costs for about a dozen journalists and other expenses. LAist's coverage on the radio, on-demand and here on LAist.com is free to access for all.

    Read on ... for reaction from legislators and from public media executives.

    The House has approved a Trump administration plan to rescind $9 billion in previously allocated funds, including $1.1 billion for the Corporation for Public Broadcasting — a move that cuts all federal support for NPR, PBS and their member stations — and about $7 billion in foreign aid.

    The vote was 216-213, with two Republicans joining all of the chamber's Democrats against the cuts. The bill goes next to President Donald Trump for his signature.

    Immediately after the vote, NPR CEO Katherine Maher issued a statement calling the cut an "irreversible loss" to the public radio system. She said the effect would be "an unwarranted dismantling of beloved local civic institutions, and an act of Congress that disregards the public will."  

    Editor's note

    • LAist is an independent, nonprofit newsroom that is also home to L.A.’s largest NPR station, which broadcasts at LAist 89.3 FM. As an NPR member station, LAist pays NPR for on-air programming and the ability to publish NPR articles such as this one.
    • Annually, about 4% of LAist's budget has come from the Corporation for Public Broadcasting. That accounts for $1.7 million in annual funding — money that pays the costs for about a dozen journalists and other expenses. LAist's coverage on the radio, on-demand and here on LAist.com is free to access for all.

    "Public funding has enabled the flourishing of a uniquely American system of unparalleled cultural, informational and educational programming, and ensured access to vital emergency alerting and reporting in times of crisis — all for about $1.60 per American, every year. Parents and children, senior citizens and students, tribal and rural communities — all will bear the harm of this vote," Maher said.

    North Carolina Rep. Alma Adams was among the Democrats who rose to defend public broadcasting. "When Hurricane Helene devastated western North Carolina last year, public broadcasting was there when traditional communications failed," she said. "Widespread power, cellular and internet outages meant that for thousands of North Carolinians, public radio was how they received their news."

    The House move follows a "vote-a-rama" late Wednesday and into early Thursday in the Senate to consider a series of amendments to the rescission package — all but one of which failed on largely party-line votes. Republicans repeatedly voted to block changes to Trump's request, known as a rescission. The single amendment that passed was aimed at protecting PEPFAR, the U.S. AIDS relief initiative created under President George W. Bush.

    What this means

    The House vote on Thursday means CPB will lose $1.1 billion meant to fund it through the next two years, while the bill also cuts $7.9 billion in other programs. CPB acts as a conduit for federal money to NPR, PBS and their member stations. Although NPR, which produces news programs such as Morning Edition and All Things Considered, relies on direct federal funds for only a small portion of its budget, its approximately 1,000 member stations get a heftier portion of their operating revenue through CPB.

    The network has warned that many of those stations — especially those broadcasting to rural areas or to underserved audiences, such as Native Americans — could be forced to shut down as a result of the funding rollback.

    South Dakota Republican Sen. Mike Rounds announced earlier this week that he had struck a deal to use money allocated during the Biden administration to continue funding 28 stations serving Native American listeners in nine states. However, Native Public Media President and CEO Loris Taylor called the compromise "structurally impractical," in a letter to Rounds.

    PBS CEO and President Paula Kerger said Thursday that the move to cut public broadcasting "goes against the will of the American people, the vast majority of whom trust PBS and believe we provide excellent value to their communities."

    PBS — with its nightly PBS News Hour and children's programming, such as Daniel Tiger's Neighborhood — gets around 15% of its revenue through CPB.

    "These cuts will significantly impact all of our stations, but will be especially devastating to smaller stations and those serving large rural areas," Kerger said. "Many of our stations which provide access to free unique local programming and emergency alerts will now be forced to make hard decisions in the weeks and months ahead."

    A Harris Poll last week found that 66% of Americans support federal funding for public radio, with the same share calling it a good value. Support included 58% of Republicans and 77% of Democrats. The online poll surveyed 2,089 U.S. adults with a 2.5 percentage point margin of error.

    How we got here

    In recent years, NPR has landed increasingly in the crosshairs of conservatives, who have accused the network of left-wing political bias and "woke" programming. The publication last year of an essay authored by then-NPR business editor Uri Berliner critical of the network's coverage only reinforced the notion, providing ammunition to NPR's detractors.

    In the piece published by the Free Press, an online site embraced by journalists who believe the mainstream media is too liberal, Berliner argued that an NPR drive for greater diversity in its workforce had actually narrowed the network's viewpoint.

    Shortly after the piece was published, Berliner was suspended and later resigned and became a contributing editor for the Free Press. NPR's chief news executive, Edith Chapin, responded to Berliner's essay by saying the network covers "a wide range of challenging stories" and that inclusion among its staff and sourcing "is critical to telling the nuanced stories of this country and our world."

    On Thursday, Nevada Republican Rep. Mark Amodei echoed remarks made by Alaska Sen. Lisa Murkowski this week about the need for lawmakers to protect local stations while acknowledging conservatives' anger at NPR and PBS.

    "If you're mad at the editorial people, that's fine. But you shouldn't be mad at the stations," he said, speaking to reporters Thursday. "And, oh, by the way, you ought to look at where those stations are, because it's a lot of Trump country, and they're not the problem. And so cutting them off of funds doesn't seem very well thought out."

    Democrats and Republicans alike have also raised concerns about the rescission process — a rare move that hasn't been attempted in a quarter century. The lawmakers said rescission would make it harder for lawmakers to pass future appropriations bills to fund the government ahead of a Sept. 30 deadline.

    "The only way we can fund the government is to get at least seven Democrats to vote with us at the end of Sept. 30, or we can go into a shutdown," Sen. Thom Tillis, R-N.C., said on the Senate floor Wednesday. "If I'm a Democrat, and you're trying to get me to vote and get to a 60-vote threshold to fund the government, and you've just betrayed a prior agreement and a prior appropriation — what are the likelihood that they're going to do that?"

    In a letter to Senate Democrats this month, Senate Minority Leader Chuck Schumer of New York called the rescissions package "an affront to the bipartisan appropriations process."

    "That's why a number of Senate Republicans know it is absurd for them to expect Democrats to act as business as usual and engage in a bipartisan appropriations process to fund the government, while they concurrently plot to pass a purely partisan rescissions bill to defund those same programs negotiated on a bipartisan basis behind the scenes," Schumer wrote.

    More rescissions are "likely"

    Ahead of Thursday's expected House vote, Office of Management and Budget Director Russell Vought told reporters that the administration will "likely" send another rescissions package to Capitol Hill soon.

    "There is still a great enthusiasm for these rescissions bills, because Congress wants to be a part of voting for these cuts and making them permanent," Vought said at a breakfast hosted by the Christian Science Monitor.

    Meanwhile, Rep. Don Bacon, R-Neb., called the Senate's version of the bill "better than the one we sent over" because it removed $400 million worth of cuts to PEPFAR. Bacon, an initial Republican holdout who flipped his vote to support the package last month, said House Speaker Mike Johnson had given him assurances that local public TV stations will be funded in future appropriations processes.

    "I sat down, I said, 'I will vote for [it] if you can assure me that PBS will get funded this coming cycle.' And they huddled up, and they came back and said yes," Bacon said. "I take the speaker at his word."

    He added that he hasn't had additional conversations with Johnson about how that would work.

    Disclosure: This story was written and reported by NPR Correspondent Scott Neuman and NPR Washington Desk Producer Lexie Schapitl. It was edited by Managing Editors Gerry Holmes and Vickie Walton-James. Under NPR's protocol for reporting on itself, no corporate official or news executive reviewed this story before it was posted publicly.

    Copyright 2025 NPR

  • New TSA program looks to increase private security

    Topline:

    Under the Transportation Security Administration's new program called TSA Gold+, private companies would play a much larger role in airport security than they have in decades.

    More details: The agency is billing the program as an update to the Screening Partnership Program, or SPP, in which 20 U.S. airports currently use private security screeners rather than federal workers.

    Why now: The agency says airports that opt into the program would be able to tailor security systems for their facility — and avoid the TSA staffing shortages that became a very public headache at airports during the recent government shutdown over Homeland Security funding.

    Read on... for more on the program.

    Federal officers handle security screening at all but a small fraction of U.S. airports, but the Trump administration is hoping to change that. Under the Transportation Security Administration's new program called TSA Gold+, private companies would play a much larger role in airport security than they have in decades.

    The TSA is set to host officials from airports and security contractors to an "industry day" at its Springfield, Va., headquarters on Thursday, as it looks to develop TSA Gold+, a public-private program that the agency calls "transformative."

    The agency is billing the program as an update to the Screening Partnership Program, or SPP, in which 20 U.S. airports currently use private security screeners rather than federal workers.

    "TSA Gold+ marks a significant evolution in the agency's approach to aviation security," a TSA spokesperson told NPR via an emailed statement.

    The agency says airports that opt into the program would be able to tailor security systems for their facility — and avoid the TSA staffing shortages that became a very public headache at airports during the recent government shutdown over Homeland Security funding.

    It also says the program would bring "the latest technology" such as AI tools to airport screening operations, to increase capacity and cut wait times, although the agency did not specify how those gains would be achieved. From the details shared so far, the equipment would be the contractors' responsibility — a departure from the current SPP system, in which TSA controls the equipment and oversees the security contract. The TSA says it would perform the oversight role it currently does.

    "Industry partners can manage equipment and introduce innovations, while travelers enjoy a smooth, predictable, and bespoke experience," the TSA said as it unveiled TSA Gold+.

    Airports currently using the private Screening Partnership Program range from San Francisco and Kansas City to Sarasota, Fla., and Atlantic City, N.J., along with smaller facilities in Montana, Wyoming and other states.

    Calls for privatizing airport security screening have come from President Donald Trump and Republicans in Congress, echoing a recommendation in the conservatives' Project 2025 handbook for a second Trump term. But there are also signs of bipartisan interest in some level of private control over airport security, as seen in Atlanta, where city leaders recently voted to explore joining the Screening Partnership Program.

    Rep. Andrew Garbarino, R-N.Y., chair of the House Committee on Homeland Security, touted that bipartisan interest on Wednesday during a hearing on TSA Modernization. But Everett Kelley, president of the American Federation of Government Employees union, which represents TSA officers, said he opposes further privatization — including the TSA Gold+ program, warning that it would hamper accountability and transparency.

    Under the new program, Kelley said, contract workers would earn less than TSA officers. He added that while many transportation security officers hold security clearances, under the new plan, the government "would be ceding direct operational control of the most sensitive technology in the aviation security enterprise to private vendors."

    The White House budget released last month promises to save some $52 million by privatizing airport screeners and requiring small airports to enroll in the SPP.

    But officials at the hearing urged lawmakers to preserve airports' ability to choose.

    Chris McLaughlin, CEO of Dallas Fort Worth International Airport, noted that the SPP has been in place since aviation security underwent drastic changes following the Sept. 11, 2001, terrorist attacks, which led to the creation of the TSA and the SPP system.

    "We've had federalized screening for 25 years, almost," McLaughlin said. "Large airports like San Francisco have had an SPP program for 25 years."

    Both airports' arrangements work well for them, he told Garbarino.

    "The system has been safe for 25 years," he said. "It's important that airports have options."

    The new "Gold+" program echoes the Trump administration's promise to bring a "golden age of travel" to the American public. Department of Transportation Secretary Sean Duffy touted those plans earlier this week, as he unveiled $970 million in funding to improve passengers' experiences at airports, from adding family-friendly security screening lanes to improving restrooms and children's play areas.

    The money for those projects comes from the Infrastructure Investment and Jobs Act, a Biden-era law aiming to update airports' aging infrastructure.
    Copyright 2026 NPR

  • Sponsored message
  • Highs around mid 80s to low 90s
    May gray skies provide a gloomy background over the Los Angeles basin in a view with homes and skyscrapers in the background. Palm trees line some of the streets below.
    May gray skies return this morning for coasts and some valleys.

    QUICK FACTS

    • Today’s weather: Cloudy beaches sunny elsewhere
    • Beaches: Mid-70s
    • Mountains: Mid-70s to 80s
    • Inland:  83 to 91 degrees
    • Warnings and advisories: None today

    What to expect: A marine layer will cover SoCal coasts today, bringing some cooling to the region. Elsewhere expect mostly sunny skies and highs around the mid 80s.

    Read on ... to learn more.

    QUICK FACTS

    • Today’s weather: Partly cloudy then sunny
    • Beaches: lower 70s degrees
    • Mountains: Mid-70s to 80s
    • Inland:  83 to 91 degrees
    • Warnings and advisories: None today

    A marine layer will cover mostly the coastal areas today, lowering temperatures a degree or two. Otherwise expect a sunny afternoon elsewhere across SoCal.

    L.A. County beaches will see temperatures in the lower 70s today, whereas Orange County could reach up to 79 degrees along the coast.

    More inland, the valleys will see highs in the mid 80s. The Inland Empire will see highs from 83 to 91 degrees. In Coachella Valley, temperatures are expected to reach up to 100 degrees.

  • Music festivals, Fleet Week and more
    A light-skinned man with a beard and jean jacket plays electric guitar onstage and sings.
    Kevin Morby plays the Wiltern on Friday.

    In this edition:

    Fleet Week, Exit the King at A Noise Within, the UCLA JazzReggae Festival, MAINopoly in Santa Monica and more of the best things to do this Memorial Day weekend.

    Highlights:

    • Tour the U.S.S. Iowa and check out the three visiting battleships at San Pedro’s Pacific Battleship Center during L.A.’s annual Memorial Day weekend Fleet Week on the waterfront. Plus, there are exhibits to walk through, food stands to try, and music for the whole family.
    • The name of this Eugène Ionesco classic alone — Exit the King — should give you some sense of where the always-on-point folks at A Noise Within were going when they chose it at this moment. The political satire borders on the absurd, with the L.A. Times likening the vibrant characters to “those in a deck of wild cards designed by Salvador Dalí.”
    • The nouveau bard of Kansas City, Kevin Morby, returns to his once-adopted hometown of Los Angeles on the heels of his newest release, Little Wide Open. Brooklyn-based Liam Kazar opens for him at The Wiltern. 
    • Eat your way down Main Street in Santa Monica at MAINopoly, the annual Monopoly-themed food festival, which will allow drinks while you walk and eat thanks to a new city permit. The popular food-and-bar stretch near the beach is experiencing a little revival with the reopening of dive bar favorite Circle Bar, plus newish hot spots like Triple Beam Pizza and June Shine.

    Happy long weekend! The Late Show with Stephen Colbert plays the funnyman’s swan song tonight, so my calendar is booked to stay up past my bedtime. Closer to home, the Yoko Ono exhibit (which comes to us straight from the Tate Modern in London) opens just in time for Memorial Day weekend, so watch this space for more on that.

    There’s music for lovers of every genre this week, according to our friends at Licorice Pizza. On Friday, Yungblud and special guests Warning rock the Greek, and Dethklok plays the Palladium; jazz trumpeter Chris Botti begins his residency at the Blue Note.

    Saturday, Bright Eyes performs I’m Wide Awake, It’s Morning and Digital Ash in a Digital Urn in their entirety at the Hollywood Bowl with openers the Moldy Peaches; American Football is at the Wiltern; Belgium’s Ultra Sunn plays the Belasco; Italy’s Mina is at the Echoplex; DJ KSHMR plays the Palladium; and then, for a different sort of “Kashmir,” Jason Bonham’s Led Zeppelin Evening takes over the Greek.

    On Sunday, brush your teeth with a bottle of Jack for the millennial dance party of the week at the Forum with Kesha, Chromeo and Sizzy Rocket. There’s also the big Day Trip afternoon concert at L.A. State Historic Park with Joseph Capriati, Toman and Cole Terrazas. For a more mellow Sunday, singer-songwriter Katelyn Tarver is at the Echoplex, R&B singer-songwriter Eric Bellinger plays the Novo, or classic crooner Paul Anka is doing it his way at the Cerritos Center for the Performing Arts.

    Elsewhere on LAist, you can check out four new food halls, wander around a favorite new Sundays-only bookstore, and yes, I’ll remind you again — make your upcoming Election Day picks with the help of our Voter Game Plan.

    Events

    L.A. Fleet Week

    Through Monday, May 25
    Pacific Battleship Center
    250 S. Harbor Blvd., San Pedro 
    COST: FREE; MORE INFO 

    A group of sailors in white uniforms, with four in tan uniforms, stand in formation on the 6th Street Bridge.
    (
    Courtesy L.A. Fleet Week
    )

    Tour the U.S.S. Iowa and check out the three visiting battleships at San Pedro’s Pacific Battleship Center during L.A.’s annual Memorial Day weekend Fleet Week on the waterfront. Plus, there are exhibits to walk through, food stands to try and music for the whole family. Not to mention those cute sailors in their whites.


    Topanga Days

    Saturday to Monday, May 23 to 25, 10 a.m. to 7 p.m.
    1440 N. Topanga Canyon Blvd., Topanga
    COST: ADULTS $31.80; MORE INFO

    A group of people pose for a picture in front of a stage under a sign that reads "Topanga Days."
    (
    Fadeout Media
    /
    Topanga Days
    )

    Topanga Days is the easiest way to time-travel back to a simpler time when folk musicians roamed the hills, winning a yodeling contest was the biggest bragging right and you spent all year coming up with your parade costume. Those days are here once a year at Topanga Days, headlined on Saturday by New Orleans icon Cyril Neville and peppered with cherry-seed-spitting and bubble-gum-blowing contests, tons of other music, food, and, of course, the parade.


    Exit the King

    Through Sunday, May 31
    A Noise Within
    3352 E. Foothill Blvd., Pasadena
    COST: FROM $49.75; MORE INFO 

    A man dressed in clown makeup holds a scepter while two woman stand behind him onstage.
    (
    Craig Schwartz
    /
    Lucy PR
    )

    The name of this Eugène Ionesco classic alone — Exit the King — should give you some sense of where the always-on-point folks at A Noise Within were going when they chose it at this moment. The political satire borders on the absurd, with the L.A. Times likening the vibrant characters to “those in a deck of wild cards designed by Salvador Dalí.”


    K-Expo

    Saturday and Sunday, May 23 to 24
    L.A. Live 
    1005 Chick Hearn Court, Downtown L.A.
    COST: FREE; MORE INFO

    A black, pink and blue poster that reads "2026 K-Expo USA at L.A. Live All About K-style."
    (
    Courtesy BLND PR
    )

    K-Pop fans will flock to the K-Expo at L.A. Live, where you can see free exhibitions and events featuring 100 Korean brands and companies across content, beauty, food and technology all weekend long. Stick around Saturday night and grab a ticket (from $47) to the mega K-Pop concert at the Peacock Theater, featuring Jay Park and P1Harmony.


    MAINopoly 

    Sunday, May 24, 1 p.m. 
    Main Street, Santa Monica 
    COST: FROM $28.01; MORE INFO

    Five women hold drinks outdoors while standing near an oversized Monopoly jail square.
    (
    Courtesy MAINopoly Santa Monica
    )

    Eat your way down Main Street in Santa Monica at the annual Monopoly-themed food festival, which this year will allow drinks while you walk and eat thanks to a new city permit. The popular food-and-bar stretch near the beach is experiencing a little revival with the reopening of dive bar favorite Circle Bar, plus newish hot spots like Triple Beam Pizza and June Shine. I also heard a rumor that something new is finally coming into the old World Cafe space (!!).


    Arroyo Secodelic Festival

    Friday to Monday, May 22 to 25
    Various locations, Highland Park
    COST: VARIES; MORE INFO

    A trippy, multicolored poster for the Arroyo Secodelic Music Festival.
    (
    Courtesy Arroyo Secodelic
    )

    As LAist's Robert Garrova reports, a new four-day music festival takes over Figueroa Street in Highland Park this weekend. The Arroyo Secodelic Festival will feature 65 bands, with acts hailing from Los Angeles, Mexico and as far as France and Holland. Highlights include Flamin' Groovies, Fear and Adolescents.


    Angel City Chorale Spring Concert 

    Sunday, May 24, 4 p.m.
    Redondo Beach Performing Arts Center 
    1935 Manhattan Beach Blvd., Redondo Beach 
    COST: FROM $17; MORE INFO 

    Several dozen children in blue shirts and red scarves hold their hands in the air while singing on a stage.
    (
    Mel Stave Photography
    /
    Angel City Chorale
    )

    Enjoy the healing sounds of Angel City Chorale as they perform a new show with the theme "The Red Thread" as “a tribute to the beloved age-old parable and celebration of the invisible threads that connect as humans, our hopes, joys, resilience in the face of adversity, connection to nature and a shared planet Earth.”


    Kevin Morby

    Friday, May 22, 8 p.m.
    The Wiltern
    3790 Wilshire Blvd., Koreatown
    COST: $50-$60; MORE INFO 

    A light-skinned man with a beard and jean jacket plays electric guitar onstage and sings.
    Kevin Morby plays the Wiltern on Friday.
    (
    Jim Bennett
    /
    Getty Images
    )

    The nouveau bard of Kansas City returns to his once-adopted hometown of Los Angeles on the heels of his newest release, Little Wide Open. Morby's latest effort might be his most realized, fully embracing the Technicolor sweep of his indie-Americana sound — striking the sonic equivalent between a Terrence Malick film and Robert Frank's roadside photographs, seen through a passenger car window of a cross-country train. This time, Morby tapped Aaron Dessner of The National to serve as producer — who has most recently done the same for Taylor Swift, Gracie Abrams and Sharon Van Etten — alongside a constellation of collaborators, including Justin Vernon, Lucinda Williams, Katie Gavin, Mat Davidson and Meg Duffy. Brooklyn-based Liam Kazar opens. –Gab Chabrán


    UCLA JazzReggae Festival

    Monday, May 25, 11 a.m. to 6 p.m.
    UCLA Wilson Plaza
    COST: $26.14; MORE INFO 

    Three little birds told me to get down to the UCLA JazzReggae Festival on Memorial Day. The yearly music fest draws students and neighbors alike for a full day of sunshine, food, music and jammin’. The fest is fully organized and run by student volunteers, and has been since its founding 40 years ago.


    Forest Lawn Memorial Day remembrances

    Monday, May 25 
    Various locations 
    COST: FREE; MORE INFO 

    An overhead shot of a welcome center at a cemetery with a glowing cross above it.
    Forest Lawn in Glendale is one of several locations hosting Memorial Day events.
    (
    David McNew
    /
    Getty Images
    )

    Honor veterans across Los Angeles as Forest Lawn hosts Memorial Day remembrances at each of its six Southern California locations: Cathedral City, Covina Hills, Cypress, Glendale, Hollywood Hills and Long Beach. The parkwide events will celebrate the lives of those who served, with patriotic music, wreath layings, presentations and retirings of the flag, keynote addresses, presidential proclamations, invocations, giveaways, coffee and sweet treats. All events will include American Sign Language interpreters.

  • See its groundbreaking vfx on the big screen
    A young boy and a man wearing sunglasses and a leather jacket sit on a motorcycle, turned sideways in a flood-control channel. The man is pointing a rifle at something behind them while the boy looks at the man's face.
    Edward Furlong and Arnold Schwarzenegger in a scene from the 1991 film 'Terminator 2: Judgment Day.'

    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 police officer with a mustache is in the bottom left, scratching his nose with his finger. Behind him is a hallway with black and white checkered linoleum tile floors. In the middle of the floor a metallic figure of a man rises up, only visible from the waist up.
    A scene from 'Terminator 2' (1991).
    (
    via film-grab.com
    )

    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.”