The Brief

The experience starts outside, with diners queued up behind the velvet rope as if they're headed into an exclusive movie premiere or a buzzy nightclub.

Instead, people like Justin Bernal are waiting to enter Netflix Bites, the streaming service's pop-up restaurant in Los Angeles' Mid-City neighborhood.

Bernal booked a table two months in advance for a date night with his wife, to see some of their favorite Netflix shows come to life. "We watch Iron Chef, a lot of these other shows, Nailed It — great shows," he said.

That's the idea behind Netflix Bites, to give fans a "screen-to-table" experience where they can try dishes and drinks crafted by chefs and mixologists featured on unscripted Netflix culinary shows.

But sometimes, it's reality that bites.

The splashy marketing expenditure behind Netflix Bites coincides with Hollywood's biggest labor fight in decades, and the timing and opulence of the promotional campaign couldn't be more surreal.

This month, after contract negotiations between the actors' union and major studios including Netflix collapsed, actors joined writers on strike, forcing a pause on production of most scripted films and TV series. That reality provides a jarring contrast to the escapism of the Netflix Bites experience.

It's not the company's first marketing event adapted from its streaming content. There's an annual Netflix Is A Joke comedy festival in Los Angeles and, previously, Stranger Things-themed pop-up stores in a handful of major U.S. cities.

The interior of the Netflix Bites pop-up restaurant, at Short Stories hotel in Los Angeles, is a riot of color and Netflix branding.

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But the thought of dining at a Netflix event while many of the company's own employees are fighting for better pay and protections has left fans like Bernal conflicted.

"I support the actors, I have a lot of friends that are in the unions, especially in SAG-AFTRA, and seeing what they're going through sucks," he said.

At the same time, he had already paid a $50 deposit for the reservation that he didn't think he could get back. That was before SAG-AFTRA, a union representing about 160,000 TV and film actors, joined the Writers Guild of America, who have been on strike since May.

"I feel terrible," he said. "It's just having money invested in something, when money is tight for me already — it's hard to make those choices."

Inside the flashy Netflix Bites bubble

Once inside, the immersiveness of the experience might make the contentious backdrop easy to forget for some. The temporary restaurant exists in its own bubble — outside of protests, password crackdowns and negative publicity.

The event space, which occupies the bar and courtyard of a hotel, looks like a theatrical set: Floor lamps flank dining booths; there's a barbeque pit and pizza oven; Netflix-branded pillows, walls and plates make for instant photo-ops.

The dinner menu includes dishes from a who's who of the celebrity chef firmament: Andrew Zimmern's grandmother's meatloaf, Ming Tsai's truffle and mushroom-stuffed "MingBings," and Rodney Scott's pulled whole hog.

American chef Andrew Zimmern's grandmother's meatloaf sits atop mashed potatoes and gravy.

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On a recent visit, the restaurant's wait staff exuded the poise of actors (and in some cases, actually are — don't be surprised if you recognize a face or two); they were hired through Australian celebrity chef Curtis Stone's events company, which is running the operation.

As a diner, it's easy to feel like you are the star of this quasi-reality production, like food judges on a competitive cooking show.

That excitement ended for some once the food arrived. Ivan Kim had been looking forward to trying dishes from Michelin-starred French chef Dominique Crenn after seeing her on Chef's Table.

"Atmosphere is good, pretty fast service," he said. "But the quality is not good because the chef is not there."

Lady Zaza pizza from Minneapolis-based pizza maker Ann Kim features kimchi, pork and scallions.

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Of the dishes he tried, Kim gave his highest rating to the kimchi-topped Lady Zaza pizza from Ann Kim. For dessert, Nadiya Hussain's light and layered honey cake was a hit, according to online reviewers on Yelp.

Since the restaurant launched at the end of June, many of the chefs featured on the menu have stopped in to tweak their recipes and greet fans. But Ann Klein, a general manager with Curtis Stone Events, says, "We're not trying to be a three-star Michelin restaurant."

"That's not what this is," she said. "You're doing a pop-up. It's a casual summer residence."

Netflix Bites may be casual, but it isn't cheap. With appetizers priced as high as $65 (Curtis Stone's crab legs in curry), there's a distinct feeling of exclusivity. As you dig into the almost-too-rich "Millionaire's Shortbread," you might wonder whether Netflix executives will see any profits from this culinary production.

Dungeness crab legs in curry, a dish crafted by Michelin-starred Australian chef Curtis Stone, was featured on <em>Iron Chef.</em>

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Let them eat cake, while actors and writers seek better pay

The extravagant salaries paid to streaming service CEOs have been a central point of contention in the strikes, in which actors and writers are demanding better wages, increased residual payments and protections from the use of artificial intelligence.

A Netflix spokesperson told NPR that this pop-up, as with the others, is a marketing initiative that's not intended to turn a profit.

Netflix spent about 8% of its roughly $32 billion revenue on marketing events in 2022, a slight decrease in its marketing expenses from the previous year, according to data from Statista. That's a relatively small sum compared to traditional major studios.

British chef Nadiya Hussain's honey cake with salted hazelnuts rates highly with diners.

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Striking writers have been able to pierce the restaurant's bubble, if only temporarily. On Netflix Bites' opening night, striking WGA members picketed in front with a pop-up of their own, within feet of diners lined up to go in.

"Instead of negotiating with us, Netflix decided to open an overpriced restaurant," wrote Adam Conover, a comedy writer and TV host who helped organize the picket line at Netflix Bites, which is just a block away from the WGA building.

Actor Adam Lustick played a fictitious BBQ chef of "CEO Fridays," serving "exclusively billionaires and media CEOs," he quipped during the improvised parody. Picketers returned again in July to pass out leaflets.

The bill arrives in a red-and-white envelope — soon to be a relic of the days when Netflix customers rented movies delivered by mail. The streaming giant is ending its once-revolutionary DVD-by-mail service in September.

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Netflix and its temporary restaurant, meanwhile, aren't ruffled. Asked about the criticism it's received about the timing of the pop-up during the strikes, Netflix declined to comment. Klein, the restaurant manager, says the strike has not affected staff turnover.

After months of weathering inflation and a subscriber slump, Netflix reported steady growth in its most recent quarterly earnings. The pop-up, which runs into fall with no official end date, currently shows only a handful of open tables for the next 30 days. More reservations will open up on a rolling basis.

"We've been sold out, and have a waitlist anywhere from 300 to 500 every day," Klein said.

A new free record shop for survivors of last year’s Eaton and Palisades fires is celebrating with a grand opening party Saturday night.

After losing his home in the Eaton Fire, Brandon Jay founded Altadena Musicians to get instruments back into the hands of musicians who lost their gear in fires.

Now he’s doing that with vinyl records, too.

“We want to be here to help replace those items and support music in people’s lives that can’t necessarily afford it right now because they’re saving all their pennies just to live and also just to rebuild their homes,” Jay told LAist.

Jay says they’ve seen roughly 3,000 records donated so far. Now they have a dedicated space on Lincoln Avenue where fire survivors can sign up for time slots and shop for up to 10 records a month.

“It’s a really lovely distraction but it kind of keeps me going as well just to know that we’re trying to build something great for the community and keep us all moving forward,” Jay said.

The store will carry copies of the benefit album, Gimme Shelter: Songs for LA Fire Relief. The compilation features cover art by Shepard Fairey and L.A. specific tracks from artists like Elliott Smith ("Angeles" of course), Norah Jones, The Flaming Lips, as well as a cover of "Burning Down the House" by Talking Heads performed by Jay and about 50 other fire-impacted musicians.

Reggae star Ziggy Marley has spent decades carrying one of music’s most celebrated legacies. But until now, he had never written a song directly about his father, Bob Marley.

That’s changed with “Many Mourn for Bob,” a track on Marley’s ninth solo album Brightside, his first release recorded in his new studio in North Hollywood.

Marley was just 12 when his father died of cancer in 1981. Now 57, Marley says the song instinctually emerged after years of life experience and producing the biopic One Love, which revisited his father’s struggles like an assassination attempt amid political violence in Jamaica.

“He went through some things that was really tough on a human being – and just understanding him in that light is to have a little bit more emotional, deeper connection to his experience,” Marley said in an interview at his studio.

Searching for the bright side

The deeply personal track is part of a splashy return for Marley, who's touring behind Brightside and will perform at the Hollywood Bowl on June 21.

The new album blends political themes, optimism and musical experimentation.

Its lead single, “Racism Is a Killa,” featuring Big Boi, pairs the heavy topic with an upbeat groove that he hopes will make the song more accessible to young people.

“We just wanna come out straightforward, like I never want to come out tiptoeing,” Marley said. “I want to say something that can catch your ears or catch your thoughts.”

That tension between darkness and hope runs throughout Brightside. Marley described the album as a reflection on enduring difficult periods – from the pandemic to the Los Angeles wildfires – without losing sight of optimism.

“Sometimes we get lost in that so much that we don't realize that there is always a bright side,” Marley said.

The 432 Hz experiment

The album also experiments sonically: Marley recorded Brightside using 432 hertz tuning instead of the standard 440 hertz in most mainstream music. Advocates of 432 hertz believe it produces a warmer, more meditative sound better synced to the natural world. (You can hear the difference for yourself here.)

“It's a lower musical frequency, but it's a higher frequency in a next sense of your spirituality and emotion,” he said. “So even though the numbers go down, the frequency actually go up.”

Marley sees the move as part of a larger search for new creative approaches.

“I'm very open-minded and always trying to evolve and just experiment with life and music,” Marley said.

The Grammy winner, who joins James Blake and Ed O’Brien of Radiohead as the most high-profile artists to record at the lower frequency, floated the idea of a larger movement among artists.

“Let's just have a revolution in the music industry,” he said. “Let's change the frequency.”

Building a dream

Marley works out of his Rebel Lion Studio in North Hollywood, its name a nod to his 2018 album Rebellion Rises while also a play on the word “rebellion.”

He described the studio as an extension of the independent spirit his father built with Tuff Gong Studio in Jamaica.

Musicians set up for rehearsal ahead of the next leg of Ziggy Marley's tour.

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“My father had a dream, and I had a dream too,” Marley said.

Like with Tuff Gong, Marley also plans to expand the studio operation to include vinyl pressing as records continue their resurgence in the streaming era.

“There’s always gonna be a vinyl present going on,” Marley said. “A thousand years from now, people that we're still gonna need vinyl records to listen to music.”

Ziggy Marley in the hallway of his new studio in North Hollywood.

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For years, Marley said, he worked out of smaller home setups and rented facilities before deciding to build a larger permanent space in L.A.

Marley said the city has become central to his own creative evolution over the last two decades of living and working here.

Drawn initially by music, friends and the city's small but tight-knit Jamaican community, he says being surrounded by creatives from different backgrounds helped push his artistry in new directions.

“I left my safety and my community, my tribe, and come out by myself to L.A.,” he said. “But it's a great experience. It really helped my growth as a human being being here.”

What’s next

Fresh off the release of Brightside, Marley says he’s already working on another album – a notably quicker turnaround since his last album, the family-music release More Family Time in 2020,

“We're doing back to back,” he said.

Ziggy Marley will be performing at the Hollywood Bowl on June 21 as part of a tour supporting his new album Brightside.

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He’s also busy writing a children’s book based on his feel-good hit anthem “True to Myself” and eyeing opportunities in front – or behind the camera – inspired by his time working on One Love and making the video for “Racism Is A Killa.”

“Same philosophy, same message, but within visuals, you know?” Marley said excitedly. “I want to create some stories and try out. I feel it coming. I can feel it.”

A City Council committee voted Friday to shelve a proposed ballot measure aimed at cutting L.A.'s “mansion tax” nearly in half.

The ad hoc committee on Measure ULA voted 2-1 to set aside a proposal by Councilmembers John Lee and Marqueece Harris-Dawson that would have asked voters in November to reduce the ULA transfer tax rate for multifamily and mixed-use properties to somewhere between 2% and 3.5%, down from the current rate of up to 5.5%.

However, the ballot measure proposal was also referred to the City Council’s rules, elections, and intergovernmental relations committee, which could still choose to move it forward.

Instead, the ad hoc committee advanced a narrower pilot program that would reduce the property transfer tax only for newly built affordable housing projects.

The pilot program won't need voter approval in the form of a ballot measure. Committee Chair Ysabel Jurado, who introduced the substitute language, said she believes the city should avoid a ULA ballot measure because it’s still too early to evaluate the measure’s long-term effects.

“ I'm against going to the ballot, but I'm for making fixes that make this better,” Jurado said.

Voters will see a separate proposal on their ballots by the Howard Jarvis Taxpayers Association to effectively repeal Measure ULA.

If the L.A. City Council does not approve reforming the measure, the only decision on the ballot in November may be whether to keep the mansion tax in its current form or end it.

About the mansion tax

L.A. voters approved Measure ULA in 2022 to fund affordable housing and homelessness prevention. The measure taxes real estate sales over about $5 million. Since taking effect in April 2023, ULA has raised just over $1.1 billion from 1,633 real estate transactions, according to the city’s housing department.

The city projects it will generate about $500 million in the coming fiscal year — about half of what proponents initially promised. It has funded about 800 new affordable units and helped stabilize thousands of renters facing eviction, according to the housing department.

But critics say the tax has suppressed housing development. Several studies link the tax to a slowdown in apartment construction in Los Angeles, but ULA supporters say high interest rates and broader economic conditions are to blame.

The City Council's ad hoc committee on Measure ULA was formed earlier this year to study how the measure is working and develop potential reforms. That work took on more urgency inside L.A. city hall after the Howard Jarvis Taxpayers Association qualified a statewide ballot measure for November that would effectively repeal Measure ULA entirely.

Joe Donlin, director of the United to House LA coalition, which campaigned for the original measure, said the City Council committee made the right call by rejecting broader exemptions.

“By not taking up the extreme calls for broad, 15-year waivers that could cost the program about a third of its revenue, the committee acknowledged that ULA is working,” Donlin said in a statement.

A separate group of housing developers, union workers and advocacy groups calling itself the “Mend It, Don’t End It” coalition has been urging city hall to make changes to ULA. On Friday, the group said it supports the measure, but believes targeted reforms are still needed.

“Independent research shows that Measure ULA has slowed housing production in Los Angeles at a time when we need more housing, not less,” said Melanie Mendoza, a coalition spokesperson.

What the data show

The debate over ULA's impact played out in the committee room Friday morning. The city's chief legislative analyst reviewed seven independent studies on ULA’s impact. Three of those studies concluded ULA had suppressed housing production and reduced property tax revenues, while four found no meaningful negative impact.

Before ULA took effect, Los Angeles collected about $22 million a month in transfer tax. After that, it dropped to about $13 million. But city legislative analyst Henry Flatt told the committee a similar decline happened in cities without the tax, including Glendale, Long Beach, Pasadena and Santa Clarita.

“We are not currently convinced that Measure ULA has had an extremely negative impact on general fund revenues,” Flatt told the committee.

The county assessor's office read the same period differently. Scott Thornberry, an assistant assessor with L.A. County, told the committee that commercial and industrial property sales are falling in the city but not elsewhere in the county.

“We are seeing, we believe, a trend line of impact to property tax revenue growth in the city of L.A. specifically," Thornberry said.

What the committee did

Instead of the ballot measure, the committee voted to develop a five-year pilot program cutting the ULA tax to 1.5% for newly constructed affordable housing projects that meet specific requirements.

Lee, whose ballot measure was replaced with language advancing the pilot program, said he hadn't seen the substitute prior to Friday’s meeting and voted against it.

“This was just placed in front of me,” he said. Lee objected to a provision in the substitute recommendations calling for $30 million in new spending on homelessness support.

“Without knowing where this money's coming from, I'm going to have to vote no,” he said.

Lee told LAist he supports stronger oversight and technical improvements to Measure ULA, but believes a ballot measure is the right approach.

“Voters deserve the opportunity to consider targeted changes that would preserve the intent of the measure while addressing its unintended impacts on housing production and real estate activity in Los Angeles,” the councilmember said, in a statement.

Friday's meeting was the committee's final scheduled hearing. The committee, which is set to dissolve June 1, also voted to advance a narrower nonprofit tax refund limited to organizations that can prove all sale proceeds went directly to affordable housing.

The committee continued a separate motion on fire exemptions for Palisades fire victims, which will be heard by another council committee. A motion to loosen eligibility rules for the ULA Citizens Oversight Committee was noted and filed.

Councilmember Imelda Padilla, who introduced several of the committee's motions, said the process had been guided by a commitment to protect the measure.

"My goal has always been to listen carefully, bring people into the conversation, and protect ULA while honoring the voters' intent," she said at Friday’s meeting.

In her closing remarks, Jurado reflected on the three-member committee’s past work.

“We released $14 million in rental assistance to the most vulnerable Angelenos and $300 million for affordable housing,” she said. “We did in six or seven meetings what others couldn't do in five years.”

The ad hoc committee's recommendations now move to the full City Council.

Harris-Dawson and Lee’s ballot measure motion will be considered by the City Council’s rules committee at a later date, officials said.

Monsterpalooza, the annual movie-monster bash for horror fans, returns to the Pasadena Convention Center this weekend, starting Friday night (May 29) and lasting through Sunday.

What to expect

Now in its 18th year, devotees can rub elbows with legendary beastie creators, browse hundreds of vendors who traffic in the weird and unsettling, and marvel at practical effects that’ll make your flesh creep.

Dozens of panels and presentations are scheduled, including a deep-dive into the 95th anniversary of the Dracula and Frankenstein movies by writer Julian David Stone.

Writer Julian David Stone gives a presentation at a past Monsterpalooza event.

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Stone said that the two classic movies have left a lasting impact.

“Dracula is a movie about supernatural horror..... and Frankenstein is about technological or man-made horror," he said. "You can just trace those two themes all the way forward to this past year with Sinners and Megan 2.0."

Richard Redlefsen's Armageddon Rat at the PPI Booth at a past Monsterpalooza.

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Stone first attended the convention in 2008, returning over the years as a fan, spectator and presenter.

“It’s just a terrific convention that celebrates all things horror,” Stone said. “There’s a lot of celebrities you can meet who were in these horror films and you can get pictures with them." He added that he’ll never forget when he met Carla Laemmle in 2010 — the last living cast member of the original 1931 Dracula.

Mike Mekash and Chris Nelson re-created Twisty the Clown on Dan Gilbert at the PPI Booth at a past Monsterpalooza.

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Who's attending

If you’re jonesing to be photographed with high-profile entertainers (expect a fee for many), this year's event has a line-up that includes musician Alice Cooper, actress Lin Shaye from the Insidious movie franchise and David Howard Thornton, who plays Art the Clown in the popular Terrifier movie series.

Cosplay and crazy costumes are encouraged, although a T-shirt celebrating a classic horror movie will also do. Just come ready to adore all things that gnaw and gash.