The Brief

A California jury on Wednesday found that Meta and Google's YouTube were to blame for the depression and anxiety of a woman who compulsively used social media as a small child, awarding her $6 million in a rare verdict holding Silicon Valley accountable for its role in fueling a youth mental health crisis.

The jurors concluded that Meta and Google should pay the woman $3 million in compensatory damages and an additional $3 million in punitive damages, with Meta on the hook for 70% of that amount.

As the verdict was read, the plaintiff, known only as Kaley, looked straight ahead stony-faced, while her lawyers shook their heads in approval. The lawyers for Meta and Google did not react to the jury's decision.

The outcome of this case could influence thousands of other consolidated cases against the social media companies. The litigation has drawn comparisons to the legal crusade that led to industry changes against Big Tobacco in the 1990s.

Joseph VanZandt, the co-lead lawyer for families and others suing social media companies, said Wednesday's judgement is a step toward holding Silicon Valley giants accountable.

"But this verdict is bigger than one case. For years, social media companies have profited from targeting children while concealing their addictive and dangerous design features. Today's verdict is a referendum — from a jury, to an entire industry — that accountability has arrived," he said in a joint statement with the plaintiff's legal team.

Meta and Google said they disagree with the verdict. Meta said it is weighing its legal options and Google plans to appeal.

"This case misunderstands YouTube, which is a responsibly built streaming platform, not a social media site," said Google spokesman José Castañeda.

Meta hit with $375 million in damages in separate New Mexico trial

The verdict from a Los Angeles jury over the harms of social media comes a day after a separate jury in New Mexico ordered Meta to pay $375 million in damages for failing to protect young users from child predators on Instagram and Facebook. The New Mexico jury found Meta responsible for misleading consumers about the safety of its platforms, declaring that the tech company had flouted state consumer protection laws.

That trial will enter a second phase, in May, in which a judge will decide whether Meta created a public nuisance and if the company must pay additional penalties to address harms. New Mexico Attorney General Raúl Torrez said he will also ask the court to force changes to make Meta's apps safer.

"Juries in New Mexico and California have recognized that Meta's public deception and design features are putting children in harm's way," Torrez said in a statement on Wednesday.

The blockbuster verdicts land against the backdrop of school districts and state lawmakers around the country limiting or banning phone use in schools. This week's verdicts mark the first time juries have decided that tech companies are at least partially liable for online and off-line dangers kids and teenagers encounter after incessantly using social media.

Over a more than month-long trial in Los Angeles, the jury of five men and seven women heard competing narratives about what role social media platforms played in the mental health struggles of a woman identified as KGM, or Kaley, a now-20-year-old from Chico, Calif., who said she first started using YouTube at 6 years old and Instagram when she was 11.

Lawyers for KGM argued that Instagram and YouTube were deliberately designed to be addictive and the companies knew the platforms were harming young people, while the tech companies countered that their services cannot be blamed for complex mental health issues.

KGM's legal team showed the jury internal documents from Meta in which CEO Mark Zuckerberg and other executives described the company's efforts to attract and keep kids and teens on its platforms. One document said: "If we wanna win big with teens, we must bring them in as tweens," and another internal memo showed that 11-year-olds were four times as likely to keep coming back to Instagram, compared with competing apps, despite the platform requiring users to be at least 13 years old.

Under questioning about these documents, Zuckerberg told the jury that keeping young users safe has always been a company priority. "If people feel like they're not having a good experience, why would they keep using the product?" Zuckerberg said.

The trial is a test case, known as a bellwether, tied to about 2,000 other pending lawsuits brought by parents and school districts arguing that social media giants should be considered manufacturers of defective products for hooking a generation of young people to social media feeds.

Throughout the case, the companies insisted that there is no scientific proof that social media causes mental health issues, suggesting that they are being used as a scapegoat for the multi-faceted emotional issues children face that can have many root causes.

Snapchat and TikTok were also defendants in the case, but both companies settled before the trial began.

LA case focused on design of social media platforms to overcome liability shield

For decades, tech companies have avoided legal liability over the content that appears on their sites because of a federal law known as Section 230 of the 1996 Communications Decency Act, which says that tech companies are not legally responsible for what their users post. This has made it difficult to bring cases over social media harms to trial.

In the Los Angeles case, lawyers took a different approach by focusing on how tech companies built their platforms. They argued that features like infinite scroll, constant notifications, autoplay and beauty filters made apps like Instagram and YouTube equivalent to a "digital casino," which young people found too irresistible to put down.

By taking this tack, the lawyers pursued a case alleging defective design that was able to get around the high bar set by Section 230. It's not what users post, the lawyers argued, but the very architecture of social media platforms.

"How do you make a child never put down the phone? That's called the engineering of addiction," said KGM's lawyer Mark Lanier, a Texas trial attorney and part-time pastor who had a penchant for drawing on documents with markers on overhead project slides to keep the jury engaged.

Over the course of five weeks, jurors heard from therapists, engineers, tech executives including Zuckerberg, and the plaintiff herself about just how culpable big tech companies should be for contributing to KGM's mental health struggles.

Were her issues pre-existing, or exacerbated by her home life, or deepened by social media?

Meta and Google fought back by underscoring the emotional and physical abuse her medical records indicated she experienced at home. Lawyers for the tech companies also hammered the point that Kaley's own therapist never documented that social media use was a factor in her mental health problems.

From the witness stand, KGM testified that using social media affected her self-worth, as she got further drawn into the apps and withdrew from friends and family.

She developed depression and body dysmorphia, she said, as she continuously compared herself to others and used beauty filters to enhance her appearance.

She so craved the validation of social media, she said, that she would run off to the bathroom at school to check the number of "likes" her posts had received. She testified that it was hard to concentrate on school because all she wanted to do was stay glued to her social media feeds.

The jury was not tasked with deciding whether Meta and Google had created Kaley's mental health woes, but rather if her compulsive social media use was a "substantial factor" in her struggles and if the defective design of the platforms was the direct cause of the distress.

Lanier, who is known for trotting out large exhibits for trial spectacle, closed his questioning of Zuckerberg with one such display.

Lanier and several of his associates held up a 35-foot collage featuring hundreds of selfies Kaley had posted to Instagram, many of which used beauty filters, just as she was struggling with body-image issues. Zuckerberg looked on, as Lanier peppered him with questions about how and why a girl under the age of 13, Meta's minimum age to create an account, was able to post to the app so obsessively.

In his closing argument, Lanier drew the jury's attention to internal documents showing how top officials at Meta and Google were aware of how its products were causing harm to young people.

"I don't naysay the opportunity to make money," Lanier said. "But when you're making money off of kids, you have to do it responsibly.

NPR's Shannon Bond contributed to this report.

A new trail across the beloved natural area of Elephant Hill in Northeast Los Angeles is officially opening this weekend.

The route is years in the making, and it's a big milestone in the decades-long conservation efforts to preserve this local jewel in the community of El Sereno.

The hiking trail connects one side of Elephant Hill to the other — from the corner of Pullman Street and Harriman Avenue all the way across to Lathrop Street.

It's 0.75 miles in total, but packs a punch.

"It's a pretty straight shot, but because of the terrain — the trail is kind of twisty and curvy. There's switchbacks — and great views," Elva Yañez, board president of the nonprofit Save Elephant Hill, said.

People have always been able to access the 110-acre green space, but Yañez said the new trail provides a safe and easy way to navigate the steep hillsides.

The El Sereno nonprofit has been working for two decades to preserve the land. Illegal dumping and off-roading have damaged the open space over the years. And the majority of the 110 acres are privately owned by an estimated 200 individual owners.

Mountains Recreation and Conservation Authority (MRCA) joined the efforts in 2018, spurred by a $700,000 grant from Los Angeles County Regional Park and Open Space District, in part, to build the trail. The local agency received some $2 million in grants from the Santa Monica Mountains Conservancy to add to the 10 acres of Elephant Hill it manages and conserves. This year, MCRA acquired an additional 12 parcels — or about 2.4 acres.

And the spiffy new footpath — with trail signage, information kiosks and landscape boulders — is not just a long-sought-for victory but a beginning in a sense.

"We know that it means a lot to the community," Sarah Kevorkian, who oversees the trail project for MRCA, said. "We're wrapping up the trail, but it really feels like the beginning of all that is to come."

A hint of that vision already exists — for hikers traversing the new route, courtesy of Test Plot, the L.A.-based nonprofit that works to revitalize depleted lands.

"They're able to see at the end of the trail, at the 'test plot' — exactly what a restored Elephant Hill would look like," Yañez said.

Here's a preview:

The Venice Boardwalk after sunset has generally been a no-go zone for tourists and locals alike, as the beachside bars and restaurants close on the early side and safety is often an issue. Now, a group of artists is out to bring some vibrancy to the creative neighborhood with a series of new installations that will include live evening performances – and even a “Venice Opera House.”

“Let's play with light and let's play with sound and give people a reason to come to the Boardwalk after sundown,” said artist and entrepreneur Stefan Ashkenazy, who is curating the project and owns the buildings housing them. “I mean, let's just be open 24 hours a day.”

The concept doesn’t have an official name yet, but he’s been calling it “See World.”

Artist James Ostrer's space looks out from a bed through the fence to the ocean at Venice Beach.

(

Laura Hertzfeld

/

LAist

)

William Attaway, a longtime Venice artist, created a gallery space filled with various paintings and sculptures.

(

Laura Hertzfeld

/

LAist

)

The pair of modern buildings on the Venice Boardwalk at Thornton Ave. – with their big balconies, floor-to-ceiling glass windows, and seven open garage-style retail spaces – have sat mostly empty since Snapchat vacated their beachside offices in 2019. Ashkenazy recently bought the building and recruited artists to fill those front-facing spaces with creative work until a full-time tenant comes in.

Over the past several weeks the installations have been created in real-time, in public.

All of the projects are loosely along the theme of “home,” with each artist claiming a “room” in the two buildings that stretch across a full block on the Boardwalk. Several local Venice artists are featured, including William Attaway, whose intricate mosaic work is recognizable on the Venice public restrooms along the beach. Attaway’s space features a floating larger-than-life-sized statue and various works in a mini-gallery. In the next room is Robin Murez’s pieces, featuring carved wooden seats from her beloved neighborhood Venice Flying Carousel.

Ashkenazy is no stranger to wild (and wildly successful) art ideas. He’s the owner of the Petit Ermitage hotel in West Hollywood, a longtime haven for visiting artists, and the founder of the decade-old Bombay Beach Biennale, where artists install all kinds of work in an annual event near the Salton Sea. Many of the artists from that community are featured at the Venice project.

A "Venice Opera House" will host pop-up music events throughout the summer.

(

Laura Hertfeldz

/

LAist

)

New York-based artist Greg Haberny's paintings on the wall of his Venice space.

(

Laura Hertzfeld

/

LAist

)

New York-based artist Greg Haberny and London-based artist James Ostrer have brought some of their work in the Bombay Beach Biennale to the Venice project. Their windows on the Boardwalk both speak to a child-like sense of wonder and creativity.

“I think it's just kind of exploring and playing a little bit, to have the freedom to be able to do that,” Haberny says of his imagined child’s bedroom space, which includes a fort made out of puffy cheese balls. “It's a big space, too.
It's beautiful.”

Ostrer is experimenting with a performance art idea where he sits in bed amongst a room full of his own artwork, which he describes as “happy art with an edge.” Looking out at the ocean from the bed, he’s invited passersby to sit and have chats with him about his work or anything else they want to talk about.

“It’s a very intimate space, so you have a different kind of conversation,” he said. “I use art to channel human creativity, and [talk about] dark things.”

While there are open fences that block off the spaces, they aren’t sealed up at night. Both Ashkenazy and the team of artists seemed open to the idea that anything could happen and that the installations are a conversation with the public – and with that comes some risk.

Greg Haberny (right) works with his assistants on an installation featuring kid-inspired graffiti art and a "cheesy puff" fort.

(

Laura Hertzfeld

/

LAist

)

“I don't really know if I [would] say worried, but I guess it's just the cost of doing business,” Haberny said. “I don't really make things to get damaged or broken, sure. But I have done [things like] burned all my paintings and then made paint out of ash.”

While he’s felt safe – and even slept overnight in the installation – Ostrer has been collaborating with a local female artist who performs in a pig mask in front of his installation some nights. Watching her perform, he said, has taught him about the vulnerability of women in public spaces like the Boardwalk. “I've started to, on a very fractional level, have seen how scary that is. Because I've sat in the bed behind her performing at the front here… the way in which men are approaching her and shrieking at her … it's shocking.”

Ashkenazy says he will keep the artists in the space, potentially rotating new ones in, until a fulltime tenant takes over.

“This is an experiment … and after acquiring the building, the intention wasn't, ‘let's open a bunch of public art spaces,’ he said. “It is kind of …what the building wanted and listening to what the Boardwalk needed. Let's play, let's have the artists that we love and appreciate have a space to play and engage and give the locals and the visitors to the Boardwalk something to experience.”

A coalition of residents from across the San Gabriel Valley are mobilizing over a battery storage project and possibly more industrial development in the City of Industry they say could pollute communities next door.

A protest is scheduled today in neighboring Rowland Heights, targeting a 400-megawatt battery energy storage facility sited on about 9 acres that was approved by the City of Industry leaders in January.

Such Battery Energy Storage Systems, or BESS, are used to keep the power grid stable, especially as output from renewable energy sources like solar and wind fluctuate. But fires involving lithium batteries at some sites have heightened environmental and public health fears.

Because of the City of Industry’s unusual, sprawling shape stretching along the 60 Freeway, it borders on more than a dozen communities, meaning what happens there can have far-reaching impact.

“Pollution does not end right at the border,” said Andrew Yip, an organizer with No Data Centers SGV Coalition. “Pollution travels.”

Some local activists with the Puente Hills Community Preservation Association have challenged the approval of the battery facility under the California Environmental Quality Act.

Beyond environmental concerns, locals have also been frustrated with how decisions are made by officials in the City of Industry, a municipality that’s almost entirely zoned for industrial use and has less than 300 residents.

Organizers say they’ve struggled to get direct responses from city officials whom they say have replaced regular meetings with special meetings, which under state law require less advance notice.

A city spokesperson has not responded to requests for comment.

The so-called Marici Energy Storage System Facility would be run by Aypa Power. The fact that the battery storage developer is owned by the private equity giant Blackstone, a major investor in AI and data centers, has only fueled concerns that a battery storage facility would lay the groundwork for data center development.

A request for comment from Aypa was not returned.

Today’s protest is taking place at Peter F. Schabarum Regional Park in Rowland Heights across the street from the Puente Hills Mall, a largely vacant “dead” mall, which activists fear could be redeveloped into a data center and bring higher utility costs and greater air and noise pollution.

Yip pointed out that industrial developments make a lot of money for the City of Industry.

“But none of these surrounding communities receive any of those benefits,” Yip said. “Yet we have to put up with all the harmful effects and impacts from this city that does all this development without really reaching out.”

It’s about the size of a park bench and made of steel and wood. The bench’s arm rests are formed by the letters “L” and “A” in a design that’s unmistakable to any sports fan. But the welder-artist who created it says it’s not a Dodgers bench.

“This is about civic pride, L.A. pride. I made a design statement saying that it has nothing affiliated with the Dodgers,” said Steve Campos.

Campos grew up near Dodger Stadium, raised by parents who were die-hard Dodgers fans. So much, that they named him after Steve Garvey but that legacy doesn’t keep him from confronting how the Dodgers benefitted from the mass displacement of working-class people from Chavez Ravine after World War Two. That’s why he calls it an L.A. Bench, and not a Dodgers Bench.

The logo may be synonymous with the city's beloved baseball team, but the design of the interlocking letters was used by the L.A. Angels minor league baseball team before the Dodgers moved to L.A. in 1958.

“The monogram was here before the Dodgers,” Campos said.

A second-generation welder

Welding is the Campos family business. His father created gates and security bars for windows and doors for L.A. clients. That was the foundation for the work Campos has done for two decades since graduating from Lincoln High School, L.A. Trade Tech College, and enrolling in a summer program at Art Center in Pasadena.

The inspiration for the L.A. Bench came last year while he was playing around in his shop creating versions of the L.A. logo. A friend he hangs with at Echo Park Lake asked Campos to make him a piece of furniture.

“I was trying to figure out what my friend Curly wanted. He liked Dodgers and drinking and getting into fights, so I was like, 'Let me make something with the LA monogram,'” he said.

Welder-artist Steve Campos created whimsical steel sculptures with the LA logo.

(

Courtesy Steve Campos

)

It didn’t design itself. He said he had to lengthen the legs on the “A” and lean the back of the “L” in order to make the bench functional. In the process, he’s made a piece of furniture with a ubiquitous logo that he’s embedded with his own L.A. pride, as well as city history past and present.

LA civic pride travels to Japan

Campos vacationed in Japan the last week of April and took advantage of the trip to reach out to people who may be interested in the L.A. Bench. He was caught off guard by people’s reaction when he showed them pictures of it.

“They look at it and they go, 'Oh, Ohtani bench,'” he said.

For them, it’s still a bench embedded with pride, he said, but centered around Dodgers star Shohei Ohtani, an icon in his native Japan.

Campos has made four L.A. benches and is selling them fully assembled, he said, for $2,500 each — taking into account his labor and how costly the raw materials have become. For now, he’s offering the metal parts as a package for $500, which requires the buyer to purchase the wood for the seat and the back — an easy process, he said.

While he has no plans to mass produce the L.A. Bench, he does have one goal in mind that shows how hard it is for him to separate L.A. civic pride and the Dodgers.

“I would love to get a couple of them installed at Dodger Stadium,” he said.