The Brief

A lucky few got a glimpse of the interior of the revamped Vista Theater on Sunset Boulevard last week, one of the last remaining single-screen movie theaters in the Southland, when owner Quentin Tarantino held a special screening of the 1993 cult classic True Romance.

The Vista — with a new 70 mm projection system, sound system, and 21-seat screening room and café named “Coffy,” after the 1973 Pam Grier film — opens officially on Friday at 4473 Sunset Dr., with horror maestro Eli Roth’s Thanksgiving.

The rebirth is the latest chapter in the century-long saga of one of L.A.’s most famous historic theaters. “The history of the Vista is quite surprising, and full of ups and down, and I for one find its resilience to be the most exciting part,” says Celine Vacher, of the Los Feliz Neighborhood Council.

To tell its story, you need to go all the way back to the birth of Hollywood.

Sunset Boulevard

Filmmaking came to the East Hollywood/Los Feliz area in 1912, when producers L.L. Burns and Harry Revier leased a fig orchard on Sunset Boulevard. On this farmland they built a rustic studio, which was soon renamed Reliance Film Company. Reliance quickly hired pioneering director D. W. Griffith, who brought along his silent film stars Lillian and Dorothy Gish.

Griffith eventually gained control of the studio, which he renamed Fine Arts Studio. In 1914, Griffith built a sprawling replica of a southern antebellum town around the junction of Sunset and Hollywood Boulevards. This set was used for his revolutionary, highly controversial 1915 racist epic The Birth of a Nation, which many historians point to as the first blockbuster full-length feature.

The next movie Griffith set at Sunset Junction would become part of Los Angeles lore. In this quiet rural neighborhood, still dotted with farmhouses and ranches, Griffith constructed a towering plaster set for his 1916 epic Intolerance. Meant to portray the ancient palace of Belshazzar, King of Babylon, the set covered an astounding three city blocks.

“Belshazzar’s Feast beneath Egyptian blue skies,” writer Kenneth Anger wrote in his infamous 1959 expose Hollywood Babylon, “spread out under the blazing California sun: more than four thousand extras recruited from L.A. paid an unheard-of two dollars a day plus box lunch, plus carfare.”

A large crowd congregates outside of Bard's Hollywood Theatre to celebrate its grand opening

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After filming, the set remained up in some form until 1922, becoming a playground for local children. By then, the area was becoming a hub for silent productions, crew bungalows, and stars’ mansions. “Los Feliz was home to Walt Disney’s very first studios, Cecil B. DeMille’s estate where Charlie Chaplin once resided, and even the Vitagraph studios where parts of The Jazz Singer (the first movie with sound) were filmed,” says Vacher.

Egyptian revival style

So it was fitting that the theatrical impresario Lou Bard chose to build the latest in his string of theaters at the fabled intersection of Hollywood and Sunset Boulevards, known as “the great crossroads of Los Angeles.” On Oct. 9, 1923, the 838-seat single screen theater, said to have been called Lou Bard Playhouse or Bard’s Hollywood, opened with a special vaudeville show and the short Tips, starring child star Baby Peggy — who also appeared on stage.

The theater design was as trendy as it could be. Designed by architect Lewis A. Smith, the exterior was constructed in the popular Spanish Mission Revival style. But it was the interior that was truly a feast for the imagination. Designed in the peculiarly western “Egyptian revival” style (popularized by the discovery of King Tut’s tomb in 1922), the interior was a brightly colored riot of golden pharaohs, goddesses, and lamps shaped like pyramids.

According to the Los Angeles Times, the theater was the site for all important industry previews during the golden age of silent film. But Bard was not as successful as he would have liked, and he reportedly sold the theater in 1927. It was renamed the Vista.

Over the decades, the Vista went through many owners. But it was reliably a popular neighborhood theater, even as larger, showier movie palaces sprang up all over Los Angeles.

A crowd of movie-goers attend a showing of Mildred Pierce, starring Joan Crawford, at the Vista Theater.

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Controversies over the years

Yet the small but mighty theater would find itself the center of controversies which cemented its place in history. In 1948, the theater capitalized on its historic location by announcing a revival of the problematic The Birth of a Nation, only days after D.W. Griffith's death on July 23, 1948. The Hollywood Reporter noted the choice, in a short article headlined “Opportunism!” It read:

Disturbed Angelenos immediately took action. Allen M. Metcalf, a local candidate from the Progressive Party, went to the theater to confront the management. “The manager of the theater,” the Los Angeles Times reported, “pointed out that the movie showed the skeleton in the closet of the nation and denied that the cinema was incitement for a riot.”

Progressives were unconvinced. Around 20 Black and white civil rights activists formed a picket line in an attempt to block customers from seeing the film. However, the revival continued.

Charges of un-American values

Controversy came again in the 1950s, when the theater reopened as the Vista Continental. Capitalizing on the growing popularity of foreign films, the theater boasted that it was the only SoCal theater showing first-run films from the Soviet Union. This led locals to complain that the theater was promoting un-American, Communist values at the height of the Cold War. But the theater soldiered on.

The biggest test for the Vista came in the 1960s. During that era, the theater began showing pornographic films, including same-sex films. Irate, the city revoked its operating permit. The Vista fought back, and in 1968 the case was heard in the California Supreme Court.

The Vista won the case, in a decisive blow against anti-gay governance. “The court ruled, in a 5-2 decision, that the law is ‘overly broad’ and threatens to deny theater operators their rights of free speech and press,” the Los Angeles Times reported in June 1968.

“The Court ruled that Stewart Burton, manager of the Vista Theater, should be granted a writ of prohibition against the Los Angeles Board of police commissioners, which did not renew his license.”

Over the next three decades, the theater changed hands several times before it was purchased by Landmark Theatres in 1982. It became known for reviving classic films like Harold and Maude and Gone with the Wind, but business was slow, as VHS decimated art houses nationwide.

A neighborhood gathering place

In 1997, the Vista was purchased by Lance Alspaugh’s Vintage Theater Group. Alspaugh made community outreach a priority. It became known for its very own Walk of Fame, featuring handprints and footprints from stars like John Landis, Elvira, Tatum and Ryan O’Neal, and Baby Peggy herself.

“It’s been an integral part of Los Feliz because it’s intentionally embedded itself in the community,” Vacher says. “Take the longtime manager [Victor Martinez], for example, every big opening night he greets moviegoers in full costume. It’s become a tradition and locals all have their own sets of memories with him as he makes everyone feel like a welcomed friend.”

The Vista became an important gathering place in the area, known for its welcoming atmosphere, epitomized by Martinez (who is reportedly currently on the board of the theater). The theater was rented out for weddings, late night screenings, and was the home of Thomas Starr King Middle School’s annual animation and film festival. There was a Secret Movie Club, and local filmmakers were thrilled when they had premieres at their neighborhood theater.

“I had my first movie premiere at the Vista, which we sold out,” says filmmaker Kestrin Pantera, whose film Let’s Ruin it with Babies premiered in 2013. “It was an…amazing all-night karaoke party and a dream come true to be on the marquee.”

The pandemic shuttered the Vista, which closed in 2020. The marquee, which read “To Be Continued…” became a hopeful sight for weary travelers driving down Sunset Boulevard during the shutdown.

What Tarantino says is next for the theater

But the Vista had not taken its final bow. In 2021, it was announced that director Quentin Tarantino, who saved the historic New Beverly Cinema when he purchased it in 2007, had bought the movie house. “I would not have handed the keys to the Vista over to just anybody,” Alspaugh told the Los Angeles Times.

“It’s no secret that Tarantino often pays homage to Hollywood history in his films, so it feels all the more appropriate that someone with such reverence for the art of filmmaking would be the new custodian of this iconic theater in its iconic location,” Vacher says.

Tarantino vowed to show only movies on film at the new Vista, instead of digital projection. He also clearly valued the communal aspects Alspaugh had fostered over the years. “I do think boutique cinemas will actually thrive at this time,” Tarantino told the Los Angeles Times. “I got a living room. I want to go to a movie theater.”

Over the last two years the Vista has undergone a dramatic makeover. “Quentin basically retained the auditorium — it’s intact, it’s been rehabbed and it’s still new and beautiful, but the overall auditorium is in intact condition,” said Alspaugh, who has remained as chief operating officer.

“The intention is to run mostly first-run and occasional classics or repertory film,” Alspaugh told Variety’s Pat Saperstein. “There will be sections of time where you might see classic repertory titles on film for brief interludes. In the future, you’ll see some late shows of classic films and I think you’ll see morning shows of classic films.”

Whatever happens, cinephiles are just happy that their favorite historic theater is again part of the community where it has thrived for a century.

“The entire neighborhood has been anxiously awaiting the Vista’s comeback,” Vacher says. “It’s been on everyone’s lips. We’re all so eager to see that corner revived and active, no doubt we’ll all be flocking to it trying to make up for lost time.”

The 99 Cents Only chain may be gone, but a new art exhibit at its former store at the intersection of Wilshire Boulevard and Fairfax Avenue is keeping its legacy alive in the most eccentric way possible.

From shopping carts suspended upside down to video art at the checkout counters to paintings and graffiti in every nook and cranny, this is not the same 99 Cents Only store where you used to buy your cleaning supplies.

The curators behind 99CENT, which is on display through the end of this weekend, have filled the space with artwork and L.A. artifacts for a free exhibition. So I had to check it out:

99CENT's art

Many of the involved artists used practically every square inch of parts of the store.

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The artists on display at 99CENT work across mediums.

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Art and graffiti were both on full display at 99CENT.

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Many of the works of art look like regular street signs ... until you look a little closer.

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Presumably, this fruit wasn't bought at the 99 Cents Only store, which closed last year.

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Many different art styles were on display at 99CENT.

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The exhibit makes creative use of space, including hanging things from the ceiling.

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Despite this sign, the inside of the store was covered in graffiti, though some staff members could be seen cleaning up graffiti on the outside.

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Many of the items on display were carefully crafted. The $9.99 sticker may not be accurate pricing.

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What you can see

As soon as you walk in, you’re treated to a complete reimagining of the 99 Cents Only store. This former site of the modern big-box discount chain has been infused with a healthy dose of the West Coast art styles that sprung up from places like the Mission District, Haight-Ashbury and Venice.

One of many sections of the repurposed store that showcases objects, graffiti and artworks.

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Artists whose work was on display used all kinds of mediums. In this case, mirrors and wheelchairs.

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All the original shelving is there, but nearly every nook and cranny has been filled with art.

Inside the old freezer

Even the store's freezers were fair game to show off art at 99CENT.

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The inside of the store's freezer, which was repurposed as a gallery space.

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But look close and you’ll see cheeky nods to the 99 Cents Only store of yore. Much of the old shelving and signage is still there, even if slightly rearranged. On some shelves, hygiene supplies sit side by side with artworks and found objects.

99CENT displays

Some parts of 99CENT even loosely resemble the former store.

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Though this is an artists' flea market, these works of art presumably would cost more than 99 cents to buy.

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Many books on display this week, like this one, probably never went for sale at the original 99 Cents Only stores.

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These curated vintage shirts presumably were also not for sale at the original 99 Cents Only store.

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Some old shopping carts have been converted into suspended sculptures. In between songs, the loudspeakers play what I’m pretty sure are authentic 99 Cents Only in-store announcements in English and Spanish.

One major auditory difference — and I can confirm this as a former 99 Cents store shopper — the music on the store’s PA system is much more lo-fi and homespun than the radio pop the old store used to have on.

Inside the "tent"

In the background, behind the hanging shopping cart, you can see the entrance to an improvised structure in aisle 11.

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Inside the improvised structure in Aisle 11.

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Since this is a self-described “artist flea market of sorts,” many of the artists have also scrawled their phone numbers and Venmo usernames near their works, and walking through different stations at the store really does feel like walking through different stations of a carefully curated swap meet or flea market.

Many works of art coexisted with produce and groceries, like this work held down by two Grey Poupon bottles.

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Even for works that aren’t on sale, most paintings and sculptures I saw identify the artist, though it’s admittedly a little more haphazard than most galleries I’ve been to.

About the curators

Representatives for the gallery The Hole, which curated this exhibit, said that the works in the store pull from its “West Coast network of artists and outsiders.”

These paintings share wall space with this sculpture made of repurposed blue jean fabric.

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One artist in particular takes the spotlight: The walls are covered by paintings by the San Francisco-based street artist Barry McGee and works from his personal collection — people who parked in the Los Angeles County Museum of Art’s garages in the early 2000s may remember his now-lost murals. All told, the curators say over 100 artists were represented.

With so many artists on display, very little space in the former store goes unused.

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How to visit

You can see “99CENT” for yourself at the former 99 Cents Only store at 6121 Wilshire Blvd., a stone’s throw away from LACMA.

The exhibition is free and open to the public from 11 a.m. to 6 p.m. through Sunday.

In her State of the City address this month, Los Angeles Mayor Karen Bass boasted that her administration had fast-tracked the construction of more than 30,000 affordable housing units.

A Crosstown analysis of the data indicates the pace of actual building may be considerably slower. Bass’s Executive Directive 1 was supposed to slash red tape and accelerate approval times for housing projects that consist entirely of affordable, or below market rate, units. She said builders already had broken ground on 6,000 of them.

Of the 32,838 units plan-approved under ED1 through the end of last year and listed on the case summary dashboard, 4,993 have been issued building permits for new construction, a Crosstown analysis found.

Just 26% of affordable units entitled during ED1’s first year, 2023, have been granted building permits, all of which have been approved for two years or more.

“Mayor Bass was correct in her statement that 6,000 units are currently under construction,” the mayor’s press office said in a statement to Crosstown. The mayor’s office did not provide a clear explanation as to how that total was calculated.

The slower-than-advertised pace of affordable units is just one part of a broader stagnation afflicting the city’s home-building sector. Last year, a total of 7,892 apartment units were permitted, according to data from the Department of Building and Safety. That includes everything from affordable units to luxury apartments. It represents a 1% increase from the year prior but a 34% decrease from 2019.

Los Angeles faces an acute housing shortage, a problem that has exacerbated a longstanding homelessness crisis and has contributed to rising unaffordability that burdens many of the city’s residents. According to the Southern California Association of Governments, the city of Los Angeles must produce 456,643 housing units during the decade, a pace it now appears certain to miss by a wide margin.

Despite the chronic need for more housing, builders say they are up against an array of obstacles in Los Angeles. Production costs are more than double the average costs in Texas, according to a RAND study. The controversial Measure ULA, informally known as the ”mansion tax,” has also been blamed for construction slowdowns. The levy, which went into effect in April 2023, adds a 4% tax on residential and commercial properties sold for $5.3 million or more, and a 5.5% tax on properties sold for over $10.6 million, including apartment blocks. The revenues are intended to be put toward affordable housing. But the extra tax makes building an apartment project and then selling it particularly burdensome.

Ari Kahan, principal of California Landmark Group, said his development firm has significantly scaled back their Los Angeles projects.

“We still explore unique opportunities, but we cannot afford the risk of both ULA and the inevitable other shoe dropping on another related issue in the city of L.A.,” Kahan said.

The city’s housing crisis has been at the forefront of Bass’s first term agenda. ED 1, which went into effect in 2023, was intended to fast-track construction by reducing approval times for affordable housing projects and shelters to 60 days. The directive prompted a flurry of new proposals. But moving those proposals from the drawing board to actual construction has been slow.

Building struggles

ED1 and programs that encouraged affordable housing, such as bonus diversity programs and the Transit Oriented Communities Incentive Program — which incentivizes low-income housing near bus and train stations — have been big enticements for new development. However, Kahan said Measure ULA has made it difficult for developers to turn a profit on those projects, and he predicts that most of them will never be built.

The measure has generated over $1 billion through January 2026. Critics assail the nickname “mansion tax” because the levy equally applies to multifamily apartment buildings and commercial properties, not just expensive single-family homes. Fifty-nine percent of transactions are single-family residences, 25% are commercial properties and 13% are multi-family residences, according to the ULA Revenue Dashboard.

Joe Donlin, director of United to House LA, the coalition of housing, labor and renters groups behind the measure, defended the tax and said it’s important to let the policy “breathe and take effect” to understand its full impact. He called the measure an economic engine for the city, adding that $400 million in ULA revenue went out to affordable housing developers last fall.

“We’re talking about hundreds of new homes being built, thousands of new construction jobs, investment in neighborhoods that haven’t seen investment like this in a long time,” Donlin said.

Donlin said Los Angeles’ housing struggles are likely due to stubbornly high interest rates, insurance costs and construction material costs around the time Measure ULA went into effect.

Stephanie Klasky-Gamer, president of LA Family Housing, said she has been able to sidestep Measure ULA because she manages the properties she builds instead of selling them. For her, one of the biggest affordable housing hurdles is a lack of federal assistance to help low-income tenants pay rent.

“[Los Angeles’s] largest housing gap is for our extremely and very low-income households. In order to make housing affordable to that target income group, it would require a larger allocation of rental subsidies,” Klasky-Gamer said.

President Donald Trump’s 2026 budget proposal aimed to cut over $26 billion from federal rental assistance programs, but the House Appropriations Committee rejected the cuts and increased funding for housing assistance programs. Tenant-based vouchers received $2.4 billion more than they did in the 2025 fiscal year, and the project-based rental assistance program received an extra $1.65 billion.

Westchester grows, downtown dwindles

In a rocky year for issued apartment permits, some Los Angeles neighborhoods showed marked increases, while others saw steep declines.

Westchester had 787 apartment units permitted last year, the most of any neighborhood. North Hollywood had the second most at 502, and Mid-City had the third most with 449.

Downtown saw a substantial dip in permits issued. Last year, 207 units were approved, nearly half as many as the year before and an 87% decrease from 2022.

The regression comes as downtown contends with a massive homelessness population. Downtown had the most non-emergency calls for homeless encampments, 8,417, of any neighborhood in 2025, according to MyLA311 service data.

How we did it: We examined all ED1-related projects on the city’s case summary dashboard and compared those with the Department of Building and Safety’s permits issued for new apartments. In addition, we compiled the number of apartment new units permitted for construction in the city over the past decade. In a previous article, Crosstown used a slightly different methodology to determine the number of permitted apartments in the city. The slight changes in methodology account for the difference in numbers in that article.

Have questions about our data? Write to us at askus@xtown.la

This story was originally published by Boyle Heights Beat on Feb. 24, 2026.

East Los Angeles is home to nearly 119,000 residents, but the community has no mayor or city hall.

So who makes decisions? Who fixes potholes? Who gets called to report illegal dumping?

East L.A. is not a city, and it’s not part of the city of L.A. Instead, it’s an unincorporated part of L.A. County, and even though it’s the most populous unincorporated area in California, community organizers say many residents are unaware of the problems that raises.

According to the L.A. County Planning Department, there are approximately 120 to 125 unincorporated areas in the county, which altogether represent two-thirds of its total area and one-tenth of its population.

“For the 1 million people living in these areas, the Board of Supervisors is their ‘city council’ and the supervisor representing the area is their ‘mayor,’” the department website says.

So what does it mean to live in an unincorporated community?

Let’s break it down:

What is an unincorporated community?

An unincorporated area is land within a county that has not been designated to be a city, meaning that it relies on county services, including for law enforcement, public works and local government.

Instead of being governed by a city council and a mayor, major decisions for East L.A. residents fall under the authority of the L.A. County Board of Supervisors.

East L.A. residents have called for representation that’s more closely tied to their community and financial transparency, saying they want to know how their tax dollars are spent locally.

Who represents East LA?

East L.A., located in Supervisorial District 1, has been represented by County Supervisor Hilda Solis since 2014. Her term is set to end this year.

Solis also makes decisions for the nearly 2 million other residents who live in District 1, which covers more than 20 cities, stretching from Silver Lake to Pomona, as well as various neighborhoods of the city of Los Angeles, including Boyle Heights and downtown.

On a state level, East L.A. is represented by Assemblymember Jessica Caloza and state Sen. María Elena Durazo. Rep. Jimmy Gomez represents East L.A. in Congress.

Who provides key services for East LA residents?

Independent cities often provide residents with their own municipal services such as law enforcement, firefighting, animal control, trash collection, road maintenance, library services and parks.

Here’s a list of services available to East L.A. residents:

• First District Field Office – East Los Angeles
  
  • Services: Here’s how you can get in touch with Solis’ office if you have questions or concerns.
  • Location: 4801 E. Third St., Los Angeles
  • Contact: (323) 881-4601
• East LA Sheriff’s Station 
  
  • Services: In addition to serving East L.A., the station also serves the cities of Commerce, Cudahy and Maywood, as well as unincorporated Belvedere Gardens, City Terrace, Eastmont, Saybrook Park and Union Pacific.
  • Location: 5019 E. Third St., East Los Angeles
  • Contact: (323) 264-4151. For emergencies, call 911. 
  • Website: lasd.org/east-los-angeles
• LA County Fire Department
  
  • Services: The L.A. County Fire Department serves all of the unincorporated area within Los Angeles County, as well as 60 incorporated cities, 59 of which are in Los Angeles County and one in Orange County. 
  • Contact: (323) 881-2411. For emergencies, call 911.
  • Website: fire.lacounty.gov
• Public Works
  
  • Services: L.A. County Public Works responds to calls about graffiti, potholes, illegal dumping, homeless encampments, transportation services and building and safety permits, among other things.
  • Contact: Reports can be submitted online. Urgent requests can be made by calling the 24-hour line at (800) 675-4357.
  • Website: pw.lacounty.gov
• 211 LA County
  
  • Services: 211 L.A. County provides health and social service resources, including housing support, mental health care, financial assistance and recovery resources. During disasters, like wildfires and other crises, the line provides real-time information and can help people find shelter, food, financial help and emotional support.
  • Contact: Dial 211. Those unable to reach 2-1-1 service can call (800) 339-6993. TTY/TDD# (phone for hearing impaired): (800) 660-4026
  • Website: 211la.org

For a full list, check out this guide to unincorporated areas services for District 1.

Why isn’t East LA its own city?

Over the decades, multiple efforts to incorporate East LA into a city have failed. A recent fiscal analysis concluded that cityhood remains financially unviable for the region. Residents have continued their calls for more financial transparency and better representation. A new effort on the horizon may allow citizens to directly advise the county on issues unique to East LA.

How can residents make their voices heard?

The report that deemed cityhood unfeasible for unincorporated East LA last year recommended the formation of a Municipal Advisory Council (MAC) — a formal, citizen-led body that would provide residents with a structure for public input and give stakeholders a direct line of communication to county leadership.

At the first of six community forums on Saturday, Feb. 21, some residents deemed the MAC a stepping stone towards proper incorporation down the line. Others asked for better economic investment and access to a localized, itemized budget every year for residents to understand how their tax dollars are spent on improving social services and local businesses.

“Every problem we have, can be solved if we have a local government,” resident Francisco Cardenas. “We have nobody to complain to.”

Here’s everything you need to know about the MAC and the upcoming community forums where residents are invited to weigh in. The next meeting will take place Thursday at East L.A. Library, located at 4837 E. Third St. Register here.