After the San Francisco 49ers beat the Atlanta Falcons for the right to go to the Super Bowl, I tweeted my appreciation of a California team going to the game.  If no local team is in the running (or exists), I'm always glad to root for a Bay Area team that makes it.

My tweet got responses from some Southern Californians who have no interest in supporting a San Francisco team, especially given the Giants' World Series championship.  It goes without saying that many Dodger fans are loathe to support the Giants, under any circumstances. 

Given the historic bad blood between the teams, that's no surprise, but I think it runs even deeper.  The divide between Northern and Southern California is about more than sports, or even water rights.  It's rooted in distinct cultural differences between the two.

However, California has evolved to the point where the bigger cultural divide now might be between coastal and inland regions.  Rural Northern Californians typically dislike San Francisco far more than Angelenos do.  Similarly, inland Southern California residents often see Los Angeles as the prohibitively expensive home of two-hour traffic jams.

Until the Inland Empire or the San Joaquin Valley get major league teams, we won't see that rivalry playing out at a stadium near you.   In the meantime, I'm cheering on the Niners, and my state, on February 3rd.

This content is from Southern California Public Radio. View the original story at SCPR.org.

2006-2011

Virus Melt

Frank Romero with one of his French paintings, in his home in the South of France. But every year, he and his wife Sharon throw a big studio sale for Christmas, and you're invited.; Credit: John Rabe

"Live! Life's a banquet and most poor suckers are starving to death!" - Auntie Mame.

Your calendar is filling up, but here are four holiday events you'll want to make room for:

Every year, pioneering Chicano artist Frank Romero and his wife Sharon throw a big studio sale that includes works by a wide group of artists, and a lot of food and drink. It's just as much a party as a sales event, and Frank and the other artists are always there to meet and greet. And now that the couple is spending more time at their home in France, it's a chance for their old friends to catch up with them, so who knows who you'll see from L.A.'s arts community.

RELATED: See Frank's new works - French scenes with an East LA flavor

The Romero Studio annual Christmas party and sale is Saturday, Dec. 6, 6-10pm; and Sunday, Dec. 7, 1-5pm, at Plaza de la Raza, Boathouse Gallery, 3540 North Mission Rd., LA CA 90031 (in Lincoln Park across from the DMV — which BTW is a very good DMV).

Then, on Sunday, Dec. 14, at 4:30pm,  it's the Advent Procession of Lessons and Carols, at St. James Episcopal Church, which a friend describes as "one of the truly beautiful choral events of the season," and the highlight of the Choir of St. James' season. It's free and it's at St. James' Episcopal Church in Koreatown (3903 Wilshire Blvd., Los Angeles 90010).
 

"Auntie Mame," the 1958 Rosalind Russell movie with more quotable quips than a weekend getaway with Oscar Wilde, has become something of a Christmas tradition. It's screening at the American Cinematheque's Egyptian Theatre on Wednesday, Dec. 17, at 7:30. As delightful as this movie is any day of the week on your TV at home, this is a film to be seen in 35mm with a theater full of people reacting to every bon mot and heart-touching moment.

GO INSIDE: The Disney Hall organ, "Hurricane Mama," turns 10

Last year, my husband and I blindly went to Disney Hall for the Holiday Organ Spectacular. We expected some music and a little fun. But it really was spectacular. It's back this year, on Friday, Dec. 19, with organist David Higgs leading the evening from the console of Hurricane Mama.

If you've never seen or heard the organ in person, this is a great evening because Higgs — a teacher as well as master organist — gives you a guided tour of every stop, and every mood the organ can produce, from cathedral-loud to country-church-quiet. At the end of the night, he breaks the audience into parts to sing "The Twelve Days of Christmas," and you may sing as loud as you like.

These are just a few curated selections, but they're just the tip of the iceberg in Southern California; please make your own holiday event recommendations in the comments below. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

Rob Marshall is either the bravest director in Hollywood or the most foolhardy. Three of his five theatrical films — the musicals "Chicago," "Nine" and now "Into the Woods" — don't just invite comparison to the eccentric genius of other artists, they insist on it.

Originally a Bob Fosse stage project, "Chicago" was so imbued with Fosse's vitriolic spirit that even in Marshall's more straightforward hands the movie version felt like the missing piece in a triptych with Fosse's "Cabaret" and "All That Jazz."

"Nine" is the musical created from Fellini's masterpiece "8 1/2."

(Marcello Mastroianni in Fellini's "8 1/2")

Odd enough that someone thought Fellini's intimate but epic fugue on his own creative doubts and sexual fantasies should be adapted by others for Broadway; stranger still to re-import the hybrid back to the screen, in the workmanlike form Marshall gave to it.

And now we have "Into the Woods," a film placing Marshall in the long line of moviemakers defeated by Sondheim's difficult musical brilliance and penchant for challenging material. It's distinguished company, reaching back all the way to "A Hard Day's Night" director Richard Lester's re-invention of "A Funny Thing Happened (On the Way to the Forum)" as a kind of psychedelic Keystone Cops movie, and forward to Tim Burton's more adept but still wrong-headed Murnau-meets-Hammer-Horror approach to "Sweeney Todd."

Even director Hal Prince, the principal theatrical collaborator during Sondheim's most fertile and formative period, made an absolute hash of their shared stage success "A Little Night Music" in a film version later disavowed by both men, and mostly remembered for Elizabeth Taylor's chirpy and discernibly flat rendition of "Send in the Clowns."

Liz singing "Send in the Flat Clowns"

It's just possible that the real problem is that Sondheim's self-reflexive and deconstructive impulse (his musicals are almost always and to varying degrees commentaries on the Musical itself) makes his projects unfit for screen adaptation. In movies, we miss the artifice of the proscenium, the sweat on the actor's brow. But if any of Sondheim's late-period projects held out the hope of a successful movie version it was surely "Into the Woods," a droll recombination of the fairytale form's literary DNA into something like Sondheim's masterpiece "Company," set in a realm of magic beanstalks and slippers made of glass.

The characters are straight out of the Disney pantheon (or "Shrek"): Cinderella meets Rapunzel meets Red Riding Hood meets Jack and his Beanstalk, with a generic Wicked Witch, a couple of not so charming Prince Charmings, plus a peasant couple thrown in. But the issues at stake — marital fidelity, raising children, the fear of aging and death — are complicated, and filled with gray tones which Sondheim and librettist James Lapine masterfully etched across the fairytale's Manichean black and white.

What seemed audacious when Sondheim and Lapine conceived it in 1987 ought to fit comfortably into the era of "Sleepy Hollow" and "Maleficent," but in Marshall's hands, it does not. The good news is that though populated by what old school TV shows used to call a Galaxy of Today's Brightest Stars (Anna Kendrick as an appealingly unglamorous Cinderella; Chris Pine as the nymphomaniac Prince who stalks her; Meryl Streep quite moving in the Wicked Witch role made famous on Broadway by Bernadette Peters) this is mostly a very well-sung movie. There have been controversial excisions and revisions (enabled by Lapine, who is Marshall's screenwriter), but as an introduction to one of Sondheim's more beloved scores, "Into the Woods" makes for a solid musical primer.

WATCH: The "Into the Woods" trailer

But though Marshall has taken a lot of flack for daring to cut out characters (most notably the stage production's Narrator, who served as a kind of Greek Chorus in the original) and for softening plot points (Rapunzel died onstage), the big problem is that Marshall isn't nearly ruthless enough in rethinking "Into the Woods" as an honest-to-God movie. There are many moments (Johnny Depp ending a scene with a stagy howl at the Moon that virtually screams "and... fade out!;" the unseen death of a major character) where Marshall embraces the limitations of stagecraft when something bigger and more cinematic is needed, as if afraid to mar the pedigree of Broadway with Hollywood's debased visual stamp.

"Giants in the Sky," Jack's coming-of-age number, where he describes finding manhood in the sexual and physical dangers available above the clouds in the Giant's Castle, is a showstopper onstage, where we're willing to accept rhetoric in place of physical immediacy. Onscreen, it's simply frustrating for a character to suddenly appear and tell us he's just had the adventure of a lifetime, and that it's too bad we missed it.

The Woods themselves — both character and symbol onstage, a kind of living maze representing moral confusion — are lush here and geographically nondescript, like a particularly plush unit set, done up in a generic Lloyd Webber-meets-Disney house style.

Perhaps most unfortunately of all, Marshall seems constitutionally incapable of conveying the pervasive satiric impulse at the heart of the Sondheim/Lapine original, which could have been called "What Happens After Happily Ever After." Without ironic distancing, the film's second half, where the characters betray each other in decidedly contemporary sexual and self-interested terms, plays as non-sequitur.

It's possible to imagine a more idiosyncratic movie director who both understands and embraces the arsenal of cinematic effects available through editing, camera movement and design transforming "Into the Woods" into a rousing cinematic triumph — the young Terry Gilliam comes to mind. But Hollywood doesn't really embrace its daring cranks and visionaries very often, as Gilliam's difficult career demonstrates. Whenever possible, today's studios like to import genius at a safe remove, and then hand it off to a reliable journeyman who won't make waves or piss off the suits. The limitations of that approach are visible in every scene of "Into the Woods," and perhaps they explain its failure best of all. It's one thing not to be up to the task of adapting a work of odd brilliance. It's something else again to not even take it on.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Benedict Cumberbatch and Sophie Hunter arrive at the 26th Annual Palm Springs International Film Festival Film Festival Awards Gala at Palm Springs Convention Center on January 3, 2015 in Palm Springs, California.; Credit: Frazer Harrison/Getty Images

The 26th Annual Palm Springs International Film Festival opened this weekend, distinguished by robust audience turnouts, megawatt celebrity visitations and constant reminders of the unique space PSIFF occupies and the specialized services it provides to Hollywood.

Falling as it does just before Sundance and just after the Golden Globes nominations, Palm Springs is as much a part of the awards season calendar as it is the festival circuit. Big ticket screenings are presented with all the photo op pomp that would greet a major world premiere at, say, the Los Angeles Film Festival, but in many cases this is to build buzz for (or to re-energize) films that are already in theaters.

At Sundance or Tribeca, the suspense is usually about whether the films in competition will get good reviews and/or find distribution. At Palm Springs, especially on opening weekend, it's more about whether you'll run into Brad Pitt in the guest and industry suite at the Renaissance Hotel.

At the PSIFF awards gala, Golden Globe nominee Reese Witherspoon took home the oddly gender specific Chairman's Award for her performance in "Wild."

J.K. Simmons received something called a Spotlight Award for his superb turn as the menacing music instructor in "Whiplash."

David Oyelowo grabbed the "Breakthrough Performance Award (Male)" for depicting Martin Luther King Jr. in "Selma." Brad Pitt's sing-along presentation of Oyelowo's award became the meme for much of the post-event press coverage.

Sing-a-long with Brad Pitt

Rosamund Pike got the "Breakthrough Performance Award (Female)" for "Gone Girl."

Michael Keaton presented the Director of the Year award to his "Birdman" collaborator Alejandro G. Iñárritu.

And the Palm Spring Convention Center stage was home to two young British heartthrobs who are in Oscar contention this year for period biopics about scientific genius: Eddie Redmayne, who grabbed the Desert Palm Achievement Award (Male) for portraying ALS sufferer Stephen Hawking in "The Theory of Everything," and Benedict Cumberbatch, who split glory with the cast of the Alan Turing biography "The Imitation Game" as co-winner of the Ensemble Performance Award.

The Desert Palm Achievement Award (Female) went to Julianne Moore in the Alzheimer's drama "Still Alice."

Every single one of the movies honored is in theaters now, almost all of them in the midst of slowly expanding release patterns as they mount their long slow march toward the Academy Awards.

The generous "one award per movie" policy and the care with which PSIFF avoids alienating celebrity affections by giving out trophies with such blunt and unequivocal titles as "Best Actress" or "Best Actor" mark the PSIFF awards gala as a psuedo-event: a kind of open-armed Hollywood team huddle before things get grim and serious with the Oscar announcements at the end of the month.

Even an Oscar-worthy oddity like Richard Linklater's "Boyhood" managed to find a place in the parade, with Linklater, who directed Shirley MacLaine in the 2010 black comedy "Bernie," presenting the 80-year-old actress with the Sonny Bono Visionary Award, essentially for career achievement.

Meanwhile, the festival's generous supply of indie, studio and foreign movies churned away in various local movie theaters, a really quite remarkable cluster of buzzworthy pictures, almost all of which have played elsewhere, including at Sundance and Toronto and Tribeca, and in many cases at your local multiplex.

This programming approach can be a double-edged sword. Director Ava DuVernay, whose civil rights-era epic "Selma" opened the festival, was unable to stay for her full run of Palm Springs personal appearances because her movie has been out long enough to spark a rather bitter controversy over its depiction of President Lyndon Johnson. DuVernay abandoned a Palm Springs Q and A in order to defend her film on Charlie Rose. 

While some audience members were bitterly disappointed at missing the chance to hear one of this year's golden ones, I'm sure the PSIFF Board of Governors understood completely. This time of year, you have to play the long game, and, in the words of the civil rights anthem, "keep your eyes on the prize."

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday to Off-Ramp for his report on the festival.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Actors Carla Gugino, Matthew Lillard and Sir Patrick Stewart pose at the "Match" screening during the Palm Springs International Film Festival on January 3, 2015 in Palm Springs, California. ; Credit: Chelsea Lauren/Getty Images for PSIFF

Is there a happier star in Hollywood than Patrick Stewart?

Certainly no one seems to be having more fun than the onetime Star Trek captain and current (and seemingly permanent) X-Man. And why shouldn't Sir Patrick be pleased with himself? He really has got it all: a thriving stage profile in both New York and London, the unconditional love of a vast and loyal fan base, and a film career that oscillates freely between franchise blockbusters and the small, character-driven chamber pieces Stewart so clearly relishes.

"Match" is about as small a movie as Stewart has ever appeared in: a well-intentioned three-character film studded with very funny dialogue courtesy of writer/director Stephen Belber, upon whose play "Match" is based.

Stewart plays an aging gay dance instructor named Tobi Powell, who may or may not have sired a child back in the swinging 60s – an era movies now take to have been 10 years of uninterrupted orgy punctuated by Beatles records and gunshots aimed at the Kennedy brothers.

As the saying goes, "If you can remember the '60s, you weren't there." Stewart's Tobi Powell was vibrantly there at the time, so it's perhaps natural that he can't seem to recall whether or not one of his rare couplings with a female partner might have had some unintended consequences.

Mincing slightly and speaking in an accent that sounds Midwestern by way of Wales, Stewart is an absolute blast to watch. His genuine (and usually underutilized) flair for comedy is roguishly on display, allowing "Match" to shift between pathos and farce with an assurance born more of the performer's bravado than the emotional contours of Belber's somewhat overeager text.

Though allegedly a bit of a shut-in, Tobi is a minor masterpiece of a lost and exuberant art form: the exaggerated star turn. It's unsurprising Frank Langella got a Tony nomination for playing him on Broadway a decade ago, and at least a bit unexpected that Stewart has gone completely unnoticed this awards season, even by the nomination-happy Golden Globes.

Belber's best writing is mostly his comedic stuff. One aria comparing cunnilingus to knitting may just be the best scene of its type since Meg Ryan faked an orgasm in "When Harry Met Sally" a quarter century ago.

Solid and believable supporting turns from Carla Gugino and Matthew Lillard add to the fun until Belber's script bogs down in the third act into the kind of paint-by-numbers epiphany shtick even TV has given up on at this point.

WATCH: The official trailer for "Match," starring Patrick Stewart

Everybody cries. Everybody changes. Everybody yawns.  Or I did anyway.

Still, go see this movie — or better yet, watch it on your phone, since it's shot almost entirely in close up — to see a grand and gracefully aging actor strut his stuff with contagious delight. You will definitely laugh, and, God, does this movie hope you'll also cry.

But if you do weep, don't be surprised if, like Tobi himself, you hate yourself in the morning.

Off-Ramp contributor R. H. Greene is covering the 26th Annual Palm Springs International Film Festival, where he recently saw the new comedy "Match" starring Patrick Stewart. "Match" comes to theaters and video-on-demand on Jan. 14.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A scene from Tomislav Mrisic's "Cowboys (Kauboji)," which screened at the Palm Springs Film Festival.; Credit: Kino films

It has escaped the average filmgoer's notice, but Eastern Europe has been in the midst of a cinematic renaissance for quite a while now. A few individual titles and filmmakers have bubbled to the surface in U.S. cinemas, including Danis Toanovic's Serbian antiwar satire "No Man's Land," which won an Oscar in 2001, and Cristian Mungiu's Romanian abortion drama "4 Months, 3 Weeks, and 2 Days," which nabbed the Palme d'Or at Cannes 2007.

Those are both great movies, but they are also the small tip of a very large iceberg. This year, Estonian filmmaker Zaza Urushadze's "Tangerines" — a humanist drama about the Georgian civil war of 1992 — is a leading contender for a foreign film Oscar.

As of now, its main competitor for the trophy would seem to be the Polish film "Ida" by Pawel Pawlikowski, which has taken most of the top critics prizes for foreign film this awards season. And who has heard of Radu Jude, the witty Romanian director of "The Happiest Girl in the World," or Kamen Kalev, Bulgaria's great hope for the cinematic future? Among so many others.

A sort of "Waiting for Guffman" with a Croat twist, the delightful Croatian Oscar entry "Cowboys (Kauboji)" isn't in the same league as the best Eastern Europe has to offer, and in an odd way this is one of its strengths.

Tomislav Mrisic's film utterly lacks pretension, which is not to say that it has no point to make. If there's an Eastern European precedent for "Cowboys'" assured mix of satire, drama and farce, it's probably the "Loves of a Blonde"-era Milos Forman.

Mrisic shares with Forman an acute eye for the foibles of small town bureaucracy and a soft humanism that simultaneously allows "Cowboys" to embrace its rag-tag ensemble of eccentrics and to spoof them mercilessly.

(A screen shot from Croation Oscar entry "Cowboys (Kauboji)")

The plot sees Sasa (Sasa Anlokovic), a failed and hangdog theater director with health problems, returning to his small and economically desolate Croatian town, where he is enlisted by an old friend-turned-local-bureaucrat to bring Big City "culture" to the sticks.

Aware that his lung cancer may have fallen out of remission and that time may be running out for him, Sasa sets about the task of creating what may be his last opus with the clay available to hand: a half dozen unskilled, uneducated and, in most cases, un-hygienic misfits, culled from the dregs of the town. They decide to create a Western stageplay based on their shared love of "Stagecoach," "High Noon" and John Wayne. Something decidedly unlike "Stagecoach" is the result.

There are titters and belly laughs abounding in "Cowboys" — a film that may actually be even funnier to an American audience than it is in Croatia, given Mrisic's deft mangling of the worn-out genre cliches of old school horse opera.

The performances are all solid and specific: This is no undifferentiated cluster of cliche yahoos, but rather a broadly drawn ensemble, in which each character has a specific logic and an unspoken need he or she is trying to fill.

WATCH the "Cowboys" trailer in the original Croatian

Mrisic finds much to mock in his small town provincials, but also much to celebrate. "Cowboys" is a smart film that still sees goodness everywhere it looks, which makes it a refreshing change not just from the American school of rote affirmation comedy but also from the relentless bleakness we associate with so much European fare.

For all the farce on hand, "Cowboys" is in the end a covertly passionate defense of the creative act: Its imperishability and its importance for its own sake, excluding aesthetic considerations. It is also a plea for that hoary old chestnut, the healing power of laughter. While that may read like a cliche, with "Cowboys," Mrisic's point is made.

Off-Ramp contributor R.H. Greene is covering the 26th Annual Palm Springs International Film Festival and will be posting regularly from there.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Andrew J. West stars in Anna Mastro's "Walter"; Credit: "Walter"

It's always dicey to characterize a major film festival based on the movies you personally see there, because no matter how diligent you try to be, your impression will always be statistically anecdotal.

I'll see perhaps 10 percent of the films at this year's Palm Springs International Film Festival by the time they roll up the red carpets for the final time, added to the 25 or so I'd watched before I got here, owing to the festival's unique programming policies.

Not bad considering there are 190 movies being screened. So I think I've got the feel of things here. I wouldn't want my doctor to diagnose me based on a test with a 35 to 40 percent chance of accuracy, but I'm not a doctor. Instead of "Do no harm," I quote Spencer Tracy to myself. He said the secret to the creative process is to "just look 'em in the eye and tell 'em the truth."

And the truth is, with the exception of a couple of documentaries and a horror movie, virtually every film I've seen at Palm Springs so far shared some obvious characteristics: the Palm Springs International Film Festival loves it some poignancy and affirmation.

I've already commented on "Match," the Patrick Stewart acting showcase, and "Cowboys," a very funny Croatian comedy with cross-currents of seriousness. I may comment later about "Today," Iran's Oscar submission. (It's terrific by the way, a deeply affecting story about a burnt out cab driver who gets yanked into the world of a battered, unwed mother who steps into his cab.)

(Still from "Today” (Emrooz) by Iranian filmmaker Reza Mirkarimi)

I also saw an Anne Hathaway passion project called "Song One" here. I'm not going to write about it because I'm not in the mood to stomp on somebody else's butterfly. Plus the dramedy "1001 Grams" by the splendiferous-ly named Norwegian Bent Hamer, whose deadpan satire is routinely compared to Jacques Tati.

WATCH the official trailer for "1001 Grams," which includes some foreign languages

At their best, these are all movies that want to move the audience to tears before bouncing a ray of hope off the screen at them. At their worst, these movies are about pain in the same way Novocain is. They acknowledge its reality, in order to neutralize it.

Filmmaker Anna Mastro's debut film "Walter" (one of the Palm Springs premieres) fits what seems to be the festival's programming model, too, and is, I think, a really quite appealing little indie film, with the by now familiar mildly magical realist bent.

It's is a story about grief, though one with a screwball premise so that it doesn't quite present that way at first. Walter (portrayed with charisma and nuance by Andrew J. West) is a 20-something slacker, but a very uptight one, with a soldier's commitment to dress and routine.

He still lives with mom (Virginia Madsen, now shifting toward the character actress portion of her career with ease and grace) and has a job one rung above fast food worker on the ladder of success: He's a ticket taker at the local multiplex.

But what the world surely sees as failure, Walter knows to be his cover for a far more important vocation. Walter's father died when he was just 10 years old; ever since the funeral, Walter has realized something we don't: His real job in life is to decide where people go after they die.

His snap judgments secretly send people to heaven or hell ... until a dead guy from Walter's past shows up and demands that Walter determine his fate, and then all hell breaks loose.

It's an odd premise, bordering on the labored, but Mastro and her extremely appealing cast pull it off, in part by wearing their influences on their sleeves. The fingerprints of Wes Anderson are all over this picture, especially in terms of the way shots are framed and music is used, and I was able to identify the pivotal contribution of "Beasts of the Southern Wild" co-composer Dan Romer by ear, long before I noticed his screen credit.

I suppose that's supposed to be a damning criticism of a first-timer, but I don't see it that way. Tarantino aped Scorsese for years and virtually remade a minor Hong Kong gangster picture when he debuted with "Reservoir Dogs."

Spielberg acknowledges his debt to David Lean. Hitchcock's apprenticeship at Germany's UFA film studio resulted in a lifelong visual and thematic debt to the great Expressionist master Fritz Lang.

The question is, what do you do with your influences, how do you make them your own? And Mastro — who has a real gift for casting, pacing a scene and maneuvering her actors easily between farce and seriousness — has her own talents. She understands how Anderson's visual syntax has become a cinematic shorthand for quirk, and she deploys it to that effect, then tells the story at hand.

There are some issues with that story, though. There's a girl in concessions (Leven Rambin) Walter likes, and there's a bully at work. For all its surface oddity, the mechanical underpinnings of "Walter" frequently feel like they belong in an "American Pie" sequel.

And yet this movie won me over. I liked its faith in the movie palace as a place that still vibrates with the marvelous. I found a dream sequence, where Rambin undresses to camera while sprawled on a rich yellow bed of movie house popcorn hilarious and deeply expressive.

But I think my affection for this picture is mostly centered on Mastro and her cast, which includes a standout performance by Justin Kirk as a very grounded ghost and a broad but successful cameo from William H. Macy as Walter's psychiatrist. They're all groping toward something rather grim and real about loss, while doing their best to serve up some laughs and wonder along the way.

It touched me, because it feels kind of wise.

Off-Ramp contributor R.H. Greene, former editor of Boxoffice Magazine, is in Palm Spring this week to cover the 26th Annual Palm Springs International Film Festival. Look for his missives here, and listen Saturday at noon to Off-Ramp, when he'll interview Chaz Ebert about her late husband Roger Ebert's contributions to the film festival circuit.

This content is from Southern California Public Radio. View the original story at SCPR.org.

There are still a couple dozen tickets left for one of the most interestingly-cast performances of H.G. Wells, Orson Welles and Howard Koch's "War of the Worlds." On Saturday, Jan. 17,  generations of Star Trek actors will take on the world's most famous radio show.

The cast — directed by Jim Fall — features: René Auberjonois (“Star Trek: Deep Space Nine”), Michael Dorn (“Star Trek: TNG”), Dean Haglund (“The X-Files”), Walter Koenig ("Star Trek"), Linda Park ("Star Trek: Enterprise"), Jason Ritter (“The Event”), Tim Russ (“Star Trek: Voyager”), Armin Shimerman (“Star Trek: Deep Space Nine”) and Wil Wheaton, playing... Orson Welles.

The performance is a fundraiser for Sci-Fest LA, the new annual science fiction play festival, so tickets aren't cheap — but they're scarce, and this looks like a memorable night.

KPCC and "Off-Ramp" celebrated the 75th anniversary of the broadcast last year by distributing the original 1938 performance, and a new documentary, internationally... introduced by George Takei, another original Trek actor you might have heard of.

War of the Worlds: Sat., Jan. 17,  8 PM; The Acme Theatre, 135 North La Brea Ave. LA CA 90036

This content is from Southern California Public Radio. View the original story at SCPR.org.

Two security guards talk on the campus of the closed McKinley School, part of the Los Angeles Unified School District (LAUSD) system, in Compton, California.; Credit: ROBYN BECK/AFP via Getty Images

Los Angeles Unified School District officials are making plans for summer — and for now, none of those plans involve reopening school campuses shuttered by the coronavirus pandemic.

In a video address Monday, Superintendent Austin Beutner said LAUSD leaders have "made no decisions" about whether the fall semester — still scheduled to begin on August 18 — will involve students in classrooms, online or both. He said it's not clear what the public health conditions will allow.

Last week, Governor Gavin Newsom surprised many educators when he suggested California schools could resume in-person instruction early — perhaps even as soon as mid-July. Newsom fears the longer students remain at home, the farther they'll fall behind academically. Read more about this on LAist. 

We get the latest on LAUSD’s plans (or lack of them) for the upcoming school year. Plus, if you’re an LAUSD parent or student, weigh in by calling 866-893-5722. 

With files from LAist.

Guest:

Kyle Stokes, education reporter for KPCC; he tweets @kystokes

This content is from Southern California Public Radio. View the original story at SCPR.org.

California Governor Gavin Newsom speaks to the press in the spin room after the sixth Democratic primary debate of the 2020 presidential campaign season co-hosted by PBS NewsHour & Politico at Loyola Marymount University in Los Angeles, California on December 19, 2019. ; Credit: AGUSTIN PAULLIER/AFP via Getty Images

After nearly two months of “safer at home” during the COVID-19 outbreak, the state of California appears to be taking its first steps towards reopening businesses and restarting the economy.

Governor Gavin Newsom announced on Monday during the daily press briefing he has held since the start of the outbreak that California will be entering the first phase of its four-stage plan and allowing certain retail businesses like bookstores, music stores, sporting goods stores and florists to reopen for pickup as early as Friday. Manufacturing and logistics can start in the retail supply chain again as well. There are also local control measures in effect that allow certain municipalities to decide themselves whether to move farther ahead in the process and reopen certain things like restaurant dining rooms, though anyone deciding to do so would have to submit “containment plans” to the state. Two cities in Orange County, which has been involved in a back-and-forth with Sacramento over his order last week closing all state and local beaches in OC, have been cleared to reopen their beaches after they submitted plans to the state last week for how they’d reopen the beaches while safely controlling crowds.

Guests:

Erika Ritchie, reporter for the Orange County Register covering South Orange County Coastal Communities; she tweets @lagunaini

Donald Wagner, Orange County Supervisor, 3rd District, which includes Anaheim Hills, Irvine, Orange, Tustin, and the unincorporated canyons; former Mayor of Irvine (2016-2019); tweets @DonWagnerCA 

Bob Whalen, mayor of Laguna Beach

Karen Farrer, mayor of the City of Malibu

Robert Garcia, mayor of Long Beach; he tweets @LongBeachMayor

This content is from Southern California Public Radio. View the original story at SCPR.org.

Police and lifeguards patrol as people walk on the beach south of Newport Pier on May 3, 2020 in Newport Beach, California. ; Credit: Michael Heiman/Getty Images

After the cities of San Clemente and Laguna Beach were given the OK by state officials on Monday to reopen beaches with limited conditions, the California Natural Resources Agency gave Dana Point, Seal Beach and Huntington Beach the green light on Tuesday after approving the plans they submitted for safe reopening.

The plans vary as far as when the beach can be used, but the common thread through each is that leisure activities like sunbathing or large gatherings of people would not be allowed, and that beachgoers will be required to remain active while on the sand. 

The news comes as Orange County Supervisors voted 3-2 on Tuesday to submit a plan to submit to Sacramento that would create a set of uniform rules for reopening beaches countywide. Supervisor Lisa Bartlett spearheaded the proposal, which received pushback from Supervisors Don Wagner and Michelle Steel who argue that after being singled out by Governor Gavin Newsom last week when he ordered a “hard close” on all state and local beaches in Orange County, taking issue with the idea of the county bowing to pressure from the state.

Today on AirTalk, we’ll check back in with Supervisor Bartlett, who joined us Monday on AirTalk, to find out more about the specifics of the county’s plan to reopen its beaches.

Guest:

Lisa Bartlett, Orange County Supervisor representing the Fifth County District, which encompasses South County cities like Aliso Viejo, San Clemente, Laguna Beach, Dana Point and more; she tweets @OCSupBartlett

This content is from Southern California Public Radio. View the original story at SCPR.org.

People wait in line to receive food at a food bank on April 28, 2020 in the Brooklyn borough of New York City.; Credit: Spencer Platt/Getty Images

United States unemployment has reached record numbers with more than 30 million Americans applying for benefits in just six weeks, according to the Guardian. Economists expect the labor market to take another unprecedented blow for the month of April. 

Roughly one in five people in California's workforce have applied for initial unemployment insurance benefits, including a "staggering" 37% of workers with no more than a high school diploma. That's the estimate of a  study from the California Policy Lab that analyzed unemployment insurance claims from March 15-April 11. According to the California Economic Development Department (EDD), L.A. County's unemployment rate jumped from 4.3% in February to 6.3% in March. The state of California launched its Pandemic Unemployment Assistance program last week, giving many independent contractors their first chance to apply for benefits.But applicants have had a tough time getting through the system because of technical difficulties with the state's website.

Today on AirTalk we check in on unemployment in the state. Plus, some people are making more money through unemployment benefits than when they were working. We talk to the writer of a recent Wall Street Journal piece that looks at the challenges that presents for businesses as states look to slowly reopen. Do you have questions about unemployment across the state or the application process? Join the conversation by calling 866-893-5722. 

With files from LAist. Read more from David Wagner here. 

Guests:

Eric Morath, labor economics and policy reporter for the Wall Street Journal, he’s based in Washington D.C.; he tweets @EricMorath

George Warner, attorney in the Wage Protection Program at Legal Aid at Work, a San Francisco based nonprofit law firm that assists low-income, working families throughout California; he tweets @readerznriderz

This content is from Southern California Public Radio. View the original story at SCPR.org.

A little girl licking a spoon after stirring the cake mixture in 1935. ; Credit: Fox Photos/Getty Images

“How in the world am I going to come up with something to make dinner tonight?”

If you’ve found yourself asking this question repeatedly during the pandemic, you’re not alone. Grocery shopping complicated by COVID-19 and shortages of certain staples has meant that many who might not usually consider themselves home chefs have had no choice but to throw an apron on and do some culinary experimentation with whatever they already have in their kitchen and pantry. 

Last month on AirTalk, we tackled this issue by calling up pro chef Noelle Carter and food writer Russ Parson, both of whom are former members of the L.A. Times’ Food team, to answer your questions about how to cook with what you already have, recycle  certain foods, and even make staples that you might not be able to find in abundance right now. If you tuned in last time, you learned how to make your own pasta, how to regrow vegetables like green onions and romaine lettuce, and even what you can use as a substitute for all-purpose flour if you can’t find any at the store.

Today on AirTalk, we’re bringing Noelle and Russ back to help you out in the kitchen! If you’ve got questions about things like making or substituting ingredients, or need some ideas for what to make out of random ingredients in your fridge, join our live conversation by calling 866-893-5722.

Guests:

Noelle Carter, chef, food writer and culinary consultant for Noelle Carter Food, a website sharing recipes, cooking techniques and helpful kitchen tips for the home cook; she is the former director of the Los Angeles Times Test Kitchen; she tweets @noellecarter

Russ Parsons, former food editor and columnist for The Los Angeles Times for more than 20 years; he is the author of two cookbooks: “How To Pick A Peach” and “How To Read A French Fry”; he tweets @Russ_Parsons1

This content is from Southern California Public Radio. View the original story at SCPR.org.

US Secretary of Education Betsy DeVos.; Credit: BRENDAN SMIALOWSKI/AFP via Getty Images

The U.S. Education Department on Wednesday finalized campus sexual assault rules that bolster the rights of the accused, reduce legal liabilities for schools and colleges, and narrow the scope of cases schools will be required to investigate.  

The change announced by Education Secretary Betsy DeVos reshapes the way the nation’s schools respond to complaints of sexual misconduct. It is meant to replace policies from the Obama administration that DeVos previously revoked, saying they pressured schools to deny the rights of accused students. “Today we release a final rule that recognizes we can continue to combat sexual misconduct without abandoning our core values of fairness, presumption of innocence and due process," she said. "This empowers survivors with more tools than ever before." Democrats and education groups had asked DeVos to delay any changes until after the coronavirus pandemic, saying colleges don’t have time to implement new federal rules while they respond to the crisis.

The new rules appear to be consistent with much of what was originally proposed in 2018, but also set a more specific definition of what constitutes sexual assault and require that colleges and universities hold live hearings during which the victim and defendant would be allowed to cross-examine one another. K-12 schools have the option to hold live hearings as well, though it is not required. In order for a school to be found legally liable under the new rules, there would need to be evidence that the school was “deliberately indifferent” in following directives for providing resources for the victim and investigating the complaint fairly. 

Today on AirTalk, we’ll debate the finalized rules and talk about the practical and legal implications for students, schools and administrators.

With files from the Associated Press

Guests:

Jenna Parker, partner at Hathaway Parker based in Los Angeles; she specializes in Title IX cases and has represented  students and others accused of sexual misconduct

Michele Dauber, professor of Law and Sociology at Stanford University; chair of the “Enough is Enough Voter Project,” a political action committee that advocates for making violence against women a voting issue; she helped revise Stanford’s policy on sexual assault; she tweets @mldauber

This content is from Southern California Public Radio. View the original story at SCPR.org.

The temperature of a Bolivian child is measured in front of Bolivian embassy during a demonstration requesting repatriation on April 28, 2020 in Santiago, Chile. ; Credit: Marcelo Hernandez/Getty Images

As of Wednesday afternoon, L.A. County has at least 1,367 deaths and 28,646 confirmed cases of coronavirus. Meanwhile, parts of the state are slowly reopening some industries. 

Certain businesses and recreational spaces in Los Angeles County will be allowed to reopen beginning Friday, county officials announced at a media briefing. Those include hiking trails, golf courses, florists, car dealerships and certain retail stores. School districts continue to work through challenges as they consider how to reopen. Kids and teens are coming down with an inflammatory syndrome that experts believe could be linked to COVID-19, NPR News reports. Today on AirTalk, we get the latest on the pandemic with a noted physician, plus we’ll look at the expanding list of symptoms associated with the coronavirus. Are you a parent who has questions about the virus and kids? We want to hear from you. Join the conversation by calling 866-893-5722. 

With files from LAist

Guest:

Richard Jackson, M.D., pediatrician, epidemiologist and professor emeritus at the UCLA Fielding School of Public Health, he’s served in many leadership positions with the California Health Department, including as the State Health Officer, for nine years he served as director of the CDC’s National Center for Environmental Health

This content is from Southern California Public Radio. View the original story at SCPR.org.

Home State restaurant sells groceries to stay afloat in reaction to the coronavirus on April 16, 2020 in Los Angeles, California. ; Credit: Amy Sussman/Getty Images

This Friday, California will take the first steps toward easing its statewide stay-at-home order.

In Stage 2 of Newsom’s reopening plan, lower risk workplaces like schools, childcare facilities, retail businesses (curbside pickup) and offices where working remotely is not possible will be allowed to reopen. For counties and cities, the reopening will be slightly adjusted according to regional demands. Los Angeles Mayor Eric Garcetti has announced that some low risk businesses will be allowed to reopen this Friday, as will city-owned hiking trails and golf courses (excluding Runyon Canyon). In Orange County, many beaches have already been reopened. The county has also seen some businesses open up in defiance of Governor Newsom’s stay-at-home order.

Today, California restaurants are submitting a plan to Governor Newsom to reopen sit-down service with safeguards.Under these guidelines, only family members or people who live together would sit at the same table. Buffets, salad bars and shared bread baskets would be out. Salt and pepper shakers could be replaced by bottles of hand sanitizer. And meals could arrive from food servers sheathed in face masks.

What will the partial reopening look like in Southern California? And how will reopening progress in the weeks ahead? We speak with an epidemiologist, restaurant industry advocate, barber and hair salon advocate and economics commentator to learn more.

With files from the Associated Press

Guests:

Richard Jackson, M.D., pediatrician, epidemiologist and professor emeritus at the UCLA Fielding School of Public Health, he’s served in many leadership positions with the California Health Department, including as the State Health Officer, for nine years he served as director of the CDC’s National Center for Environmental Health

Jot Condie, president & CEO of the California Restaurant Association, an advocacy organization for the restaurant industry that has submitted an reopening plan for the restaurant industry today to Governor Gavin Newsom

Ted D. Nelson, president and CEO of the Professional Beauty Federation of California, which represents barbers and salon professionals; the organization says it will sue California Governor Gavin Newsom this week over the statewide stay-at-home order

Greg Ip, chief economics commentator for the The Wall Street Journal; he tweets @greg_ip

This content is from Southern California Public Radio. View the original story at SCPR.org.

Two security guards talk on the campus of the closed McKinley School, part of the Los Angeles Unified School District (LAUSD) system, in Compton, California, just south of Los Angeles, on April 28, 2020. ; Credit: ROBYN BECK/AFP via Getty Images

With schools still closed amid the coronavirus pandemic, and remote learning continuing for the rest of the school year, the question of when the fall semester might begin (and what it will look like) is looming large for administrators, teachers, parents and students. 

L.A. Unified Superintendent Austin Beutner says no decisions have been made about whether the fall semester — still officially scheduled to start on August 18 — will involve students returning to classrooms or continuing to work remotely. 

What has been decided, as of this week, is that online summer school will be offered to every LAUSD student for the first time ever. It's an alternative to the idea that Governor Gavin Newsom floated last Tuesday, when he said that California schools might start the 2020-21 school year, in person, as early as July, with some physical distancing and safety measures in place.

While the idea of an early start to the school year took many school districts by surprise, Newsom said it was a concern about a "learning loss" that's happened with the switch to online teaching, with some students lacking access to devices and the internet, that led him to propose the idea.

What could reopening look like when it does eventually begin to happen? Ideas include staggered school schedules and alternatives to school activities that are essentially group gatherings — like assemblies, recess, and PE. But before any in-person learning resumes, even in a modified form, Beutner and Newsom say several requirements must be met.

Guests:

Debra Duardo, Los Angeles County Superintendent of Schools; she tweets @DebraDuardo

Karin Michels, epidemiologist; chair and professor of the Department of Epidemiology at UCLA’s Fielding School of Public Health

Paul von Hippel, associate professor of Public Affairs at the University of Texas, Austin; he tweets @PaulvonHippel

This content is from Southern California Public Radio. View the original story at SCPR.org.

Chef Chun Lei (l.) and restaurant owner Charles Lu (r.) in the kitchen of Shanghailander Palace in Arcadia.; Credit: Josie Huang/KPCC

This content is from Southern California Public Radio. View the original story at SCPR.org.

A decade-by-decade display of how many active gas storage wells are still in use by Southern California Gas Company. Source: Division of Oil, Gas and Geothermal Resources and SoCalGas; Credit: Aaron Mendelson/KPCC

The Aliso Canyon gas leak broke out near Porter Ranch nearly four years ago. On Tuesday a City Councilman called for an investigation of a different underground gas field after troubling images surfaced on video. 

The video uses a special infrared camera to show a duck swimming in the Ballona Wetlands amid bubbles of gas. An environmental advocacy group, Food and Water Watch, says the gas is methane.  They released the video this week to push for the city to investigate the underground gas storage field in nearby Playa del Rey.

Southern California Gas Co. says the gas surfacing in the wetlands is naturally occurring and unrelated to its underground natural gas storage field in Playa del Rey.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: Lita Martinez/KPCC

Somewhere in the ocean off Southern California, there's an effort underway to help the endangered white abalone make a comeback.

Their numbers have been decimated by decades of overfishing and disease - but a project to revive the species recently hit a critical milestone.

In a secret spot off the greater Los Angeles coast, thousands of the shellfish that were born and painstakingly raised in tanks are now getting their first taste of freedom.

This content is from Southern California Public Radio. View the original story at SCPR.org.

A Southern California Edison sign outside the San Onofre Nuclear Plant.; Credit: Grant Slater/KPCC

Large utilities cut off power to millions of Californians over the past two months to reduce the risk that power lines might spark new fires. Nearly 200,000 Southern California Edison customers were blacked out, some for days at a time. These public safety power shutoffs mean that many rural residents lose a lot more than just their electricity. 

This content is from Southern California Public Radio. View the original story at SCPR.org.

The engineered Dominguez Gap Wetlands in Long Beach filters stormwater and runoff from the Los Angeles River, then the water is siphoned under the river to a spreading ground to the west.; Credit: Sharon McNary/KPCC

Angelenos are used to looking up Heal the Bay's annual beach water quality report card each May as we search out the cleanest places to swim and surf.

Now, the environmental advocacy group is focusing on a new target — the often polluted water that flows into the ocean from the mountains and across the L.A. Basin.

In a first-ever report, it concludes the managers of 12 watersheds from Malibu to Long Beach are making too little progress toward cleaning up this major source of pollution in the Pacific.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Levi Draheim, 11, wears a dust mask as he participates in a demonstration in Miami in July 2019. A lawsuit file by him and other young people urging action against climate change was thrown out by a federal appeals court Friday.; Credit: Wilfredo Lee/AP

A federal appeals court has dismissed a lawsuit brought by nearly two dozen young people aimed at forcing the federal government to take bolder action on climate change, saying the courts were not the appropriate place to address the issue.

A three-judge panel of the 9th U.S. Circuit Court of Appeals said Friday the young plaintiffs had "made a compelling case that action is needed," but they did not have legal standing to bring the case.

The lawsuit, Juliana v. United States, was filed in 2015 on behalf of a group of children and teenagers who said the U.S. government continued to use and promote the use of fossil fuels, knowing that such consumption would destabilize the climate, putting future generations at risk.

By doing so, the plaintiffs argued, the U.S. government had violated their constitutional rights to life, liberty and property.

Judge Andrew D. Hurwitz agreed with some of that assertion, writing in a 32-page opinion that "the federal government has long promoted fossil fuel use despite knowing that it can cause catastrophic climate change."

But, he continued, it was unclear if the court could compel the federal government to phase out fossil fuel emissions and draw down excess greenhouse gas emissions as the plaintiffs requested.

"Reluctantly, we conclude that such relief is beyond our constitutional power," Hurwitz wrote, "Rather, the plaintiffs' impressive case for redress must be presented to the political branches of government."

The decision reversed an earlier ruling by a district court judge that would have allowed the case to move forward.

Philip Gregory, who served as co-counsel for the plaintiffs, strongly disagreed with the 2-1 ruling, saying in an interview with NPR that they would seek an "en banc petition," which would put the issue before the full 9th Circuit for review.

Gregory, who spoke to some of the young plaintiffs following the decisions, says they were hopeful that their pending petition will be considered, "because as we all know, this Congress and this President will do nothing to ameliorate the climate crisis."

Both the Trump and Obama administrations opposed the lawsuit. All three of the judges involved in Friday's ruling were appointed under Obama.

Hurwitz and Judge Mary Murguia made up the majority but the third, Judge Josephine L. Staton, wrote a blistering dissent.

"In these proceedings, the government accepts as fact that the United States has reached a tipping point crying out for a concerted response — yet presses ahead toward calamity," she wrote. "It is as if an asteroid were barreling toward Earth and the government decided to shut down our only defenses."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Opah fish are hauled onto a dock for sale last week in San Diego. Fishermen coming home to California after weeks at sea are finding strict anti-coronavirus measures, and nowhere to sell their catch.; Credit: Gregory Bull/AP

Commercial fishermen in the U.S. who have already faced challenges in recent years to make it in an increasingly globalized and regulated industry, are now struggling to find customers during the coronavirus crisis.

"This is totally unprecedented. This is the biggest crisis to hit the fishing industry ever, no question about that," Noah Oppenheim, executive director of The Pacific Coast Federation of Fishermen's Associations told NPR in a phone interview. The federation is a trade association representing commercial fishermen along the West Coast.

On Tuesday, seafood industry leaders, processors and fishermen sent a letter to House and Senate leaders requesting $4 billion in aid for the industry.

The closings of restaurants due to the coronavirus pandemic has hit commercial fishermen particularly hard.

An estimated 50% to 60% of wild seafood caught in the U.S. is exported, says Oppenheim. Those international markets have dried up. He says, of the seafood that's not exported, around 80% of that is sold to restaurants.

"Both of those sectors of the seafood economy are largely nonfunctional at the moment, so we're going to have to make up for approximately 90% of our markets ... through either new supply pipelines or new sets of customers."

Jerid Rold, a fishermen in Moss Landing, Calif., tells NPR, he's been out of work for a month, since South Korea stopped taking imports of hagfish. Further damaging profits, Dungeness crab prices on the West Coast have fallen from up to $7 dollars a pound to $2, says Oppenheim.

In Eureka, Calif., "there are no buyers purchasing products at the harbor there. You can't move the Dungeness crab out of the Humboldt bay," Oppenheim said. "It's actually extraordinary how similar these impacts are playing out across the country. They are palpable, they are profound and they are severe."

On the North Atlantic coast, Sam Rosen, a 30-year-old lobsterman based in Vinalhaven, Maine, said he and others are "selling lobster for amounts they shouldn't be sold for."

That's been close to $2.50 a pound, compared to a usual $10 a pound this time of year, Rosen said.

"It's definitely a shock to the system," Rosen said. "This is uncharted territory right now. I don't think anyone thought it was going to be as bad as it's getting."

If aid isn't provided to fishermen soon, "I think we could see hundreds to thousands of fishermen leave the industry nationwide," Oppenheim said.

This content is from Southern California Public Radio. View the original story at SCPR.org.

Several countries around the world are emitting less carbon due to the pandemic slowdown, but the climate will continue to warm.; Credit: Andy Buchanan/AFP via Getty Images

With the dramatic reduction in car traffic and commercial flights, carbon emissions have been falling around the globe. If the slowdown continues, some are estimating the world could see the largest drop in emissions in the last century.

Still, overall greenhouse gas emissions in the atmosphere are still going up and the decline will likely be smaller than what scientists say is necessary to avoid the worst impacts of climate change.

So far, the effects are just starting to appear. In China, the first country to lock down, greenhouse gas emissions dropped an estimated 25% in February as factories and industrial producers slowed output. That decreased coal burning, which has come back slowly since then.

"A month or two of shelter in place will drop carbon dioxide emissions a few percent here or there, but it won't change the year substantially unless we stay like this for some time," says Rob Jackson, environmental scientist at Stanford University.

The declines are still too small to be read by greenhouse gas observatories around the world, like the one on top of the Mauna Loa volcano in Hawaii, given the natural changes in atmosphere this time of year. Because much of the Earth's land mass is in the northern hemisphere, plants and forests there cause carbon levels to fluctuate as they bloom in the spring, drawing carbon dioxide from the air.

If countries continue shelter-at-home orders, emissions declines could be greater. The U.S. Energy Information Administration estimates U.S. emissions from gas and energy use could drop more than 7% this year, similar to a 2009 decline during the financial crisis.

Worldwide, early estimates put global emissions dropping around 4%. Still, that's less than the 7.6% the U.N. says is needed to avoid the worst impacts of climate change by limiting warming to 1.5 degrees Celsius.

To achieve those cuts, scientists say more fundamental changes are needed, like switching to renewable energy.

"This isn't the way we want to reduce our fossil fuel emissions," says Jackson. "We don't want tens of millions of people being out of work as a path to decarbonizing our economy. We need systemic change in our energy infrastructure and new green technologies."

Still, Jackson says the recent changes are providing useful insights.

"It's as if a third of the cars on the road were suddenly electric, running on clean electricity and the air pollution is plummeting," says Jackson. "It's really a remarkable experiment and it shows the benefits of clean energy."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Los Angeles City Attorney Mike Feuer, seen here in 2017, says his office has reached a settlement with a company that had been selling at-home tests for the coronavirus. The Food and Drug Administration says it has not authorized any at-home tests.; Credit: Christopher Weber/AP

Mike Feuer, the city attorney of Los Angeles, announced on Monday that his office had "filed a civil law enforcement action against, and achieved an immediate settlement with," a company that had been "illegally selling" an at-home test for the coronavirus.

The Food and Drug Administration has stated that the agency "has not authorized any test that is available to purchase for testing yourself at home for COVID-19."

But in March, Yikon Genomics Inc. offered a coronavirus test for sale online, claiming that the test could be performed "using a simple at-home finger stick blood sample." The company offered tests for $39 each and, in a since-deleted tweet, stated, "Our COVID-19 Test Kit is now FDA APPROVED!"

Yikon's "unlawful, unfair, and fraudulent business acts or practices," the LA city attorney alleged in the lawsuit against the company, "present a continuing threat to members of the public."

At a news conference, Feuer said that FDA validation of tests is crucial because an inaccurate result could lead someone infected with the coronavirus to "unknowingly expose others."

Under the settlement between Yikon and LA authorities, the company agreed to stop marketing or selling home test kits unless they receive FDA approval. Yikon also agreed to provide refunds to anyone who purchased its test kits, though Feuer said it's unclear how many tests were sold.

Yikon Genomics released a statement saying it "is committed to complying with all state & federal laws and regulations regarding the marketing & sale of medical devices. We intend to pursue FDA approval for the market & sale of COVID-19 test kits, which we hope will aid in mitigating this global health crisis."

The Trump administration has said it will "aggressively" prosecute cases of fraud related to the pandemic, and state attorneys general have also pledged to take legal action against scams around the country.

In LA, Feuer said his office continues to investigate other companies' sales of unapproved test kits.

"This is not an isolated incident," Feuer said, noting that his office separately sent a cease-and-desist letter to the California-based Wellness Matrix Group, which, as NPR first reported, had also been offering "at-home" test kits for sale.

"Whenever consumers are motivated in part by fears," the city attorney's office stated in its lawsuit against Yikon, "they are particularly vulnerable to fraudsters, scammers, and 'snake oil' hucksters and charlatans."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Updated at 10 p.m. ET

Australia's High Court has found reasonable doubt that Cardinal George Pell sexually assaulted two boys in the 1990s and has overturned his conviction.

The court acquitted the former Vatican treasurer of the charges, and no retrial will be possible.

Pell, 78, had been serving a six-year prison sentence in the case. The High Court ordered that he be released.

He was convicted of sexually abusing two 13-year-old choirboys at St. Patrick's Cathedral in Melbourne.

As an adult, one of them went to the police in 2015 and accused the cardinal of abusing him and the other boy in 1996. The other individual died of a heroin overdose the previous year without reporting abuse.

In a statement after the acquittal, as reported by Reuters, Pell said, "I hold no ill will toward my accuser, I do not want my acquittal to add to the hurt and bitterness so many feel; there is certainly hurt and bitterness enough."

Pell was convicted in 2018 and an appellate court upheld those convictions last year.

The Australian Catholic Bishops Conference's comments on the acquittal recognize that the outcome will be good news for some people and "devastating for others."

"The result today does not change the Church's unwavering commitment to child safety and to a just and compassionate response to survivors and victims of child sexual abuse. The safety of children remains supremely important not only for the bishops, but for the entire Catholic community. Any person with allegations of sexual abuse by Church personnel should go to the police."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Two judges appointed by President Trump to the District of Columbia Circuit Court of Appeals prevailed Tuesday in a ruling that clears the way for the executions of four inmates.

The only dissenter in the 3-2 ruling was Judge David Tatel, an appointee of former President Bill Clinton. The judges were reviewing a lower court's injunction that had blocked the scheduled executions.

The decision was seen as a win for Trump's Justice Department, which issued new guidelines last July that would have allowed the federal government to carry out its first executions in 16 years.

The fates of the four men remain unresolved because their death sentences were sent back to the lower court for further proceedings.

In December, the U.S. Supreme Court declined the Justice Department's request to vacate the lower court's injunction that scuttled the planned executions.

At issue is the question of whether the condemned men should be put to death by the injection of only one barbiturate — pentobarbital — as called for in the Justice Department's July 2019 memo.

Many of the 28 states where the death penalty is still legal require a lethal injection cocktail containing not one but three barbiturates. Those states include Indiana, where the scheduled executions were to take place.

Pharmaceutical companies have stopped producing at least one of the three drugs used in that lethal mixture, and several botched executions have resulted from some states using untested formulas.

The 1994 Federal Death Penalty Act calls for executions to be carried out "in the manner prescribed by the law of the State in which the sentence is imposed."

Judge Gregory Katsas argues in his majority opinion that the "manner prescribed" simply refers to the method of execution rather than the protocols each state follows in carrying out each kind of execution.

"The government says that 'manner' here means 'method'," Katsas writes, "such that the FDPA regulates only the top-line choice among execution methods such as hanging, electrocution, or lethal injection. In my view, the government is correct."

Judge Neomi Rao, in a concurring opinion, argues that while the word "manner" refers not only to the method of execution, it cannot be interpreted in isolation. "It is a broad, flexible term," she says, "whose specificity depends on context."

In his dissent, Tatel says the best understanding of the 1994 statute is that it "requires federal executions to be carried out using the same procedures that states use to execute their own prisoners.

"Had Congress intended to authorize the Attorney General to adopt a uniform execution protocol," Tatel argues, "it knew exactly how to do so."

This content is from Southern California Public Radio. View the original story at SCPR.org.

Texas Gov. Greg Abbott signed an executive order banning all elective medical procedures, including abortions, during the coronavirus outbreak. The ban extends to medication abortions.; Credit: Eric Gay/AP

Governors across the country are banning elective surgery as a means of halting the spread of the coronavirus. But in a handful of states that ban is being extended to include a ban on all abortions.

So far the courts have intervened to keep most clinics open. The outlier is Texas, where the U.S. Court of Appeals for the Fifth Circuit this week upheld the governor's abortion ban.

Four years ago, Texas was also the focus of a fierce legal fight that ultimately led to a U.S. Supreme Court ruling in which the justices struck down a Texas law purportedly aimed at protecting women's health. The court ruled the law was medically unnecessary and unconstitutional.

Now Texas is once again the epicenter of the legal fight around abortion. In other states--Ohio, Iowa, Alabama, and Oklahoma--the courts so far have sided with abortion providers and their patients.

Not so in Texas where Gov. Greg Abbott signed an executive order barring all "non-essential" medical procedures in the state, including abortion. The executive order was temporarily blocked in the district court, but the Fifth Circuit subsequently upheld the governor's order by a 2-to-1 vote, declaring that "all public constitutional rights may be reasonably restricted to combat a public health emergency."

"No more elective medical procedures can be done in the state because of the potential of needing both people ... beds and supplies, and obviously doctors and nurses," said Texas Attorney General Ken Paxton in an interview with NPR.

'Exploiting This Crisis'

Nancy Northrup, CEO of the Center for Reproductive Rights, sees things very differently. "It is very clear that anti-abortion rights politicians are shamelessly exploiting this crisis to achieve what has been their longstanding ideological goal to ban abortion in the U.S.," she said.

Paxton denies that, saying Texas "is not targeting any particular group."
The state's the "only goal is to protect people from dying," he said.

Yet the American Medical Association just last week filed a brief in this case in support of abortion providers, as did 18 states, led by New York, which is the state that has been the hardest hit by the coronavirus.

They maintain that banning abortion is far more dangerous,because it will force women to travel long distances to get one. A study from the Guttmacher Institute found that people seeking abortions during the COVID-19 outbreak would have to travel up to 20 times farther than normal if states successfully ban abortion care during the pandemic. The AMA also notes that pregnant women do not stop needing medical care if they don't get an abortion.

Northrup, of the Center for Reproductive Rights, sees this as more evidence that the ban is a calculated move by the state: what "puts the lie to this is the fact that they're trying to ban medication, abortion as well; that's the use of pills for abortion.

"Those do not need to take place in a clinic and they can be done, taken effectively by tele-medicine. So it shows that the real goal here, tragically, is shutting down one's right to make the decision to end the pregnancy, not a legitimate public health response."

'I Was Desperate'

Affidavits filed in the Texas case tell of harrowing experiences already happening as the result of the Texas ban. One declaration was filed by a 24-year-old college student. The week she lost her part-time job as a waitress, she found out she was pregnant. She and her partner agreed they wanted to terminate the pregnancy, and on March 20 she went to a clinic in Forth Worth alone; because of social distancing rules, her partner was not allowed to go with her.

Since she was 10 weeks pregnant, still in her first trimester, she was eligible for a medication abortion. Under state law, she had to wait 24 hours before getting the pills at the clinic, but the night before her scheduled appointment, the clinic called to cancel because of Abbott's executive order.

He partner was with her and we "cried together," she wrote in her declaration. "I couldn't risk the possibility that I would run out of time to have an abortion while the outbreak continued," and it "seemed to be getting more and more difficult to travel."

She made many calls to clinics in New Mexico and Oklahoma. The quickest option was Denver--a 12-hour drive, 780-mile drive from where she lives. Her partner was still working, so her best friend agreed to go with her. They packed sanitizing supplies and food in the car for the long drive and arrived at the Denver Clinic on March 26, where she noticed other cars with Texas plates in the parking lot, according to the affidavit.

At the clinic, she was examined, given a sonogram again, and because Colorado does not have a 24-hour waiting requirement, she was given her first abortion pill without delay and told she should try to get home within 30 hours to take the second pill.

She and her friend then turned around to go home. They were terrified she would have the abortion in the car, and tried to drive through without taking breaks. But after six hours, when it turned dark they were so exhausted they had to stop at a motel to catch some sleep. The woman finally got home and took the second pill just within the 30-hour window.

She said that despite the ordeal she was grateful she had the money, the car, the friend, and the supportive partner with a job, to make the abortion possible. Others will not be so lucky, she wrote. But "I was desperate and desperate people take desperate steps to protect themselves."

A 'Narrative' Of Choice

Paxton, the Texas attorney general, does not seem moved by the time limitations that pregnancy imposes, or the hardships of traveling out of state to get an abortion. He told NPR "the narrative has always been 'It's a choice' ... that's the whole narrative. I'm a little surprised by the question, given that's always been the thing."

On Thursday abortion providers and their patients returned to the district court in Texas instead of appealing directly to the U.S. Supreme Court to overturn the Fifth Circuit's ruling from earlier this week. The district court judge, who originally blocked the governor's ban, instead narrowed the governor's order so that medical abortions--with pills--would be exempt from the ban, as well as abortions for women who are up against the state-imposed deadline. Abortions in Texas are banned after 22 weeks.

In the end, though, this case may well be headed to the U.S. Supreme Court. And because of the addition of two Trump appointees since 2016--the composition of the court is a lot more hostile to abortion rights.

This content is from Southern California Public Radio. View the original story at SCPR.org.

; Credit: J. Scott Applewhite/AP

What does the right to a unanimous jury verdict have to do with abortion, or school prayer, or federal environmental regulations? Stay tuned.

The U.S. Supreme Court Monday struck down state laws in Louisiana and Oregon that allowed people accused of serious crimes to be convicted by a non-unanimous jury vote. The 6-to-3 decision overturned a longstanding prior ruling from 1972, which had upheld such non-unanimous verdicts in state courts.

And these days, any decision to overturn a longstanding precedent rings the alarm bells in the Supreme Court.

In the short run, Monday's decision was a victory for Evangelisto Ramos, who in 2016 was convicted of second-degree murder by a jury vote of 10-to-2 in Louisiana.

Only two states--Louisiana and Oregon--had provisions allowing non-unanimous verdicts, and Louisiana just recently changed its law to be like those in 48 other states and the federal government.

Justice Neil Gorsuch, writing for the majority, laid out the history behind the laws in both states. Gorsuch noted that the measure was first added to the Louisiana state constitution in 1898, after the Supreme Court ruled that racial minorities could not be barred from juries; that same year, Louisiana added the non-unanimous jury provision to its state constitution as part of a package of amendments that deliberately made it difficult for black citizens to vote or otherwise participate meaningfully in the state's governance. Specifically, Gorsuch said, the non-unanimous jury provision was a way to ensure that even if one or two African Americans made it on to a jury, their participation would be "meaningless."

The adoption of the non-unanimous jury rule in Oregon, Gorsuch wrote, "can similarly be traced to the rise of the Ku Klux Klan and efforts to dilute the influence of racial and ethnic and religious minorities on Oregon juries."

Despite these state provisions, there has never been any dispute that the unanimous jury requirement applies to the federal government. The question in this case was whether that aspect of the Sixth Amendment right to a jury trial applied to the states as well.

Over the last 75 years or so, the court has applied just about every other provision of the Bill of Rights to the states, but in 1972 it deviated from that practice, declining to apply the unanimous jury requirement in a similar fashion.

On Monday, however, the 1972 decision came tumbling down. The six-justice court majority — composed of conservatives and liberals — said the earlier ruling was a mistake.

The decision, written by the conservative Gorsuch, was joined in whole or in part by liberal Justices Ruth Bader Ginsburg, Stephen Breyer, Sonia Sotomayor, and conservative Justice Brett Kavanaugh. Justice Clarence Thomas, another conservative, agreed with the result, but on entirely different grounds.

Writing for the dissenters, Justice Samuel Alito — joined by Chief Justice John Roberts and for the most part, Justice Elena Kagan — maintained that the principle of adhering to precedent should be followed in this case because to do otherwise would require "a potentially crushing" number of new trials for people currently imprisoned under the old rule.

"Where is the justice in that?" replied Justice Gorsuch. "Not a single member of this court" is prepared to say that the 1972 decision was correct, he noted. "Every judge must learn to live with the fact that he or she will make mistakes ... But it is something else entirely to perpetuate" a wrong "only because we fear the consequences of being right."

The consequences of Monday's decision will likely be felt more in Louisiana, which allowed non-unanimous verdicts for more serious crimes than Oregon. The court's decision will require retrials for any prisoner who still has appeals pending.

There are about 100 of those cases in Louisiana, says Jamila Johnson, the managing attorney at the Promise of Justice Initiative, which represented Ramos. But there are also at least 1,700 prisoners in the state who might qualify for a new trial if the court eventually holds that Monday's decision is retroactive.

The high court left that question open for another day.

Altogether the majority, concurring, and dissenting opinions totaled a whopping 86 pages and reflected an important subtext--divergent views about when the court should follow its usual rule of adhering to precedent and when it should not.

It's important because, the new ultra-conservative court majority has very different views than the courts of the last 75 years on topics as diverse as abortion, voting rights, federal regulation, and the clash between religious views and generally applicable laws.

"The court's views about when it's OK to overrule prior precedent have always been more about the eye of the beholder than they have been about a rule that is easy or straightforward to apply," says Deborah Pearlstein, professor and co-director of the Floersheimer Center for Constitutional Democracy at Cardozo School of Law. Ultimately, she said, "all of these major questions that are coming before the court are going to be fought along these lines."

This content is from Southern California Public Radio. View the original story at SCPR.org.