With 232 pages and an expanded 12″ by 12″ format, our biggest print issue yet celebrates the people, places, music, and art of our hometown, including cover features on David Lynch, Nipsey Hussle, Syd, and Phoebe Bridgers’ Saddest Factory Records, plus Brian Wilson, Cuco, Ty Segall, Lord Huron, Remi Wolf, The Doors, the art of RISK, Taz, Estevan Oriol, Kii Arens, and Edward Colver, and so much more.




Photo by Michael Muller. Image design by Gene Bresler at Catch Light Digital. Cobver design by Jerome Curchod.
Phoebe Bridgers makeup: Jenna Nelson (using Smashbox Cosmetics)
Phoebe Bridgers hair: Lauren Palmer-Smith
MUNA hair/makeup: Caitlin Wronski
The Los Angeles Issue

Kronos Quartet + Mary Kouyoumdjian, Witness
Recorded in remembrance of the victims of the Armenian genocide, the quartet’s work with the documentarian-composer is at turns gorgeous, brutal, and awe-stricken.

Rebecca Black, Salvation
An intoxicating blend of Y2K aesthetics and bubblegum pop, Black’s second album is a celebration of her musical evolution from internet laughing stock to hyperpop powerhouse.

Hamilton Leithauser, This Side of the Island
The Walkmen vocalist finds an exquisite balance of raspy, lounge-lizard crooning and angsty art-rocking on a solo album full of distressed lyricism and black humor.
James Charisma

Pick your battlefield.

He shared some insights as to how the streaming service stays above the current in a changing media landscape.

The cult podcast covering true crime, conspiracy theories, and all things spooky looks ahead to a new book and more live shows.

“The Matrix” made computers cool twenty years ago. “Wick” reminds us how unnecessary they are in making a quality action film.

Zack Snyder’s too-faithful adaptation was a harbinger of things to come—not for ’80s nuclear fears, but for meltdowns by die-hard fanatics.

Forget lusting after your mother or escaping Arnold Schwarzeneggers from the future.

The comics legend talks the future of the medium, twenty-five years of “Spawn,” and creating an upcoming film with the producers of “Get Out.”

As we continue to spin out of control in an era of endless sequels and spinoffs, it’s worth taking a look back on an epic year of science-fiction movies—and remembering what made them so damn good.