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

Bob Mould, Here We Go Crazy
Explicitly pitched as a response to the unrest of early 2025, the former Hüsker Dü leader’s first album in five years continues to confidently summon instant-earworm hooks and visceral thrills.

Vundabar, Surgery and Pleasure
The infectious Boston trio’s sixth album adds some complexity to their signature jangle with darker, rougher textures, though its lyrics don’t always live up to the music’s maturity level.

Alabaster DePlume, A Blade Because a Blade Is Whole
Informed by the dualities of harm and healing, the English saxophonist and poet weaves a tapestry of sounds—spiritual jazz, folk, classical, and beyond—into a potent missive of grace.
Lizzie Logan

We come to the third best, cousincest “Godfather” before the day of its 30th anniversary.

Revisiting Joe Wright’s 2005 adaptation—with its too-attractive Elizabeth and .gif-able hand flex—fifteen years later.

A scientific investigation into the cinematic dad rock tune that would not die.

Looking back on fifteen years of Cameron Crowe’s half-baked rom-com and, of course, the “Manic Pixie Dream Girl” trope.

How three monumental events in 2020 have reshaped the race-conscious Disney favorite on its 20th anniversary.

Recently revived by Netflix, we revisit the original 1995 hangout movie for its 25th anniversary.

Revisiting the rom-com—which is problematic for reasons you might not expect—fifteen years later.

Less profound than personal, we revisit Miranda July’s debut feature 15 years later.

Love it or hate it, this “SNL” adaptation is unquestionably unpleasant to watch with your dad.

Re-re-revisiting the comedy classic in the era of quarantine.

The songwriter bridges the gap between character and audience in “Bridesmaids” and Hustlers.”

Noah Baumbach’s prickliest film turns ten.

Guess who’s coming to the foreign exchange program? A DCOM, 20 years later.

Fifteen years later, “Phantom” joins the tradition of bad movies that feel good to hate.

On the tenth anniversary of the actress’ untimely death, her legacy lives on—though not as potently as it should.

Twenty years later, we reconsider the deceit, intrigue, and blame at the center of Anthony Minghella’s film.

These are the Disney Channel Original Movies that need to be seen to be believed.

The romance-fantasy-biopic-drama about J.M. Barrie and the creation of Peter Pan turns fifteen.

Spike Jonze’s melancholy adaptation of Maurice Sendak children’s book turns ten.

The downer fable about unhappy white people turns twenty.