Best of the City: The 11 best things Time Out L.A. editors saw and did in 2025

Most Angelenos don’t need to be convinced of the immoralities of the Confederacy—but they most likely haven’t been forced to come face-to-face with such towering Civil War iconography either. “Monuments,” displayed almost entirely at MOCA’s Little Tokyo warehouse, with a single Kara Walker installation at the Brick in East Hollywood, presents tangible proof that these monuments removed from public view over the past decade were not simple, somber remembrances for the recently deceased, these were larger-than-life celebrations of the Confederacy forged in the Jim Crow era and often financed by folks seeking to twist its history.

Works from 19 artists respond either directly or thematically to the many decommissioned statues on display, or in some cases physically alter them. Other graffitied or paint-splattered statues speak for themselves: The Robert E. Lee monument at the center of 2017’s Unite the Right rally in Charlottesville, Virginia, resides here reduced to a pile of bronze ingots and a bucket of leftover slag. The matter-of-fact wall text lends context to hauntingly shot portraits of wicked people and beautifully detailed busts of complicated figures. It’s a tremendous undertaking in every sense, and—weeks after visiting, as it continues to stick with me—it’s easily 2025’s most essential exhibition. –Michael Juliano

In any given year, L.A. plays host to more music festivals, concerts and community celebrations than we can count. When considering the event that most defined the city’s 2025, however, only one seemed appropriate: FireAid. Now, almost a year out from the wildfires, many of us may feel removed from the scary scenario Angelenos faced at the start of the year—while for many other it remains a life-altering reality. But the silver lining, if you will, from the ordeal was a reminder of how resilient Angelenos are, how we support one another when it matters, and how beloved L.A. is the world over—including by musical A-listers, who showed up for the city at a benefit concert January 30 with a truly jaw-dropping lineup.

Though each artist could fill a stadium on their own merit, Billie Eilish, Green Day, Joni Mitchell, Lady Gaga, Red Hot Chili Peppers, Olivia Rodrigo, Stevie Wonder, Sting, P!nk and a reunited No Doubt were just some of the headliners who joined forces for the one-night-only show spread across the neighboring stages of the Kia Forum and Intuit Dome. And the gathering of so much legendary talent provided a platform for some memorable musical moments, from Billie Eilish and Billie Joe Armstrong opening the show together to Lady Gaga debuting a new song for the occasion to a Nirvana reunion of sorts, with St. Vincent, Kim Gordon and Joan Jett filling in for Kurt Cobain. In all, over 50 million viewers tuned in online, and FireAid ended up raising an estimated $100 million for wildfire relief. In the midst of such a terrible time, the concert was a balm of love and support the city needed. –Gillian Glover

L.A.’s theater scene often gets overlooked. We have a wealth of independent theater companies, but when it comes to welcoming Tony-nominated productions, the city is far from the first stop on the list. Case in point: Harry Potter and the Cursed Child finally arrived at the Pantages this year—just, oh, nine years after it first graced stages in London, followed by runs in Broadway, San Francisco and Chicago. Which is why the arrival of this theatrical adaptation of the Paranormal Activity franchise to the Ahmanson Theatre was so buzzworthy (not to mention that its horror genre seemed like an interesting departure from the Center Theatre Group venue’s typical fare). On the heels of its North American premiere earlier this year in Chicago, the play opened in Downtown in November—before its West End or Broadway debut—to great acclaim.

Paranormal Activity is directed by Felix Barrett, who was behind the famed immersive New York City production Sleep No More, while the illusions are from the mind of Tony winner Chris Fisher, who also lent his talents to Cursed Child and Stranger Things: The First Shadow. The play features an original story by Levi Holloway about American newlyweds who move to London for a fresh start. Their troubles follow them across the pond, though, where their new house appears to be haunted. An impressive two-story set design—the stage looks like a cross-section of a dollhouse—is an effective plot device, as you may spot something in an upstairs corner while the main action is taking place downstairs.

A mixture of convincing acting, sound design and special effects led to some truly scary moments that garnered loud collective gasps from the audience of 2,000. (An older couple in front of me seemed so rattled they opted to bail after intermission.) Shakespeare this is not, but if the idea of a horror play intrigues you, rest assured that there’s substance here and not only gimmicks—though the illusions alone would be worth the price of admission. The play must close December 7, but at the time of writing, there are still some tickets left for the last few performances, so snag a seat while you can. –GG

Lots of events are billed as “immersive,” but how many make you feel like you’ve been dropped into the cast of an A24 horror film? This fall I ventured far out of my comfort zone to report from the trenches of five different haunted houses. I’d heard great things about JFI Productions’ The Willows, which is more immersive theater than traditional haunt. It’s a favorite of horror aficionados and A-listers, and I can see why. The conceit: You’re one of 25 guests at a dinner party at a historic mansion (the huge house feels like a character unto itself). The intimate two-hour performance is an unsettling family drama that draws you in with a sense of anticipation that leads to some deliciously chilling moments.

You enter the experience in groups of five and embark on your own journey, meeting up with everyone for drinks and dinner. You could ostensibly attend several times and have a different narrative experience each time. The acting was excellent across the board—when I left, I half wished I could stay in touch with the characters. (A note for introverts: Participation is practically a requirement.) At $250, the tickets are expensive, but, as evidenced by the fact that most dates sell out right away, audiences clearly find the high price tag worth it. And while it’s traditionally been a Halloween attraction, the production has proved so popular that, starting in spring 2026, its West Adams home is being turned into a permanent location. Tickets for those dates are on sale now, so you should have plenty of chances to play your role in the Willows family’s story. –GG

The Getty Center’s coastal sibling was one of the first landmarks to close its doors when the Palisades Fire broke out. Locals anxiously awaited updates on the museum, but luckily the institution was well prepared for emergencies, with some staff staying on-site to protect the artwork and grounds from the encroaching blaze. Thankfully, the buildings and collections made it through unharmed. Nevertheless, the Getty Villa remained closed for nearly six months as it removed 1,415 fire-damaged trees and ash that had covered the roof, roads, balconies and patios—the gorgeous outdoor spaces that make the Getty feel like such an oasis—and the Roman fresco–style murals in the Outer Peristyle.

The museum finally reopened June 27 with a brand-new exhibition, “The Kingdom of Pylos: Warrior-Princes of Ancient Greece,” dedicated to the Greek Mycenaean civilization immortalized in Homer’s Iliad and Odyssey. Also on display is the same permanent collection of Greek and Roman antiquities that transport you to ancient times. Come September, the Villa’s Outdoor Classical Theater sprang right back into action with the alfresco musical Oedipus the King, Mama! The museum quickly resumed its normal hours, and looking forward, there’s a full schedule of workshops and tours on the horizon, plus an exhibition on the Egyptian Book of the Dead opening next March that I’m excited to check out. Pacific Palisades still has a lot of healing to do in the wake of the wildfires, but the Getty Villa’s reopening serves as an inspiration amid its ongoing recovery. –GG

If I could redo my visit to Universal Studios Hollywood’s first-ever after-hours Fan Fest Nights (essentially a scare-free springtime twist on Halloween Horror Nights), I would’ve skipped the hour-long mystery line to meet a pink variant of Yoshi in favor of more time spent at this free-roaming Back to the Future experience. Part immersive theater, part carnival and part movie museum, this interactive re-creation of Hill Valley in 1955 restaged key movie scenes on the very same section of the Universal backlot where the 1985 film was shot.

As I deboarded the studio tour tram and stepped into Courthouse Square, a period-dressed actor chatted me up to ask if I was going to the Enchantment Under the Sea dance. I moseyed up to the clock tower to find Marty McFly and Doc Brown debating the basics of time travel. Behind the familiar fiery streaks left behind by a flux capacitor–outfitted DeLorean, George McFly summoned up enough courage to confront bully Biff Tannen. And eventually, Marty tore up his best Chuck Berry riffs onstage. It was all an absolute delight, and I don’t know if it’ll land on Universal Fan Fest Nights’ 2026 lineup, but if it does, I’ve gotta get back in time. –MJ

A contemporary art exhibition that quotes foundational American documents to comment on Indigenous and queer oppression sure doesn’t sound cheerful. And yet, this Jeffrey Gibson exhibition at the Broad was one of the most optimistic shows I visited this year—a visually dazzling, inclusive celebration of survival, resilience and empowerment. Gibson filled the space with snipped segments of recognizable expressions emblazoned across bold geometric paintings and brilliantly saturated beadwork: A psychedelic mural near the entrance quoted the opening verse of “Feeling Good,” while the Declaration of Independence’s “we hold these truths to be self-evident” was turned into a literal punching bag.

The solo show premiered as a pavilion at last year’s Venice Biennale, but who knew that its U.S. debut in Downtown L.A. would arrive only weeks before the federal targeting of L.A.’s immigrant communities? Throughout its very timely run, Gibson’s exhibition was a reminder that despite centuries of injustice, there’s still reason to look forward and hold onto hope. –MJ

I bought Oasis tickets last October with about the same amount of confidence that the reunion show would actually happen as I had in the LAX People Mover opening on time—which is to say, practically none at all. Surely something would come up over the span of a year to break the détente between the notoriously bickering Gallagher brothers, and even if not, best case scenario we’d be looking at two icy siblings cashing in on drunken fans’ nostalgia.

But the tour turned out to be the feel-good event of the summer, a communal sing-along 16 years in the making that packed fans of all ages (but, let’s be real, mostly Gen X and millennial men) into the Rose Bowl this September. And the band itself? They sounded great. It certainly wasn’t lost on me that only eight months before, this very spot was used as a staging ground for first responders during the Eaton Fire. So I’ll blame my vulnerability on that, because I found myself becoming borderline weepy three separate times throughout the show: when Noel and Liam walked onstage hand-in-hand, when a sea of arms-linked fans jumped into the Poznań celebration during “Cigarettes and Alcohol,” and when I and tens of thousands of others shouted along to every word of “Don’t Look Back in Anger.” –MJ

Leave it to the mixed-up year that was 2025 to make the most timely piece of art one that’s 35 years old. Covering the side of the warehouse building that houses the Geffen Contemporary at MOCA, Barbara Kruger’s mural Untitled (Questions) became the unwitting background to a historic moment for the city and country over the summer. Originally commissioned by MOCA in 1990, the 191-foot-long piece was reinstalled in 2018 and was planned to remain on display just through the 2020 election, but it’s still gracing the wall facing the Edward R. Roybal Federal Building, where in June the National Guard was stationed amid ICE raids and the resulting protests centered in Downtown L.A. 

A dystopian-looking photo captured by Getty Images’ Jay L. Clendenin shows National Guardsmen in riot gear in front of the vibrant red mural. Its American-flag-like stripes pose nine confronting questions, including “Who is beyond the law?” “Who does the time?” “Who follows orders?” “Who dies first?” and “Who laughs last?” L.A.-based Kruger is no stranger to activists finding inspiration in her art—her striking 1989 silkscreen piece that reads “Your body is a battleground” currently resides in the Broad’s second-floor galleries. But her Questions mural’s sudden starring role in news coverage was an eerily prescient reminder that history repeats itself—and that art has always played a crucial role in speaking truth to power. –GG

Los Angeles being the heart of the TV and film industry (at least in spirit), there were an embarrassment of riches to choose from for this award. Honorable mention goes to Seth Rogen’s hilarious Emmy winner The Studio, which perfectly paired a send-up of the industry with clear affection for Hollywood, and Hacks, which set Hannah Einbinder’s Ava up in an apartment at the Americana at Brand in Season 4.

But ultimately—though it might sound a bit on the nose—we couldn’t not give this award to Rachel Sennott’s new HBO comedy, I Love L.A. Hailed by some as Girls for the West Coast and Gen Z, the half-hour show is a good-natured skewering of influencer culture, but has just enough IYKYK local references to win over any Angeleno viewer—like an Americana at Brand Memes post come to life.

Whether Sennott’s Maia is losing her phone off the side of the Shakespeare Bridge or suggesting Barr Seco as an age-appropriate club alternative or costar Jordan Firstman’s Charlie is trying to sweet-talk his way to the front of the Canyon Coffee line, twenty- and thirtysomething L.A. viewers will undoubtedly feel seen by the show. The very first episode starts out strong, with some mid-earthquake morning sex and the friends strolling the Silver Lake Reservoir before work—Maia outfitted in a Bob Baker Marionette Theater cap. (The dialogue has also included two wildfire jokes so far—one Palisades, one Eaton and counting—done in as tasteful a way as possible. Too soon? You be the judge.) Either way, you can tell there’s a real affection for and knowledge of the nuances of L.A. life both behind and in front of the camera. The season finale doesn’t air for a couple of weeks, but the show has already been renewed for Season 2, so we can look forward to more love-hate depictions of the city. –GG

It sounds like Major League Baseball fan fiction: Behind in a best-of-seven series, the Dodgers tie things up only to quickly trail in the decisive final game—before taking it into extra innings to ultimately win the World Series in the 11th. If grand-slam-hitting Freddie Freeman emerged as the local folk hero of last year’s championship, this year that honor went to pitcher Yoshinobu Yamamoto, who won three games—including one on barely a day’s rest. (Honorable mention: When Shohei Ohtani hit three home runs and threw 10 strikeouts to win the NLCS with one of the greatest sports performances ever.)

It just felt right. Not like a single sports victory could erase everything that’s gone terribly wrong this year, but Angelenos were yearning for something positive to rally around, and a confetti-filled championship parade seemed like the perfect momentary pick-me-up. (Though that certainly wasn’t the case for quite a few fans: The team’s White House visit in the spring soured some folks, and the ownership group’s minority stake in a private prison corporation left plenty more Angelenos incensed following this summer’s ICE raids.) –MJ