• As a Southern California local, I know which tourist spots are worth visiting and which aren't.
• La Jolla Cove offers stunning views, and Temecula Wine Country is perfect for a peaceful getaway.
• Hollywood Boulevard feels too crowded, and I think the Santa Monica Pier is overpriced.

Picturesque shorelines, star-studded streets, and a mild climate draw tourists from around the world to Southern California.

As someone who grew up in Los Angeles and now lives in San Diego, I've explored everything from national parks to beach towns, and hit just about every major tourist attraction in between.

Although some of these places have really stood out to me, others left me wanting more.

Here are six tourist hot spots I think are worth visiting, and two you can skip on your next trip to Southern California.

Catalina Island is a dreamy and easily accessible seaside escape.

Every time I visit Catalina Island, I feel like I'm landing on a miniature version of the Amalfi Coast. Secluded from the busy city streets, it offers both an elevated seaside ambiance and opportunities for outdoor adventure.

Beachgoers can relax at the Descanso Beach Club and rent chaise lounges or private cabanas complete with beachside service.

For a dose of adrenaline, go zip-lining in the nearby canyons or embark on the bison expedition, a safari-style backcountry tour to observe the local wildlife.

Joshua Tree National Park gives visitors a look at California's unique desert environments.

Although Southern California is best known for its pristine beaches, the region offers a variety of landscapes.

In Joshua Tree National Park, where the stark beauty of the Mojave and Colorado Deserts meet, visitors will find massive boulders, quiet hiking trails, stunning desert sunsets, and one-of-a-kind Airbnbs.

It's the perfect place to turn off your phone and spend quality time in nature. I recommend visiting in the fall or spring to avoid the extreme desert temperatures — summer days often approach or exceed 100 degrees.

I think La Jolla Cove is one of the most beautiful coastal locations in San Diego.

Finding parking in La Jolla, an upscale seaside neighborhood in San Diego, can be a challenge. In my opinion, though, the cove is well worth it.

The small yet stunning spot is one of the most photographed beaches in Southern California, and it's easy to see why. Beachgoers can swim, snorkel, and kayak in the ecological reserve.

When you're not on the beach, the La Jolla Village offers tons of restaurants, shopping, and luxe accommodations. I recommend staying at the iconic La Valencia Hotel, a luxurious pink property with sweeping seaside views.

In my opinion, Coachella is actually worth the hype.

Known as the "influencer Olympics," the Coachella Valley Music and Arts Festival is often hyped up on social media. In my opinion, it's an experience worth having at least once, especially for music lovers.

Between the sky-high art installations, festival fashion, and performances by big names and up-and-coming artists, it's a weekend you won't forget.

If you want to avoid the stampede of influencers snapping content, I recommend opting for weekend two. It features the same eclectic lineup, but in my experience, typically has a more laid-back vibe.

Temecula's wine country is an elevated and romantic getaway.

With picturesque vineyards, award-winning wineries, and a welcoming atmosphere, Temecula is ideal for both wine connoisseurs and those who just want a distraction-free weekend away.

Beyond wine tasting on rolling vineyards, tourists can enjoy dining in Old Town, place their bets at the Pechanga Casino, or even take a sunrise hot-air-balloon ride for a bird's-eye view of the scenic vineyard landscapes.

Malibu's coastal charm embodies the quintessential California dream.

Nestled along the scenic Pacific Coast Highway, this famous seaside town offers immaculate beaches like Zuma and El Matador, which are perfect for sunbathing, surfing, or catching a golden sunset.

Visitors can also explore canyon hiking trails in the Santa Monica Mountains or grab a fresh lunch on the pier at the popular Malibu Farms restaurant.

With its mix of upscale dining, celebrity homes, and breathtaking ocean views, Malibu delivers quiet luxury at its finest.

To be honest, though, I think Hollywood Boulevard is overrated.

If you're a movie buff, it's worth seeing the Walk of Fame and spotting your favorite names beneath your feet. However, I wouldn't recommend spending more than 30 to 45 minutes there.

Hollywood Boulevard can be crowded and full of tourist traps. Trust me — I've done both the TMZ celebrity tour and the Madame Tussauds wax museum.

For a better experience, I recommend driving up to Griffith Observatory and admiring Hollywood Boulevard and the Hollywood Sign from above. In my opinion, it's much more glamorous from afar.

The Santa Monica Pier is fun, but pricey.

Don't get me wrong, I love the Santa Monica Pier and have many cherished memories there. However, if you want to go on the rides, be prepared to spend $17 on a few spins on the Ferris wheel.

Dining at restaurants on or near the pier is also going to be a bit more expensive than the typical, already costly, LA prices.

However, if you just want to hang out by the beach, walk to the end of the pier, and enjoy the view, then Santa Monica deserves a spot on your itinerary.

If you're able to visit on a weekday, you may be able to avoid some of the crowds and traffic, too.

• Warner Bros. Discovery — the brainchild of media mogul David Zaslav — is splitting up.
• Wall Street had long questioned the wisdom of WBD, and Zaslav now seems to agree.
• While this spinoff was predictable, it sparks questions for other media companies.

The ill-fated marriage between Warner Bros. and Discovery is heading for divorce — and Wall Street is cheering.

Warner Bros. Discovery on Monday announced plans to split its declining TV networks from its growing streaming and studios business. This spinoff proposal comes three years after WBD's inception. If all goes well, the spinoff will happen in mid-2026.

WBD CEO David Zaslav will oversee the sexier streaming part, while CFO Gunnar Wiedenfels — known for delivering "synergies" — will be in charge of the shrinking networks. WBD isn't alone, as Comcast is also splitting from most of its cable assets.

By largely undoing the merger, Zaslav is acknowledging something Wall Street has been saying for a while: WBD's assets are better off apart.

WBD shares were up as much as 13% in early trading. (However, Comcast's stock also popped when its spinoff was announced last fall, and has since fallen more than 20%.)

"The decision to separate Warner Bros. Discovery reflects our belief that each company can now go further and faster apart than they can together," Zaslav said on a call with investors about the spinoff.

When asked for comment, a WBD spokesperson referred Business Insider to comments made by executives on the investor call.

Better late than never

Many media analysts were initially excited when Zaslav orchestrated the deal to form WBD. But they soon soured on the media conglomerate as cord-cutting accelerated and WBD's streamer — Max/HBO Max — missed lofty expectations and failed to truly challenge the likes of Netflix.

Zaslav and company took note. WBD executives telegraphed this spinoff by reorganizing the business late last year, separating the TV networks from its studios and streaming businesses.

Wall Street was pleased by this potential split, which was the key catalyst for WBD's stock's 16% rally in the past month, UBS media analyst John Hodulik told BI last week.

Others agreed.

"Investor excitement for a Warner Bros. Discovery spin-off of its Global Linear Networks is building by the day," Lightshed analysts led by Rich Greenfield wrote last week.

Bank of America's Jessica Reif Ehrlich wrote in an early-June note that a "spin of studios and streaming could be the best way to unlock the significant unrecognized value of the company."

So far, it seems like she's right.

A sign of the times?

WBD's announcement will likely spark more speculation about future reordering of the media and entertainment landscape.

It's long been the expectation among industry insiders that WBD's spun-off linear networks would combine with others, potentially Versant, the linear assets that Comcast is spinning off. Other ideas that have been floated in media circles are a combination with Paramount — assuming its Skydance deal ever gets approved — or with Fox's linear assets.

Reordering is also afoot across the advertising industry. Two giant holding companies, Omnicom Group and Interpublic Group, are in the process of combining. Their peer WPP is replacing its CEO, Mark Read.

One wild card in the mix with WBD is CNN, with President Donald Trump's general hostility to deals involving media companies.

Longtime ad industry analyst Brian Wieser remarked that the news network could be an asset and a liability, given its history and future ability to attract the ire of Trump, who has been aggressive in targeting the mainstream media.

Wieser wrote on Monday that CNN would "probably benefit" from being separated from all of WBD's other assets as it's "the one part of WBD that could tie up other parts of this transaction so long as any government approvals are required to facilitate its completion."

Another question is the fate of WBD's studio business, which has been dragged down. On a call Monday announcing the separation, Zaslav emphasized that the movie business was harder to project than TV. But he said that by leaning into well-known IP, he saw WBD's studios arm becoming a $3 billion business.

The separation also could put WBD's studios business in play, Bernstein's Lauren Yoon said.

The companies that could ingest such a business include Amazon, Disney, Netflix, and Comcast. However, most of the tech companies haven't historically been big acquirers, and the timing isn't ideal.

"No tech companies want to give the government any reason to be in their business," said Jonathan Miller, chief executive of Integrated Media, which specializes in digital media investments.

Also, expect Bob Iger to field new questions about what's ahead for Disney's linear and cable networks. He once floated the idea of selling them, though he then retreated from the idea.

Disney's line at the time was that it wouldn't get the price it wanted if it sold those properties and that it'd be too complex to separate them from the rest of the company. Iger and Trump have also sparred in the past, and Disney could look to avoid deals that need government approval.

• Google has quietly launched a film and TV production initiative called 100 Zeros.
• Google wants to promote its products and a positive image of tech, particularly to young people.
• The goal is to sell projects to studios, not put them on YouTube.

Google wants to use Hollywood to upgrade its cool factor.

The tech giant has quietly launched a new film and TV production initiative, Business Insider has learned.

The effort, called 100 Zeros, is a multiyear partnership with Range Media Partners, the talent firm and production company whose notable films include "A Complete Unknown" and "Longlegs." It's tasked with identifying projects that Google can help fund or produce. The goal is to get behind an array of scripted and unscripted films and TV shows. (The companies wouldn't comment on a number or timeframe.)

Google has a few goals with 100 Zeros. The company sees it as a way to get the creative community to adopt its newer tech products and services, like its Immersive View feature that lets you see things in 3D, spatial tools that blend the physical and virtual worlds, and AI.

Google also wants to promote a positive view of its products — and tech generally — through entertainment to young audiences by helping shape pop culture.

Last year, 100 Zeros quietly dipped a toe in the water, putting some marketing dollars behind an indie horror film from Neon, "Cuckoo." In exchange, 100 Zeros' logo was prominently shown in the opening credits. Google didn't seek any publicity for the move, but it was indicative of the alignments it wants: A celebrated indie studio ("Parasite," "Anora") and a movie aimed at Gen Z and starring Hunter Schafer, known for "Euphoria" and the "Hunger Games" franchise.

In another step in that direction, Google and Range announced a partnership this spring called "AI On Screen" to commission short films about AI, with the goal of making two into feature films. Here's how it described one of the shorts, "Sweetwater": "When the son of a late celebrity visits his childhood home, a piece of fan mail reveals a startling AI, forcing him to reconcile his mother's legacy."

"Through our continued partnership with Range, we aim to collaborate with the Hollywood creative community in a thoughtful and productive way, upkeeping our ongoing commitment to responsibly support creative expression and explore the possibilities of technology through storytelling," a Google spokesperson said in a statement.

Google wants to make Android cool

In projects where Google is involved early on, the company wouldn't mind if characters clutched Android phones instead of iPhones and used its features like "Circle to Search." That's provided the integration isn't forced. Product placement isn't 100 Zeros' main focus, however. Google has a separate effort with United Talent Agency for marketing partnerships like its recent ones with "The White Lotus" and "Wicked" to promote the Pixel.

One of the ways Google will judge the success of the initiative is how it impacts popular sentiment around the company's products and services. Google dominates the global mobile phone market, but is outsold by Apple in the US. Apple has gained a strong following with Gen Z with its luxury image and blue text bubbles that can make Android users feel left out. Its phones have become entrenched in pop culture, appearing in buzzy titles like "Succession" and "Knives Out." Piper Sandler's spring survey found 88% of US teens owned an iPhone.

Beyond Android, Google search is losing its hold on young people, who are increasingly going to AI or other platforms like Amazon and TikTok for answers to their questions.

Google isn't looking at YouTube as a distributor

Consumer brands are increasingly using Hollywood-style entertainment to spread their messages, as it's gotten harder to get people's attention with traditional ads. The interest is welcome in cash-strapped Hollywood.

A common approach by brands is to lean on established filmmakers and agencies to develop or produce projects. A handful of brands like Procter & Gamble and WeTransfer have gone further and hired in-house expertise. Google's efforts are similar to those of Waffle Iron Entertainment, a studio Nike set up to make original entertainment that aligns with the company's goals while operating at arm's length.

100 Zeros has a small dedicated staff: Penny Lin, a film producer at Range, and development execs Casey Durant and Tony Nguyen. Rachel Douglas, partner and manager at Range, oversees the relationship with Google. On the Google side, the point person is Jonathan Zepp, the managing director of emerging content experiences.

"This initiative is different in that it's staffed by full-time people who come out of Hollywood and are housed at and supported by Range," Douglas said of 100 Zeros.

Consumer brands' flirtation with films isn't guaranteed to last. Some have been halting or slowing film projects amid President Donald Trump's tariffs and attacks on DEI. Even before the tariff news hit, some corporations that had made commitments to the space — including Starbucks, Marriott, and Southwest Airlines — laid off marketers who worked in filmed entertainment as a part of larger corporate cuts, a reminder of the tenuous nature of the work.

One aspect of 100 Zeros that people might find surprising is that it's not looking to leverage YouTube as a primary distribution platform. YouTube has become a TV juggernaut and has been working to make itself a home for premium programming. But 100 Zeros isn't trying to recreate YouTube Originals, the platform's onetime stab at making original shows, or even use YouTube as the first stop for these projects. Instead, the goal is to sell projects to traditional studios and streamers like Netflix.

• When you see a movie or a TV show, do you think about where it was made?
• Lots of people in Hollywood do — they're seeing more and more productions move outside the US.
• Donald Trump says he wants to reverse that. But his proposal is hard to understand.

There are many stories out right now about Donald Trump's call for a "100% Tariff on any and all Movies coming into our Country that are produced in Foreign Lands."

But let's give the concision award to Variety, which noted that Trump's Sunday night announcement generated many questions in Hollywood, "starting with: Huh?"

Let's also note that Trump frequently changes his mind about things, and most definitely about his tariff policies. So it's entirely possible his Hollywood tariff post leads to nada.

While we're throat clearing, let's also note that, unlike some of Trump's other tariff pushes, this one doesn't imagine a world where work that left the US long ago comes back to the country. Movie (and TV) production remains a huge business in the US, employing millions of people.

And lastly, Trump is correct in noting that film (and TV) production has been leaving Hollywood for years. Sometimes it has gone to other places in the US: Disney has made more than a dozen Marvel movies in Georgia. "Sinners," one of the year's biggest movies, was made in Louisiana.

But there's a clear trend in international production, driven by lower labor costs and tax incentives. Production spending in the US fell by 28% between 2021 and 2024, but rose just about everywhere else. "Thunderbolts," Marvel's most recent movie, is also set to be the last one filmed in Georgia for the foreseeable future — most of Marvel's production has moved to London.

So what would Trump's plan do to correct that? No one seems to have any clue.

"Hollywood studio executives scrambled Sunday night to determine what the announcement would mean for their business," The Wall Street Journal reports. "As is often the case with Mr. Trump's declarations on social media, it was not entirely clear what he was talking about," The New York Times deadpans. Stocks of studios and streamers like Netflix and Warner Bros. Discovery were down Monday morning.

If you take Trump's post at face value, it does indeed pose all kinds of questions. Like: Would the tariffs apply to American-owned/produced movies, or to movies from studios all over the world? Would it apply to American productions that are mostly filmed in the US but have some scenes shot in other countries? What about movies where some postproduction work, like visual effects, is handled outside the US?

And at the most basic: How, exactly, do you tariff a movie or TV show? They don't arrive in this country via cargo ships or planes. US Customs and Border Protection doesn't sign off on their import.

My sneaking suspicion is that Trump doesn't know, either. It's just that he seems to think tariffs are the solution to just about any problem.

Otherwise, if Trump were truly concerned about encouraging more domestic film (and TV) production, he might go about it the way just about everyone else does: with tax breaks and other financial incentives.

Which, it turns out, is exactly the pitch Trump heard from the actor Jon Voight and his manager, Steven Paul, this weekend, per Bloomberg. Voight — one of three actors Trump said earlier this year would be his "special ambassadors" to bring back work to Hollywood — and Paul spent time with Trump at Mar-a-Lago, and suggested a pretty normal plan, Bloomberg says: "more federal tax incentives for US film and TV production," which involves "expanding existing tax credits and bringing back ones that have expired."

Voight and Paul didn't propose tariffs, Bloomberg reports. But Trump did. So here we are. Let's see if it goes anywhere.