avoiding

Mayor Karen Bass’ press relations office communicates through WhatsApp messages that auto-delete every 24 hours, potentially shielding the messages from public records requests, according to three sources familiar with the office.

The press office is under scrutiny over its use of an unpaid consultant as a spokesperson for the first half of the year. Just weeks after the consultant, Yusef Robb, ceased working as a spokesperson for the city, he took a job doing crisis communications for Lineage, whose cold food storage facility in Boyle Heights caught fire last month, spreading smoke and foul odors. Robb continued to work for Bass as an informal advisor until The Times and other outlets reported his dual roles.

Even though he was no longer a spokesperson, Robb remained in several WhatsApp group channels with mayoral press staffers, all set to auto-delete, until at least a week after he started working for Lineage, said two sources, who requested anonymity for fear of professional repercussions. L.A. Material first reported Robb’s presence in the channels.

The Times has filed a public records request for all messages that Robb received or sent to the mayor or her press office between June 1 and July 10, including WhatsApp messages. The city administrative code requires records to be retained for at least two years.

The Bass administration declined to comment on the press office’s use of disappearing messages on WhatsApp.

Bass herself has also communicated through disappearing messages.

In response to a public records request from The Times for Bass’ texts in the aftermath of the January 2025 Palisades fire, her office initially declined to turn over any messages. City lawyer David Michaelson told The Times that “texts are ephemeral types of electronic communication” that aren’t subject to the city record retention requirement.

He also said Bass’ phone was “set not to save text messages.”

The city ultimately recovered more than 100 messages to and from Bass during that period and released them to The Times.

The Times still sued the city, alleging that it unlawfully withheld and deleted the mayor’s text messages and other public records from the catastrophic wildfire.

“Their contention is they don’t have to retain them, and our contention is they do,” said Kelly Aviles, outside counsel for The Times in the lawsuit, in an interview Thursday.

In a court filing, attorneys representing the city argued that keeping work-related messages for up to two years was “absurdly impractical.”

“The Times’ proposed rule requires a degree of intrusion into City employees’ personal sphere that is, at the very least, offensive if not violative of California and federal constitutional rights,” wrote Reuben Camper Cahn, an attorney for the city.

In the past, some city employees communicated with each other each other through Google Chat messages that auto-deleted after a day.

In January 2025, the city stopped that practice and required that Google Chats be saved “indefinitely.”

Retention of messages has also been an issue in the federal government, with Secretary of State Marco Rubio setting some of his Signal chats to auto-delete.

Few people do simmering panic as nimbly as Sarah Goldberg.

In her role as Dr. JoAnne Felder, a performance psychologist tending to the mercurial psyches of the billionaire man-children of Silicon Valley on the new AMC satire “The Audacity,” Goldberg careens from serene to slapstick as she tries to keep a lid on her increasingly unruly life.

It is the latest in a string of enviably layered characters for the Vancouver native, including her Emmy-nominated breakout turn as aspiring actor Sally Reed on the HBO contract killer dramedy “Barry” and the coolly calculating portfolio manager Petra Koenig on the network’s drama “Industry.”

“I’m definitely learning some large tech and finance words that I didn’t know,” she says with a laugh about her recent wealth-adjacent roles on a Zoom from London, where she makes her home. “I’m not sure if I’ll retain them.”

Given the accolades, it seems likely Goldberg only needs to memorize her lines and the rest will follow.

While she has given a distinctive performance in each of her roles, one of several threads tying the characters together is a moment when fear, rage, excitement, ambition or all of the above collide but must be contained. While that discipline sometimes devolves into delicious displays of apoplexy — witness Goldberg’s incredible, expletive-littered elevator meltdown in “Barry” — the 40-year-old actor is more often the face of diplomacy while telegraphing cortisol levels in the red beneath her placid exterior.

“As a blond Canadian, I really ran the risk of being the girl next door,” she says of her attempt to dodge typecasting onscreen after cutting her teeth onstage in London and New York in the mid-2010s. “I didn’t want to be the girl next door … maybe the girl next door with bodies in the basement.”

While the only bodies to be found in JoAnne’s basement on “The Audacity” are her eavesdropping son and his friends, the London Academy of Music & Dramatic Art (LAMDA) graduate has accomplished the mission of subverting what might have been a perky ingenue image with the role. (One she will continue, since the series has already gotten a Season 2 order.)

When the ethically challenged therapist starts dabbling in insider trading thanks to info gleaned from her patients — including bold tech names Duncan Park (Billy Magnussen) and Carl Bardolph (Zach Galifianakis) — the slippery slope awaits.

Goldberg with “The Audacity” co-star Billy Magnussen.

(Ed Araquel / AMC)

“I think that she started her career with a desire to help people and somewhere along the line she’s become incredibly jaded and she’s exhausted by being the most intelligent person in the room and yet having no material wealth to show for it,” says Goldberg of her character, whose struggles extend to motherhood of son Orson (Everett Blunck) and marriage to child psychologist Gary (Paul Adelstein).

It does not help that JoAnne is surrounded by people who have no trouble sliding headfirst down the slope as if it were an Aspen trail.

“She’s working with people who have so many houses that if one burns down, it doesn’t matter, and yet she’s struggling to keep the roof over her own head. So somewhere along the line she starts making these little contracts with herself thinking, ‘In this sea of moral bankruptcy, is my tiny little transgression really so bad? Or is it even justified?’ But these little small pacts start to snowball. You can see somebody torn between their better judgment, their core instinct, their humanity, and someone who is so frustrated that they’re stepping toward a kind of nihilism.”

That sense of inner conflict appeals to Goldberg, who says she knew instantly that she had to play JoAnne when she read the script by showrunner Jonathan Glatzer. “It’s rare for me to go out and be like, ‘I have to play this role!’” she says, adding with a laugh, “I can be quite passive. I can be quite Canadian in the American market. I felt like he’d found this incredible line of satire with pathos, which is my favorite kind of style.

“I’m always interested in playing characters on the precipice of losing their moral compass and which way they decide to go,” she continues. “And if JoAnne has anything in common with Sally from ‘Barry,’ because they’re such different characters, it’s that. … I love that Jonathan’s given JoAnne very mundane relatable problems in a world where the scale is so off and there’s a lot that the average person can’t relate to in that bubble.”

Goldberg has also been busy creating her own bubble, writing, producing and starring in the Canadian-Irish series “Sisters” — which just concluded its second season on AMC — with Irish actor Susan Stanley, her best friend since their LAMDA days. The odd couple sibling comedy finds Goldberg playing Sare, a buttoned-down Canadian who goes to Ireland to find her long-lost biological father (Donal Logue) and discovers shambolic half-sister Suze (Stanley).

“I was pretty shocked at how hard it is to get something made,” she says of the series’ six-year journey to screen. “And then to be in a leadership position where you’re inviting everyone to dinner and you’ve got to make sure there are three courses and being responsible for everybody’s well-being — it was wildly challenging, but absolutely thrilling.”

While she prepares to return to JoAnne’s world in Palo Alto — her hometown of Vancouver serving as a double — Goldberg feels very fortunate about where she’s landed.

“I’ve been so lucky at this stage in my career to work on scripts that I feel are really saying something and characters that I feel are morally complex and also to be in the business at a time where female characters are more complicated.”