bar

“It should be OK to say someone’s baby is ugly.”

“Being a pet is forced, unpaid emotional labor.”

“It’s OK to be attracted to your friend’s man.”

“Cartoon Network was better than Disney Channel and Nickelodeon.”

“Men should be required to get a vasectomy after a certain amount of baby mamas.”

These are just some of the bold, controversial statements that have come up at “Unpopular Opinion,” a live, interactive event where people share and defend their hot takes in front of a spirited audience. To support their claims, they present slide decks filled with graphics and memes on a giant screen. Those in the crowd gasp, cheer and laugh.

The crowd from a past “Unpopular Opinion” event. The viral series is coming to the Regent Theater in L.A.

(Quest Hollis / SideQuest Visuals)

The event was created by Chance Albury and Sarah Prince, founders of the Washington, D.C.-based experiential production company Something Different. People were already having these types of impassioned conversations online, Albury says, and they simply wanted to provide that space in real life.

They debuted the series in February, and after recaps of events went viral, they decided to take it on tour. “Unpopular Opinion” makes a stop in Los Angeles on Thursday at the Regent Theater.

“Who knew rage-baiting could be such a unifier?” Albury says.

“Everyone loves to argue,” Prince adds.

Albury says that the success of the show relies on having different perspectives and opinions in the room. The slide decks are also a major draw. Unpopular Opinion is one of several events that takes PowerPoint-style presentations out of their traditional setting — the office or the classroom — and puts them front and center in a social scene. Over the last few years, slide decks have shown up at house parties, matchmaking events and even in bars at gatherings like Lectures on Tap.

Anyone who wants to present can submit their hot take through an application form. Albury and Prince receive roughly 50 submissions for each event, but only about seven to nine are selected.

Presenters defend their hottest takes on stage using slides and passion.

(Quest Hollis / SideQuest Visuals)

“There’s just so many topics that you can talk about so it can’t get old,” says Prince, adding that a lot of the speakers are funny and present like stand-up comedians.

Typically hosted at a live music venue, the vibe of “Unpopular Opinion” feels like a boisterous late-night game show. Drinks are available for purchase at the bar. A live DJ plays a mix of hip-hop, pop and other high-energy genres as a host hypes up the crowd. As an icebreaker, audience members are asked to submit their own unpopular opinions to be displayed on the screen for everyone to see.

Then the main event begins. Presenters are given 10 minutes to make their case. Unlike a traditional debate tournament, audience members are encouraged to get involved and make their thoughts known.

“There’s just so many topics that you can talk about so it can’t get old,” says co-founder Sarah Prince.

(Quest Hollis / SideQuest Visuals)

After each pitch, the host asks audience members to hold up their paddle, which has a green thumbs up and a red thumbs down to indicate whether they agree or disagree. Then a mic is passed around so attendees can share their thoughts or rebuttals.

Though the event is called “Unpopular Opinion,” there are times when the majority of the crowd agrees with the presenter. There are also times when the audience strongly disagrees. In either case, Albury and Prince ask that attendees are respectful to one another.

The presentation topics range drastically, from lighthearted social media discourse (“Women standing behind the DJ booth is more embarrassing than men”) to hot-button dating debates (“Splitting the bill on the first date is fine”) to deeper societal issues (“People hate everything about slavery but Christianity”).

Albury and Prince say they are exploring ways to bring “Unpopular Opinion” “beyond the show doors” for those who can’t make it to a live event. They already post man-on-the-street-style interviews on social media, in which they ask people to weigh in on hot button questions.

Albury says the beauty of “Unpopular Opinion” is that it shows people it’s OK to disagree. “Just because we have different opinions doesn’t mean we can’t talk about it,” she says. “We may not even come to terms on agreeing or disagreeing, but we’ve got that space.”

It’s relatively easy to find USC and UCLA fans in Southern California, but where can proud Georgia, Michigan, Florida or Alabama fans go to watch games in the Los Angeles area with like-minded sports expats?

Look no further than the Los Angeles Times’ ultimate SoCal college football sports bar guide.

If you’re an alum or fan of teams from the Power Four conferences — the ACC and ally Notre Dame, Big Ten, Big 12 and SEC — this guide will lead you to your tribe. No longer will you be the only person cheering and clapping at the bar when Oklahoma scores a touchdown or walk into a bar wearing Michigan blue and only seeing others decked out in Ohio State gear.

Find your home away from home on game day.

Scroll down or filter through location to find where fan bases for most Power 4 schools hang out during the game.

Excluding Ra’am and the Joint List leaves Palestinian citizens in Israel without major Knesset representation options.

Israel’s Central Elections Committee has voted to bar both main Arab electoral lists from next month’s election, putting the political representation of Palestinian citizens of Israel before the Supreme Court weeks before voters go to the polls.

The committee voted on Wednesday to disqualify the United Arab List, or Ra’am, led by Mansour Abbas, and the Joint List, an alliance of the Arab-led Hadash, Ta’al and Balad parties. It also voted separately to bar Hadash legislator Ofer Cassif and Balad leader Sami Abu Shehadeh. The election is scheduled for October 27.

The bans are not final. Decisions against individual candidates require Supreme Court approval, while lists can appeal their exclusion. Adalah, the legal centre representing the parties and candidates, says it will challenge the votes when the court hears the cases next week.

Ra’am called its exclusion “political and unacceptable”, saying the decision was intended to prevent it from influencing the balance of power and changing the government.

The Joint List said Israeli Prime Minister Benjamin Netanyahu and far-right National Security Minister Itamar Ben-Gvir were trying to discourage Arab citizens from voting “because they fear our ability to bring down the government of genocide and racism”. Its leader, Yousef Jabareen, questioned how the committee could bar parties representing more than 1.25 million voters.

Abu Shehadeh told Al Jazeera that his exclusion was an attempt to silence criticism of government policy and said the decisions would be challenged in court and through public protest. Rejecting the allegation that he supports violence, he told The Times of Israel: “I have never called for violence or terrorism. I oppose armed struggle.”

The petitions invoke Section 7A of Basic Law: The Knesset, which allows a list or candidate to be excluded for denying Israel’s existence as a “Jewish and democratic state”, inciting racism or supporting armed struggle against Israel by an enemy state or an organisation designated as terrorist.

Netanyahu’s Likud party sought to disqualify the Joint List and Cassif, and was among the groups that filed against Ra’am. Ben-Gvir’s Otzma Yehudit party also sought to bar Abu Shehadeh. Adalah disputes the allegations. It says the case against Ra’am presents no evidence that the party supports armed struggle, while the Joint List petition relies heavily on old material, including bills proposed in previous Knessets.

Abu Shehadeh’s case has drawn a different response. Attorney General Gali Baharav-Miara found no legal basis to exclude the other targeted parties and candidates but said an article he published on October 8, 2023, which she said may constitute support for armed struggle, warranted serious examination. The committee voted 31-4 to bar him. Adalah says the article contains no such call.

The push to bar Abu Shehadeh drew support from parties outside Netanyahu’s coalition. According to The Times of Israel, opposition parties voted to disqualify him, as did Supreme Court Justice Noam Sohlberg, who chairs the elections committee. The vote broke with decades of precedent in which committee chairs abstained from disqualification votes. Abu Shehadeh’s exclusion still requires approval from the full Supreme Court.

Why the Arab vote matters

Ra’am joined the coalition government formed by Naftali Bennett and Yair Lapid in 2021, helping end Netanyahu’s 12 consecutive years in office in 2021, although Abbas had previously discussed cooperation with Netanyahu as well. Now Likud itself has filed petitions against Arab representation, while Ben-Gvir’s party has pursued separate exclusions.

A Channel 12 poll published on Tuesday projected seven seats for the Joint List and five for Ra’am, against 50 for Netanyahu’s current coalition bloc. The 12 projected Arab seats would not automatically back Netanyahu’s opponents, as mainstream opposition parties remain divided over whether to govern with Arab support. But removing both lists would change the possible routes to the 61-seat majority needed to form a government.

The Supreme Court has overturned previous committee bans on Arab lists and candidates, including Balad’s exclusion in 2022. It must now decide whether the evidence meets the legal threshold for barring the two principal lists seeking to represent Palestinian citizens of Israel. The ruling will determine who can appear on the October ballot.

Normally when a telephone rings inside a bar, it’s the duty of the staff to pick it up. But when an old-timey rotary dial phone suddenly springs to life at the Last Canteen, it’s up to guests to decide what to do next.

Answer it — or attempt to make a call from it — and you’ll encounter one of dozens of pre-recorded messages. They’re calls from an imagined future, one when a war-torn America is on the mend from some sort of apocalyptic catastrophe. They’re messages, perhaps, for the bar’s fictional founder, a shotgun-carrying mysterious woman known for her mean bartering skills, or maybe if you’re lucky, you will dial into what sounds like an early 20th century party line and hear from those looking for a date in the Valley, now a neutral zone among warring factions.

The Last Canteen, situated on a stretch of Ventura Boulevard that’s just a short walk from the Universal City metro and minutes from Universal Studios Hollywood, is a new restaurant and bar that looks lifted from a theme park. It also feels like a throwback to an earlier time, when Los Angeles was an epicenter of the themed restaurant.

Southern California has a storied history when it comes to themed establishments. There’s our penchant for food-shaped eateries, of course — see our giant doughnuts or the Tail o’ the Pup — but dinner with a side of story is a Los Angeles-area staple that predates any corporate chains such as Rainforest Cafe or Chuck E. Cheese. From the long-forgotten Jail Cafe in the 1920s to our region’s birth of the tiki bar to the themed restaurant explosion of the ‘80s and ‘90s, when even Steven Spielberg got into the action with the submarine-focused DIVE! in Century City, the themed restaurant has long found a receptive audience in Southern California.

And the Last Canteen feels especially built for our moment.

The Last Canteen’s three founders were going for a lived-in feel.

(Eric Thayer / Los Angeles Times)

Taking influence from the likes of “Mad Max,” “Fallout” and a host of other dystopian, postapocalyptic media, the Last Canteen is a bar for an era — and a city — when the future seems especially uncertain. Whether it’s AI, corporate consolidation, inflation or the struggles of Hollywood that’s got you down, the Last Canteen wants to be your “Cheers” of sorts.

“It’s not the brightest of times, I would say for most of the world, but certainly younger generations are feeling like we got the rug pulled over us — the state of the economy and corporate overreach,” says Jimmy Clements, 32, who founded the Last Canteen with two other friends from the hospitality industry.

“We always joke that the world is ending, but there’s some charm in fully embodying what that would mean, and realizing there’s something on the other side,” he adds. “That’s what attracts me to the genre. OK, the worst thing possible happened, but there’s still people on the other side. We still need community and a place to eat and drink.”

A grenade fashioned out of a baseball is one of the items hidden in the Last Canteen.

(Eric Thayer / Los Angeles Times)

Or as Clements’ partner TJ Lewis says, “Who doesn’t watch ‘Mad Max’ and dream of riding on top of a crazy car with a spike in your hand?”

Despite a potentially bleak concept, the Last Canteen is open and welcoming. The color palette is soft, leaning heavily on dust-like sandy vibes, the cocktail menu takes influence from the fruity, complex world of tiki bars, and a sense of humor permeates the main dining room.

Yes, a demolition bomb, which is actually a movie prop from Angelina Jolie’s “Unbroken,” hangs from the ceiling, but take a moment to explore the venue and you’ll find grenades colorfully fashioned out of baseballs, or rewritten maps of the Valley in its new “Wasteland” era. Universal Studios’ famed minion still stands, but the Ikea is now a “hall of justice.”

Newspapers dot the walls. They’re filled with fiction that tell of the bar’s new reality, giving the place a sense of history and lore. One article, for instance, speaks of a battle that broke out near the remnants of US-101 next to the old “sidewalk stars site.” Another tells of how the bar’s founder took over the land where the establishment now stands. By force, of course. And don’t miss the beer taps, fashioned out of bullets, guns and baseball bats.

The Last Canteen is a themed bar that feels ripe for our era, one in which the future is filled with uncertainty.

(Eric Thayer / Los Angeles Times)

“It’s the difference for us between immersive and themed,” says Lewis. “Like the Hard Rock Cafe is themed. It’s got music on the wall, but you don’t feel like you’re at a concert when you’re there. It’s not immersive. What we were really going for is a lived-in space. We didn’t cover this in ‘Max Max’ posters. It is in the world of. It’s really open-ended. All the details on the wall help paint a picture.”

Of course there were limits. The team jokes that if they really wanted to exploit the dystopian theme, then drinks should likely be served in red plastic cups. Instead, the Last Canteen has proper drinkware, but each type of glass does come from a different set, as the owners wanted to give it a found materials vibe. The menu doesn’t stray too heavily from bar fare, and there are bowls of bison chili ($18), a burger ($18), a charcuterie plate ($21) and, of course, a “Last Meal,” which is a half grilled cheese, a cup of chili and a glass of sarsaparilla ($25).

The cocktail program, however, is extensive. The blackberry-infused Blackthumb or the spiced A Torch or Rosemary feel like darker twists on brighter, lively tiki fare. For those craving the latter, there is currently a frozen version of a Zombie. Bar founders Clements, Lewis and Drew Aloe say the menu, both cocktails and food, will change seasonally.

The Last Canteen founders Jimmy Clements, from left, TJ Lewis and Drew Aloe.

(Eric Thayer / Los Angeles Times)

And the tiki influence is no accident. The three cite the Disneyland Hotel’s Trader Sam’s as the Last Canteen’s primary influence. Also an inspiration? Oga’s Cantina at Disneyland’s Star Wars: Galaxy’s Edge. Theme parks were on their mind as much as the apocalypse.

“What they do so well is they feel really lived in,” Clements says of Trader Sam’s and Oga’s. “It doesn’t feel like a cute homage. You walk in the door and you’re somewhere else.”

And guests are noticing.

“We had someone opening weekend tell me that this feels like an end-of-the-world Trader Sam’s. Thank you. That’s all we want,” Lewis says.

This week in SoCal theme parks

Fast & Furious: Hollywood Drift is now in daily operations at Universal Studios Hollywood.

(Ronaldo Bolaños / Los Angeles Times)

• New coaster. New accolades. New noise complaints. Universal Studios Hollywood officially opened its Fast & Furious: Hollywood Drift last week after months of running the thrill ride in a soft open phase. Fans were happy, with some even calling it the “best” coaster in SoCal. But nearby neighbors in Toluca Lake still want change, arguing that the sound of rider screams from the coaster is disrupting their lives.
• Calling all Disney film buffs. Starting this Sunday, Santa Ana’s Frida Cinema will begin hosting a weekly “Walt Disney Studios” film series hosted by historian/educator Jeff Kurtti. First up is “20,000 Leagues Under the Sea,” which will also feature a presentation from artist/designer Kevin Kidney, who over the years has contributed to many a Disney parks project. Other Sunday screenings will include “Alice in Wonderland,” “Disneyland Handcrafted,” “Swiss Family Robinson” and more. Check out the full series here.
• And speaking of “Disneyland Handcrafted.” It’s the last call for tickets to a stellar Disneyland history and charity event at Santa Ana’s Bowers Museum, which on Sunday will screen the Leslie Iwerks documentary as well as host a reception and panel. Historian and author Tim O’Day will moderate a talk that includes the film’s producer, Mark Catalena, former Imagineer-turned-historian Tom Morris and current Imagineer Emily “Emo” O’Brien, who oversees creative at Disneyland and is leading the team behind the just-announced makeover of Tomorrowland. Tickets start at $125 and are on sale now.

Ride report

The concluding, trippy scene in Inked, a new maze from Knott’s Scary Farm.

(Todd Martens / Los Angeles Times)

As we get deeper into Halloween season, I wanted to highlight another haunted maze, this one being the best one at this year’s Knott’s Scary Farm event. Inked is the maze, and it’s set in a 1930s cartoon studio. While of course having the requisite number of scare actors who will pounce on guests after they turn any corner, the maze also charms as it features original animation in the style of Disney’s classic “Silly Symphony” cartoons. Nearly every room in the haunted house boasts a cartoon scene starring a cutesy ghost, a little cat and an often sad pumpkin man.

The story is the drawn figures have come to life and are now murderous, but you’ll wish you could stop and watch a graveyard short or hang with a jazzy skeleton band. Giant pumpkin heads are animated with cartoon eyes and a mirror-heavy psychedelic scene, pictured above, brings the maze to a fiery conclusion. Knott’s is perhaps relying too heavily on returning mazes of late, but Inked is a winner.

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

Magic Mountain’s currently shuttered X2 coaster has been in the news of late.

The X2 ride has for years been the Valencia park’s crown jewel, the first roller coaster in the world that spun riders 360 degrees in their seats. It even topped my ranking of thrill rides at the park. I wrote that it was a risky choice, as the coaster is not for the faint of heart. Its seats extend off the track, giving you a sensation of flight at its most chaotic, with an assortment of loops that suddenly shift direction and segue into drops. Due to the constantly changing direction of its seats, the path of the track can be hard to discern.

But X2 has come under close inspection after several lawsuits allege people were injured on the ride. Six Flags shut down X2 in July amid a state investigation into the coaster. The Times’ Fedor Zarkhin has the story.

Every so often, an aspiring screenwriter wanders into the dim red glow of Jumbo’s Clown Room hoping to interview one of the dancers. “They’re like: ‘I’m writing a screenplay. Can I interview you?” says Cecilia Fairchild, one of the longtime dancers at the renowned East Hollywood bikini bar.

Her response is usually some version of this: “I’m like, ‘Why are you writing about that? Don’t you know we are all writing that too? Leave us alone,’” Fairchild says with a mischievous laugh. What bothers Fairchild is the assumption behind it — that the dancers are voiceless and helpless. Worst of all, they’re presumed to have stories worth mining but not the ability to produce literature themselves.

Jumbo’s has a longstanding reputation of being part of L.A.’s literary lore.

In the 1970s and 1980s, Charles Bukowski — L.A. nightlife’s debaucherous poet laureate — was rumored to haunt the bikini bar in its early days. David Lynch wrote his classic screenplay “Blue Velvet” at the bar. (According to local legends, the iconic opening shot of “Blue Velvet” came to Lynch when he spotted a dancer with only one ear.) Writer and director Quentin Tarantino reputedly wrote at the bar. But while Jumbo’s has garnered a mythology as a magnet for filmmakers, writers and musicians who collect impressions, the dive’s dancers have shifted from being the subject to the artists.

Many of Jumbo’s dancers write fiction and memoir, host literary salons across Los Angeles and find ways to tell their own stories rather than serve as muses. “It’s funny because I wish that male auteurs would tell the story of customers. I want a sniffer’s memoir. I think that’s a real point of view,” Fairchild says. (Speaking of alienation and horniness, the dancer has been meaning to crack the Marcel Proust canon.)

Honey Ryder (Claudia Musikul) types on the bar inside Jumbo’s Clown Room. (Carlin Stiehl / For The Times)

Fairchild is a playwright, poet and memoirist. Her recently completed memoir, “The Poison + The Spit,” traces a life of tumultuous love affairs and a stint dancing in New Orleans, rendered in prose that is whimsical, surreal and deeply emotional. The dancer also hosts the Downpour, a popular monthly literary salon at Bar Covell, and recently directed “Fool in the Pool,” a play that premiered at El Condor in Silver Lake this summer.

Her writing style mirrors her dancing: kinetic, wild and unpredictable. She sometimes takes the stage in roller skates, dancing to David Bowie. Her memoir achieves that same sense of hypnotic motion. “The memoir is so heavy,” she says. “Everything was so sad that I needed some lens to look at it that was fun, zippy and crazy.”

For Fairchild, dancing and writing possess the same need to expose oneself. “Vulnerability is one of the most interesting things about dancing,” she says. “There really is the potential to look into people, and they look into you, and you wordlessly share something with them that is half sexual and half this other thing.”

Meanwhile, Danielle Henderson — another dancer and aspiring novelist at Jumbo’s who writes under the pen name D.M. Faulk — has been working on a science-fiction novel titled “Meridian.” The book imagines a dystopian American wasteland where pregnant women are surveilled and controlled. She has been a longtime science-fiction fan since she and her father watched “Jurassic Park” and “Planet of the Apes” when she was a child.

Long treated as passive muses by visiting writers, Jumbo’s dancers — from left, Caroline Blaike (Caroline Moyer), Honey Ryder (Claudia Musikul), and Cecilia Fairchild — are reclaiming the narrative as active poets, memoirists and screenwriters.

(Carlin Stiehl / For The Times)

Unexpectedly, the Jumbo’s comically tiny dressing room became the inspiration for her novel. In 2022, when Roe v. Wade was overturned, conversations between dancers about reproductive rights ignited in the dressing room, which in turn informed her novel.

“A lot of those conversations happen in the dressing room. I’m incredibly inspired by the women I’m with who are incredibly sex positive and strong.” That ethos informed Henderson’s protagonist, Zayla.

In recent years, the bar has become a local author hangout. Allie Rowbottom, the author of the recent buzzy adult film novel “Lovers XXX,” discovered the bar in 2011 on the occasion of writer Elizabeth Hall’s birthday party. “I recall sitting front row on novelist Jon Lindsey’s lap, raining dollar bills on dancers performing intricate, beautiful athletic feats,” Rowbottom says. “I spent more than I could afford that night and have been back often since.”

Increasingly, Jumbo’s has cemented itself as a watering hole to the local writing scene. “Two years ago, I rented out a few tables for Jon Lindsey’s birthday, attended by Los Angeles literati like Tea Hacic-Vlahovic, Sammy Loren, Morgan Krantz, Tex Gresham and Nada Alic,” she adds.

According to Rowbottom, Jumbo’s is rife for literary inspiration. “To me, Jumbo’s feels uniquely dedicated, as a venue, to intersecting sex and art, despite the obvious dissonance of selling either,” she says. “I suspect such is what has historically made it a rich spot for writers, dissonance and tension being of utmost importance to good literary work.”

From left, Caroline Blaike (Caroline Moyer), Honey Ryder (Claudia Musikul), Cecilia Fairchild and Stephen (Aaron Laughton) inside Jumbo’s Clown Room.

(Carlin Stiehl / For The Times)

A charged scene in L.A. writer Aiden Arata’s critically-acclaimed 2025 essay collection, “You Have a New Memory,” features a night out at Jumbo’s Clown Room. “The dancers are starlets, athletes, artists; the theme is clown, and also longing — longing is a high form of physical comedy,” says Arata. “It possesses that heady mix of scuzz and glamour that can trick you into thinking your life is about to change.”

Jumbo’s burgeoning literary interest revives a hotly debated question: Who gets to tell the stories of sex work? For decades, the club has inspired celebrated writers and filmmakers, but Claudia Musikul — a dancer at Jumbo’s and a screenwriter herself — hopes its literary legacy will increasingly belong to the people at its core: the dancers.

“I hope that everybody can actually get their work out there because I feel it’s much deserved,” says Musikul. “You’ve probably heard about Bukowski, David Lynch doing ‘Blue Velvet’, or Anthony Bourdain. That’s all really cool, but in a way, it’s the actual dancers’ turn to have that kind of recognition.”

Musikul primarily writes screenplays about strippers, a subject she believes is seldom represented authentically. She has been in writing partnerships and workshops while developing scripts centered on dancers. In a sea of films depicting sex work, she cites Paul Verhoeven’s “Showgirls” as a film that resonates with her experience.

“‘Showgirls’ is my very favorite movie,” she says. “It’s my very special place in my heart movie.”

For Caroline Blaike, a poet and dancer at Jumbo’s, the connection between dancing and writing lies in observation. Years of performing have made her acutely attentive to the people who pass through the club, a voyeuristic habit that carries over into her poetry.

“When you’re a dancer, you’re very observant. You watch every person that walks in,” she says. “I feel like the way dancing makes you observe people helps you write from a perspective that other people can then relate to.”

Blaike has been working on a poetry collection that explores love, queerness, desire and personhood. “It’s gotten a little sexier over time, which is kind of fun,” she says. “I also just write about love, being gay, just existing. It can be a little aggressive, but people seem to like it, so that’s good.” She writes these poems from her prized typewriter — a “1951 Olympia typewriter that is my child.”

Among Blaike’s earliest literary touchstones was Maya Angelou. She still remembers encountering Angelou’s line in her poem “Still I Rise,” “I dance like I have diamonds at the meeting of my thighs,” and being stunned by it.

“I was like, ‘Oh, you can write that? That’s amazing,’” she says.

The literary ambitions at Jumbo’s extend well beyond the stage. Stephen Laughton, one of the club’s security guards, jokes that he leads a double life. By night, he keeps watch at the door; by day, he is an award-winning playwright. He’s recently been named the new associate artistic director of the Echo Theater in Atwater Village, and Laughton’s served as the writer-in-residence in the astrophysics department at the Natural History Museum in New York. Last November, his latest play became the first in the world to be staged in a planetarium.

“It’s this crazy, beautiful science play about two guys who meet in a club that explores mental health in the LGBT community, human interaction, time and astrophysics,” Laughton says.

Like many of his co-workers, Laughton has found himself turning Jumbo’s into copy. The club, he suggests, has a way of compelling everyone who works there to write about it.

“I think that probably what we’re all going to realize is that we’re all writing a version of the exact same story,” Laughton jokes.

Blaike argues that the dancers’ diverse talents are a key reason why Jumbo’s Clown Room has become such a beloved institution in the city. “It attracts confident, creative women who work there,” says Blaike. “Our community of women is supportive of each other and each other’s endeavors. … It really does facilitate that.”

YOU’ll soon be able to enjoy a tipple in one of the capital’s grandest landmarks that was once home to Winston Churchill and is thought to have sparked the creation of 007.

Admiralty Arch will soon be home to a huge new bar called The Admiral’s Mess.

And what makes it even more exciting is that it will be an ‘immersive’ bar.

While few details have been revealed, the bar is from the team behind Mr Fogg’s and Bunga90, which are both known for their fun interiors and entertainment including arcade games.

The bar will open at The Waldorf Astoria London Admiralty Arch hotel, which is set to launch in autumn of this year.

It will be the first hotel inside the Grade I-listed Arch.

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The Admiral’s Mess will span 223sqm and have a 60-seat capacity.

All that has been revealed about the bar so far is that guests will be able to “discover something distinctive and unexpected”, according to the Inception Group (the team behind the new bar).

If other Inception Group venues are anything to go by, visitors can expect a bar that is more than a place for drinks.

For example, Inception Group has Cahoots in Soho which is themed around the London Underground.

At Bunga90, another of the company’s destinations, guests travel back to the 1990s through a fridge, where they can play on old arcade games, sing karaoke and order cocktails in cups that are the heads of famous 90s stars including Britney.

Meanwhile, inside The Waldorf Astoria London Admiralty Arch hotel, there will be restaurant Coreus by Michelin-star chef Clare Smyth.

And another Michelin-star chef, Daniel Boulud, will open Cafe Boulud.

Of course, there will be an expansive rooftop terrace as well, with views across the capital.

As for bars, there will be the signature hotel cocktail bar as well as Whisky & Seaweed by Clare Smyth.

As for the bedrooms, each will honour the heritage of the building with sleek interiors.

Guests will also be able to head to the Waldorf Astoria Spa with a sauna, steam room and hydrotherapy pool.

And it wouldn’t be a lavish London hotel without a ballroom, which guests will be able to reach via a Grade I-listed oval staircase.

The ballroom will feature a huge chandelier and enough room for 500 guests.

Admiralty Arch was commissioned by King Edward VII as a memorial to his mother, Queen Victoria and was completed back in 1912.

It has previously been used as offices and residences for the British Royal Navy and at one point, Winston Churchill and Lord Mountbatten had offices or lived within the building.

The building is also said to have inspired Ian Fleming’s James Bond stories.

The UK government left the offices in the building back in 2011 and since then it has been left empty.

Works for the hotel then started at the site back in 2014.

TRAVELLERS will soon be able to have a freshly made cocktail on Eurostar trains in a two-floor bar.

Eurostar boss Gwendoline Cazenave has revealed that the new Eurostar Celestia will have a double-decker bar on board.

Speaking to The Times, she revealed that the cocktail bar in Eurostar’s Premier lounge at St Pancras, London, will be “the design of the bar on the new Eurostar Celestia”.

Celestia is the fleet of 50 double-decker trains ordered last year for €2 billion (£1.7 billion).

Inside the lounge, mixologists make more than 300 cocktails a day and visitors can expect to find a variety of seating options from large tables to cosy chairs as well as a large selection of complimentary magazines.

Eurostar Premier travellers, Carte Blanche and Étoile members can access the lounge up to two hours before their train’s departure.

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Deliveries of Celestia will begin in 2031 and each train will be able to carry 20 per cent more passengers.

As a result, for the first time there will be more than 1,000 passengers onboard.

The trains will transport passengers from London to Frankfurt, Germany, four times a day and Geneva, Switzerland, three times a day.

Cazenave said: “Because it’s going to be a double-decker, it’s going to be a double-decker bar.

“It’s going to be as exciting as a speakeasy bar. That’s what we’re building, and I hope it’s going to be as nice as this place.”

Eurostar is also launching services to Antwerp from London four times a day from December 14.

The announcement comes as Virgin Trains prepares to launch services from London to Europe by 2030.

Italian firm Trenitalia has also promised high-speed cross-channel services by 2029.

There’s a cross on the roof, stained glass in the windows and a choir loft upstairs, but this whitewashed three-level building near Sunset Boulevard in Silver Lake is no longer a house of worship.

It’s the Hotel Lucile, a 25-room boutique lodging that opens Sept. 14 with a restaurant and bar in the high-ceilinged sanctuary where churchgoers once gathered. This opening follows more than a decade of controversy and transformation, including a community debate, bankruptcy and the arrival of a new hotelier in 2020.

It also brings further energy to the Sunset Junction area, Silver Lake’s main, walkable hub, which is already home to stylish spots including the Silver Lake Farmers Market, Taiwanese restaurant Pine & Crane, sports bar 33 Taps and the Photobooth Museum.

Dining room in Sous Sous restaurant.

The new hotelier is Los Angeles-based Casetta Group, which specializes in adapting older structures and has six properties in California and New Mexico, including the Surfrider Hotel in Malibu and Casa Cody in Palm Springs.

When guests arrive at Hotel Lucile, they will find many reminders that the building was constructed as Bethany Presbyterian Church in 1931. But those guests will also see plenty of updates, including 25 guest rooms in the space that once held a church school; a small pool (about 15 feet square); and a rotating display of more than 100 contemporary artworks (many for sale). The organ loft is now a meeting space. The choir loft is retooled as a zone for coffee and drinks. The rooftop is a lounge with downtown views.

After serving as a church for most of the 20th century under varying names, the building was informally adapted for multiple uses, including spells as an antique shop, filming location and the backdrop for interactive horror theater experience “Delusion.”

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1. Bathroom inside a suite. 2. Desk inside a premium king room. 3. Sitting area inside a suite. (Myung J. Chun / Los Angeles Times)

“The building has lived several lives,” Hotel Lucile general manager Anthony Gutierrez said in an email. “It has always been a place for people to gather.”

The establishment fell idle as developer Dana Hollister took over the lease and sought city permits to convert it into a hotel with alcohol and dancing. Despite opposition from many neighboring homeowners and businesses alarmed by possible traffic impacts, those permits were approved in 2014.

But Hollister declared bankruptcy in 2018 and sold her interest in the property in 2020. That’s when the Casetta Group took over Hollister’s long-term lease from the Presbytery of the Pacific, which owns the property.

This church-to-commerce transition isn’t entirely unique. Across the city and the country, declining attendance has idled many religious buildings, often leading to conversions. In DTLA, the restaurant and event space known as Redbird + Vibiana was previously St. Vibiana’s Cathedral, deconsecrated by the Catholic Church after suffering damages in the 1994 Northridge earthquake. In Beachwood Canyon, the Monastery of the Angels was built as a private mansion and rebuilt by the Catholic Church in 1948 as a monastery. In early 2026, Homeboy Industries bought it from the church and began remaking it into Home of the Angels, a “recovery campus” for people impacted by trauma, substance use disorders and involvement in the justice system.

More church conversions may follow, thanks to California law SB4, passed in 2023 to allow faith-based groups and nonprofit colleges to avoid some local restrictions when converting buildings into affordable housing.

Meanwhile, the Hotel Lucile begins a new chapter, retaining interior arches, masonry, woodwork details and a rooftop cross that the hotel will keep alight at night. (The old church bell, however, will remain silent.)

Because the hotel has no on-site parking, it will rely upon valets and street parking (already tight in the neighborhood) to accommodate the cars of overnight guests and restaurant diners.

The rates begin at $441 nightly, plus a $50 amenity fee. To start, management is offering a “locals rate” of 15% off for guests who can show a California state ID.

“We did preserve as much as we could of the original beams and stained glass,” said Laney Langenstein, who oversees strategy and marketing for Casetta. Though guest rooms have minibars (curated by Erewhon and other partners), Langenstein noted that hotel staffers will also push a martini cart that will “go through the hallways and see if anybody thinks it’s cocktail hour.”

The dinner-only restaurant, Sous Sous, will draw upon cooking traditions of southern France and the American South, seating up to about 120, with occasional live music on the room’s stage. A hotel cafe will be open to guests for breakfast and lunch.

The new look of the hotel was produced by Casetta Hotels and design firm Electric Bowery. Children are permitted at the hotel, but not encouraged by the layout. (Of 25 rooms, 24 have a single king bed and one has two queens. Most rooms have showers, not tubs. There is one suite, which has its own courtyard patio and fountain.)

With an eye to potential expansion later, hotel management has also bought up one of the three immediately neighboring properties.

Meanwhile, now that the hotel is about to open, feelings among neighbors are mixed.

A booth at Sous Sous restaurant.

“When they tried to get a permit for the hotel, we all went to speak against it. But they got the permit,” said Jin Chang, longtime owner of nearby Big Mac’s Liquor on Sunset. Now, Chang said, he’s neutral about the hotel opening and relieved that his mini-mall has its own parking lot.

“What’s the definition of progress?” asked VJ Kesh, a longtime neighborhood resident. “Is this hotel a reflection of Silver Lake? Hell, yes. So I’m in favor.”