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“Everyone is at least a dormant ballet nerd,” declares 22-year-old Eden Lim, while sitting for an interview in the suburban Dallas studio where she and her sister, Jordan, 24, film and edit their popular YouTube channel “Ballet Reign.”

Judging from the near-universal backlash to Timothée Chalamet’s recent bad-mouthing of ballet, Eden’s summation of the central tenet of their show may be true. With 67,000 subscribers in 166 countries and growing, the Lim sisters are mixing Gen Z humor and exuberance with astounding erudition to bring ballet to a new generation and fire up older, longtime fans.

With episode titles such as “Addictive Ballet Moments to Alter your Brain Chemistry” and promises like “This will increase your lifespan and double your morale,” they are on a mission to ensure that ballet not only survives but thrives.

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Mirthfulness is the Lim sisters’ medium, but their message is serious. During each show, they parse video clips of great performances, often by explaining the history of the piece and giving detailed behind-the-scenes stories. They dissect the most famous pas de deux with trenchant insight and introduce their audience to the greatest dancers, including Natalia Osipova and Roberto Bolle. With signature, irrepressible enthusiasm, the sisters help viewers see precisely what makes the shows and dancers so extraordinary.

Eden, left, and Jordan Lim of YouTube channel “Ballet Reign” trained as professional dancers before deciding to focus on their show full time.

(Larsen & Talbert / For The Times)

A video clip featured in the “Addictive Ballet” episode shows New York City Ballet principal dancer Ashley Bouder launching herself into a jeté so high she seems to leave Earth’s gravity. In midair she manages to turn herself 180 degrees before being caught by her partner, despite her momentum seeming to drift into his arms like a feather blown by a breeze.

While watching the singular feat, Eden exclaims, “Call the news channels! We found a person who can actually levitate!”

Jordan says the goal is to make viewers feel equipped to say, “I understand what’s going on, and I can appreciate it, and I can appreciate that this was done well.”

“Ballet Reign” launched three years ago with modest hopes. The sisters sought a mere toehold in the YouTube universe, aiming for a narrow niche audience of fellow ballet fanatics (“ballet nerds”) ages 16 to 25. To their initial astonishment, they have attracted a far wider viewership spanning all ages, even followers who hitherto had only scant interest in ballet. They have drawn in many young children and older adults, with those 65 and up now their third-largest subscriber group.

The show has rapidly won acclaim from within and outside of the ballet world — perhaps because the depth and breadth of their knowledge makes it hard to shake the suspicion that they secretly are Ivy League professors.

The Lim sisters speak with sophistication about classic ballets and dancers they love — delivering their message through a whimsical show that has attracted fans of all ages.

(Larsen & Talbert / For The Times)

They comment with equal sophistication on ballet steps, choreography, history, musicology and the minute details of costume design. Eclectic references pop out of nowhere — a metaphor from quantum physics, an aside that the flute is the instrument whose sound is closest to a sine wave, that a serinette is an 18th century music box used to teach caged canaries to sing.

Even actual professors laud the show.

Nicolas Krusek routinely shows “Ballet Reign” episodes in his classes for adults on ballet history at Simon Fraser University in Vancouver. Krusek says what makes the show compelling “is the spirit of the videos, just the sense of joyousness and benevolence that they communicate, and a real sense of reverence for the art and the artists.”

John Meehan, a Vassar College professor of ballet and former principal dancer with American Ballet Theatre, calls their episode on Igor Stravinsky’s “The Firebird” ballet “amazing,” adding that it conveys at least as much information in much more palatable form than a “dry” university lecture.

Julie Cronshaw, director of the Highgate Ballet School in London, says even for learned, longtime balletomanes the show opens up a whole new realm of understanding and appreciation. For those weighed down by adult concerns, watching an episode leaves them feeling uplifted.

This is why Jordan believes “Ballet Reign” has attracted a significant older audience — and also because the sisters honor tradition.

“They’re looking at the content and saying, ‘These are pieces that I grew up watching. And these are the dancers that I adored when I was younger,’” Jordan says.

Eden says she hopes “it’s because our content, and the way we deliver it, is able to touch hearts.”

The Lim sisters keep a disciplined schedule, turning out polished, deftly produced episodes 52 weeks a year.

(Larsen & Talbert / For The Times)

The show also benefits from its high production values, with expertly edited clips from performances, clever blurbs of text and quirky cutaways to, say, a pole vaulter as an allusion to how high a dancer jumps.

Episodes generally begin the same way, with the sisters sitting behind a table with an old-fashioned radio-days microphone nicknamed “Mike-elangelo” between them. Eden kicks things off by announcing, “Ladies and gentlemen, this is Ballet Reign.”

A flash of superimposed text identifies them as “*Very certified*, extremely serious ballet experts.”

Jordan and Eden revel in each other’s company, finish each other’s sentences and play off each other with insightful or witty interjections.

“We grew up best friends from the beginning, and that’s never changed,” Jordan says.

They keep a disciplined, grueling schedule, turning out polished, deftly produced episodes 52 weeks a year.

Comments validating their efforts come in frequently. “You really helped me through a dark time,” reads one. Another notes, “I was going through a really difficult life transition and having your videos helped me get through.”

Jordan says, “That’s a sort of impact that I genuinely did not see coming.”

The sisters are openhearted and enjoy revealing ballet’s best-kept secrets, but they have kept a remarkably mysterious online profile. Until now, they have never even disclosed their last names, let alone anything about their background, education or experience.

There is also nearly nothing on the internet, and fans have long wondered about their credentials, including whether they are professional dancers themselves.

On the show the sisters certainly come across as if they were. Surprisingly, the answer is no — with an “almost” caveat.

The oldest of four siblings, Jordan and Eden spent nearly all of their childhood in Ottawa. From the time they were small the sisters beelined toward becoming professional ballet dancers. Jordan says when she was 4 she got up at the crack of dawn every day and put in a VHS tape of a ballet class that her mother, Mary Lim, had bought. With fierce determination, she performed tendus and relevés along with the older students on the tape.

Eden’s ballet fascination quickly followed. Mary says she soon realized she had no choice but to send them to ballet school.

“Obviously, if you look at a 4-year-old doing ballet at 7 a.m. every single day, you’re like, OK, let’s try lessons,” Jordan says.

Eden, left, and Jordan Lim of “Ballet Reign” are the oldest of four siblings and spent nearly all of their childhood in Ottawa before relocating to Texas to pursue their careers.

(Larsen & Talbert / For The Times)

By 2015, the girls needed a better ballet school than was available in Ottawa. Their parents packed up the family and moved to Dallas, where the pair enrolled in the Ballet Academy of Texas. Aside from ballet classes they were entirely homeschooled, but they had plenty of experience dancing in school performances, ballet competitions and with real companies.

Mary says the intent was “to give them an opportunity to move and carve their own path … We wanted them to find their passions.”

The moment the sisters had worked for all their lives arrived in 2020, when the time came to set off around the country — and the world — to audition for ballet companies. But the COVID-19 pandemic hit just as they got started, and almost everything in the ballet world shut down.

Jordan says the hiatus led them to reflect for the first time on whether their lifelong ambition was truly what they wanted. At the same time they groped for a way to put their passion for ballet to temporary use.

For years the sisters had fantasized, half-seriously, about having their own YouTube channel. Eden convinced an initially reluctant Jordan it was time to make the daydream real, and “Ballet Reign” premiered on Dec. 21, 2022.

The sisters say they convinced themselves they were using the show to take “a gap year” while waiting out the pandemic. As the first months passed, and their audience widened and sent glowing feedback, they began to realize they were having a big impact and touching lives. It dawned on them that this wasn’t just an interlude but their calling.

In an agonizing twist, just as the show had gotten underway, Jordan received word she had been accepted by a professional ballet company. She turned down the offer.

“It was one of the hardest decisions I’ve ever had to make,” Jordan says, but in retrospect the right one.

Puka Nacua has denied a woman’s claim that he made an antisemitic comment, says the Rams wide receiver’s attorney.

Madison Atiabi made the claim this week in an application for a temporary restraining order obtained by The Times.

Atiabi asserted in the court filing that during a group New Year’s Eve dinner, Nacua said “f— all the Jews … in a manner audible to [her] and others at the table.” Atiabi added that Nacua’s “vulgar, threatening, violent and harassing conduct” escalated as the evening progressed.

After dinner, Atiabi said she was in a car with Nacua and others when the Rams star bit her on the left shoulder, leaving a substantial bite mark that was photographed. Nacua also is alleged to have bitten the thumb of Atiabi’s friend “so forcefully that she screamed in pain,” according to the filing.

Nacua’s attorney, Levi McCathern, said he has spoken to witnesses — including other Rams players who were present — who didn’t hear Nacua make the antisemitic statement. He also said the bite was innocent “horseplay.”

“Puka denies these allegations in the strongest possible terms,” McCathern said. “We will pursue all available legal remedies in response to these false and damaging statements.”

The request for a temporary restraining order was denied by a Los Angeles Superior Court judicial officer and a hearing is scheduled for April 14.

“Our office was contacted with demands of millions of dollars in exchange for not publicizing these allegations,” McCathern told TMZ. “This is not a legitimate claim — it is blackmail.”

In December, Nacua apologized for an antisemitic gesture he made while appearing on a livestream with Adin Ross and N3on.

The livestreamers, with Nacua out of earshot, discussed whether Nacua would get in trouble if he performed a move that references an offensive stereotype about Jewish people. Ross is Jewish, but he often performs the move in his livestreams.

They suggested Nacua, who led the NFL with 129 receptions and was named an All-Pro in 2025, perform the gesture the next time he scored a touchdown.

“At the time, I had no idea this act was antisemitic in nature and perpetuated hateful stereotypes against Jewish people,” Nacua wrote in his post. “I deeply apologize to anyone who was offended by my actions as I do not stand for any form of racism, bigotry or hate of another group of people.”

The Rams distanced themselves from Nacua’s gesture in a statement.

“There is no place in this world for antisemitism as well as other forms of prejudice or hostility towards the Jewish people and people of any religion, ethnicity, or race,” the team said.

In these times when it is once again fashionable to accuse Commander Chávez of mistakes, whether real or imagined. As we mark 13 years since his untimely death on March 5, 2013, I would like to highlight the value of truth in his political actions. Truth was manifest in the responsibility he assumed for his actions; the consistency between his words and deeds; the acknowledgment of his own mistakes, when it is easier for most people to point out the mistakes of others; and his sincere efforts to correct them. To the above, I would add that when he had to make tactical and strategic shifts in the course initially set, Chávez always had the political honesty to explain in detail why he was doing so, and he courageously took responsibility for them before the people.

There are countless examples which can be found in many of his speeches. I will mention just a few. Beginning with the day of his introduction to the Venezuelan people, February 4, 1992: “Unfortunately, for now, the objectives we set for ourselves were not achieved in the capital city, that is, we here in Caracas did not manage to control power… And I, before the country and before you, take responsibility…” Then in the streets and in the 1998 election campaign: “Let’s go to the Constituent Assembly,” and on February 2, 1999, in what would be his first act of government, he signed the decree calling for the constituent process, and we went to the Constituent Assembly.

In April 2002, he surrendered to the coup leaders, without thinking about saving his own “skin”: “I am an imprisoned president; you decide what to do with me.” After his release, with a cross in his hand, he stated that “it was necessary for all sectors of the country to make a greater effort, with all the goodwill we can muster, to be able to live together in peace, accepting the rules of the game.”

In 2005, he called for the Bolivarian Revolution to take on a socialist character. In the 2006 election campaign, he said, “Let’s go for socialism!” and explained in detail why this strategic shift was necessary. He outlined the characteristics of our socialism, 21st-century Bolivarian socialism, which, as he insisted until his last public words, had to be “essentially democratic” or it would not be socialism at all.

In the elections of December 6, 2006, Commander Chávez obtained the highest number of votes and was re-elected. In December 2007, while awaiting the results of the referendum on constitutional reform and hearing reports of a close count, he called a meeting of the party leadership in Miraflores. I said to him at that meeting: “President, let’s wait for the final count, and if we lost, we lost, but if we won, we won.” He replied with a sharp look: “I don’t want a victory like that, let’s go out and acknowledge defeat now.” And that’s what he did.

In September 2010, we won a majority in the National Assembly. Without a doubt, it was a resounding political victory. But Chávez identified a warning sign: in quantitative terms, the difference in votes between Chavismo and the opposition was minimal. Once again, he assumed political responsibility. In January 2011, he published the “Strategic Lines of Political Action,” a deeply self-critical document.

Late May 2011, he told me: “Elías, I feel like something is wrong with me.” June 2011, after undergoing the necessary tests, on national television: “Cancer cells have been detected in my body.” Easter Week 2012, during a mass in Barinas, broadcast live: “We must be aware that I have an illness that limits my life… Christ, give me your cross.”

On the night of December 8, 2012, in a public address, he raised the possibility of not continuing among us and explained in detail the constitutional procedures that would have to be followed if he were to be permanently incapacitated. That day, once again, he decided to tell us the truth, no matter how hard it was:

Some colleagues told me it wasn’t necessary, or have said in recent hours that it wasn’t necessary to say this. In truth, I could have said almost everything I said tonight from Havana… But I believe that the most important thing, what my soul, my heart, and my conscience tell me, the most important thing… has been this, Nicolás. The most important thing.

“The most important thing”: telling the truth, explaining the reality to the people, the decision he had made, and the steps that needed to be taken.

But that political honesty was not just an individual value. It was the political conviction that the people formed a collective wisdom, a conscious body that knew how to understand and draw its own conclusions about situations. That is why he was so careful to keep them informed at all times.

I once heard him say: “There are those who say that you shouldn’t speak plainly to the people, because then the adversary will seize on that truth and manipulate it against you.” That, Chávez said, is to think that the people are mentally eunuchs. The people understand, more often than not, more than some leaders. For Chávez, speaking the truth was always a decisive show of trust and respect for the people.

And “most importantly,” it was also to make clear for posterity his conviction about the democratic path of the revolution he had led:

In all circumstances, we must guarantee the progress of the Bolivarian Revolution, the victorious progress of this revolution, building the new democracy that is here mandated by the people in the Constituent Assembly; building the Venezuelan path to socialism, with broad participation and ample freedom, which are being demonstrated once again in this gubernatorial election campaign, with candidates here and candidates there. Freedom, complete freedom.

With the power of truth, the truth of his project and his life, Chávez managed to accumulate immense political strength based on the moral autoritas he gained by never peddling falsehoods or shirking his responsibilities, much less in defeat or when he made mistakes. That same moral authority comes not only from consistency between words and deeds, but also from trying to act despite difficult circumstances as well as from recognizing and explaining when and why it is not possible to achieve a certain goal. I stand by that way of doing politics. With Chávez forever!

The views expressed in this article are the author’s own and do not necessarily reflect those of the Venezuelanalysis editorial staff.

Translated by Venezuelanalysis.

Source: CEDES

In 1936, Irish Bostonian entertainment lawyer Tom Bergin founded L.A.’s first Irish pub, the Old Horseshoe Tavern, on Wilshire Boulevard. The bar was later renamed in his honor and relocated to its current Tudor Revival-style building off Fairfax Avenue in 1949.

The tavern claims to have introduced Irish coffee to the U.S. — though some argue that San Francisco’s Buena Vista Cafe holds that title. Either way, Tom Bergin’s is one of the oldest bars in continuous operation in L.A. and boasts the second-oldest liquor license in the city. And its Irish coffee is still one of the best you’ll find.

Today, L.A.’s Irish pub tradition extends to Santa Monica, Long Beach and Woodland Hills, with many founded by Irish immigrants seeking to bring a bit of their homeland to the West Coast in the form of Guinness pints, corned beef and cabbage and traditional Irish folk music.

Whether you’re celebrating St. Patrick’s Day or just looking for somewhere to split the G, here are 13 Irish pubs to check out in L.A. — Danielle Dorsey