June 29 (UPI) — The Archdiocese of San Francisco has reached a $395 million settlement with hundreds of survivors of childhood sexual abuse allegedly committed by members of the clergy, lawyers for the victims and the archbishop announced Monday.
The agreement in principle, which follows three years of bankruptcy proceedings and extensive negotiations between the archdiocese and lawyers representing the victims, affects some 530 survivors, according to lawyer Jeff Anderson, who is among the claimants’ litigation team.
During a press conference streamed live online Monday afternoon, Anderson described the agreement as “a real settlement that provides for a significant measure of accountability, required transparency and an authentic reckoning by those that allowed these indelible horrors to be inflicted upon so many for so long.”
The archdiocese filed for Chapter 11 bankruptcy in August 2023, after hundreds of clergy sexual abuse civil cases were filed against it, which put a stop to all litigation and forced the survivors to reorganize into a committee that was represented by nine claimants.
Those nine claimants then negotiated the settlement on behalf of all of the survivors, according to Anderson, who said the agreement reached also includes a 14-point plan to protect future children from similar abuses and empower survivors.
“This is unprecedented, and this gives me hope and it is the courage of these survivors that has caused it to happen,” he said.
In a letter addressed to members of the Archdiocese of San Francisco, Archbishop Salvatore Cordileone said that they believe “this proposal offers a path toward fair compensation for survivors who have carried the burden of this abuse for a lifetime.”
“We accept the responsibility for the failures that allowed this harm to occur,” he said.
“I sincerely apologize to all those who have suffered because of those failures.”
The lawsuits that prompted the archdiocese to file for bankruptcy were filed after California enacted legislation that opened a three-year window from Jan. 1, 2020, to Dec. 31, 2022, lifting the statute of limitations on allegations of childhood sexual assault so victims of crimes even decades old could seek a civil, monetary resolution from their perpetrators.
Margie O’Driscoll, a survivor of clergy sexual assault and one of the nine committee members, said during the press conference that she was abused as a teenager by a priest at Marin Catholic High School nearly five decades ago.
She spoke directly to those who were similarly abused.
“I, like every survivor, have carried this pain and shame along like a ball and chain for a very, very long time — I see you and I know what you carry,” she said.
“So, while I want to say that today is a significant victory for everyone in the case … it’s really come at a significant cost to the 500 people sexually abused by priests and religious leaders.”
O’Driscoll said some of the victims had been abused more than 70 years ago, during which they carried the shame associated with the crime, while being scorned by the archdiocese and sometimes their accusations not believed by family and friends.
“And I think, today, shame is going to change sides,” she said.
Hundreds, if not thousands, of claims were filed after the passage of Assembly Bill 218, resulting in billions of dollars in settlements for survivors of childhood sexual abuse.
In October 2024, the Archdiocese of Los Angeles reached an $880 million settlement with 1,353 survivors. In April 2025, Los Angeles County reached a $4 billion settlement resolving more than 6,800 claims of sexual abuse allegedly committed at probation department facilities and MacLaren Children’s Center.
Fery may not be well-known outside of British tennis circles but sport is a huge part of his family life – his mother, Olivia, was a professional player, while father Loic owns Ligue 1 football club Lorient.
As a teenager, Fery opted to go on a scholarship to Stanford University in California and also played collegiate tennis.
He lost just two games in his opening-round win over compatriot Toby Samuel at Queen’s, before recording what he described as the “best result” of his career against veteran Frenchman Mannarino.
He and Cerundolo both made nervous starts, with numerous break point opportunities, but Fery broke to serve for the set at 5-4.
However, Cerundolo won the next three games and dominated the tie-break, with the only point Fery won in it coming from a double fault from his opponent.
Cerundolo broke to start the second set but took a painful hit at the net when Fery accidentally sent a volley straight into his throat.
The Argentine fell to the floor, with Fery hopping over the net to check on him – and the pair shared a wry smile as on the next point, Cerundolo came close to hitting Fery with a passing winner.
But from that moment on, Cerundolo’s serve disappeared, and Fery restored parity before breaking to serve for the set.
A lovely serve and volley from Fery to force the deciding set established the tone, and a horrible double fault from Cerundolo handed the Briton the early initiative.
Cerundolo’s experience showed, though, as he put enough pressure on his opponents’ forehand to first break back and then secure victory on Fery’s serve.
That sound of breaking glass? It’s Hong Kong-born conductor Elim Chan, 39, shattering a particularly stubborn ceiling after being named the first woman to lead the San Francisco Symphony in its 115-year history. Her title is currently Music Director Designate, and when she officially steps into the job of music director in September 2027, she will become the first woman to lead a major American orchestra.
Chan arrives as the orchestra’s 13th music director at a precarious moment for the organization, which in 2024 was rocked by the resignation of its last music director, Esa-Pekka Salonen, who declined to renew his contract after five years and said he didn’t share the same vision as the orchestra’s board of governors. Like many arts organizations, the symphony is still struggling with a pandemic-precipitated drop in attendance and a shrinking budget.
Fans will get their first chance to see Chan in action on June 5 and 6 when she’ll take the stage in a program including Richard Wagner’s Prelude from “Tristan und Isolde,” Hector Berlioz’s “Les Nuits d’été” wih mezzo-soprano soloist Sasha Cooke, and Claude Debussy’s “La Mer.”
“In Elim Chan, we have found a musician of unusual gifts and a leader of equal substance — a rare combination, and the one behind her remarkable international rise,” said San Francisco Symphony Chief Executive Matthew Spivey in a news release. “What sets her apart on the podium is the conviction she brings to the music itself. Works orchestras have played a hundred times sound newly made under her hand, lit by a feeling for structure, color, and emotional architecture that audiences hear before they can name.”
Chan studied piano and cello in Hong Kong before moving to the U.S. to attend Smith College. She went to graduate school at University of Michigan, Ann Arbor, where she ultimately earned a Doctor of Musical Arts degree in 2015. The year before that she became the first woman to win the prestigious Donatella Flick LSO Conducting Competition, and was named assistant conductor of the London Symphony Orchestra.
Chan made her conducting debut with SF Symphony in January 2023 and has conducted the orchestra twice since. A rep for the the group said the feedback they’ve received from “our Orchestra, press, our audiences, and donors has been remarkable.” Chan is, indeed, a electrifying presence to behold onstage, a fact that no doubt played a major role in the search committee’s decision.
And now audiences get to delight in her fresh, invigorating approach to the conductor’s podium. Glass ceilings should be broken more often.
I’m Arts editor Jessica Gelt rooting for something new and different. This is your arts and culture news for the week.
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The week ahead: A curated calendar
FRIDAY
David E. Frank and Nicolet Anton in “Limonade Tous les Jours: A Paris Love Story” at City Garage.
(Paul Rubenstein)
Limonade Tous les Jours: A Paris Love Story Romance in the City of Lights from Obie Award-winning playwright Charles L. Mee, in which a young chanteuse and a reserved American in his 50s ponder amour amid classic French cabaret songs. 8 p.m. Fridays and Saturdays; 4 p.m. Sundays, through June 28. City Garage, 2525 Michigan Ave., Building T1, Santa Monica. citygarage.org
Three Lives Written, directed by and starring Alex Xander Luu, this solo theater performance shares the dramatic, sometimes humorous, story of the Luu family’s escape from Saigon in 1975 through the perspectives of a father, son and grandson. 8 p.m. Friday-Saturday; 2 and 8 p.m. Sunday. Sierra Madre Playhouse, 87 W. Sierra Madre Blvd. sierramadreplayhouse.org
David Call and Lena Dunham in the movie “Tiny Furniture.”
(Joe Anderson / IFC Films)
Tiny Furniture Multi-hyphenate Lena Dunham’s breakout 2010 indie feature about a new college graduate adrift in New York City screens with “Welcome to Bushwick a.k.a The Crackcident,” an episode from Dunham’s series “Girls.” 7:30 p.m. Friday; 6 p.m. Saturday. The Eastwood (Oxford Underground), 1089 N Oxford Ave. eastwoodpac.stagey.net
SATURDAY
Daisuke Ryu in Akira Kurosawa’s 1985 film “Ran,” screening Saturday at the Academy Museum.
(Winstar Cinema)
Darkness and Humanity: The Complete Akira Kurosawa The series continues with 35 mm screenings of “Ran,” the filmmaker’s 1985 adaptation of Shakespeare’s “King Lear” transported to 16th century Japan; and “Kagemusha,” a 1980 feudal epic executive produced by George Lucas that helped revive Kurosawa’s career and cement his legacy. “Ran,” 7:30 p.m. Saturday; “Kagemusha,” 6:30 p.m. Sunday. 6067 Wilshire Blvd. academymuseum.org
“Cut Piece,” 1964, performed in “New Works of Yoko Ono,” Carnegie Recital Hall, New York, filmed by David and Albert Maysles. Part of the exhibit “Yoko Ono: Music of the Mind” at the Broad.
Yoko Ono: Music of the Mind The first solo museum exhibition in Southern California of the singular artist, musician and activist, organized in collaboration with Tate Modern, London, includes work from her seven-decade career; direct participation by visitors will be invited in many of Ono’s transformational works. Through Oct. 11. The Broad, 221 S. Grand Ave., downtown L.A. thebroad.org
Artist Kyungmi Shin, whose solo exhibition “My Fantasy’s Burdens” is currently showing at Perrotin Los Angeles, talks with Aleesa Pitchamarn Alexander on Sunday.
(Todd Gray)
Kyungmi Shin The L.A.-based artist will discuss her work, including the current exhibition “My Fantasy’s Burdens,” with Aleesa Pitchamarn Alexander, curator of Modern and Contemporary Art at the Cantor Arts Center and co-director of the Asian American Art Initiative at Stanford University. “My Fantasy’s Burden” includes both paintings and ceramics by Shin, featuring the artist’s practice of interrogating the Asian American diasporic identity, focusing on the cultural, economic and scientific consequences of colonialism. 4 p.m. Saturday; the exhibition concludes May 30. Perrotin Los Angeles, 5036 W Pico Blvd. perrotin.com
SUNDAY Bob Dylan double feature It’s the music icon’s 85th birthday and what better way to celebrate than with screenings of his 2021 concert film “Shadow Kingdom,” directed by Alma Har’el, and the 1987 musical melodrama “Hearts Of Fire” — one of Dylan’s forays into acting — directed by Richard Marquand. 7:30 p.m. Aero Theatre, 1328 Montana Ave., Santa Monica. americancinematheque.com
Stephen Schwartz performs during the Songwriters Hall of Fame induction and awards gala in 2025.
(Charles Sykes /Invision / AP)
An Evening With Stephen Schwartz Katharine McPhee, Joey McIntyre, Loren Allred and other performers join the celebrated composer-lyricist for a benefit concert to help the Altadena Music Theatre recover from the Eaton fire. Schwartz has won three Oscars, three Grammys, four Drama Desk Awards, a Golden Globe and the Richard Rodgers Award for Excellence in Musical Theater, in addition to six Tony nominations for shows including “Wicked,” “Pippin” and “Godspell.” Preceded by a VIP cocktail hour. 7:30 p.m. Manoukian Cultural Performing Arts Center, 2495 E. Mountain St., Pasadena. altadenamusictheatre.com
Arts anywhere
New and recent releases of arts-related media.
An Evening with Nicole Scherzinger
The lead singer of the Pussycat Dolls crowned her triumphant, Olivier- and Tony-winning turn as Norma Desmond in the musical revival of “Sunset Boulevard” with a series of solo concerts at prestigious venues (including Walt Disney Concert Hall). The latest edition of “Great Performances” captured Scherzinger’s performance at London’s Royal Albert Hall in October 2025, when she sang showtunes, covers and songs from her own repertoire. 9 p.m. Friday on PBS and streaming on the PBS app
“Reading Pictures: A History of Illustration,” by D.B. Dowd.
(Princeton University Press)
Reading Pictures: A History of Illustration
In this visual chronicle, D.B. Dowd, a professor of design and American culture studies at Washington University in St. Louis, follows this unique art form from relief prints and woodcuts in ancient China and Japan, through the development of the printing press in 15th century Europe, and on to modern developments such as illustrated news, recreational reading and ad-driven consumer culture. Dowd reconsiders the traditional narrative to view illustration in the context of race, gender, literacy and cultural memory. The book examines the integration of reading and looking, the increasing prevalence of images in the digital age, and what it means to be literate in the 21st century. Princeton University Press: 400 pages, $60
— Kevin Crust
Culture news and the SoCal scene
Kylie Victoria Edwards and Daniel Yearwood in “Brigadoon” at Pasadena Playhouse.
(Jeff Lorch)
Theater lovers rejoice: “Brigadoon” at the Pasadena Playhouse may be the “best local staging of a musical” Times theater critic Charles McNulty has seen in 20 years covering the scene for The Times. The revival, directed by Katie Spelman with an updated book by playwright Alexandra Silber, is “the high-water mark so far of Pasadena Playhouse producing artistic director Danny Feldman’s ongoing reexamination of the American musical canon,” McNulty writes. In the same column, McNulty notes that another classic musical revival, “Flower Drum Song” at East West Players, does not hit its mark.
The Skirball Cultural Center‘s latest exhibit takes on the genesis of Punk rock in the 1970s, and traces its rise from the UK to New York and Los Angeles. The exhibit, “Outsiders, Outcasts, Rebels + Weirdos: Punk Culture 1976-86,” pegs punk’s year zero to 1976, “when the Ramones debuted their self-titled record. That same year, the Sex Pistols cursed on live TV, John Holmstrom and Legs McNeil co-founded Punk magazine, and the Damned released the first British punk single, ‘New Rose’.”
Erin Davis, son of Miles Davis, poses for a portrait during Musichead Gallery’s photography exhibition marking a centennial celebration of the jazz musician.
(Jason Armond / Los Angeles Times)
As the world celebrates the centennial of jazz legend Miles Davis, a unique photo show is happening at Musichead Gallery on Sunset Boulevard. “The show celebrates the late jazz musician’s centennial through imagery captured over a career spanning nearly five decades,” writes staff writer Julius Miller, noting that some of those photos have not even been seen by members of the Davis family.
Times classical music critic Mark Swed sat down for an exclusive interview with Los Angeles Philharmonic Music and Artistic Director Gustavo Dudamel as he readied to play his final shows with the orchestra at Walt Disney Concert Hall before departing for the New York Philharmonic. “I’m living here and I’m not living here,” Dudamel told Swed. “The connection will always be here.”
Swed also weighed in on two performances marking composer Philip Glass’ 90th birthday (which arrives at the end of January): Paris Opera’s “shocking” new “noir” production of Glass’ “Satyagraha”; and a UC Santa Barbara Arts & Lectures-commissioned show called “Philip Glass and the Poets,” which premiered at Campbell Hall featuring readings by performance artist Taylor Mac and dancer/choreographer Lucinda Childs.
Lisa Waund’s work in the Joy Department at the Hospital of Emotions at St. Vincent Medical Center.
(Carlin Stiehl / For The Times)
The Times got an exclusive first look inside the soon-to-open Hospital of Emotions, which features 70 artists in a takeover of 80 rooms at the shuttered St. Vincent’s Medical Center on the outskirts of downtown L.A. The sprawling immersive art project is divided into various departments including joy, fear and sadness, and shines a spotlight on wellness and mental health.
Meow Wolf L.A. won’t open until later this year, but The Times got an early look at a new character that will be featured in the immersive art space. Its name is WoWoW and it’s the creation of the experimental video art collective Everything Is Terrible. Read all about the “20-foot-tall, 1,000-pound amoeba-like creature” here.
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Guests enjoy wine and friendship at the Barnsdall Art Park Foundation’s weekly wine tasting.
(Janna Ireland / Barnsdall Art Park Foundation)
Barnsdall Friday Wine Nights are returning for a 17th year. The event is set to begin May 29 and run through Sept. 11, every Friday evening from 5:30 to 9:00 p.m. Located on the West Lawn of Frank Lloyd Wright’s magnificent Hollyhock House, the gathering occupies one of the city’s most magical outdoor spots. A $55 general admission ticket gets you four glasses of wine from Silverlake Wine, along with a rotating lineup of food trucks. DJs also regularly perform throughout the series. Best of all: Proceeds support arts programming and preservation at Barnsdall Art Park. A rep for the event notes that, “this year’s fundraiser is especially critical amid proposed budget and staffing cuts to the City of Los Angeles Department of Cultural Affairs.”
Break out your best picnic basket and blanket: Independent Shakespeare Co. has announced this summer’s Griffith Park Free Shakespeare Festival, which runs outdoors every year at the park’s Old Zoo. This year’s lineup includes the Bard’s “Coriolanus” and “The Comedy of Errors.” Performances are free, but registration is requested at www.IndieShakes.org.
SAN FRANCISCO — There are no immigrants waiting for rulings anymore at San Francisco’s main immigration court, no lawyers making arguments.
The court, which had 21 judges when President Trump was sworn in last year, had only two left when it closed May 1. The rest had been fired, retired or resigned amid a White House purge of federal immigration judges.
The closing is one more reflection of the turmoil that has upended the immigration court system as the administration looks for ways to churn through its massive backlog of 3.8 million asylum cases and deport as many people as possible.
Asylum denial rates have soared as the administration has fired almost 100 judges deemed to be too liberal, and approved using hundreds of military lawyers to replace them. Immigrants have been arrested when they arrive at courthouses or government offices for scheduled appearances.
But amid the nationwide upheaval, San Francisco is the first major city to be left without a primary immigration court, leaving chaos and dysfunction in a region long known for its friendliness to asylum seekers. The two remaining judges will work from another federal building in the city but will be part of an immigration court across the bay.
That reputation, court insiders say, might have led to its downfall.
“It was a vibrant legal scene and so I think if you were looking to target a court you would have to look at what San Francisco stands for,” said Jeremiah Johnson, an immigration judge in the city until he was fired in November. He is now executive vice president of the National Assn. of Immigration Judges.
Most of the court’s 117,000 immigration cases have been moved to a courthouse in Concord, a city about 30 miles away that opened two years ago to help with San Francisco’s backlog of cases. But turmoil has also reached that city. A courthouse that had 11 judges at the start of 2025 is down to five after a series of firings. It had a caseload of 60,000 cases even before the San Francisco cases were shifted over.
San Francisco’s immigration court, which had the third-highest number of asylum cases in the nation, was long considered one of the most favorable to people seeking asylum. From 2019 to 2024, almost 75% of petitioners received some form of relief, compared with 43% nationwide, according to data compiled by the Transactional Records Access Clearinghouse, a nonprofit data research center based at Syracuse University.
That’s partly because San Francisco, with its vast network of pro-immigrant organizations and pro bono or low-cost legal services, had one of the country’s highest rates of legal representation for immigrants.
The Executive Office of Immigration Review, the Department of Justice branch that oversees immigration courts, announced in March that it would close the San Francisco courthouse in 2027 as a cost-saving measure and move its cases to Concord. But the end came early after nearly all the San Francisco judges left or were fired. The Executive Office provided no detailed explanation for the changes, saying in a statement only that it had decided not to renew its lease for the court, and doesn’t comment on personnel matters.
Tight security in Concord courts
Security is tight at the Concord courthouse, perhaps because of the new influx of cases. Armed security guards ask every person if they are carrying weapons or explosives, and they watch as each person turns off their cellphone. Even coffee is not allowed in. Only water is acceptable, and then only if it’s in a transparent bottle.
Judah Lakin, an immigration attorney based in Oakland who also teaches at UC Berkeley School of Law, said the closure of the San Francisco court has made cases more time-consuming since it’s harder for his clients, who often travel from hours away, to reach Concord on public transportation.
One recent 10-minute hearing in Concord took him more than two hours of travel, he said.
But beyond logistics, Lakin said the chaos in immigration courts under the Trump administration has created a fraught court atmosphere. Mass firings have led to last-minute hearing cancellations, cases have been reset with little notice, and clients are often left in prolonged legal limbo, leaving them vulnerable to deportation.
One of his clients, he said, was provisionally granted asylum by a judge, who was then fired before signing the decision. The case was transferred to a second judge, who was also fired. Now on their third judge, his client is still waiting.
“The ground is constantly shifting underneath your feet, whether it’s judges being fired and hearings getting canceled, whether it’s your clients getting arrested, whether it’s getting denials on things that used to be standard and routine,” Lakin said.
“I think that’s on purpose. That’s by design. It’s part of the strategy,” he added.
‘Heartbreaking’
San Francisco’s immigration court was one of the first in the nation to hire judges with non-prosecutorial backgrounds, with many having previous experience working with immigrants at nonprofits or defending them in court.
To see the court close is “heartbreaking,” said Dana Leigh Marks, a former San Francisco immigration judge who retired in 2021 after 35 years on the bench and who was among the first judges in the nation to be hired from private practice.
She sees the Trump administration’s decision to close the largest immigration court in Northern California as part of an effort to undermine due process and eventually dismantle the path to asylum.
“It’s all a part of big ways and little ways that the Trump administration is trying to get noncitizens out of the country,” she said.
Johnson, the fired San Francisco judge, was appointed during the first Trump administration. He believes he was targeted because he granted asylum in 89% of the cases he heard.
“You don’t fire judges if you disagree with the way they’re handling a case; that’s not how courts work. If you disagree, you appeal that decision,” he said.
Johnson, who is the executive vice president of the National Assn. of Immigration Judges, defended his judicial record, pointing out that over eight years, only about 10 of his cases were appealed by the Department of Homeland Security, and very few were sent back for further hearings by the Board of Immigration Appeals.
Unlike federal courts, where there are strict rules of procedure and judges have lifetime tenure, the Justice Department runs immigration courts, and the attorney general can fire the judges with fewer constraints.
There were 754 immigration judges across the country at the start of Trump’s second term. Now, there are about 600, including some temporary judges, according to data collected by the judges’ union. Widespread courthouse arrests of immigrants have caused hundreds of people not to even show up for hearings, leading to deportation orders in absentia.
Nidaa Pervaiz came to the Concord court on a recent day to represent a client from Nepal. She prefers the new courthouse in some ways, since it’s closer to her home.
But, she said, she and her clients are already feeling the impact of the changes. Fewer judges leads to fewer hearings. That means more delays for her clients, whose paperwork can expire even before they can appear before a judge.
“Their whole lives are at stake, and they are coming to make a plea for their future” she said.
Salesian High School held its 15th Salesian Gala on Saturday night, with defensive back Deommodore Lenoir from the San Francisco 49ers and a Salesian graduate being honored.
Deommodore Lenoir of Salesian in 2016. Now he’s NFL defensive back for 49ers.
(Eric Sondheimer / Los Angeles Times)
Lenoir used Salesian as a key path to playing college football at Oregon and then the NFL. He received a $92 million contract extension in 2024.
