L.A.s

Elliot Zwiebach was 62 years old when he sang in front of a live audience for the first time.

The retired reporter had always loved show tunes, but he’d never considered singing in public before.

“I sang for my own amusement, and I wasn’t very amused,” he said recently.

But one night, after attending a few open mic nights at the Gardenia Supper Club in West Hollywood as a spectator, he got up the nerve to step onto the stage and perform a tune backed by a live band.

For his first song, he picked the humorous “Honey Bun” from the Rodgers and Hammerstein musical “South Pacific.” It was frightening and he didn’t sing well. And yet, the following week he came back and did it again.

Newbie Ian Douglas, left, and longtime singer Elliot Zwiebach look over a sign-up sheet at the Gardenia’s long-running open mic night.

Sixteen years later, Zwiebach, now 78, is a core member of what the event’s longtime host Keri Kelsey calls “the family,” a group of roughly 25 regulars who sing jazz standards, show tunes and other numbers from the Great American Songbook at the longest-running open mic night in L.A.

“It’s very much like a community,” Zwiebach said on a recent evening as he prepared to sing “This Nearly Was Mine,” another song from “South Pacific.” “Everyone knows everyone.”

For 25 years, the small, L-shaped Gardenia room on Santa Monica Boulevard has served as a musical home for a diverse group of would-be jazz and cabaret singers. Each Tuesday night, elementary school teachers, acting coaches, retired psychoanalysts, arts publicists and the occasional celebrity pay an $8 cover to perform in front of an audience that knows firsthand just how terrifying it can be to stand before even a small crowd with nothing more than a microphone in your hand.

“You are so vulnerable up there with everyone staring at you,” said Kelsey, who has hosted the open mic night for 24 years and once watched Molly Ringwald nervously take the stage. “But it’s also the most joyous experience in the world.”

Director and acting coach Kenshaka Ali sings “Goodbye Pork Pie Hat” by Rahsaan Roland Kirk.

The singers are backed by a live, three-piece band led by guitarist Dori Amarilio. The rotating group of musicians — a few of them Grammy winners — arrive not knowing what they will be playing that night. Some singers bring sheet music, others chord charts. And there are those who just hum a few bars and allow the musicians to intuit the key and melody enough to follow along. Poet Judy Barrat, a regular attendee, usually hands the evening’s piano player a copy of the poem she’ll be reading and asks him to improv along with her.

“It’s totally freeform,” said Andy Langham, a jazz pianist who toured with Natalie Cole and Christopher Cross and often plays the Gardenia. “I read the stanzas and try to paint pictures with the notes.”

Keri Kelsey, singing “Mack the Knife,” has hosted the Gardenia’s open mic night for 24 years.

The Gardenia, which opened in 1981, is one of the few venues in L.A. specifically designed for the intimacy of cabaret. The small, spare room has table service seating for just over 60 patrons and a stage area beautifully lit by an abundance of canned lights. Doors open at 7 p.m. on Tuesday nights, but those in the know line up outside the building’s nondescript exterior as early as 6 p.m. to ensure a reasonable spot on the night’s roster of singers. (Even though there is a one-song-per-person limit, the night has been known to stretch past 12 a.m.) Nichole Rice, who manages the Gardenia, takes dinner and drink orders until the show starts at 8:30 p.m. Then the room falls into respectful silence.

Pianist Andy Langham and guitarist Dori Amarilio perform live music accompaniment for each open mic participant at the Gardenia.

“This is a listening room,” said singer-songwriter Steve Brock, who has been attending the open mic night for more than a decade. “I’ve been to other rooms where I’m competing with tequila or the Rams. Here, when anyone goes up in front of that microphone, everyone stops.”

On a recent Tuesday night, the show began as it always does with an instrumental song by the band (a piano, guitar and upright bass) before an opening number by Kelsey. Dressed in a black leather dress and knee-high boots, she had this time prepared “Mack the Knife.” “This may be one of the loungiest lounge songs ever,” she said. “Maybe that’s why I really like it.”

People begin to line up outside the Gardenia at 6 p.m. to get a spot for the Tuesday open mic night.

The first singer to take the stage was Trip Kennedy, a bearded masseur who performed “The Rainbow Connection” in a sweet tenor. When he finished, Kelsey shared that she was cast as an extra in “The Muppets Take Manhattan.”

“It was the most ridiculous thing,” she said, filling time as the next singer consulted quietly with the band. “I was a college student who dressed up as a college student for the audition.”

Dolores Scozzesi, who sang at the Hollywood Improv in the ’80s between comedy sets, performed a moody arrangement of “What Now My Love.” “This is a [chord] chart from 2011,” she told the audience before she began. “I want to try it because these guys are the best.”

Monica Doby Davis, an elementary school teacher, sings the jazz standard “You Go to My Head” at the Gardenia.

Zwiebach performed a medley of two Broadway hits, “I’ve Grown Accustomed to Her Face” (which he altered to “his face”) and “This Nearly Was Mine,” easily hitting all the notes. After, his young friend Ian Douglas, a relative newbie who started attending the open mic night in the spring, sang the jazz standard “You Go to My Head.” Zwiebach praised the performance.

“I know that song very well and you did a great job,” he said.

Monica Doby Davis, who once sang with the ’90s R&B girl group Brownstone and now works as an elementary school teacher, also performed “You Go to My Head.” Although she had left the entertainment business decades ago, she said finding the Gardenia open mic night 13 years ago “brought music back to my life.”

Tom Nobles, left, sings alongside bassist Adam Cohen, center, and pianist Andy Langham at the Gardenia.

There were many beautiful, intimate moments that night, but perhaps the best was when Tom Nobles, an actor and retired psychoanalyst in a purple knit cap and thick plastic glasses, forgot the words to “Lost in the Masquerade” by George Benson.

He stumbled for a moment, a bit perplexed, before turning to his friends for help.

“Whoever knows the words, sing it with me,” Nobles said to the crowd.

Quietly at first and then louder and stronger, the whole room broke out into song.

We’re lost in a masquerade. Woohoo, the masquerade.

AI is driving the stock market to record highs, dominating countless debates about the value of human labor, and radically rewiring the way schools approach education. It’s also causing a stir in the art world, with media artist Refik Anadol poised to open Dataland, the world’s first museum of AI arts, inside the Frank Gehry-designed Grand L.A. complex in downtown Los Angeles next spring.

A first-look at the Infinity Room gallery at Dataland.

(Dataland)

The 25,000-square-foot museum was originally scheduled to open this year, but Anadol announced Thursday that the opening has been pushed back to spring 2026. Anadol also unveiled a sneak peak at the Infinity Room, one of the museum’s five discrete galleries. The immersive room features Anadol’s distinct swirling colors and images and will be infused with AI-generated scents, creating a multisensory experience powered by its very own AI model, called the Large Nature Model.

The Infinity Room design dates back to 2014 when Anadol created his first immersive data sculpture at UCLA. He described it as an exploration into the future of the Light and Space movement. It was essentially a 12-by-12-foot cube, with mirrored walls, ceiling and floors. Projectors emitted pulses of black-and-white imagery that used data as a pigment. To date, the Infinity Room has toured 35 cities and been viewed by more than 10 million people.

Another look at the Infinity Room, which has been viewed by 10 million people on tour.

(Dataland)

“The work emerged from my exploration of the idea that information can become a narrative material capable of transforming architectural space into a living canvas. The question driving me was simple but profound: What happens if there is no corner, no floor, no ceiling, no gravity?” Anadol wrote about his concept for the Infinity Room in a blog post on his website. “At DATALAND, Infinity Room enters a new era. This iteration embodies the technical and conceptual leaps our studio has made over the past decade. Where the original used generative algorithms, this new incarnation incorporates our decade-long research into what I call “machine hallucinations” — the dreamlike, surreal realities an AI can generate from vast datasets.”

The Infinity Room is meant to be a multisensory experience.

(Dataland)

In an interview last year, Anadol said “ethical AI” is essential to his practice. Unlike most large AI models, Anadol secured permission to use all of his sourced material, and said all of the studio’s AI research was performed on Google servers in Oregon that use only renewable energy.

At a car lot just off the 405 in the San Fernando Valley, there is more than meets the eye.

Galpin Motors sells new and used Fords — touting itself as one of the largest dealerships in the world. But next door, it also displays exotic rides: Shelby Cobras. A vintage purple Rolls-Royce. Sylvester Stallone’s Harley from “The Expendables.”

And then there’s the on-site diner, the Horseless Carriage, where the vinyl-covered booths have hosted generations of Valley power brokers and men who have shaped the policies of the Los Angeles Police Department for decades.

Bert Boeckmann, owner and president of Galpin Motors, stands with new Fords in his showroom.

( Allen J. Schaben / Los Angeles Times)

Former Galpin boss Herbert “Bert” Boeckmann was an influential figure in local politics and a member of the city’s Board of Police Commissioners, the civilian panel that oversees the LAPD. A longtime lawyer for car dealer, Alan Skobin, also served on the commission.

Now, another member of the Galpin Motors family is poised to carry on the legacy.

The City Council is scheduled to vote Wednesday on whether Jeffrey Skobin, a vice president at Galpin, will follow in his father Alan’s footsteps and join the commission.

Appointed by Mayor Karen Bass, the younger Skobin, 45, already serves on an advisory board that gives the mayor input on issues facing the Valley. He did not respond to an interview request from The Times.

Skobin cleared one hurdle last week, when the council’s public safety committee approved his nomination by a 3-1 vote.

Several committee members professed to knowing Skobin’s family, with one lauding him for the “good stock you come from.”

Skobin said he wouldn’t take the role of commissioner lightly. The five-member panel acts like a corporate board of directors, setting LAPD policies, approving its budget and scrutinizing police shootings.

“I recognize the seriousness of this role and the gravity of this responsibility,” Skobin told the committee. “My story is deeply tied to Los Angeles.”

A mega-dealership with five franchises, Galpin has long wielded influence as a source of jobs and tax revenue for the city. It was Boeckmann who established the business as a powerful player in local politics.

Rare classic Porsche sports cars on display in the Galpin Hall of Customs during the LA Auto Show’s opening day at Los Angeles Convention Center in 2021.

(Allen J. Schaben/Los Angeles Times)

Boeckmann was a self-made millionaire who started out as a car salesman in 1953, seven years after Galpin opened. He eventually bought out the company’s founder, Frank Galpin.

In the decades that followed, he amassed a large corporate empire in the Valley that also included vast land holdings and a film production company.

Boeckmann and his wife, Jane, longtime publisher of the Valley magazine, backed George W. Bush for president, Gray Davis for governor and Antonio Villaraigosa for mayor.

Galpin’s website features a picture of Boeckmann and his wife meeting California Gov. Ronald Reagan in 1974. “When I think about what’s right in America, I will always think of men like Bert Boeckmann,” said the future president, according to the company.

Samantha Stevens, a Los Angeles political consultant and former legislative staffer, said candidates routinely made pilgrimages to the Galpin lot on Roscoe Boulevard to court Boekmann.

“Everybody would go and ask for their support, not just the money. You wanted the name on the endorsement list,” Stevens said.

Although Boeckmann leaned conservative, she said, he was also a force behind the scenes in L.A.’s left-leaning City Hall and seemed to put aside politics when he found causes or candidates that he believed in — including a failed push for the Valley to break away and form its own city.

Ford Explorers on a Galpin storage lot on Woodley Avenue near Van Nuys Airport.

(Los Angeles Times)

“I remember sending my liberal Democrat candidates to meet with them, and they would get donations,” Stevens said.

First appointed to the Police Commission by then-Mayor Tom Bradley in 1983, Boeckmann served two stints under three mayors.

During his 17 combined years on the panel, Boeckmann gained a reputation as its most conservative member — with critics calling him an apologist for former Chief Daryl Gates.

He sat on the commission during two of the darkest chapters in LAPD history: The fallout of the 1991 beating of Black motorist Rodney King and the Rampart corruption scandal, which uncovered cops planting evidence, dealing drugs and committing other crimes.

Boekmann died in 2023 at age 93, but the company still maintains close ties with both the LAPD and City Hall.

Campaign finance records show that Galpin and its employees, including Jeffrey Skobin, have made contributions to numerous local, state and politicians, though not Bass’ mayoral campaign.

Yet when Bass announced the possibility of laying off city workers earlier this year, she chose Galpin as the backdrop of her news conference to rally support.

Last November, less than a week after taking over as LAPD chief, Jim McDonnell held a meet- and-greet at the company’s gleaming showroom of exotic cars across the street.

Galpin twice supported McDonnell’s campaigns for Los Angeles County sheriff, with records showing tens of thousands of dollars in donations during his successful run in 2014 and his failed re-election bid four years later.

In years’ past, the company came under scrutiny after it was revealed that Boeckmann leased city land and sold cars to the city. A controversy arose when the City Council spent $2.4 million to help buy a 239-acre parcel from Boeckmann in Mandeville Canyon. For a time, the LAPD stored some undercover vehicles on Galpin properties.

Those deep ties have led to questions about whether Skobin can be an effective police watchdog. The mayor’s office scrutinized Skobin’s business for any conflicts of interest before putting forward his nomination, city officials said.

LAPD Capt. Johnny Smith said Galpin has given to countless charitable causes and regularly provides meeting space for community groups.

“Their support has always come from a place of partnership, grounded in the belief that together, we can do better for this city we all love,” said Smith, who said he has known the Skobin family for years.

Alan Skobin, 74, told The Times his work on the police commission, on which he served from 2003 to 2012, gave his son a unique window into how the department functions — and what it takes to provide police oversight.

An auto enthusiast views the Batmobile, which was formerly a Ford Futura, on display at Galpin Hall of Customs.

(Allen J. Schaben / Los Angeles Times)

“Number one, don’t take things that are brought to you at face value. Look beyond the surface,” he said. “Always remember you are a representative of the public, and keep that perspective. Continue to be a good listener of various views.”

The elder Skobin recalled how his teenage son once came home upset over a traffic stop that occurred while he was driving to school with a friend, who was Black. The teens felt they were pulled over for no reason — and the incident left a lasting impression about discrimination by law enforcement, Skobin said.

“One thing I know about LAPD is things slip,” he said. “And Jeff is the kind of person that will look into those things.”

The only vote against the younger Skobin when he appeared before the council’s public safety committee last week came from Hugo Soto-Martinez, who peppered him with questions about his reaction to the Trump administration’s ongoing immigration raids.

“Heartbreaking,” Skobin said, noting that roughly half of Galpin’s employees are of Mexican descent. He is also married to a Mexican American woman.

Soto-Martinez also pressed him on how he would respond if he discovered that local law enforcement shares license plate reader data with federal authorities.

The license plate data allows law enforcement to track the movements of Angelenos in their vehicles without court orders, and some worry that they could potentially be used to track people for deportation.

“I think I would take a position to seek to understand the legality of that, what options there are,” Skobin said.

U.S. House Minority Leader Hakeem Jeffries (D-N.Y.) visited three Black churches in Los Angeles on Sunday morning to campaign for California’s redistricting effort, which could add five or six Democratic representatives to his ranks.

Amid a congressional deadlock over healthcare subsidies that has left the government shut down for more than two weeks, the minority leader returned to the Golden State to campaign for Proposition 50. The ballot measure would give his party more power against Republicans, who Jeffries said have refused to negotiate in the shutdown and otherwise.

“This is trouble all around us,” Jeffries told the congregation at First African Methodist Episcopal Church of Los Angeles in West Adams — after poking fun at President Trump’s 2016 gaffe misspronouncing a book of the Bible. “Folks in the government who would rather shut the government down than give healthcare to everyday Americans. Wickedness in high places. And now they want to gerrymander the congressional maps all across the country to try to rig the midterm elections.”

The packed congregation — most wearing pink to support Breast Cancer Awareness Month — were receptive to his message.

“This is a way of trying to keep things equal,” said Kim Balogun, who was in Sunday’s crowd. “A level playing field.”

For many of its members, First AME is more than just a church. As the city’s oldest African American congregation, it has been at the forefront of the fight for civil rights since its founding in 1872.

“This is family,” said Toni Scott, a retired special-education teacher who has been with First AME for 52 years. “As one of the church’s previous ministers used to say, ‘This is a hospital. People are sick; we come to be healed,’” she said.

When news reached L.A. that Nelson Mandela would be released from prison, South African immigrants and anti-apartheid activists flocked to the church, anxiously awaiting the first sights of Mandela walking free. During the 1992 riots, First AME was a bastion of hope amid a sea of chaos.

“We thank you, God, for bringing us through dark times and chaotic times,” the Rev. Charolyn Jones said to the congregation on Sunday, “knowing that our church, the African Methodist Episcopal Church, was born out of protest.”

House Minority Leader Hakeem Jeffries, left, greets parishioners at First African Methodist Episcopal Church of Los Angeles. “It’s an honor and a privilege to spend time worshiping at Black churches here with Congresswoman Sydney Kamlager-Dove to reinforce the message of the importance of voting yes on Proposition 50,” Jeffries said.

(Ethan Swope / For The Times)

For Jeffries, the first Black person to lead a major political party in Congress, the West Coast trip amid a congressional impasse was important.

“The African American churchgoing community has always been the foundation of the Black experience in the United States of America,” Jeffries said, who also visited the congregations of Mt. Sinai Missionary Baptist Church in South L.A. and Resurrection Church of Los Angeles in Carson. “It’s an honor and a privilege to spend time worshiping at Black churches here with Congresswoman Sydney Kamlager-Dove to reinforce the message of the importance of voting yes on Proposition 50.”

The state’s redistricting effort, Proposition 50, is part of a national fight over control of the U.S. House of Representatives, instigated by President Trump. Republicans hold a slim majority in the House, but in June, Trump began pushing Texas Republicans to redraw the state’s congressional maps to yield five more likely GOP seats.

In response, Newsom proposed California temporarily depose of its independent redistricting commission, led by 14 citizens, to redraw the state’s maps and add five Democratic seats, effectively canceling out Texas’s move.

The Democratic-controlled state Legislature quickly produced redrawn maps and scheduled a Nov. 4 special election to put them up for a vote. Mail-in ballots are already in the hands of voters.

California Republicans, including former governor Arnold Schwarzenegger, have slammed the initiative as a “big scam.” Schwarzenegger called Democrats hypocritical, arguing that while they call Trump a “threat to democracy,” they want to “tear up the Constitution of California” and “take the power away from the people and give it back to the politicians.”

Jeffries noted that California was letting its citizens ultimately decide — unlike some Republican-led states.

“We said from the very beginning that we want to find bipartisan common ground whenever possible, but unfortunately, Republicans, from the beginning of this presidency, have adopted a take-it-or-leave-it, go-at-it-alone strategy,” he said, which is part of why, he added, Proposition 50 is so important.

In the current shutdown, Democrats said they will not vote for a funding bill unless it extends tax credits in the Affordable Care Act that are set to expire for many Americans at the end of the year and reverses cuts to Medicaid that Republicans passed in July’s so-called Big Beautiful Bill.

If the ACA credits expire, premiums would on average more than double for Americans on the enhanced tax credit, one health policy research firm found. But Republicans point out they come with a price: The Congressional Budget Office estimates they would cost the government $350 billion over the next decade.

The bill, which is now law, will cut Medicaid spending by $793 billion, the CBO estimated, and lead to 7.8 million Americans losing their insurance.

On the government shutdown, Richard Balogun, a member of Sunday’s First AME congregation, thinks fighting for healthcare is a worthwhile cause.

“Isn’t it amazing that in England, Australia … you can have national healthcare? Maybe you don’t get treated within the first hour, but you get treated,” he said. In America, “you have to ask yourself sometimes, if I’m going to the emergency room, can I afford that thousands of dollars I’m going to have to pay? That should not be the case in this country.”

A government shutdown has consequences: 2.3 million civilian federal employees are going without pay — roughly 750,000 of whom are furloughed. When the employees are back-paid after the government reopens, that’ll correspond to roughly $400 million of taxpayer money spent every day of the shutdown to pay employees who were not working, the CBO estimates.

Beyond National Park closures and air travel delays, food programs for low-income families could run dry without a funding bill. The Women, Infants and Children Program (WIC) can see effects as soon as one week after a shutdown, the CEO of the National WIC Assn. said. Meanwhile, SNAP (formerly known as food stamps) could also run out of funding further down the line.

Republicans blame Democrats for shutting down the government over their healthcare concerns, but Jeffries pinned it on Republicans, who’ve refused to negotiate.

To Scott, the pink her congregation was wearing to support breast cancer survivors only emphasized the importance of access to healthcare. (Jeffries sported a pink tie.)

“More people need to know what’s going on, so just having him go from church to church, mostly in the Black neighborhoods — that’s where we have the most people: in our churches,” Scott said. “Some may hear the word, see something on fake news, but we know in the church you’re going to hear truth.”

A proposal to explore removing Los Angeles police officers from traffic enforcement is stuck in gridlock. Again.

The initiative to take the job of pulling over bad drivers away from cops is months behind schedule, frustrating reform advocates and some city leaders who argue that Los Angeles is missing an on-ramp toward the future of road safety.

Local officials first raised the prospect during the national reckoning on racial injustice that followed the police killing of George Floyd in 2020, but the plan has progressed in sluggish fits and starts since then. Backers thought that they had scored an important victory with the release in May 2023 of a long-promised study mapping out how most enforcement could be done by unarmed civilian workers.

Last summer, the City Council requested follow-up reports from various city departments to figure out how to do that and gave a three-month deadline. But more than year later, most of the promised feasibility studies have yet to materialize.

“I’m very upset about the delay,” said Council President Marqueece Harris-Dawson, one of the proposal’s early champions. “Generally speaking, when you try to do a big reform like this, at least some portion of the people who want to do the work are very motivated to change the status quo — and I don’t think we have that here.”

He said there was blame to go around for the continued delays, but that he’s encouraged by his conversations with officials from the involved departments that studies will be completed — a precursor to legislation that would allow for re-imagining traffic safety.

At the same time, he said that he still saw a role for armed police in certain traffic situations.

“I don’t even think we need to be pulling people over at all for vehicle violations, especially for those that don’t pose any public safety risks,” he said, before adding: “If somebody’s going 90 miles an hour down Crenshaw Boulevard, that person does need to be stopped immediately and they do need to be stopped by somebody with a gun.”

In a unanimous vote in June 2024, the council directed city transportation staff and other departments to come back within 90 days with feasibility reports about the cost and logistics of numerous proposals, including creating unarmed civilian teams to respond to certain traffic issues and investigate accidents. Also under exploration were ideas to limit fines in poorer communities and end stops for minor infractions, such as expired tags or air fresheners hanging from the rearview mirror.

Of the dozen or so requests made by the council, only two reports by the city’s transportation department have been completed so far, officials said.

Both of the studies — one assessing parking and traffic fines, and the other looking at how so-called “self-enforcing infrastructure” such as adding more speed bumps, roundabouts and other street modifications could help reduce speeding and unsafe driving — are “pending” before an ad hoc council committee focused on unarmed alternatives to police, according to an LADOT spokesman. The committee will need to approve the reports before they can be acted on by the full council, he said in a brief statement.

Chief Legislative Analyst Sharon Tso, the council’s top policy advisor, said she understands frustration over the delays. She said the protracted timeline was also at least partly caused by difficulties in obtaining reliable data from some of the participating departments, but declined to point any fingers. Two additional reports are in the final stages of being finalized and should be released by the end of the year, she said.

Although top LAPD officials have in the past signaled a willingness to relinquish certain traffic duties, others inside the department have dismissed similar proposals as fanciful and argued the city needs to crack down harder on reckless driving at a time when traffic fatalities have outpaced homicides citywide.

Privately, some police supervisors and officers complain about what they see as left-leaning politicians and activists taking away an effective tool for helping to get guns and drugs off the streets. They argue that traffic stops — if conducted properly and constitutionally — are also a deterrent for erratic driving.

A recently passed state law allowed the use of use of automated speeding cameras on a pilot basis in L.A. and a handful of other California cities.

Some advocates, however, are leery of relying on technology and punitive fines that can continue historical harms, particularly for communities of color.

“It’s been just a big bureaucratic slog,” said Chauncee Smith, of Catalyst California, which is part of a broader coalition of reform advocacy groups pushing for an end to all equipment and moving violation stops.

While L.A. has spent more than a year finishing a “study of a study,” he said, places such as Virginia, Connecticut and Philadelphia have taken meaningful action to transform traffic enforcement by passing bans on certain types of low-level police stops.

He cited mounting research in other cities that showed road improvements along high-injury street corridors were more effective at changing driver behaviors, ultimately reducing the number of traffic-related deaths and serious injuries more than the threat of being ticketed. But he also acknowledged the difficulty of making such changes in L.A.’s notoriously fragmented approach to planning and delivering infrastructure projects.

Smith and other advocates have also argued for an outright ban on so-called pretextual stops, in which police use a minor violation as justification to stop someone in order to investigate whether a more serious crime has occurred.

The LAPD has reined in the practice in recent years under intense public pressure but never abandoned it. Further changes could require legislation and are likely to face stiff opposition from police unions such as the Los Angeles Police Protective League, which has been highly vocal in its criticism of the pretext policy change.

Leslie Johnson, chief culture officer for Community Coalition, a South L.A.-based nonprofit , said that despite the delays the organization plans to press ahead with efforts to reimagine public safety and to keep pressure on public officials to ensure the study results don’t get buried like past efforts. She said that there is renewed urgency to push through the changes after a recent U.S. Supreme Court decision that critics says has opened the door to widespread racial profiling.

“Even though we’re a sanctuary city, we’re concerned that these prextexual stops could be leveraged” by federal immigration authorities, she said.

I am standing on what looks like a cramped, dark city street. A tavern is around a corner, a police department in front of me. And I’m lost.

That’s when I hear a whisper. “Psst.” I turn, and see a puppet peeping his head out of a secret opening of a door. Over here,” he says, and I find myself leaning in to listen to this furry, oval-faced creature in the shadows. He’ll help me, he says — that is if I can clear his name. See, another puppet has been murdered, and everyone right now is a suspect.

Campaign posters for puppet candidates for mayor inside Appleseed Avenue. “Election Day” is a tale of political espionage with puppet-on-puppet violence.

(Juliana Yamada / Los Angeles Times)

I am playing a gamed called “Election Day” at Appleseed Avenue, a relatively new escape room in a multi-story strip mall in Newhall. The puppet world is in the midst of a crisis, torn over whether humans should be allowed to wander the fictional street of Appleseed Avenue. My role is that of a detective, and throughout this game of fatal political espionage, I encounter multiple puppet characters — electricians, would-be-mayors, gangsters, dead puppets.

Drama ensues, and that’s where we humans come in, helping the puppets crack the case before we’re banned from their world once and for all. One needn’t be up on the state of puppet politics to participate — and don’t worry, the domestic affairs of Appleseed Avenue are relatively divorced from those of our own. Only a penchant for silly absurdity, and a stomach for puppet-on-puppet violence, is required.

While the look of the puppets may be inspired by, say, “Sesame Street,” with characters that are all big mouths and large eyes, the tone of “Election Day” leans a bit more adult. Recommended for ages 13 and older, “Election Day” will feature puppets in perilous conditions. And if you’re playing as a medical examiner, be prepared to get a glimpse at a mini puppet morgue.

Guests will play as detectives or medical examiners in Appleseed Avenue’s “Election Day.”

(Juliana Yamada / Los Angeles Times)

“Sometimes people do think, ‘Oh, this is for little kids.’ Not quite,” says Patrick Fye, who created the experience with Matt Tye. “We call it PG-13.”

“We wanted that dichotomy,” says Tye. “Really silly puppet-y characters in a gritty world.”

Fye and Tye are veterans of the local escape room scene — Fye the creator of Evil Genius Escape Rooms and Tye the developer of Arcane Escape Rooms. “Election Day,” however, while a timed experience, isn’t a pure escape room. Think of it more as a story that unfolds and needs solving. We’re not trapped. In fact, one puzzle actually utilizes the waiting room, as “Election Day” toys with the idea of traversing the human world and a puppet universe.

Patrick Fye and Matthew Tye, founders of Appleseed Avenue, along with their lookalike puppets.

(Juliana Yamada / Los Angeles Times)

Puppets weren’t necessarily the driving idea behind their joint venture in Appleseed Avenue. Creating a so-called escape room that was more narrative based was the objective. They wanted a room, for instance, where puzzles felt natural rather than forced. “Election Day” isn’t a space, say, with complex cipher codes to untangle. I was reminded of old-fashioned adventure video games, where one is prompted to look at objects, combine them or go on scavenger hunts, like the one prompted by the puppet I met in an alley.

Puppets were simply a means to an end.

“How can we make something that feels like you’re actually in the story and has more video game-y elements, as opposed to, ‘I’m in an Egyptian tomb. Here’s a padlock,’ ” says Fye. “We were trying to figure out how to mix the diegetics with the overall design. We stumbled on crimes and puppets because we thought it was fun and funny.”

One problem: Neither had created puppets or puppeteered before. Enter online classes, where Tye learned how to craft arm-rod puppets.

“We thought it was the coolest idea we had,” Tye says. When we both look at something and go, ‘We don’t know how to do all of this yet,’ we don’t let that stop us.”

Appleseed Avenue is home to an escape room featuring puppets. It doubles as the street name in which the game, “Election Day,” takes place.

(Juliana Yamada / Los Angeles Times)

“Election Day” does unfold like a live-in video game. At times, we’re interacting with a screen, as puppets will relay us messages and quests. Often, we’ll explore the space, as the two have created an elaborate set. Teams are split. Half work as detectives, and half as medical examiners. We can communicate via an inter-room conference system, or simply run back and forth.

But listening to everything the puppets say is paramount, as clues are often hidden in dialogue. Both say they have done too many escape rooms where the story felt too divorced from the actions they were being asked to complete.

“We even say at the beginning of the game, ‘The story really matters.’ You have to pay attention to it,” Fye says. “There’s a moment I’ll never forget. We were doing a Titanic room, and we were in the engine room shoveling coal. But isn’t the ship sinking? What is happening? A lot of times a story is just set dressing.”

The initial response to “Election Day” has been positive, so much so that the two are set to debut a second game in 2026, a sci-fi room titled “Shadow Puppet.” The latter will utilize the same Appleseed Avenue set, although additional spaces will be built out. They’re also looking at some more kid-friendly options. Planned for 2027 is a game titled “Puppet Town Day,” in which little ones will receive passports that prompt them to interact with the puppet characters.

Wanted posters for puppets. Many are a suspect in Appleseed Avenue’s “Election Day.”

(Juliana Yamada / Los Angeles Times)

For now, however, think of Appleseed Avenue as part of greater Los Angeles escape room trend. Whether it’s Hatch Escapes with its corporate time-jumping game “The Ladder” or Ministry of Peculiarities with its spooky haunted house, creators here are emphasizing story. Appleseed Avenue is no different, introducing us to a wacky cast of puppet characters.

It also achieves a rare feat: It makes murder feel ridiculous.

Says Tye: “When there’s a guy named Alby Dunfer who’s getting it from a blowdart from a hitman, it’s like, ‘OK, this is fun.’ ”

Diane Keaton, the actress who starred in some of the biggest movies of the last half-century, including the “Godfather” and “Annie Hall,” while serving as a style trend-setter and a champion of Los Angeles’ past, has died. She was 79.

Her death was first reported by People and confirmed by The New York Times.

In an extraordinary run during the 1970s when she was dominant, her career spanned the high points of American cinema: Francis Ford Coppola’s mafia saga and several of Woody Allen’s urbane comedies, climaxing in an Oscar win for her culture-changing turn as the title character in 1977’s “Annie Hall.” Keaton’s catchphrase, “Well, la-di-dah,” became iconic.

Over her career, she received four Oscar nominations for lead actress, winning for “Annie Hall.”

Born in Southern California, Keaton achieved fame in the 1970s through her frequent collaborations with Woody Allen and Francis Ford Coppola. She appeared in three “Godfather” movies as well as eight Allen films. Her star turn as Annie Hall earned her critical raves and made her a fashion icon of the era with Annie’s fedora hats, vests, ties and baggy pants. The Times once called her look “fluttery, vulnerable, almost unbearably adorable.”

“Annie’s style was Diane’s style — very eclectic,” designer Ralph Lauren said in a 1978 story in Vogue, soon after the movie came out. “She had a style that was all her own. Annie Hall was pure Diane Keaton.”

She was often asked if she got tired of the notoriety “Annie Hall” brought her, including the magazine covers, think pieces and fashion homages.

“No, I’m not. Everything is because of ‘Annie Hall’ with Woody. He has a great ear for women’s voices. I’m so grateful to him; he really gave me an opportunity that changed my life,” she told The Times in 2012. “I’m never disappointed about people talking to me about ‘Annie Hall.’ But I will say, a lot of people don’t know ‘Annie Hall’ exists, and that’s just the way it goes — goodbye! It’s bittersweet.”

She managed to capture the cultural zeitgeist in later films. In 1987, she played a successful businesswoman who upends her life to care for a relative’s baby in “Baby Boom.” In 2003, she won acclaim in “Something’s Gotta Give” for playing a successful writer navigating with romance in her 50s.

Keaton also got Oscar nominations for “Reds” (1982), “Marvin’s Room” (1996) and “Something’s Gotta Give.”

Keaton was a patron of the L.A. arts scene and also gained note as a champion of architecture preservation, remaking grand homes across the region. In collaboration with the Los Angeles Public Library, she edited a book of tabloid photos called “Local News” that ran in the Los Angeles Herald-Express.

In a 2018 interview with The Times, she said she felt privileged to still be working.

“I know what I am by now,” she said. “I know how old I am. I know what my limitations are and what I can and can’t do. So if something appeals to me, I’m definitely going to go for it.”

Later in life, Keaton became a major voice in architecture preservation.

She grew up Santa Ana during the post World War II housing boom in the 1950s and told The Times in an interviews she loved going to open houses with her father

“My father took me to see model homes, which I thought were palaces,” Keaton said.

She began buying and fixing up landmark homes around L.A., especially those of the Spanish colonial style.

“You have to get to know a house and try to keep its integrity. I try to honor the architect,” she said. “I love to go into an empty house. You look at the house and start to feel what it might need.”

“There are so many house treasures, unsung gems, all over Los Angeles,” she said.

Explaining how she came to edit the book of L.A. tabloid photos, Keaton told The Times the L.A. city library came up to her at a swap meet.

The librarian said, ‘There’s these files in the basement of the Central Library’ — the most beautiful building. I took a look. There are books and books to be made out of those images. This is a brilliant archive.”

In recent years, Keaton had become a hit on Instagram, posting photos of architecture, fashion and more. In an interview in 2019, she said she was still very active, eager to work and try new things but was also thinking more about her mortality.

“Of course, you think about it. How can you not?” she said. “I mean, I’m 73. How long do you live? It’s really important what those years are like.”

Keaton death brought tribute across Hollywood and beyond.

“She was a very special person and an incredibly gifted actor, who made each of her roles unforgettable. Her light will continue to shine through the art she leaves behind. Godspeed,” said Nancy Sinatra.