L.A

Nicey Nash-Betts has only ever lived in Los Angeles — and she’s proud of that.

“I’m an OG Angeleno,” says the Academy Award-winning actress who’s lived all over the county, from Compton to Palmdale. When I ask her why she’s stayed, she says, “The weather.” And also: “My family is here and I feel like as a whole, people who are from L.A. are a lot more down to earth. It’s the transplants who come here with some weird energy. But the people who are from L.A. are just lovely.”

In Sunday Funday, L.A. people give us a play-by-play of their ideal Sunday around town. Find ideas and inspiration on where to go, what to eat and how to enjoy life on the weekends.

Starting Tuesday, Nash-Betts will star in Ryan Murphy’s new Hulu show, “All’s Fair,” which follows a crew of female divorce attorneys as they leave their male-dominated firm to launch their own practice. It’s a role she almost didn’t take.

“I was just coming off of doing ‘Grotesquerie,’ so I was like, “Ooo. It sounds like it might be a lot work,” says Nash-Betts, whose credits include “Claws,” “The Rookie: Feds” and “When They See Us.” “So I waited a little bit and then I slipped in at the last minute and was like ‘OK, I’m in!’ “

She joins a star-studded glamorous cast of badass women including Sarah Paulson, Kim Kardashian, Glenn Close, Naomi Watts and Teyana Taylor. What was it like working with them?

“We don’t just genuinely like each other, but we have respect for each other,” Nash-Betts says. “And when you respect somebody’s time, their talent, their effort, you know that you’ll always have one of your sisters to lean on that day even if you’re going through something in your personal life.”

When Nash-Betts isn’t on set, she can be found bopping around the city with her “hersband” singer-actor Jessica Betts, whom she married in 2020, and spending time with her three adult kids. Her perfect Sunday in L.A. involves hitting up the farmers market, getting a couple’s massage and ending the night in the same way she did when she won her first Emmy in 2024.

This interview has been lightly edited for length and clarity.

7:30 a.m.: A slow morning

It depends on how early I want to get to the farmers market, so I may wake up around 7:30 a.m. and then just slow roll the day. Make my spouse a cup of coffee. We’re not big eaters in the morning. Occasionally I will get up and make an omelet with all the things and some smothered potatoes, and bring it upstairs on a cart with some juice. Now, I’m telling you the truth. “Baby, am I telling the truth?” [Looks back and screams out to Betts in another room].

9:30 a.m. Get my essentials at the farmers market

I’d grab a shower and say, “Let’s get dressed and go outside, and see what the world has for us today.” I love to go by the farmers market. It’s where we get all of our peppers and vegetables. We like the eggs, the fresh pressed juices and we get our dog snacks from there. I like to go to the farmers market on Saturdays at the Commons in Calabasas, but if I’m going on a Sunday, it’s the one in Westlake. I just think that it’s a one-stop shop for everything that we’re looking for and typically the vendors are really kind. I don’t know if that’s because they want you to buy their stuff or that’s just who they are, but either way, I’ll take it.

And every now and then, I might find a little bop, a little sundress, a little something to throw on, drop the things back off and then head down into the city.

Noon: Stroll around the Grove

If the weather is great, we’ll take something out of the garage that’s a convertible because there’s nothing like the L.A. sunshine. Then depending on what time we can get spa appointments, we might go to the Grove first and walk around. I like the shops that are there. Sometimes you might get a little sweet treat when you’re walking around, but you can always impromptu decide you want to go to the movies and push your plans a little later. It’s just centrally located and it has all of the good things that I like.

2 p.m. Couples massage and a cocktail

Next, we’d head to the Four Seasons for a couple’s massage and a cocktail. Sometimes we’ll go to the Four Seasons Westlake. Sometimes we’ll go to the Four Seasons on Doheny [Drive], but we like to get a spa room, which is in the back. It’s like a suite with a fireplace and a bed in there. You can relax. You have your own private plunge pool and we get our services in the suite. We both always get deep tissue.

5 p.m.: Thai food for dinner

Afterward, we’d drive down to Farmhouse Thai in West Adams because we love it there and we have come to love the owner. I always get the crab fried rice, the whole cripsy fish, the cup of ramen noodles with the short rib on top and spring rolls. That’s the standard order. But if I don’t go out to dinner, I will make crabs every weekend. So sometimes, my kids will come over and eat. If I get to lay my eyes on them during the weekend, that’s always a good time.

9 p.m.: Skinny dipping and champagne

When we get back, we are definitely getting in the pool. Skinny dipping and champagne is how we’re going to end the day. We do this often. Even when I won my Emmy for “Dahmer,” people asked, “How will you celebrate?” and I said, “Skinny dipping and champagne.” And it just so happened, we found a hotel downtown that had a full-sized swimming pool inside the room, so there’s pictures on my Instagram of us in that pool, skinny dipping and drinking champagne. I think that night, we were probably drinking Perignon.

11 p.m.: Hang in the pool until I get sleepy

If I have to get up early on Monday morning, then I might try to lay down around 11 p.m., but if I don’t have to get up and be anywhere, it’ll maybe be around 12:30 or 1 a.m.

Oct. 30 (UPI) — Los Angeles has toppled Chicago as America’s Rattiest City, according to exterminating company Orkin, which publishes a Top-50 list.

“With year-round warm weather, a booming culinary scene and dense neighborhoods that offer ample access to food and shelter, the City of Angels checks every box for rodent survival,” a company press release said.

“From bustling commercial corridors to hidden alleyways, Los Angeles’ signature blend of glam and grit creates a perfect storm for rodent activity.”

Chicago has held the top spot since Orkin created the annual list in 2015

The shift is most likely due to weather patterns, urban infrastructure and human behavior, the press release said.

“Rats and mice are more than a nuisance — they’re opportunists,” Ian Williams, Orkin entomologist, said in a statement. “If there’s food, warmth and a way in, they’ll find it. And once inside, their constant chewing and rapid reproduction can quickly turn a small issue into a large, expensive one.”

Rodents are known carriers of illnesses to humans, including Leptospirosis, Salmonellosis, Lymphocytic Choreomeningitis, plague and typhus.

Orkin measures the number of calls to Orkin to eliminate rats to make the rankings.

The top 25 Rattiest Cities, according to Orkin are, in order, Los Angeles, Chicago, New York, San Francisco, Hartford, Conn., Washington, D.C., Detroit, Philadelphia, Minneapolis, Denver, Cleveland, Baltimore and Boston.

Also, Indianapolis, Dallas, Milwaukee, Seattle, Atlanta, Sacramento, Pittsburgh, Columbus, Tampa, Fla., Houston, San Diego and Grand Rapids, Mich.

Unto every generation, and fraction thereof, a sitcom is born, in which the young people of the moment state their case, self-mockingly. FX recently gave us a State of New York Youth in “Adults,” and here we are now, closer to home with “I Love L.A.,” premiering Sunday on HBO, the network of “Girls” (your guide to the 20-teens), still the most prestigious slot on linear television.

As a native of this fair city, who will never call downtown “DTLA” — let alone #DTLA — I miss the days when the rest of the country wanted nothing to do with us. (Real conversation from my life: Person: “Where are you from?” Me: “Los Angeles.” Person: “I’m sorry”). I can get a little cranky when it comes to the gentrihipsterfication of the city by succeeding hordes of newly minted Angelenos. (The place-name dropping in “I Love L.A.” includes Canyon Coffee, Courage Bagels, Jumbo’s Clown Room, Crossroads School and Erewhon.) I’m just putting my cards on the table here, as I approach characters whose generational concerns are distinct from mine, even as they belong to a venerable screen tradition, that of Making It in Hollywood, which runs back to the silent era. (The heroine of those pictures, stardom escaping her, would invariably return to the small-town boy who loved her. No more!)

Created by and starring Rachel Sennott (“Bottoms”), “I Love L.A.” takes its title from a Randy Newman song written well before Sennott or any of her co-stars were born. (To tell us where we are, as regards both HBO and the location, the series opens with a sex scene in an earthquake.) As in many such shows, there is a coterie of easily distinguishable friends at its center. Sennott plays Maia, turning 27 and in town for two years, working as an assistant to talent/brand manager Alyssa (the wonderful Leighton Meester, from “Gossip Girl,” that 2007 chronicle of youth manners) and hungry for promotion. Back into her life comes Tallulah (Odessa A’zion, the daughter of Pamela Adlon, whose throatiness she has inherited), a New York City It Girl — does any other city have It Girls in 2025? — whose It-ness has lately gone bust, as has Tallulah herself, now broke and rootless. She is one of those exhausting whirlwind personalities one might take to be on drugs, except that there are people who really do run at that speed, without speed — Holly Go-Heavily.

Also starring in the series are Jordan Firstman, left, True Whitaker and Odessa A’zion.

(Kenny Laubbacher / HBO)

Charlie (Jordan Firstman) is a stylist whose career depends on flattery and performative flamboyance. (“What’s the point of being nice,” he wonders, “if no one that can help me sees it?”) Alani (True Whitaker) is the daughter of a successful film director who has presumably paid for her very nice house, with its view of the Silver Lake Reservoir, and whatever she needs. (She has a title at his company even she admits is fake.) Since she wants for nothing, she’s the least stressful presence here, invested in spiritual folderol in a way that isn’t annoying. Attached to the quartet, but not really of it, is Maia’s supportive boyfriend, Dylan (Josh Hutcherson), a grade-school teacher and the only character I came close to identifying with. Do the kids still call them “normies”? Or did they ever, really?

That I find some of these people more trying than charming doesn’t prevent “I Love L.A.” from being a show I actually quite like. (The ratio of charm to annoyance may be flipped for some viewers, of course; different strokes, as we used to say back in the 1900s.) If anything, it’s a testament to Sennott and company having done their jobs well; the production is tight, the dialogue crisp, the photography rich — nothing here seems the least bit accidental. The cast is on point playing people who in real life they may not resemble at all. (My own, surely naive, much contradicted assumption is that all actors are nice.)

Desperation, in comedy, is pathetic but not tragic; indeed, it’s a pillar of the form. Maia, Tallulah and Charlie are to various degrees ruled by a need to be accepted by the successful and famous in the hope of becoming famous and successful themselves. (Alani is already set, and Dylan is almost a hippie, philosophically.) At the same time, the successful and famous come in for the harshest lampooning, including Elijah Wood, in an against-type scene reminiscent of Ricky Gervais’ “Extras.” On the other hand, Charlie’s unexpected friendship with a Christian singer he mistakes for gay is quite sweet; comedy being what it is, one half-expects the character to be taken down. Miraculously, it never happens. You can take that as a recommendation.

With the 2028 Olympic Games less than three years away, Mayor Karen Bass is showing a newfound interest in one of L.A.’s less flattering qualities: its trash-strewn streets.

In April, Bass announced the launch of Shine L.A., a beautification program that sends ordinary Angelenos out with shovels, gloves and trash bags to remove detritus from streets and sidewalks.

Officials are also scrambling to comply with a June 2026 legal deadline for removing 9,800 homeless encampments — tents, makeshift shelters and even RVs. And they’re working to divert three-fourths of the city’s food scraps and other organic waste away from landfills, as required under state law.

Now, the Bureau of Sanitation faces the prospect of more disruption, with its top executive stepping down after four and a half years.

Barbara Romero, who was appointed in 2021 by then-Mayor Eric Garcetti, told sanitation employees in an email on Monday that she will leave at the end of the year. She did not say what prompted her departure or whether she has another job lined up.

Romero did not respond to requests for comment. A Bass spokesperson declined to comment on the reason for the exit, referring The Times to Romero’s email.

“Mayor Bass thanks her for her many years of service and significant contributions to the people of Los Angeles,” said the spokesperson, Clara Karger.

Bruce Reznik, executive director of the environmental group Los Angeles Waterkeeper, said he is “frustrated and angry” over the pending departure — and is convinced that Romero is being pushed out by the mayor.

Reznik described Romero as a crucial voice at City Hall on environmental issues, such as the effort to build new wastewater recycling facilities. Romero also secured new funding to pay for repairs to the city’s aging sewer system, which will in turn avert future sewage spills, he said.

“She genuinely cares about these issues,” Reznik said. “She will engage communities, even when it’s uncomfortable.”

Romero’s departure comes at a crucial time for her agency — one of the city’s largest, with well over 3,000 employees and a budget of more than $400 million. Since Bass took office in December 2022, the agency has been working to bring in more money to cover the cost of trash pickup and sewer system upgrades.

This month, the City Council hiked trash removal fees to nearly $56 per month, up from $36.32 for single-family homes and duplexes and $24.33 for three- and four-unit apartment properties. The increase, which is expected to generate $200 million per year for the city, will be followed by several more fee hikes through 2029.

The department is also in the middle of its once-a-decade selection of private companies to carry out RecycLA, the commercial trash program that serves L.A. businesses and apartment buildings with five or more units.

Then there’s the basic issue of trash, which ranges from discarded fast food wrappers lining gutters to illegal dumping problems in Watts, Wilmington and other neighborhoods. International visitors to L.A. — first for next year’s World Cup, then the Olympic and Paralympic Games in 2028 — will have a close-up view of some residents’ slovenly ways.

Bass has sought to avert that scenario by creating Shine L.A., which has marshaled thousands of Angelenos to participate in monthly cleanups and tree plantings in such areas as downtown, Hollywood and the San Fernando Valley. In her most recent State of the City address, Bass said the initiative would restore local pride in the city.

“It’s about choosing to believe in our city again, and proving it with action,” she said. “Block by block, we will come together to be stronger, more unified than ever before. And that matters, especially in a world that feels more divided with each passing day.”

Chatsworth resident Jill Mather, who founded the group Volunteers Cleaning Communities, said she has already participated in Bass’ program. Still, she warned it will do little to address the parts of the city that have been hit hard by illegal dumping or others that have long-term homeless encampments.

“There are serious areas that need serious cleanup, and once a month in one area is not going to do it,” said Mather, whose members fan out across the Valley each day to pick up trash.

Mather said the city’s homelessness crisis is deeply intertwined with its trash problem, with sanitation crews facing limits on the removal of objects that might be someone’s property. Beyond that, Mather said, the sanitation bureau lacks the resources to gain control over the volume of refuse that’s discarded on a daily basis.

Estela Lopez, executive director of the Downtown Industrial District Business Improvement District, said her organization regularly sends the city photos and videos of trucks and other vehicles — with license plates clearly visible — dumping garbage in the eastern half of downtown.

Those perpetrators have treated the neighborhood like an “open-air landfill,” she said.

“We’ve seen everything from rotting produce and other food to refrigerators, couches, green waste, flowers, tires and construction debris,” Lopez said. “It’s the extent of it, the amount of it, and the fact that no one seems to have a solution to it.”

Lopez said she believes that downtown’s trash problem has gotten worse since the city created RecycLA a decade ago. That trash franchise program was so expensive for customers, she said, that some businesses scaled back pickup service or dropped it entirely.

“The city shot itself in the foot,” she said.

Romero, in her letter to her staff, pointed to her agency’s many accomplishments. Since she took the helm, she said, the bureau succeeded in increasing sewer fees for the first time in a decade, putting them on track to double by July 2028.

Romero championed the construction of a water purification facility that is expected to recharge the San Fernando Valley groundwater aquifer and provide drinking water for 500,000 people. She also pushed for a comprehensive strategy for reducing citywide use of plastics.

Lisa Gritzner, chief executive of the consulting firm LG Strategies, said Romero has been “very accessible” at City Hall, jumping on problems that go far beyond trash pickup. When a multistory, multi-tower affordable-housing project faced a tight deadline to secure a wastewater permit in Skid Row, Romero moved quickly to address the situation, Gritzner said.

“She was very good at helping to navigate the red tape, so we could get the project open,” said Gritzner, who represented one of the project’s developers.

City Councilmember Hugo Soto-Martínez said he feels good about the city’s handling of trash — at least in his district, which stretches from Echo Park and Historic Filipinotown to Hollywood and Atwater Village.

“I feel like our district does a good job of addressing 311 requests, illegal dumping, the trash,” he said. “We have a very nimble and efficient team.”

Soto-Martínez said he’s not too worried about Romero’s departure, noting that the top managers of city agencies “change all the time.”

“We have a lot of talented people in the city,” he said. “Losing one person doesn’t mean the city falls apart, whether it’s a council member or a general manager.”

L.A. County supervisors have unanimously approved an $828-million settlement for alleged victims of childhood sexual abuse, finalizing the deal while questions mount over the legitimacy of some claims in a separate multibillion-dollar payout that they agreed to this spring.

The settlement approved Tuesday brings the county’s spending on sex abuse litigation this year to nearly $5 billion, with the bulk of that total coming from a $4-billion deal made in April to resolve thousands of claims filed by people who said they were abused decades ago in county-run juvenile detention centers and foster homes.

The latest settlement involves similar claims brought by 414 clients of three law firms who opted to negotiate separately from the rest. The $4-billion settlement initially covered roughly 6,800 claims, but has ballooned to more than 11,000.

The larger settlement has come under scrutiny after The Times found nine people who said they were paid to sue. Four said they were told to fabricate the claims. All had lawsuits filed by Downtown LA Law Group, which represents more than 2,700 clients in the first settlement.

The firm has denied paying clients to sue and said it has “systems in place to help weed out false or exaggerated allegations.” The firm has asked the court to dismiss three claims on behalf of allegedly fraudulent plaintiffs this month.

Downtown LA Law Group will be required to detail any claims that came to it through recruiters, the county’s top attorney said Tuesday. The firm has denied any wrongdoing.

(Carlin Stiehl / Los Angeles Times)

The settlement approved Tuesday involves cases only from Arias Sanguinetti Wang & Team, Manly, Stewart & Finaldi, and Panish Shea Ravipudi and has no cases from DTLA. But the firm nevertheless took center stage Tuesday as the supervisors pressed their top attorney on how the lawsuits were vetted.

“What were we doing prior to this article?” said Supervisor Kathryn Barger, referencing The Times’ reporting from earlier this month.

The county was in a tough spot, county counsel Dawyn Harrison explained. Many plaintiff attorneys didn’t want the county interviewing their clients, she said. And a judge had temporarily paused the discovery process, providing the county little insight into the identities of the thousands of people suing.

Harrison said Tuesday that DTLA cases now will be required to go through a “completely new level of review” beyond the standard vetting that was already underway by retired Los Angeles County Superior Court Judge Louis Meisinger. In addition to having a new retired Superior Court judge vet all their cases, DTLA must provide the county with information on plaintiffs acquired through “a recruiter or vendor,” she said.

“DTLA is required to identify every recruiter it used, a list of each plaintiff brought in per recruiter, information about any funds that changed hands, and a declaration under oath by each recruiter identifying what was done, what was said, and any monies paid,” Harrison said.

It’s an unusual request.

California law bans a practice known as capping, in which non-attorneys directly solicit or procure clients to sign up for lawsuits with a law firm.

DTLA has denied knowledge of any of its clients receiving payments to sue and said the firm wants “justice for real victims” of sexual abuse.

“If we ever became aware that anyone associated with us, in any capacity, did such a thing, we would end our relationship with them immediately,” the firm said.

The rush of lawsuits was kicked off by a now-controversial bill known as AB 218, which changed the statute of limitations for victims of sexual abuse and created a new window to sue. The county, which is responsible for the safety of children inside juvenile carceral facilities and foster care, has seen more than 12,000 claims and counting since the law took effect in 2020.

The allegations of fraud that now hover over these cases was the fault of “an unmanageable law,” not the county’s vetting process, Harrison said.

“AB 218 erased those guardrails and allowed decades-old claims that no one can meaningfully vet,” she said.

The county’s lawyers and politicians have become increasingly loud critics of the law, which they say has left them facing a deluge of decades-old claims with no records. Supervisor Hilda Solis said she felt the county had become the “guinea pig” for the bill.

Joe Nicchitta, the county’s acting chief executive officer, estimated that anywhere between $1 billion to $2 billion in county taxpayer money from the settlements will go to attorneys.

“The law had some very noble intentions but it has been … and I’m just going to say what I think, hijacked by the plaintiff’s bar,” he said. “They do all of the vetting, they do all of the intake, they advertise extensively. They’re incentivized to bring as many cases as possible.”

Nicchitta said he’d heard rumors that venture capitalists were poking around Sacramento to find out “whether or not we have enough cash to pay for another settlement, so that they can finance a law firm to bring another round of settlements against us.”

“It’s clear to me the system is ruptured,” he said.

Courtney Thom, who was the lead attorney on cases from Manly, Stewart & Finaldi, said she believed the county was blaming the new state law for the failures of its own lawyers.

“To blame AB 218 and say that’s what enabled the fraud is just a pathetic attempt to deflect responsibility,” Thom said. “Our firm has been saying for two years we’re concerned about fraud.”

Mike Arias, who represents clients in the latest settlement as a partner with Arias Sanguinetti Wang & Team, said the three firms involved stopped adding clients more than a year ago.

“That’s a big distinction,” Arias said. “We said, at the time, the number of plaintiffs would not change. Ethically, my view was that’s who we represent and who we’re going to negotiate for.”

Arias said the allocation for the second settlement will be done by retired Orange County Superior Court Judge Gail Andler, who specializes in overseeing sexual abuse litigation. Potential payouts will range between $750,000 and $3.25 million, he said.

Victims say the money represents a sliver of justice for the abuse they say they suffered while confined in county custody — little of which has been criminally prosecuted.

One man, who is part of the settlement and asked not to be identified, said he has no idea what happened to the probation official who he alleges raped him at around 16 while he was asleep in his cell at Barry J. Nidorf Juvenile Hall, knocked out on sleep medication.

“I had no control in that place,” said the man, now 34. “My body hasn’t ever felt the same since.”

The county has launched an “AB 218 fraud hotline” where tipsters can report misconduct related to the flood of sex abuse claims.

(Rebecca Ellis / Los Angeles Times)

The county recently launched an “AB 218 fraud hotline” where tipsters can report misconduct related to the flood of claims. The county says it also plans to start a hotline for victims to safely report allegations of sex abuse in its facilities.

“It is illegal for anyone to file, pay for, or receive payments for making fake claims of childhood sexual abuse,” states a banner now running atop the county website with a hand doling out hundred-dollar bills.

The county also has launched a website that asks people to report if they were offered cash to sue, which law firms were involved, and whether they were coached, among other questions.

Supervisor Holly Mitchell, whose district includes the South Central social services office where seven people told The Times they were paid to sue, said she wanted to see the hotlines advertised as aggressively as the plaintiff attorneys advertised for their cases.

“You couldn’t turn on an urban radio station without hearing a commercial advertising these cases,” Mitchell said. “I certainly hope whatever we use, as we talk about our outreach, that we lean in as hard.”

A federal judge Tuesday ruled that Acting U.S. Atty. Bill Essayli is not lawfully serving in that role, but declined to dismiss criminal indictments that were challenged by defense attorneys.

Senior Judge J. Michael Seabright from the District of Hawaii was brought in to oversee the case after federal judges in Los Angeles recused themselves. In his ruling, Seabright said Essayli “unlawfully assumed the role of Acting United States Attorney” but can remain in charge under a different title.

Seabright said Essayli “remains the First Assistant United States Attorney” and can “perform the functions and duties of that office.”

Essayli, a former Riverside County assemblyman, was appointed as the region’s interim top federal prosecutor by U.S. Atty. Gen. Pam Bondi in April.

The top prosecutors in charge of U.S. Attorney’s offices are supposed to be confirmed by the U.S. Senate or a panel of federal judges, but the Trump administration has circumvented the normal process in order to allow Essayli and others to remain on the job without facing a vote.

Essayli’s temporary appointment was set to expire in late July, but the White House never moved to nominate him to a permanent role, instead opting to use an unprecedented legal maneuver to shift his title to “acting,” extending his term for an additional nine months.

Challenges to Essayli’s appointment have been brought in at least three criminal cases, with defense lawyers arguing that charges brought under his watch are invalid. The federal public defender’s office in Los Angeles asked the judge to disqualify Essayli from participating in and supervising criminal prosecutions in the district.

The U.S. Attorney’s office in Los Angeles did not immediately respond to a request for comment.

Seabright’s ruling comes amid similar challenges across the country to the Trump administration’s tactics for installing loyalists who wield the power to bring criminal charges and sue on the government’s behalf.

A federal judge in August determined Alina Habba has been illegally occupying the U.S. attorney post in New Jersey, although that order was put on hold pending appeal. Last month a federal judge disqualified Nevada’s top federal prosecutor, Sigal Chattah, from several cases, concluding she “is not validly serving as acting U.S. attorney.” Chattah’s disqualification also is paused while the Department of Justice appeals the decision.

James Comey, the former FBI director charged with lying to Congress, cited the Nevada and New Jersey cases in a recent filing and is now challenging the legality of Trump’s appointment of Lindsey Halligan as U.S. attorney for the Eastern District of Virginia. Halligan was appointed after his predecessor, also a Trump appointee, refused to seek charges against Comey.

Since taking office, Essayli has doggedly pursued President Trump’s agenda, championing hard-line immigration enforcement in Southern California, often using the president’s language at news conferences. Essayli’s tenure has sparked discord in the office, with dozens of career DOJ prosecutors quitting.

The judge’s ruling Tuesday conceded arguments from the Justice Department that Essayli would continue leading the U.S. Attorney’s office in L.A. regardless of how the judged decided on the challenge to his status.

Assistant U.S. Atty. Alexander P. Robbins said that because Essayli also has been designated as first assistant U.S. attorney, he would retain his authority even if stripped of the “acting” title.

Bondi in July also appointed him as a “special attorney.” Robbins told the judge that “there’s no developed challenge to Mr. Essayli’s appointment as a special attorney or his designation as a first assistant.”

The prosecutor told the judge the government believes Essayli’s term will end Feb. 24 and that afterward the role of acting U.S. attorney will remain vacant.

Robbins argued in a court filing that the court shouldn’t order Essayli “to remove the prosecutorial and supervisory hats that many others in this Office wear, sowing chaos and confusion into the internal workings of the U.S. Attorney’s Office for the largest district in the country.”

When asked by a Times reporter last month about the motion to disqualify him, Essayli said “the president won the election.”

“The American people provided him a mandate to run the executive branch, including the U.S. attorney’s office, and I look forward to serving at the pleasure of the president,” he said during a news conference.

Exactly a year after the Eaton fire broke out, musicians are banding together once more for an upcoming benefit show, called A Concert for Altadena.

As a way to both raise funds and bring the community together, the night is set to include performances from musicians like Jackson Browne, Dawes & Friends, Aloe Blacc, Jenny Lewis, Everclear, Stephen Stills, Mandy Moore, Judith Hill, Brad Paisley, Ozomatli, Brandon Flowers of the Killers and more.

Many of the featured acts have ties to Los Angeles and Altadena specifically, like Dawes, an indie band from Altadena who notably sang a lively rendition of “I Love L.A.” at this year’s Grammys ceremony. Moore, who is also performing, similarly lost their homes in the fire.

“I’ve seen firsthand how music can mobilize people for good. This concert brings together artists, fans, and neighbors for something bigger than all of us — recovery, hope, and rebuilding lives,” said Grammy winner Eric Krasno. The guitarist, who also lived in Altadena, helped organize the event and is set to perform.

Even behind the scenes, people like Kevin Lyman, who founded the Vans Warped Tour and is a longtime Altadena resident, is working as the event’s lead producer.

“Music has always been a force for community. With this event, we’re not just putting on a show — we’re helping Altadena rebuild homes, restore businesses, and heal hearts. This night is about unity and purpose,” said Lyman.

All of the proceeds from the show will go to the Pasadena Community Foundation’s Eaton Fire Relief & Recovery Fund, which helps provide resources to families impacted, and the Altadena Builds Back Foundation, which focuses on the long-term recovery of housing in the neighborhood.

The Eaton fire is the second most destructive wildfire in California’s history, destroying more than 9,000 structures in an area of nearly 22 square miles. It is also one of the state’s deadliest fires, with 19 people killed. Since the January fire, rebuilding efforts have proved to be slow-moving in the face of bureaucracy and high overhead costs.

The benefit show will take place Jan. 7 at the Pasadena Civic Auditorium. Tickets go sale Nov. 7.

Whether it’s wearing a specific jersey — or in the case of Yoshinobu Yamamoto’s interpreter, lucky boxers with a rabbit shooting a rainbow-colored laser out of its eyes — or making sure you’re watching the game from the spot on the couch, superstitions abound when it comes to sports, especially during the playoffs.

L.A. bleeds blue, and now that the Dodgers are facing off against the Toronto Blue Jays in the World Series, we want to hear your superstitions, actions and the lucky items you’re employing to help cheer the team on to victory.

Tell us your superstitions, and we might share your story in a future article.

Enter by filling out the form and tell us about your lucky item or whatever superstition or strategy you have to help the Dodgers win. You can even include a photo if you’re so inclined.

All over Los Angeles, Zachary Asdourian hunted for the music of an Iran that could have been.

The co-founder of the L.A. record label Discotchari scoured for dust-caked Persian pop records at Jordan Market in Woodland Hills; scanned the fliers for shows at Cabaret Tehran in Encino, and combed shops in Glendale looking for Farsi-language tapes cut in L.A. studios in the ‘70s and ‘80s.

Most of the songs he and his label partner, Anaïs Gyulbudaghyan, sought were long-forgotten dance tracks, culturally-specific twists to the era’s disco boom. They’re poignant reminders of a time in L.A.’s Westwood “Tehrangeles” neighborhood when, in the years just after the 1979 Iranian revolution, immigrants here made music while their homeland roiled with ascendant theocracy.

Discotchari’s new crate-digger compilation “Tehrangles Vice” collects some of the best of them. Its 12 tracks were made in L.A. and circulated within the Iranian diaspora, then smuggled back into Iran on dubbed tapes and satellite broadcasts. They’re largely lost to time here, but fondly recalled there as bombastic dispatches from a cosmopolitan yet heartbroken immigrant community in L.A.

The music has lessons for artists watching the revanchist conservatism creeping over the United States today.

“These songs were supposed to represent the next step in Iranian music,” Asdourian said. “These artists were geniuses at shaking up what was happening in the ‘80s and ‘90s to produce an Iranian version of it. This music was meant to be heard at a party while dancing and drinking in Tehrangeles, but it also provided solace during the Islamic revolution, the Iraq war and the Iran-Contra affair. For citizens of Iran, this was giving hope as bombs were literally falling.”

The music scene this compilation documents came after a period of more stable relationships between the U.S. and Iran. Thousands of Iranian students immigrated to L.A. in the ‘60s and ‘70s and stayed, some opening restaurants and nightclubs in Westwood, Glendale and the San Fernando Valley where they could hear Iranian music.

“A lot of these clubs in L.A. pre-dated the revolution. Artists like Googoosh were already coming in from Iran to perform. Many musicians who were in U.S. when the revolution happened thought they were having a little sojourn and intended to go back someday,” said Farzaneh Hemmasi, a professor of ethnomusicology at the University of Toronto who wrote the book “Tehrangeles Dreaming: Intimacy and Imagination in Southern California’s Iranian Pop Music” and contributed the liner notes for “Tehrangeles Vice.”

An insert from a cassette tape that Farokh “Elton” Ahi previously worked on.

(Emil Ravelo / For The Times)

“But after the 1979 revolution, musicians in Los Angeles were told by family in Iran not to go back, that they were rounding up artists, that people associated with westernization and immorality will be targeted,” Hemmasi said. “So they stayed and worked.”

One of them was Farokh “Elton” Ahi, who came to L.A. at 17 to study architecture at USC, but left that career to produce for Casablanca Records, the premier disco label of the era. He DJ’ed at Studio 54 in NYC and elite nightclubs in L.A., and produced for the likes of Donna Summer and Elton John at his Hollywood studio, Rusk (Ahi got his nickname from an interviewer who called him “Elton Joon,” a Farsi-language term of endearment).

Even in the decadent disco era, he felt an obligation to champion Iranian music in L.A.

“We wanted kids to enjoy the link between our culture and western culture,” Ahi said. “But we were also trying to bring what was happening in Iran to people’s attention with our music, which was one reason I could never go back there. Kids who had come from Iran loved Prince and Michael Jackson and were becoming super American, so we had to do something to keep them engaged in our music as well.”

During the 1979 hostage crisis, Anglo nightclubs and radio in L.A. were not keen on Persian pop music, to say the least. Ahi led a double life as an Americanized disco producer, while also writing for his immigrant community.

“Those days, because of the hostage crisis, it wasn’t fun and games having Iranian music in the club. People were against Iranians and it wasn’t a happy time,” Ahi said. “But we were making quality music with limited resources. There were not many musicians here who could play Iranian instruments, so I had to learn a bunch of them. I felt a duty to keep our music alive.”

Two ‘80s-era tracks he produced, Susan Roshan’s “Nazanin” and Leila Forouhar’s “Hamsafar,” appear on “Tehrangeles Vice,” which brims with the only-in-L.A. cultural collusion of mournful Persian melodies and lyrics about exile, paired with new wave grit and ‘80s synth-disco pulses. Aldoush’s “Vay Az in Del” has sample-blasted horns right out of the ‘80s TV show that gives the compilation its name. There’s even a strong Latin percussive element on tracks like Shahram Shabpareh and Shohreh Solati’s “Ghesmat,” which showed how Iranian artists dipped into the global crossroads of Los Angeles.

Even if this music didn’t make an impact on the charts here, it found its way back to post-revolution Iran clandestinely, on tapes and music video satellite broadcasts. Club-friendly pop music made in L.A. took on new potency abroad.

“The official culture in Iran in the ‘80s was very sorrowful because of the war, and Shiite Islam was very oriented towards mourning. Ramadan was a sad time with no music,” Hemmasi said. “But in L.A., you’ve got Iranians dancing and singing, which was not happening within the country where people needed to sing and dance even more. This music had a contraband quality that was underground in Iran itself.”

“A lot of Iranian artists wouldn’t like this comparison, but this music was really punk at its core,” Asdourian agreed. “You’d have people standing on street corners in trench coats selling cassettes. People had illegal satellite hookups to hear news and ideology from the diaspora that contradicted what they were being fed. This music was a means to restore values they felt were lost in the revolution.”

Top to bottom, Farokh “Elton” Ahi with record label Discotchari founders Zachary Asdourian and Anais Gyulbudaghyan in Los Angeles.

(Emil Ravelo / For The Times)

As contemporary Angelenos rallying for this era of Iranian music, Asdourian and Gyulbudaghyan of Discotchari will stop at nothing to ship murkily-sourced tapes from Iran, western Asia and the Caucasus for their label. “In January, we went to Armenia and met a guy who knew a guy at a restaurant in Yerevan who had someone drive tapes in from Tabriz in Iran,” Asdourian said. “They sent us GPS coordinates to pick them up, and we ended up in this abandoned former Soviet manufacturing district getting chased by a guard dog. But he had 30 cassettes, all still sealed in their boxes.”

Yet some of the acts on “Tehrangeles Vice” are still active, living and working in California. After a long hiatus, Roshan recently released new music inspired by Iran’s Woman, Life, Freedom Movement, and Ahi is a sound engineer and mixer for film (he worked on “Last of the Mohicans,” which won an Oscar for sound mixing). He recently contributed to a remix of Ed Sheeran’s “Azizam,” which sprinkles Farsi phrasing into upbeat pop and became a global hit. “Ed reached out and asked me to write some melodies that matched Googoosh’s singing to make it more international, we put our minds together and I’m so proud of it,” Ahi said.

As the United States now reckons with its own powerful right-wing religious movement in government, one eager to clamp down on cultural dissent, “Tehrangeles Vice” has lessons for musicians in the wake of a backlash. The compilation is both a specific document of a proud music culture clamping down at home and flowering abroad. But it’s also a reminder that, whether made in exile or played under attack, art is a well of possibility for imagining another life.

“Even if the geographical location isn’t same, for Iranians, L.A. represents this exiled piece of history, an Iran that could have been,” Hemmasi said. “It’s a message in a bottle from another time.”

Where can I host a big birthday party on a restaurant patio or rent out a bar during the day? That’s not outrageously expensive? — Kristen Silva

Here’s what we suggest:

First and foremost, I respect — and deeply relate to — your desire to celebrate your birthday on a budget. It’s tough right now. The good news, though, is that L.A. is brimming with delicious restaurants and aesthetic bars that go easy on the pockets — both for you and your guests. And some even allow you to bring your own birthday cake.

For a laid-back spot where you and your friends can sit at picnic tables and enjoy juicy pastrami sandwiches, loaded French fries and refreshing cocktails, check out Johnny’s in West Adams. Senior food editor Danielle Dorsey recommends the spot in a guide to West Adams, calling the umbrella-dotted parking lot patio “the perfect al fresco setting.” Because Johnny’s has a walk-up service counter, its easy for your guests to come and go as they please. Plus, you won’t have to worry about the headache of trying to split the bill at the end of the night. Reservations are only necessary if you’re looking to rent out the space, but there is a $35 cake fee.

If you don’t mind being indoors, my colleague Deborah Vankin suggests Far Bar in Little Tokyo, where she celebrated her birthday on the mezzanine with about 50 friends. “It was a cozy, but still roomy space that felt festive and provided the best people watching below,” she says. “The price was beyond reasonable and, afterwards, a group of us walked down the street for dessert and karaoke.” If you’re open to hosting your party on a slower night (not Friday or Saturday), a manager told me you can avoid rental fees. (FYI: There’s also a narrow outdoor seating area here, but Vankin says it’s not great for parties.)

Music lovers will appreciate Zizou, a vibey French-Moroccan restaurant nestled in Lincoln Heights. Owned by two lifelong friends from France, Zizou features a stunning vintage sound system, where DJs can be found spinning jazz, French hip-hop, South African rhythms and other global sounds on the weekends. My friend Tori Johnson hosted her birthday party on the starlit patio earlier this year. “We were able to invite friends post-dinner to come and have wine with us until the restaurant closed,” she tells me. “It felt intimate and just what I was looking for for my 31st birthday.” For parties of eight or more, there’s a $75 minimum per person for seated dining, but no minimum if you’re planning to just chill at the bar or near the sound system. You can either bring your own cake at no additional cost or order Zizou’s house-made French apple tart for dessert. And don’t worry, the servers won’t look at you with disdain if you ask for separate checks — at least from my experience.

Another worthy option is Everson Royce, which deputy food editor Betty Hallock calls “one of the best bars in the city (with great food),” and I can’t agree more. This spot is popular because of its happy hour and its breezy outdoor patio. “It’s like being in a friend’s backyard, with picnic tables, string lights and a vine-wrapped tree, except you’re in the middle of downtown,” Hallock reports in a guide to the most picturesque restaurant patios in L.A. An Everson Royce staffer told me that you can book a normal reservation for up to 100 people — yes, you read that correctly — and that the restaurant doesn’t charge extra fees or require any deposits. Staff will even split the checks for each of your guests.

In the mood for dancing? Start your night with focaccia-style pan pizzas at De La Nonna, then head next door to the Let’s Go! Disco & Cocktail Club. I DJed a wedding here last year and it was a seamless transition, sweating out the delectable pizza at the Italian-inspired nightclub where 1970s disco hits (and related genres) are the soundscape. Reservations are highly recommended. For 20 guests, De La Nonna requires its prix fixe menu with optional drink packages, but 30 or more guests are considered a “partial buyout,” so both are required. There’s also a room fee. If you’re still in the mood for partying once the cocktail den closes at 1 a.m., then walk across the street to EightyTwo, an arcade bar with dozens of pinball machines and classic video games. (Note: De La Nonna charges a $20 cake fee.)

If these spots don’t satisfy your needs, some of my food colleagues also suggested Le Great Outdoor in Santa Monica, Mr. T in Hollywood, Good Neighbor Bar in Altadena and Benny Boy Brewing in Lincoln Heights — all of which have a patio.

As you can see, there are loads of options depending on what type of food, vibe and part of L.A. you prefer. Wherever you end up, I hope you have a wonderful time and, most importantly, that you have a great birthday and year ahead.

“Is L.A. a theater town?”

The question, typically posed with New York condescension, fails to recognize the obvious reality that L.A. is a city of actors. True, most of them are here to make their names on-screen, but the talent pool rivals those of more established theater capitals. Don’t bother, however, trying to convince those denizens of New York and London who cling to old stereotypes of L.A., perhaps to compensate for their own inferior weather.

Southern California, of course, boasts some of the most prestigious playhouses in the country. The Mark Taper Forum, Pasadena Playhouse, South Coast Repertory, La Jolla Playhouse and the Old Globe are all recipients of the Regional Theatre Tony Award. The Geffen Playhouse, once considered the entertainment industry’s local theater, has entered a new era of bold vision and integrity under the leadership of playwright Tarell Alvin McCraney. It would surprise no one if the Geffen Playhouse is similarly honored in the next few years.

East West Players, the Latino Theater Company, Ebony Repertory Theatre and Native Voices at the Autry reflect the cultural, ethnic and racial diversity of a majority-minority city. The avant-garde is admittedly not L.A.’s strong suit, but REDCAT and CAP UCLA have filled the breach hosting interdisciplinary performance work from all over the world.

The Getty Villa’s annual outdoor classical theater production treats the canonical treasures of ancient Greece and Rome not with kid gloves but with an exploratory 21st century spirit. And A Noise Within has cultivated in its loyal audience an understanding that the classical repertory exists in the present tense and can speak directly to us today.

The stage is still the basis for acting training, and there comes a time when even the most successful film and TV actors want to return to their roots. Those with civic consciences are happy to tread the boards close to home. When Tom Hanks chose to play Falstaff in Shakespeare Center of Los Angeles’ production “Henry IV,” he did so at an outdoor venue, the Japanese Garden on the West Los Angeles VA campus, that was only a short commute from his own backyard. Annette Bening, a stalwart champion of L.A. theater, has notably performed at the Mark Taper Forum, the Geffen Playhouse and UCLA’s Freud Playhouse.

Beyond the A-listers, there’s a vast population of working actors hungry for opportunities to hone their craft. It’s to satisfy this need that L.A. has built up an extensive array of small, shoestring companies. This scene is decentralized, dispersed within an uncoordinated sprawl of regional fiefdoms, but the independent spirit has endowed many of these companies with astonishing capacities for survival.

Indeed, it’s this network of 99-seat theaters — those houses with 99 seats or fewer — that are the lifeblood of the local theater scene. The cultural landscape would be unimaginable without Rogue Machine Theatre, the Fountain Theatre, Echo Theater Company and Boston Court Pasadena. The resilience, imagination and integrity of these small companies have demonstrated that heart matters more than size.

L.A. is indisputably a theater town, but a theater town that operates by its own rules and urban logic, neither of which is easy for an outsider to crack. What follows is a curated list of some of the most essential venues in the city and surrounding region. Not meant to be comprehensive, this compilation tilts toward companies that have been active in recent seasons and have a dedicated home. Nomadic ensembles and those that have been dormant or less prominent in the post-pandemic recovery phase have been excluded from this selection. But the ecology of L.A. theater is ever-changing and ever-adapting, calling for updates and new classifications. Stay tuned for future lists and supplemental guides.

— Charles McNulty

L.A. County is bringing on a retired judge to tackle a $4-billion question: How can officials ensure that real victims are compensated from the biggest sex abuse payout in U.S. history — and not people who made up their claims?

The county has tapped Daniel Buckley, a former presiding judge of the county’s Superior Court, to vet cases brought by Downtown LA Law Group after The Times found nine people represented by the firm who said they were paid to sue the county by recruiters. Four of the plaintiffs said they were told to fabricate the claims.

Downtown LA Law Group, or DTLA, has denied paying any of its roughly 2,700 clients, but agreed to cover the cost of Buckley to examine their cases in the $4-billion sex abuse settlement.

In a letter sent to clients Monday, Andrew Morrow, the lead attorney in the firm’s sex abuse cases, noted there are “additional safeguards” and “vetting protocols” underway following recent reports of paid clients, but did not specifically mention the new judge.

“While we categorically deny this ever occurred, we take these matters seriously and welcome the implementation of additional review procedures to ensure false claims do not move forward in the process,” wrote Morrow, the chairman of the firm’s mass torts department.

On Oct. 17, Dawyn Harrison, the top attorney for the county, requested an investigation from the State Bar based on The Times’ reporting, saying she believed some of the settlement would flow to “the pockets of the plaintiffs’ bar” rather than victims.

“The actions described in the article, if true, are despicable and run afoul of ethical duties of attorneys and criminal law in California,” Harrison wrote in a letter to Erika Doherty, the bar’s interim executive director. “I request the State Bar investigate all of the potential fraudulent and illegal activities described in this letter.”

DTLA declined to comment last week. The firm has previously said it works “hard to present only meritorious claims and have systems in place to help weed out false or exaggerated allegations.”

The bulk of the claims will be reviewed by retired Superior Court Judge Louis Meisinger, who will decide awards between $100,000 and $3 million.

The amount will depend on the severity of the abuse, the impact on the victim’s life and the amount of evidence provided, according to the allocation protocol. The money will be paid out over five years unless the victim opts to get a one-time check for $150,000.

If the judges find cases they believe are fraudulent, the county can either resolve them through a $50,000 payment or get them removed from the settlement. The county saves money in that case, but runs the risk of the plaintiff continuing to litigate and landing a larger payout from a jury trial.

It’s unusual — but not unheard of — for a neutral arbiter to be appointed to investigate cases from a specific firm in a massive settlement.

Retired U.S. Bankruptcy Judge Barbara Houser, who is overseeing the $2.4-billion trust for victims of the Boy Scouts of Americas sex abuse cases, said last month that she had asked for an “independent third party” to vet the claims brought by Slater Slater Schulman after finding a pattern of “irregularities” and “procedural and factual problems” among its plaintiffs.

Slater Slater Schulman, headquartered in New York City, represents roughly 14,000 victims in the Boy Scouts case. It also represents roughly 3,700 people in the L.A. County settlement — the most of any firm, by far.

On Oct. 14, Lawrence Friedman, a former Department of Justice attorney who headed up the federal watchdog office for the bankruptcy system, spearheaded a blistering motion asking Houser to reduce Slater’s attorneys fees, which he estimated were at least $20 million. Friedman is seeking to push them out of the case, alleging the firm had “run amok” and “dangled the prospect of lottery sized payouts” in front of clients without vetting them.

“The SLATER law firm has little if any quality controls in place to validate the information in the 14,600 claims other than validating that they were real people who had filed the claim,” the motion stated. “…What SLATER has effectively created is simply a ‘Claims Machine’ designed to spit out huge wads of cash for itself!”

Clifford Robert, an outside attorney who is representing Slater Slater Schulman in its issues with the Boy Scouts cases, said the firm’s priority “has been and always will be securing justice on behalf of sexual abuse victims.”

Friedman, who has been outspoken about misconduct by mass tort attorneys in bankruptcy cases, said he now represents dozens of former Slater plaintiffs. The ex-clients alleged the firm waited more than a year before informing them their cases were undergoing additional vetting and their payments would be delayed. The firm told them this September about the outside investigation, which began in June 2024, according to an email attached to the Oct. 14 motion.

“We now agree that there are procedural and factual problems in some of our claim submissions to the Trust,” the three partners of Slater Slater Schulman wrote in a joint email to clients on Sept. 9. “Because of the problematic claims, we have agreed that all of our claim submissions to the Trust be vetted by an independent third party.”

Both judges who will vet the L.A. County sex abuse payouts work for Signature Resolution, a firm that specializes in resolving legal disputes outside the courtroom with a heavyweight roster of former judges and lawyers. Litigation management company BrownGreer will be the settlement administration arm, responsible for making sure the checks go out, liens are settled and the judges have the records they need from the 11,000 plaintiffs.

An additional 414 sex abuse claims that led to a separate $828-million settlement announced Oct. 17 will be reviewed by a different judge with the money distributed over the course of three years. That settlement, which involves claims from three firms that opted to litigate separately from the rest, is expected to receive final approval from the Board of Supervisors on Tuesday.

The county will give the first tranche of money to the fund administered by BrownGreer in January, though it’s unclear when that money will trickle down to victims. The additional fraud review could slow the process as the judges will need to decide what all 11,000 of the claims are worth before any of the money goes out.

“They should have had their duck in the rows at the beginning,” said Tammy Rogers, 56, who sued over sex abuse at a county-run shelter for children in 2022.

Rogers said she has seen her bank account depleted recently following a shoulder surgery and her daughter’s funeral. She said she’s grown skeptical the settlement money will come her way anytime soon after reading the recent coverage of plaintiffs who say they were paid to sue.

“They should have known people were going to come out of the woodwork and do stuff like this,” she said. “They should have taken this time in the beginning, not in the end.”

Tammy Rogers, one of the plaintiffs who sued L.A. County over alleged abuse at MacLaren Hall, says she’s worried the extra vetting may delay payments to victims.

(Carlin Stiehl/Los Angeles Times)

The number of claims has fluctuated in recent months as some of the firms have dismissed cases from plaintiffs who died, lost interest in their lawsuit, or stopped responding. Since the Times initial investigation ran on Oct. 2, DTLA has asked for the dismissal of at least 14 plaintiffs, according to a Times analysis of court records.

On Oct. 17, the firm asked a judge to dismiss three people in a 63-plaintiff lawsuit filed April 29 who told The Times they’d been paid to sue the county for sex abuse.

Quantavia Smith, whose case DTLA asked to be dismissed without prejudice, previously told The Times a recruiter paid her to join the litigation, but said she had a legitimate sex abuse claim against the county. She said the recruiter drove her to the office of a downtown law firm and then gave her $200.

The firm also asked to dismiss the cases of Nevada Barker and Austin Beagle with prejudice, meaning the cases can’t be refilled. The Times reported this month that the Texan couple were told to make up allegations of abuse at a county-run juvenile hall and provided a script by someone inside the firm’s downtown office. Both said they left the firm with $100.

The Times could not reach the alleged recruiter for comment.

Austin Beagle and Nevada Barker say they were unwittingly ushered into a fraudulent lawsuit against L.A. County filed by Downtown LA Law Group.

(Joe Garcia/For The Times)

On the morning the story published Oct. 16, Beagle and Barker each received an automated email from Vinesign, a legal e-signature site, telling them Downtown LA Law was requesting their signature on a document.

“I wish to affirm my claim that I was sexually abused in a Los Angeles County juvenile facility, and I was never paid to bring this claim forward,” stated the DTLA declaration, which they were asked to sign under the penalty of perjury.

Both said they did not want to sign as it was not true — and the opposite of what had just been published that morning in The Times. Beagle said the firm called twice that morning to discuss.

“We told them just dismiss it,” said Beagle. “We ain’t talking about it.”

Times assistant data and graphics editor Sean Greene contributed to this report.

TORONTO — As Shohei Ohtani leads a wave of international baseball popularity, major league officials are working with the players’ union and LA28 officials to conclude an agreement for major league players to participate in the 2028 Los Angeles Games.

The concepts on the table include an extended Olympic break during the 2028 season, which could include an All-Star Game in San Francisco to keep baseball’s best players on the West Coast for two weeks rather than shuttling them around the country, and an Olympic baseball schedule that could start before the opening ceremony.

There is no final deal. But, for the first time over years of discussions, commissioner Rob Manfred said publicly that the owners have stopped wavering about whether to interrupt the major league season for a week so that baseball’s biggest stars can play in the Olympics.

“I am positive about it,” Manfred said Saturday at the World Series. “I think the owners have crossed the line in terms of, we’d like to do it if we can possibly make it work, but there are logistical issues that still need to be worked through.”

Manfred suggested that major leaguers participating in the Olympics might be a one-time event. Stopping the season for one week and flying players to Los Angeles, he said, would be very different than stopping the season for two weeks in 2032 and flying players to Australia.

“The chances that we’re playing in Brisbane? Difficult,” Manfred said. ‘“Way more difficult than being in L.A.”

Manfred said the World Baseball Classic would “remain our centerpiece” for international competition. With a Canadian team in the World Series, and with Ohtani as the face of the sport, ratings and merchandise sales are soaring outside the United States.

In the Olympics, Ohtani would play at Dodger Stadium.

“Shohei has just absolutely been the greatest benefit to the game you can imagine throughout the year,” Manfred said. “In the LCS, he had probably the greatest game of all time, and we are fortunate to have him here in the World Series.”

Good morning, and welcome to L.A. on the Record — our City Hall newsletter. It’s Rebecca Ellis, with an assist from David Zahniser, Noah Goldberg and Matt Hamilton, giving you the latest on city and county government.

There is no shortage of budget-busting costs facing Los Angeles County, Supervisor Lindsey Horvath recently told guests at this week’s Los Angeles Current Affairs Forum luncheon.

There’s the costly fire recovery effort. And the deep cuts from the federal government. And a continuing homeless crisis.

As Horvath wrapped up her remarks, Emma Schafer, the host of the clubby luncheon, asked about yet another expenditure: What was up with that $2-million settlement to the county’s chief executive officer Fesia Davenport?

“We were faced with two bad options,” Horvath told the crowd dining on skewered shrimp.

Horvath said she disagreed with Davenport’s demand for $2 million, but also believed “that we have to focus on a functional county government and saving taxpayer money.”

Three months ago, all five supervisors quietly voted behind closed doors to pay Davenport $2 million, after she sought damages due to professional fallout from Measure G, the voter-approved ballot measure that will eventually eliminate her job.

Measure G, which voters passed in November, reshaped the government, in part, turning the county’s chief executive into an elected position — not one selected by the board. The elected county executive, who would manage the county government and oversee its budget, will be in place by 2028. Davenport, a longtime county employee, had been in her post since 2021.

Davenport, as part of her financial demand, said Measure G caused her “reputational harm, embarrassment, and physical, emotional and mental distress.”

Critics contend unpleasant job changes happen all the time — and without the employee securing a multimillion dollar payout.

“Los Angeles County residents should be outraged,” said Morgan Miller, who worked on the Measure G campaign and called the board’s decision a “blatant misuse of public money.”

Horvath, who crafted Measure G, promised during the campaign it would not cost taxpayers additional money. More recently, she voiced dissatisfaction with Davenport’s settlement, saying the agreement should have had additional language to avoid “future risk.”

Horvath said in a statement she considered having the settlement agreement include language to have Davenport and the county part ways — to avoid the risk of litigating additional claims down the road.

Supervisor Janice Hahn, who pushed for Measure G alongside Horvath, said she voted for the settlement based on the advice of county lawyers.

“In the years I worked to expand the board and create an elected county executive, I never disparaged our current CEO in any way,” she said in a statement. “I always envisioned the CEO team working alongside the new elected county executive.”

Davenport has been on medical leave since earlier this month and did not return a request for comment. She has told the staff she plans to return at the start of next year.

It’s not unusual for county department heads to get large payouts. But they usually get them when they’re on their way out.

Bobby Cagle, the former Department of Children and Family Services head who resigned in 2021, received $175,301. Former county counsel Rodrigo Castro-Silva got $213,199. Adolfo Gonzales, the former probation head, took in $172,521. Mary Wickham, the former county counsel, received $449,577.

The county said those severance payments, all of which were obtained through a records request by The Times, were outlined in the department heads’ contracts and therefore did not need to be voted on by the board.

Sachi Hamai, Davenport’s predecessor, also received $1.5 million after saying she faced “unrelenting and brutal” harassment from former Sheriff Alex Villanueva.

Davenport’s settlement was voted on, but not made public, until an inquiry from LAist, which first reported on the settlement.

David Loy, legal director for the First Amendment Coalition, says the county is required under the Brown Act to immediately report out a vote taken on a settlement if the deal is finalized and all parties have approved it. But if it’s not, he says, they don’t need to publicly report it — they just need to provide information when asked.

“You don’t have to proactively report it out in that meeting. You still have to disclose it on request,” said Loy. “ I don’t think that’s a good thing — don’t get me wrong. I’m telling you what the Brown Act says.”

State of play

— DEMANDING DOCUMENTS: Two U.S. senators intensified their investigation into the Palisades fire this week, asking the city for an enormous trove of records on Fire Department staffing, reservoir repairs and other issues. In their letter to Council President Marqueece Harris-Dawson, Sens. Rick Scott (R-Fla.) and Ron Johnson (R-Wis.) showed much less interest in the Eaton fire, which devastated Altadena but did not burn in the city of Los Angeles. An aide to County Supervisor Kathryn Barger, who represents Altadena, said neither she nor other county offices had received such a document request.

— BUMPY BEGINNING: The campaign of City Council candidate Jose Ugarte is off to a rocky start. Ugarte, who is backed by his boss, Councilmember Curren Price, recently agreed to pay a $17,500 fine from the Ethics Commission for failing to mention his outside consulting work on his financial disclosure forms, But on Wednesday, two ethics commissioners blocked the deal, saying they think his fine should be bigger. (Ugarte has called the violation “an unintentional clerical error.”) Stay tuned!

— A NEW CHIEF: Mayor Karen Bass announced Friday that she has selected Jaime Moore, a 30-year LAFD veteran, to serve as the city’s newest fire chief. He comes to the department as it grapples with the continuing fallout over the city’s response to Palisades fire.

— LAWSUIT EN ROUTE: Meanwhile, the head of the city’s firefighter union has accused Bass of retaliating against him after he publicly voiced alarm over department staffing during the January fires. Freddy Escobar, president of United Firefighters of Los Angeles City Local 112, said he’s preparing a lawsuit against the city. Escobar was suspended from his union position earlier this year, after an audit found that more than 70% of the transactions he made on his union credit card had no supporting documentation.

— HE’S BACK! (KINDA): Former Mayor Eric Garcetti returned to City Hall for the first time since leaving office in 2022, appearing alongside Councilmember Nithya Raman in the council chamber for a celebration of Diwali, the Hindu Festival of Lights. Garcetti, a former U.S. ambassador to India, described Diwali as a “reawakening,” saying it may be “the longest continuous human holiday on earth.”

— GENERATIONS OF GALPIN: The San Fernando Valley auto dealership known as Galpin Motors has had a long history with the Los Angeles Board of Police Commissioners, the civilian oversight panel at the LAPD. On Wednesday, the council approved the nomination of Galpin vice president Jeffrey Skobin, to serve on the commission — making him the third executive with the dealership to serve over the past 40 years.

— AIRPORT OVERHAUL: Los Angeles World Airports is temporarily closing Terminal 5 at Los Angeles International Airport, carrying out a “complete demolition” and renovation of the space in the run-up to the 2028 Olympic and Paralympic Games. During construction, JetBlue will be operating out of Terminal 1, Spirit shifts to Terminal 2 and American Airlines lands in Terminal 4, the airport agency said.

— OUT THE DOOR: Two of the five citizen commissioners who oversee the Department of Water and Power have submitted their resignations. DWP Commissioner George McGraw, appointed by Bass two years ago, told The Times he’d been laying the groundwork for a departure for six months. McGraw said he found he could no longer balance the needs of the commission, where he sometimes put in 30 to 40 hours per week, with the other parts of his life. “I needed extra capacity,” he said.

— NO MORE MIA: DWP Commissioner Mia Lehrer was a little more blunt, telling Bass in her Sept. 29 resignation letter that her stint on the board was negatively affecting her work at Studio-MLA, her L.A.-based design studio. Lehrer said the firm has been disqualified from city projects based on “misinterpretations” of her role on the commission.

“As a result, I am experiencing unanticipated limitations on my professional opportunities that were neither expected nor justified under existing ethical frameworks,” she wrote. “These constraints not only affect my own business endeavors but also carry significant consequences for the forty-five professional and their families who rely on the continued success of our work.”

QUICK HITS

• Where is Inside Safe? The mayor’s signature program to address homelessness went to Cotner Avenue near the 405 Freeway in Councilmember Katy Yaroslavsky’s Westside district.
• On the docket next week: The board votes Tuesday on an $828-million payout to victims who say they were sexually abused in county facilities as children. The vote comes months after agreeing to the largest sex abuse settlement in U.S. history.

That’s it for this week! Send your questions, comments and gossip to [email protected]. Did a friend forward you this email? Sign up here to get it in your inbox every Saturday morning.

The Shohei-inspired sushi roll, available only during games, features spicy tuna inside — representing Ohtani’s Japanese heritage — and avocado on top, representing California. “That’s the whole idea: the mixing of the cultures,” said owner Don Tahara. Other World Series specials — available all day, even when the game’s not on — include chili cheese fries, cocktail specials and Canadian poutine in a nod to the Blue Jays.

So far this postseason, whenever Dodgers fans heard “Báilalo Rocky” ring through the loudspeakers, that meant two things were coming — pitcher Roki Sasaki was about to throw some vicious splitters in relief, and a Dodgers win was likely just a few outs away.

Sasaki’s walkout music has taken on a life of its own, in part because of the only-in-L.A. culture clash that has a sensational Japanese pitcher embracing a Latin club hit as he dominates the postseason. It’s helped cement Sasaki’s appeal among the Latino Dodgers faithful, and given the song a huge global boost as the Dodgers prepare for the start of World Series today.

Here’s a primer on how Sasaki found his hype track, and how it’s become the breakout hit of L.A. this fall.

So who wrote “Báilalo Rocky?”

The version of the song Sasaki walks out to is by Dj Roderick and Dj Jose Gonzalez and vocalist Ariadne Arana (there’s another popular version by Arana, the Dominican MC Yoan Retro and GMBeats Degranalo).

The song is a super-infectious and chantable dembow-house track, and its Spanish hook — “¡Báilalo, Rocky! / Ta, ta, ta, ta / Suéltale, suéltale” — is an invitation for a guy to dance and cut loose. But here, it’s directed at the young phenom Sasaki to bedevil hitters when he comes out in relief. The way Arana pronounces the hook makes it sound like she’s singing right at the Dodgers’ Roki.

That’s a left-field choice for a 23-year-old pitcher from Japan in his first year in L.A.. How did Sasaki discover it?

Dodgers veteran second baseman Miguel Rojas turned him onto the song during spring training this year, where it became a dugout favorite. (The whole dugout is known to pound on the railing when the track comes on.) Sasaki started using it in April, before a four-month recovery from a right shoulder impingement.

The theme song “was actually MiggyRo’s idea,” Sasaki said to press in Japanese last week. “I’m really happy the fans are enjoying it.”

There’s a delightful incongruity to the modest, laser-focused young Japanese pitcher walking out to a lascivious Latin club banger. But as Sasaki has rebounded from an injury-plagued midseason to become the Dodgers’ lights-out reliever in the postseason, ”It’s been special,” Rojas told press last week. “I feel like it just fits him really well.”

For her part, Arana loves the song’s new life as a hit Dodger theme. “The Dodgers are my team,” she’s said.

Has Sasaki’s blessing boosted the track?

Definitely. The song was already popular in Latin music circles, and it’s become a go-to cover and source material for Latin artists like corridos tumbados singer Tito Doble P and Lomiiel. Even other athletes, like Spanish soccer superstar Lamine Yamal, have gotten in on the track as a meme. It’s racked up tens of millions in Spotify and YouTube plays, where nearly every comment is now Sasaki-related.

But naturally, the only place to really hear it is under a cotton candy sky in Elysian Park.

Has it helped Sasaki’s pitching?

In September, Sasaki was pitching for triple-A Oklahoma City and seemed unlikely to win a roster spot back in L.A. anytime soon. Two months later, however, after clutch saves and eye-popping velocity against the Reds, Phillies and Brewers en route to the World Series, he’s having “One of the great all-time appearances out of the ‘pen that I can remember,” as Dodgers manager Dave Roberts called it.

Sasaki’s not the only Dodger with an unexpected Latin walkout track — last year’s World Series hero Freddie Freeman takes the plate to Dayvi and Victor Cardenas’ “Baila Conmigo (ft. Kelly Ruiz).”

But if the Dodgers take home the title thanks to clutch Sasaki saves, Rojas hopes for a full “Báilalo Roki” edit. “I think he deserves a video and the lights go down and all that stuff,” Rojas told MLB.com. “I think that’s the next step for him.”

Do you wish that discovering shows playing at live theaters around Los Angeles was as easy as finding movies in local cinemas? Now it is. A new nonprofit called Theatre Commons L.A. — founded by some of the city’s most prominent theater leaders — launched earlier this week with easy-to-navigate local theater listings for more than 100 houses big and small.

The listings can be filtered by date, neighborhood and genre, and users can simply click on links to buy tickets. I’ve tried it and am happy to report that it takes all the guesswork and Googling out of finding a show that fits your schedule and suits your interests. It also introduced me to a whole host of new shows that I didn’t even realize were playing.

“Theatre Commons LA is about making it easier to make theatre in Los Angeles — and easier for people to find and enjoy it,” wrote Pasadena Playhouse producing artistic director Danny Feldman in an email. “By connecting artists, companies, and audiences, we’re working to build a more connected ecosystem for LA’s bold, local, living theatre.”

That connection is key. Because Los Angeles is a tough city to get a handle on. I’m old enough to remember getting hopelessly lost when I first moved here — crying in my old Toyota Corolla on freeway offramp, clutching a Thomas Guide that I could not make heads or tails of. Ironically, given the subject of this newsletter, I was trying to get to a theater downtown.

Visitors to L.A., and even plenty of seasoned Angelenos, often find the city sprawling and fragmented. The vast landscape is carved up by thriving neighborhoods, each with singular identities molded by unique cultural, business and arts offerings. TCLA aims to bring these diverse theaters together under a common umbrella to pool resources, and promotional and engagement opportunities, as well as to expand a sense of community in a difficult moment for the art form.

“It is no secret that the last few years have been particularly hard for theater in LA from the pandemic to the recent wildfires and curfews,” Center Theatre Group’s artistic director Snehal Desai wrote in an email. “What has become clear during this period is that the Los Angeles theater community is rich in artists, talent and leadership but our resources are scattered and there is not a consolidated place for information and outreach,” he continued. “Theatre Commons LA is a way to bridge those gaps — to share knowledge, opportunities, and support so that everyone, from small ensembles to major institutions, can thrive together. It creates the space our community has been asking for — where artists, institutions, and audiences can come together to imagine what Los Angeles theatre can be next.”

A volunteer steering committee, including Desai and Feldman, launched TCLA and its listings website with the financial support of the Nonprofit Sustainability Initiative. Last month, the Perenchio Foundation made a substantial investment meant to sustain the organization’s future growth, including the hiring of an executive director. (Please see the photo caption above for a list of the other steering committee members.)

Earlier this week also marked The Times’ launch of “The 52 best places to see plays and musicals in Southern California,” curated and written by Times theater critic Charles McNulty, assistant entertainment editor Kevin Crust (who also edits this newsletter) and me. The list contains short summations of each theater’s defining traits and connects to a map that plots each theater in its own pocket of the city. It was a real labor of love and I urge you to use it in conjunction with the new TCLA website to plan your next night out.

I’m arts and culture writer Jessica Gelt, mulling over more than a dozen entertainment options for the weekend. All of them good. Here’s this week’s arts and culture news.

On our radar

Complexions Contemporary Ballet comes to the Music Center on Friday and Saturday.

(Rachel Neville)

Complexions Contemporary Ballet
The New York-based company celebrates its 30th anniversary with “Retro Suite,” a collection of works from 1994 to the present, created by co-founding artistic director and principal choreographer Dwight Rhoden. Complexions is known for its high-energy mashup of traditional ballet with hip-hop and street dance, as well as for the multicultural makeup of its troupe and its novel approach to incorporating visual art and theater into its choreography.
— Jessica Gelt
7:30 p.m. Friday and Saturday; 2 p.m. Sunday. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. musiccenter.org

Children make art at the 2024 Grand Ave Arts: All Access event.

(John McCoy)

Grand Ave Arts: All Access
A day of free art, music and culture along downtown Los Angeles’ cultural corridor. Participating institutions include the Broad, Center Theatre Group, Classical California KUSC, Colburn School, Dataland, Gloria Molina Grand Park, L.A. Opera, the L.A. Phil, Los Angeles Central Library, Los Angeles Master Chorale, Metro Art, MOCA, the Music Center and Redcat.
11 a.m.-4 p.m. Saturday. Grand Ave. from Temple to 6th Street, downtown L.A. grandavearts.org

Cyndi Lauper wrote the music and lyrics for the new musical “Working Girl,” based on the 1988 movie.

(Larsen & Talbert / For The Times)

Working Girl
This musical adaption of the 1988 film — directed by Mike Nichols, written by Kevin Wade and starring Harrison Ford, Sigourney Weaver and Melanie Griffith — has assembled an all-star team of its own. The music and lyrics are by Cyndi Lauper, Theresa Rebeck has written the book and Christopher Ashley directs. The Wall Street Cinderella story centers on a Staten Island secretary who, tired of being misused, underestimated and passed over, cunningly takes her corporate future into her own hands in a revenge tale that has everyone rooting for the underdog. Yet another La Jolla Playhouse world premiere that has “Broadway hit” written all over it.
— Charles McNulty
Tuesday through Nov. 30. La Jolla Playhouse, Mandell Weiss Theatre, 2910 La Jolla Village Drive. lajollaplayhouse.org

The week ahead: A curated calendar

FRIDAY
Tiago Rodrigues
In “By Heart,” the Portuguese playwright and actor invites 10 audience members onto the stage to learn a poem as he shares stories of his grandmother and explains the connections created by the words.
8 p.m. Friday and Saturday. UCLA Nimoy Theater, 1262 Westwood Blvd. cap.ucla.edu

SATURDAY
John Giorno
“No Nostalgia,” an exhibition devoted to the late poet, artist and activist (1936-2019) who turned words into performance, sound installation and painting. The show includes a select group of Giorno’s work ranging from early prints to his black-and-white text and rainbow paintings, a selection of materials from Giorno’s archive showing how he pieced together his poems and his 1969 work Dial-A-Poem.
11 a.m.-6 p.m., Tuesday through Saturday, through April 25, 2026. Marciano Art Foundation, 4357 Wilshire Blvd., Los Angeles. marcianoartfoundation.org

The Los Angeles Chamber Orchestra performs Saturday at Zipper Hall in downtown L.A. and Sunday at the Wallis in Beverly Hills.

(Brian Feinzimer for LACO)

Romantic Resonance
When a talented 19th century French pianist named Louise Farrenc became tired of giving concerts accompanying her flutist husband, she founded Éditions Farrenc in Paris, which became one of the country’s leading music publishing houses. She also gained a smallish reputation as a composer of mainly salon pieces for piano. But she had far greater ambitions nearly impossible for a woman at that time to realize. Farrenc composed three large-scale symphonies that are only now, more than a century after her death in 1875, being noticed. Los Angeles Chamber Orchestra’s music director, Jaime Martín, is one of her champions, and he is pairing Farrenc’s impressive Schumann-esque “Second Symphony,” written in 1845, with Brahms’ “First Piano Concerto,” featuring the dauntingly virtuoso pianist Marc-André Hamelin.
— Mark Swed
7:30 p.m. Saturday. Zipper Hall, 200 S. Grand Ave., downtown L.A.; 4 p.m. Sunday. The Wallis, 9390 N. Santa Monica Blvd., Beverly Hills. laco.org

Night of Ritual and Revelry
LACMA hosts this after-hours party with a focus on plants. The evening includes open galleries, plant-themed activities, a costume contest, food and drink, plus an outdoor screening of the 1986 cult classic “Little Shop of Horrors” hosted by Meatball. Guests must be 18 or older to attend.
7 p.m. Los Angeles County Museum of Art, Smid Welcome Plaza, 5905 Wilshire Blvd. lacma.org

Ragamala Dance Company performs Saturday at Broad Stage.

(Three Phase Multimedia)

Ragamala Dance Company
Ragamala Dance Company — founded and run by the mother-daughter trio Ranee, Aparna and Ashwini Ramaswamy — brings Aparna’s most recent work, “Ananta, the Eternal,” to BroadStage with live music accompaniment. The company specializes in the South Indian dance form Bharatanatyam, and the troupe is known for its soulful embodiment of classical dance techniques and its bold and beautiful traditional costumes.
— Jessica Gelt
7:30 p.m. BroadStage, Santa Monica College Performing Arts Center, 1310 11th St., Santa Monica. broadstage.org

Songs of Emerging Endangerment
This sound installation by artist TJ Shinn, commissioned by the local multidisciplinary arts organization Clockshop, is set to sound hourly from dawn to dusk. The project features a 30-foot-tall sculptural air raid siren that mimics bird calls to map systems of global migration.
Opening Saturday, 2-4 p.m., and through Feb. 22, 2026. Los Angeles State Historic Park. 1245 N. Spring St. clockshop.org

SUNDAY
Colburn Orchestra
Grammy Award-winner Carlos Miguel Prieto conducts the flagship ensemble from the Colburn School of Music in a program featuring Ravel, Dvořák and Schoenberg.
3 p.m. The Saroya, 18111 Nordhoff St., Northridge. thesoraya.org

The Heart Sellers
Lloyd Suh, author of “The Far Country,” a finalist for the 2023 Pulitzer Prize for drama, examines the deracinating effects of immigration in his work. In “The Heart Sellers,” two immigrants, one Filipino, the other Korean, strike up a friendship after a chance meeting at that quintessential American crossroads: the supermarket. Set in 1973, after the 1965 Hart-Celler Act abolished the national quota system that restricted immigration from non-European countries, they bond over what they left behind, the strange universe they’ve entered and the challenge of cooking a frozen turkey. Jennifer Chang directs this comedy about the power of friendship to redefine the idea of home.
— Charles McNulty
Through Nov. 16. South Coast Repertory, Julianne Argyros Stage, 655 Town Center Drive, Costa Mesa. scr.org

MONDAY
Bright Harvest: Powering Earth From Space
This documentary follows Caltech professors Harry Atwater, Ali Hajimiri and Sergio Pellegrino on their quest to provide an endless supply of clean sustainable energy for the 2023 launch of the Space Solar Power Demonstrator. Followed by a Q&A with the three professors and filmmaker Steven Reich. Admission is free; reservations recommended.
7:30 p.m. Beckman Auditorium, Caltech, 332 S. Michigan Ave., Pasadena. caltech.edu

TUESDAY
Carrie
A screening of Brian De Palma’s 1976 adaptation of the Stephen King horror novel, starring Sissy Spacek, Piper Laurie, John Travolta, Amy Irving and William Katt, hosted by drag entertainer Jackie Beat.
7:30 p.m. Tuesday. Vidiots, Eagle Theatre, 4884 Eagle Rock Blvd. vidiotsfoundation.org

WEDNESDAY
Pacific Jazz Orchestra’s Big Band With Jane Monheit
Step into the elegant past for a program of timeless swing music, big band standards and seductive ballads.
7 and 9:30 p.m. Wednesday and Thursday. Blue Note L.A., 6372 W. Sunset Blvd. bluenotejazz.com

THURSDAY

Lon Chaney in 1925’s “The Phantom of the Opera.”

(Universal Pictures)

The Phantom of the Opera
L.A. Opera’s tradition of presenting classic silent horror films for Halloween continues this year with the 1925 version of “Phantom” starring Lon Chaney. Frank Strobel conducts the L.A. Opera Orchestra performing Roy Budd’s original score live.
8 p.m. Thursday and Oct. 31. The United Theater on Broadway, 929 S. Broadway, downtown L.A. https://www.laopera.org/performances/2026/phantom-of-the-opera

Mark Ryden
The new solo exhibition “Eye Am” envisions a lurid, mischievous world via twelve paintings and a selection of drawings.
Opening reception 5-8 p.m. Thursday; book signing, 1-3 p.m. Oct. 31; exhibition continues through Dec. 20. Perrotin, 5036. W. Pico Blvd. perrotin.com

Nicole Scherzinger
Just months removed from her Tony Award-winning triumph as Norma Desmond in “Sunset Boulevard” on Broadway, the former Pussycat Dolls singer makes her Walt Disney Concert Hall debut.
8 p.m. Thursday. Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com

Culture news and the SoCal scene

The Laura Gardin Fraser “Lee-Jackson Monument” at the “Monuments” exhibit at MOCA.

(Carlin Stiehl / Los Angeles Times)

Los Angeles is home to the “most significant American art museum show right now,” writes Times art critic Christopher Knight in his review of “Monuments,” which opened Thursday at the Brick and the Museum of Contemporary Art’s Geffen Contemporary. Featuring nearly a dozen, mostly Confederate, statues that have been toppled or removed from public spaces over the past decade, the show “pairs cautionary art history with thoughtful and poetic retorts from 20 artists, including a nonprofit art studio,” writes Knight.

I wrote a preview of the show, which includes a few backstories about the people featured in the decommissioned statutes. Men like “newspaper owner Josephus Daniels, who helped foment the 1898 Wilmington massacre in which a mob of more than 2,000 white supremacists killed as many as 300 people in the course of overthrowing the city’s duly elected biracial government.”

Times theater critic Charles McNulty wrote a column examining the ways that various playwrights are engaging with the idea of AI in their work. For examples, he digs into two plays, Lauren Gunderson’s “anthropology,” which is staging its North American premiere in a Rogue Machine Theatre production; and Jordan Harrison’s “Marjorie Prime,” which is having its Broadway premiere this fall. “Gunderson and Harrison are looking ahead to see how AI might be super-charging our disembodiment. To anyone paying attention, business as usual is no longer an option. The very basis of our self-understanding is on the line,” McNulty writes.

“Ha ha ha ha ha ha ha” at Pasadena Playhouse, created and performed by Julia Masli and directed by Kim Noble.

(Jeff Lorch)

McNulty also attended opening night of performance artist and comedian Julia Masli’s one-woman show, “Ha ha ha ha ha ha ha,” at Pasadena Playhouse. He describes the 75-minute improvisational work as “less a traditional comedy show than an experiment in collective consciousness. It doesn’t take much to transform a room of jaded strangers into a representative slice of compassionate humanity.” That’s because Masli devotes her time in the spotlight to solving audience members’ problems, finding their shared empathy in the process.

Times classical music critic Mark Swed has been chronicling the departure of the Los Angeles Philharmonic’s beloved musical and artistic director, Gustavo Dudamel. In a recent column, Swed writes about the hoopla on display during the “first three love-fest weeks of Dudamel’s final season.” There was lots of “Gracias Gustavo” merch, and a daylong “Gracias Gustavo” block party at Beckmen YOLA Center in Inglewood, which included a performance by rapper D Smoke. And let’s not forget Tuesday night’s “Gustavo’s Fiesta” at Walt Disney Concert Hall. Dudamel also gave “four soul-searching performances of Mahler’s Symphony No. 2,” Swed writes. “His Mahler is neither overly exuberant nor constrained by grief and Berliner decorum. This performance heralds a new Dudamel, conductor of prophetic grandeur.”

A rendering of a still image from Refik Anadol’s giant LED wall, “Living Paintings Immersive Editions,” at Jeffrey Deitch.

(From Refik Anadol Studio)

Last September, I wrote a feature on immersive media artist Refik Anadol and his plans to open the world’s first museum of AI arts, called Dataland, in downtown’s Grand L.A. complex across the street from Walt Disney Concert Hall. Anadol hoped to open the museum — which features five distinct galleries in a 20,000-square-foot space — this year. But this week, the artist announced that the project is now set to debut next spring. Anadol also released a first look at one of the galleries called Infinity Room. You can watch the teaser, here.

Everybody is talking about the brazen jewel heist at the Louvre. You can almost hear the key-clacking of dozens of hopeful screenwriters already drafting their spec scripts. The story is too outrageous to feel true — masked men cutting through a window in broad daylight and entering a gallery full of people before escaping without a trace on a pair of motorcycles. The value of the precious jewels they got away with is estimated to be about $102 million. If you have been living under a rock for the past week, you can read all about it, here.

— Jessica Gelt

And last but not least

Did you know that L.A. is experiencing a golden age of pizza? Neither did I. Fortunately, Times food critic Bill Addison has compiled a list featuring 21 of the city’s best slices.

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.

I felt like a child again as I wandered down to the riverbank to look at crawdads.

“Oh, the L.A. River folks posted on Instagram about this, but I didn’t know they were right here,” my walking partner said.

Dozens of bright red crustaceans swam and fought and hid in the warm shallow water of the Glendale Narrows of the Los Angeles River. A Cooper’s hawk swooped down to grab a branch presumably for a nearby nest. A black-crowned night heron accidentally dropped its lunch, perhaps a frog, back into the water.

Crawdads, or crayfish, fight each other, eat and bask in the sun in the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

Later, I’d witness Canada geese arriving in formation before landing on the river for their evening dinner and rest.

In all honesty, I hadn’t expected such abundant life less than a quarter of a mile from the 5 Freeway. But that’s what you’ll discover along the sandy, soft bottom segments of the L.A. River where nature rejected concrete and instead built back life.

Jason Wise, an L.A.-based conservationist, was my walking partner who spotted the crawdaddies, as I was raised to call them in Oklahoma. I had asked Wise, who regularly hosts educational hikes, if we could walk along the river and explore one of its soft bottom segments.

Since moving to L.A., I’d wondered why certain parts of the river were lush and beautiful. My wife and I had biked a few times from Koreatown to the river trail, usually eating at Spoke Bicycle Cafe. Why did this segment look like an actual river and not the concrete flood channel featured in the 1978 film “Grease”?

Ducks stand on rocks in the sandy bottom of the Los Angeles River.

(Jaclyn Cosgrove / Los Angeles Times)

We’ll get to that precise answer, but first, a bit of geography and history.

The L.A. River has existed for thousands of years and was the site of Indigenous villages for more than 1,000 years. It is, in its current iteration, a 51-mile “engineered waterway” whose banks were channelized with concrete starting in 1938 and finished by 1960, according to the county public works department.

Three portions of the river, though, remain unpaved:

• The Sepulveda Basin in the San Fernando Valley.
• The Glendale Narrows, a 7.4-mile stretch through Glendale, Atwater Village, Elysian Park and Los Angeles.
• The Long Beach estuary.

Wise and I met at Elysian Valley Gateway Park, which provides access to the natural streambed.

As we watched its waters flow by, Wise explained that the L.A. River was a wild, free-flowing river that often changed course.

The Glendale Narrows area of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

For example, as Times columnist Patt Morrison pointed out: “From today’s downtown, it coursed west and southwest all over the Los Angeles Basin until around 1825, when another flood redirected it toward where it flows today, more or less south from the original pueblo.”

This was a problem for L.A.’s developers. And not only that, Wise said, but the river flooded seasonally throughout the 1930s. At the same time, L.A. was growing rapidly, with lots of money to be made in building industry and homes as close to the river as possible.

In 1938, L.A. experienced a great flood — which in today’s meteorological lingo, we’d explain as essentially back-to-back atmospheric rivers hitting in 4½ days, bringing about 16 inches of rain, which is on average how much the area gets in a year. At least 96 people died (although experts say the number is probably higher).

The flood was the impetus for controlling the river, especially given that officials wanted to keep building near it.

At that time, two plans emerged, Wise said. This moment, dear Wilder, would be a good one to correct if you perhaps have a time machine on hand.

A beautiful evening at the Glendale Narrows of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

In a report titled “Parks, Playgrounds and Beaches for the Los Angeles Region,” designers recommended the region create an “emerald necklace,” or a series of parks along waterways, including the L.A River, the Rio Hondo, the San Gabriel River, Ballona Creek and Compton Creek. Officials could engineer the river with slopes to better handle flooding, and parks would soak up water and replenish the water table.

Areas near the river still might flood, and “we might have to replace some picnic tables or a playground, but otherwise, the whole city has all these parks, and a connection to nature and our wild river that is actually the foundation of the city, the reason that L.A. exists,” Wise said.

We didn’t do that.

Instead, officials asked the U.S. Army Corps of Engineers for a faster, simpler (and, in other words, cheaper) solution, Wise said. “Not that it was cheap to dig up and concretize a river, but if you locked this into place … you can then develop right up to the edge,” Wise said.

But in certain places, including the Glendale Narrows, the plan didn’t work. The Glendale Narrows has a higher water table than other areas of the L.A. River, and the engineers realized the concrete wouldn’t set because of the high amount of water and springs bubbling up.

White-faced ibises mingle on rocks at the Glendale Narrows of the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

With the soil exposed, seeds could take root, plants returned, and wildlife came back. The ecosystem, as best it could, rebounded.

“It was an amazing mistake,” Wise said of the Corps’ inability to lay concrete over the entire L.A. River. “I’m so grateful that the Army Corps screwed that up.”

And now, there’s momentum to rethink the landscape of our river’s design.

My first question about that was: “Would we have to tolerate flooding again?” Wise told me that’s a common misconception. For one, it’s arguably impossible to “rewild” the entire river.

“You can’t get rid of this right now because there are homes right there,” Wise said. “We can’t completely undo the mistakes of the past, but we can find a way to create a better future and learn from those mistakes. The best thing to do with a mistake is to learn from it and do things better. It’s harder now, but what can we do to bring some wild back?”

Geese and other birds float along the Glendale Narrows of the Los Angeles River.

(Jaclyn Cosgrove / Los Angeles Times)

A few days after my visit with Wise, I returned to the L.A. River for sunset. I parked again at Elysian Valley Gateway Park and walked about a third of a mile south to an area of the river where heaps of rocks make it easier to cross the still-concrete part of the river to reach the natural area.

And then for an hour, I stood in awe as a concert of birds performed their evening serenade. White-faced ibises stood perfectly balanced on rocks among the calm river. Great blue herons passed by overhead. American coots submerged themselves underwater in search of food. A few large fish popped up to eat bugs.

Then I heard honking. Not the kind from the nearby 5 Freeway, which for this moment in time, didn’t exist. Four Canada geese appeared above in formation, swooping down to land together on the water. They floated over to the bank, just 15 feet or so from me, where one goose stood watch, protecting its three flock members as they ate and rested. I felt lucky to witness that, like I was living in a Mary Oliver poem.

A Canada goose watches out for its flock members as they eat and rest on the L.A. River.

(Jaclyn Cosgrove / Los Angeles Times)

It grew darker, and I soon left — only to hear more honking as nine more geese landed.

On my way home, traffic felt less obnoxious. My empty fridge felt less of a problem. Even the Trader Joe’s parking lot left me unaffected. Instead, I felt connected to not only our river and our city, but to the humans around me. As Wise reminded me:

The L.A. River “is the foundation of the city. Nature is all around us, and it’s even there within the city. There should be more of it … and through that connection, we realize we are nature. We are also animals on this planet, that everything is connected. We’re all one big living, breathing organism. Nature is a conduit to the rest of community and supporting each other and building each other up and helping each other out.”

3 things to do

Children’s paintings of P-22, L.A.’s late lion king who lived in and around Griffith Park for more than a decade, at the 2022 P-22 Day Festival.

(Save LA Cougars)

1. Keep P-22’s memory alive in L.A. 🦁🕯️
The #SaveLACougars campaign will host its annual P-22 Day Festival from 11 a.m. to 3:30 p.m. Saturday in Shane’s Inspiration (4800 Crystal Springs Drive) in Griffith Park. The event honors the legacy of P-22, a male mountain lion who inspired countless Angelenos into advocating for our local wildlife. Several local conservation and Indigenous groups will host tables with information about how attendees can get more involved in protecting our public lands. Guests can also meet the people behind the Wallis Annenberg Wildlife Crossing, take home native plants, enjoy art, crafts and food-trucks and check out the latest P-22 merchandise. Learn more at savelacougars.org.

2. Prowl for the phantasmal in Pasadena
L.A. Fright Club, a horror-themed fitness group, will host its spooky hike club at 7 a.m. Sunday at the Lower Arroyo Seco trail. The group will meet at the trailhead in the San Pascual Stables parking lot (221 San Pascual Ave. in South Pasadena). Costumes are encouraged. Learn more at the group’s Instagram page.

3. Embrace the eerie in Elysian Park
We Explore Earth will host Forest Bridges Day Camp, a Halloween-themed community celebration, from noon to 8 p.m. Saturday in Elysian Park. Attendees can participate in guided hikes, workshops, pumpkin carving, cornhole and more. Participants should bring a blanket, camping chair and/or pillows for the movie “The Nightmare Before Christmas” at 5:30 p.m. Tickets are available at eventbrite.com.

The must-read

Spanish mountaineer Kilian Jornet climbed 72 summits over 14,000 feet in the contiguous U.S. in 31 days this fall. Jornet is pictured here in the Sierra Nevada range known as the Normans 13, which connects 13 summits over 13,000 feet (3,962 meters).

(Andy Cochrane)

In just 31 days, Spanish mountaineer Kilian Jornet recently climbed all 72 summits in the contiguous United States that stand over 14,000 feet tall — a feat similar to climbing Mt. Whitney 2½ times per day, every day, for a month, writes Times staff writer Jack Dolan. Jornet’s journey included California’s “Norman’s 13,” which is 13 summits over 14,000 feet in remote alpine terrain between Lone Pine and Bishop. My first question, reading Jack’s piece was: “Why?” Jornet said he doesn’t do it for the glory. “I do these things because I love them, because they bring me joy and happiness, not because I think they’re very important,” he said.

Happy adventuring,

P.S.

For fans of one of California’s silliest native animals, I have great news! Reservations opened Monday for guided elephant seal tours at Año Nuevo State Park, which is about 6½ hours northwest of L.A. Every December, these massive sea mammals migrate to the beaches of Año Nuevo for their breeding and birthing season. There is fighting — drama! — along with lots of vocalizing and “galumphing,” the park said on its Instagram page. To reserve your spot for a tour, visit this website, and from the “category” dropdown menu, choose “guided seal walks” before choosing which day you’d like to go. Reservations are available 56 days (eight weeks) in advance of your desired walk date.

For more insider tips on Southern California’s beaches, trails and parks, check out past editions of The Wild. And to view this newsletter in your browser, click here.

All season, high school football coaches advise their players to stay focused and not look ahead. Then there’s what happens before, during and after the Garfield vs. Roosevelt football game is played.

“We’ve been hearing about this game since January,” Roosevelt coach Ernesto Ceja said. “I get the texts, the phone calls, ‘Are you guys going to beat Garfield?’ I’m like, ‘Let me put a team together, then I’ll get back to you.’”

The annual East L.A. Classic, in its 90th year, has a double homecoming and usually produces the largest regular-season crowd of the football season. It is set for 7:30 p.m. Friday at East Los Angeles College. The JV game is at 4 p.m., followed by a girls’ flag football game, then the varsity. DJ Mustard will be part of halftime festivities.

In this time of concerns about ICE raids in Los Angeles, East L.A. College officials say every entrance will be watched by L.A. County Sheriff’s deputies, campus police or private security. The school hosted 11 high school graduations last summer with no incidents and believes fans should feel comfortable attending. Tickets are available at GoFan.co

Garfield is on the verge of winning the Eastern League title with a 6-2 record and 5-0 league mark. Roosevelt (4-4, 3-1) has won three straight league games since switching to the double-wing attack.

Garfield principal Regina Marquez Martinez told a gathering of media, players, cheerleaders and band members on Wednesday at East Los Angeles College: “This community, these schools, we’re as American as apple pie and pan dulce.”

Said LAUSD board member Rocio Rivas: “Let’s go East L.A. Let’s go Boyle Heights.”

This is a daily look at the positive happenings in high school sports. To submit any news, please email [email protected].