Section

It might be time to write a folk song about the demise of City Section basketball using the music of Peter, Paul and Mary and the new title, “Where Have All the Players Gone?”

The talent level clearly has hit rock bottom only a year after Alijah Arenas was a McDonald’s All-American at Chatsworth High and Tajh Ariza led Westchester to the City Section Open Division title. Because their parents went to City Section schools, Arenas and Ariza stuck it out. Then Arenas graduated early to join USC and Ariza left for St. John Bosco, then prep school.

Westchester is where Ed Azzam won 15 City titles in 42 seasons until his retirement in 2021. Crenshaw is where Willie West won 16 City titles and eight state titles. Taft is where Derrick Taylor won four City titles and coached future NBA players Jordan Farmar, Larry Drew II and AJ Johnson. Fairfax is where Harvey Kitani coached for 35 years, won four City titles and two state titles and earned most of his nearly 1,000 victories. He was followed by Steve Baik and Reggie Morris Jr., each of whom won City championships before leaving.

None of the City schools once considered among the best in Southern California are even close to resembling their glory days, and they aren’t alone. The City Section has lost most of its talent, and it was truly Hall of Fame talent: Marques Johnson and John Williams at Crenshaw; Gail Goodrich at Sun Valley Poly; Willie Naulls at San Pedro; Dwayne Polee at Manual Arts; Gilbert Arenas at Grant; Trevor Ariza at Westchester; Chris Mills at Fairfax. There were decades of success.

There’s no one person to blame. You can’t even place the downfall solely on the Los Angeles Unified School District, whose high schools compete in the City Section.

But LAUSD has done nothing to reverse the trend and didn’t help matters by opening so many new schools in such rapid fashion that longtime legacy schools lost their luster amid declining student enrollment. Things became even more disruptive by the rise of charter schools and private schools taking away top athletes. Adding to that, the loss of veteran coaches frustrated by bureaucracy issues and rules that force programs to secure permits and pay to use their own gyms in the offseason helped further the exodus.

Westchester is 2-8 this season and an example of where City Section basketball stands. Two top players from last season — Gary Ferguson and Jordan Ballard — are now at St. Bernard. Westchester doesn’t even have a roster posted on MaxPreps. King/Drew won its first City Open Division title in 2024 under coach Lloyd Webster. This season Webster sent his senior son, Josahn, to Rolling Hills Prep to play for Kitani. King/Drew is 4-10.

Charter schools Birmingham, Palisades and Granada Hills have separated themselves in virtually all City Section sports including basketball. They have no enrollment boundaries as long as there’s a seat for a student. Palisades lost so many students after the wildfire last year that transfers have been big additions for its teams this school year. Online courses are being offered to help students enroll and compete in sports at charter schools.

The old powers from the inner city — Crenshaw, Dorsey, Jefferson, Locke and Fremont — experienced big changes in demographics. Many coaches are walk-ons and not teachers. The legacy schools have to compete with charter schools View Park Prep, Triumph, Animo Watts, Animo Robinson, WISH Academy and USC-MAE. When young players are discovered and developed, rarely will they stay when one of the private schools or AAU coaches searching for talent spots them in the offseason.

So what’s left? Not much.

Palisades, Washington Prep and Cleveland look like the three top teams this season. All three added transfers to help buck the downward trend. And yet their records are 3-10, 8-8 and 7-6, respectively, against mostly Southern Section teams.

Maybe this can be a fluke one-year plunge to the bottom and the climb back up can begin, aided by coaches who recognize their job is to teach lessons in basketball, life and college preparation. Parents need a reason to send their kids to a City Section school. It’s up to LAUSD and principals to help change the trajectory by finding coaches with integrity, passion and willingness to embrace the underdog role.

There are plenty in the system doing their best. It’s time to start hearing and answering their pleas for help.

Animation is an art of the impossible, though it often settles for the ordinary. Much of what comprises adult animation merely translates into line what might be shown in live action — humans in human settings. Which is fine. Some great shows fit that bill — “King of the Hill” and “Bob’s Burgers,” for example. Still, there are infinite avenues to explore, and so it’s good to have Adult Swim, the network that once produced a series whose heroes are a meatball, a shake and a bag of fries, still making aesthetic trouble.

“The Elephant,” which premieres Friday on the network, and Saturday on HBO Max alongside a documentary on its creation, “Behind the Elephant,” is an animated take on exquisite corpse, the old surrealist game in which three artists contribute the head, torso or legs of a single figure, folding the paper so as not to see what the others had drawn. This project enlists four fab animators over three acts — “Adventure Time” creator Pendleton Ward, Ian Jones-Quartey (“OK K.O.! Let’s Be Heroes”), Rebecca Sugar (“Steven Universe”) and Patrick McHale (“Over the Garden Wall”) — to make something that not only had we not seen before, but none of them had either, until their independently produced parts were put together. All are “Adventure Time” vets, as are Jack Pendarvis and Kent Osborne, who conceived the idea, served as “game keepers,” and share story credit with the animators.

Exquisite corpse was also used in character design. It invariably produces monsters, if amusing ones, which explains why the character — let’s call her The Character — in Ward’s act has a cactus for an arm and a giant pink foot in place of one leg. In the Jones-Quartey and Sugar act, she has robot arms, fishnet stockings and a “music button” in her chest (the city parties when its disco plays), and in McHale’s, a TV for a torso. One regards The Character as the same person in each act, and through changes that occur within each act — identity, death and reincarnation are at the heart of the show. She’s always different, though always the protagonist. (And seemingly female.) Which is not surprising if you’ve ever watched “Adventure Time,” where even every villain is also a protagonist.

Ward takes the first act; Jones-Quartey and Sugar, who are married, worked together on the second; and McHale brings it home with Act 3. Ward’s section is easily recognizable as his work in its mix of the uncanny and the offhand, both from “Adventure Time” and the psychedelic “Midnight Gospel.” Sugar and Jones-Quartey opt for a New Wave angularity far from their usual styles, and McHale cycles through several looks until his Character, who arrives already hoping to get off this wheel of endless rebirth and cease to exist, settles down for a spell in a realistically portrayed city in the snow — New York, I’d say — in conversation with a lonely inventor. McHale also brings in, for just a few seconds, the eponymous elephant in an apropos reference to the parable of the blind men who imagined that animal to be a different sort of beast depending on where they laid their hands.

Each animator (or team) integrates their position in the game — and the nature of the game itself — into their storytelling. Ward’s Character, born onscreen, wonders “What am I? I’m not sure.” In the second section, Sugar and Jones-Quartey have their narrating Character say, “I could feel my existence stretching in both directions, back to the nothingness before anything happened and forward to the nothingness after everything is over. And if everything has a beginning and also a end then this was just the middle.” By virtue of owning the conclusion, and it’s a moving one, McHale brings order to the whole; given the scattered process, and the changes between and within each section, it feels remarkably cohesive and intentional. But metamorphosis is the soul of animation.

If “The Elephant,” described by the network as “a creative experience,” had appeared before it was already published, it would have certainly joined four other animated series — three from Adult Swim — on my list of 2025 favorites. It demands a second viewing, and you’ll want to watch “Behind the Elephant” to learn more. You may want to watch that twice as well.

WASHINGTON — President Trump filed a lawsuit Monday seeking $10 billion in damages from the BBC, accusing the British broadcaster of defamation as well as deceptive and unfair trade practices.

The 33-page lawsuit accuses the BBC of broadcasting a “false, defamatory, deceptive, disparaging, inflammatory, and malicious depiction of President Trump,” calling it “a brazen attempt to interfere in and influence” the 2024 U.S. presidential election.

It accused the BBC of “splicing together two entirely separate parts of President Trump’s speech on January 6, 2021” in order to “intentionally misrepresent the meaning of what President Trump said.”

The lawsuit, filed in a Florida court, seeks $5 billion in damages for defamation and $5 billion for unfair trade practices.

The BBC said it would defend the case.

“We are not going to make further comment on ongoing legal proceedings,” it said in a statement.

The broadcaster apologized last month to Trump over the edit of the Jan. 6 speech. But the publicly funded BBC rejected claims it had defamed him, after Trump threatened legal action.

BBC chairman Samir Shah had called it an “error of judgment,” which triggered the resignations of the BBC’s top executive and its head of news.

The speech took place before some of Trump’s supporters stormed the U.S. Capitol as Congress was poised to certify President-elect Joe Biden’s victory in the 2020 election that Trump falsely alleged was stolen from him.

The BBC had broadcast the hourlong documentary — titled “Trump: A Second Chance?” — days before the 2024 U.S. presidential election. It spliced together three quotes from two sections of the 2021 speech, delivered almost an hour apart, into what appeared to be one quote in which Trump urged supporters to march with him and “fight like hell.” Among the parts cut out was a section where Trump said he wanted supporters to demonstrate peacefully.

Trump said earlier Monday that he was suing the BBC “for putting words in my mouth.”

“They actually put terrible words in my mouth having to do with Jan. 6 that I didn’t say, and they’re beautiful words, that I said, right?” the president said unprompted during an appearance in the Oval Office. “They’re beautiful words, talking about patriotism and all of the good things that I said. They didn’t say that, but they put terrible words.”

The president’s lawsuit was filed in Florida. Deadlines to bring the case in British courts expired more than a year ago.

Legal experts have brought up potential challenges to a case in the U.S. given that the documentary was not shown in the country.

The lawsuit alleges that people in the U.S. can watch the BBC’s original content, including the “Panorama” series, which included the documentary, by using the subscription streaming platform BritBox or a virtual private network service.

The 103-year-old BBC is a national institution funded through an annual license fee of 174.50 pounds ($230) paid by every household that watches live TV or BBC content. Bound by the terms of its charter to be impartial, it typically faces especially intense scrutiny and criticism from both conservatives and liberals.