tower

ONE of the most iconic buildings in the capital’s skyline is set to become a 400-room hotel.

The Grade-II BT Tower in London is being transformed into a hotel, with rooms in the tower itself.

Levels seven to 23 of the Tower will all have accommodation, with each floor featuring four curved rooms around the central structure.

As for the lower floors, a new building will be developed at the bottom of the Tower, with a rooftop pool on level six, outdoor seating areas and wildflower roof gardens.

The lower ground floor will then feature events spaces and restaurants, and the ground floor will have a wine bar as well as other Class E businesses which could include a gym, shops and cafes.

Hotel rooms will then start on the first floor as well as another events space with the same for levels two to six, with some outdoor terraces, too.

Read more on travel inspo

SEA IT

All 25 of the English Riviera beaches ranked from best to worst – by a Devon local

SO FLY

Our fave beach hols under 5 hours from UK with Caribbean dupes & £2 bottles of wine

At the top of the Tower (level 34) – which used to be home to a revolving restaurant and viewing platform – there will be a 360-degree visitor attraction including a ‘revolving floor’, with suggestions it could be a restaurant again.

There will then be another events space on level 35 with an outdoor terrace and level 36 will have two more events spaces and two lobbies.

Levels 31 to 33 will also have events spaces.

Levels 24 to 28 and 37 to 40 will all be used for storage and building maintenance.

Outside the base of the Tower, a new public square will be constructed too.

The park will feature curved timber benches, large pebble seating areas and bronze metal artwork.

Construction is expected to start in 2029 and the hotel is then due to open in 2033.

The BT Tower first opened in 1964 as the Post Office Tower and was the capital’s tallest building until the NatWest Tower opened in 1980.

The Tower then closed to the public in 1981 – though, there will be some private events.

The hotel was then purchased by MCR, an American hotel chain, in 2024 for £270million.

Ten years ago, Walt Disney Imagineering announced what was widely perceived by the public as a risky — and ill-advised — project: Disney California Adventure’s Twilight Zone Tower of Terror would be remade into a ride featuring Marvel’s “Guardians of the Galaxy.” And it would open in just a few months, ahead of the 2017 summer tourist season.

Fans, to say the least, were not happy. They saw the makeover as a marketing move, done solely because a new movie in the franchise was being released. They were also skeptical of the tight timeline.

Retired Imagineer Joe Rohde, who led the project, heard the complaints.

“They look at the schedule and go, ‘You can’t do anything in that amount of time. There’s nothing you can do that is worth doing in this short amount of time, so we think this is going to be bad,’ ” says Rohde, whom I chatted with at the recent Disney fan convention D23.

Rohde‘s new book, “Floating Mountains: The Art of Imagining the Impossible,” is out this week and in it, he demystifies the creative process, heavily touching on his four-decade career at Imagineering as a jumping-off point on how to stay inspired and find art in the everyday. In a revealing chapter on what became Guardians of the Galaxy — Mission: Breakout!, Rohde writes about creating art out of a series of limitations.

Famed retired Disney Imagineer Joe Rohde, whose book “Floating Mountains: The Art of Imagining the Impossible” demystifies the creative process.

(Jay L. Clendenin / Los Angeles Times)

He notes that the new “Guardians of the Galaxy” film was not the reason for changing the drop tower ride — rather, the motivating factor was giving the Disneyland Resort something new to promote for 2017 and to begin to bring Marvel into the parks.

When assigned the project, Rohde initially pitched a Dr. Strange-inspired attraction, believing the hotel facade of Tower of Terror could quickly and easily translate to a mysterious sanctum. Execs, however, rejected the concept, arguing Dr. Strange wasn’t popular enough. They told Rohde and the team to focus on Spider-Man.

Now it was Rohde’s turn to say no. “Spider-Man needs room to swing,” Rohde writes in his book. “We only go up and down. There’s nowhere for Spider-Man to be!”

Bringing Marvel superheroes into a theme park, Rohde tells me, is something of a challenge.

“Marvel is a character brand,” Rohde says. “When we watch these movies or read the comics, our primary investment is in the psychology of the character. Spider-Man is a great example of this. Spider-Man’s life is a constant emotional crisis of one kind or another. It’s almost more of a soap opera format.

Guardians of the Galaxy — Mission: Breakout! is today the dominating structure of Avengers Campus at Disney California Adventure.

(Allen J. Schaben / Los Angeles Times)

“So, you have an art form — the Marvel Cinematic Universe and the Marvel Comic Universe — in which settings are disposable and are disposed of in order to drive character development. That works great in a film, but when it comes to place-making, it is difficult to lock yourself on the experiences of places, which is part of what makes theme parks theme parks. All through your day in a theme park the primary actor you engage with is the architecture and the landscape.”

With Spider-Man out, “Guardians of the Galaxy” was the compromise everyone could agree on. Only now the clock was ticking. Rohde notes that the team had to stop viewing the Tower of Terror as a hotel, and instead look at it as something of a blank page — an empty canvas that just happened to be in the shape of a blocky silhouette that jolts guests 190 feet in the air. Remove the hotel signage, and suddenly the mass resembled many things: “a grain silo, a fortress, a bank, a storage facility, possibly a prison,” Rohde writes.

Arguably, the facade for Mission Breakout! represents a bit of each of those. In “Floating Mountains,” Rohde says he began reimagining the building by taking inspiration from Marvel comic artist Jack Kirby, but he has also spoken of finding influence in architect Renzo Piano, who worked on France’s Centre Pompidou. The end result is a retro sci-fi building with high-tech-like pipes drawing one’s attention.

The chapter documents a frantic race against time. The star of the ride is an audio-animatronic of the Rocket Raccoon character, but it wasn’t always clear the figure could be finished by the deadline. And instead of using just one ride profile like the Tower of Terror, Mission Breakout! aimed for four, but Rohde writes the team had two as a fall-back plan (ultimately, they prevailed with their original intent).

Rohde notes that to get it done, a concession was made: limited reviews but a fixed, unchangeable budget with a strict deadline. And the team had to make a decision and commit. Little tinkering.

Guardians of the Galaxy — Mission: Breakout! is now considered one of the most popular attractions at Disneyland.

(Jason Armond / Los Angeles Times)

“You have to allocate a certain percentage of time and energy to prepare for a review, and that can be two weeks of energy,” Rohde says. “In this case, the most crucial thing about this project was its opening day. If you back out of that opening day just with production time, it becomes clear there’s no time to change. There’s no time to ask someone if they like it or don’t like it. So we have to decide we’re going to do it, and we’re going to do it for this much money, and you can look at it once before we start, and once before we build.”

Guardians of the Galaxy — Mission Breakout! opened on time, and with enough budget left over to create an “after dark” version during the Halloween season, which is currently running. And those fans who initially viewed the project with skepticism? Many were quiet after opening day, as Mission Breakout! is considered one of the Disneyland Resort’s most popular attractions.

Aside from replacing the former tension with chaotic elevator maneuvering, the makeover was a success because it’s not a rehash of a scene from the film. Rather than rely heavily on plot, it focuses on one frantic moment — a prison breakout — to create a zany, screwball comedy feel. In short, it’s a singular work of art, one that stands apart from its cinematic counterparts.

And that’s key to the appeal of “Floating Mountains,” as throughout Rohde makes the case that theme parks — often derided as commercial entities — are indeed vital spaces. He speaks of art as living on a spectrum. On one end, “art for art’s sake,” and on the other, “utterly commercial enterprises with no purpose other than to harvest value out of an intellectual property.”

“Theme parks,” says Rohde, “rocket somewhere in the middle of this.”

“I do believe that their social impact alone should argue for the fact that, no matter what you think of high art, of low art, something is going on here that people find very affecting,” he says of theme parks. “I think it is an art form.”

This week in SoCal theme parks

Inside Kingswell skate shop is a wall documenting the building’s history as the first L.A. outpost of what would become the Walt Disney Co.

(Todd Martens / Los Angeles Times)

• A Disney history celebration. Walt Disney launched his animation career in Kansas City, Mo., in 1920. But when his Laugh-O-gram Studio failed after only about two years, he decided to move west. Here in Los Angeles, Walt and his brother Roy would in 1923 rent a small studio space on Kingswell Avenue in Los Feliz, near where he was staying with his uncle. They called their operation the Disney Bros. Studio, and it was officially the formation of what would become the Walt Disney Co. In September 2024, a small strip on the corner of Kingswell and Vermont avenues was designated the Disney Bros. Cartoon Studio Square. This Sunday, the space will host a mini-block party from noon to 5 p.m., with photo ops, events and skating demonstrations courtesy of the Kingswell skate shop,
• Welcome the Lucas Museum. The long-awaited Lucas Museum of Narrative Art has arrived in L.A. and is welcoming members for previews. The space officially opens Sept. 22, and its emphasis on pop culture and “Star Wars” likely means there’s many an overlap with the Disney fan community. The Times has a bevy of coverage, including an architecture review as well as an analysis of its collection and how it deviates from typical art gallery fare.
• Meow Wolf taps dozens of L.A. artists for new venue. Meow Wolf is getting closer to unveiling its Los Angeles locale. When doors open — the company is targeting late 2026 — expect a walk-around, floor-to-ceiling experience that pays homage to the art of cinema with a sci-fi, psychedelic-like bent. And to bring that vision to life, the Santa Fe, N.M.-based experiential art collective will be working with nearly 40 L.A. artists across multiple mediums. Meow Wolf last week unveiled its roster of artists with ties to the L.A. region.
• A new Magic Mountain coaster is on the way. Six Flags Magic Mountain, garnering headlines tied to the safety of its X2 coaster, is looking ahead to 2027 and teasing a Thursday announcement for its next big thrill ride. The park last week posted a video to social media hinting at more info to come this week on what is expected to be a glider coaster with bike-like seating.

Ride report

An actor performing as Ozzy Osbourne during a haunted house at Universal Studios Hollywood’s Halloween Horror Nights.

(Scott Strazzante / For The Times)

This week’s ride report is actually a haunted house report. Of the eight spooky mazes at Universal Studios Hollywood this year, there were two clear standouts for me: the “Sinners” maze, which I documented last week, and Ozzy Osbourne: Prince of Darkness. This walk-through attraction, which Halloween Horror Nights mastermind John Murdy has described as something of a passion project, is a filled with cartoonishly sinister imagery in an homage to the recently deceased heavy metal legend.

Murdy says he didn’t have any hesitation about crating a haunted house based on Osbourne’s solo career so soon after he died last summer. “It hit everybody really hard,” the lifelong Osbourne fan says of the artist’s death. “It hit his fan community really hard. We needed to do something for the fans to celebrate this guy’s legacy.”

A giant animatronic bat in a haunted house inspired by the music of Ozzy Osbourne.

(Scott Strazzante / For The Times)

In an unique twist, nearly every scare actor is performing as some embodiment of Osbourne. The attraction is also filled with little nods to Osbourne’s life and legacy, including pictures donated from the family and a toy cow as a nod to an early job of Osbourne’s in a slaughterhouse. Murdy estimates the house features about 20 songs from Osbourne’s solo career, bookended by “Crazy Train” and “See You on the Other Side.” A train, of course, figures heavily into the maze, and an early ride scene appears to take us straight to hell.

It gets demented, but in a silly way that feels all-in-good-fun rather than anything frightening. Case in point: A centerpiece of the attraction is a giant animatronic bat, which is holding the severed head of Osbourne, only here the musician is depicted as a werewolf. Osbourne, says Murdy, was also heavily religious, so the walk-through culminates with the artist on a church-like throne. But it’s no ordinary cathedral, as jetting our from under Osbourne’s chair is a blue dragon, a nod to the tattoo the singer had on his chest.

It’s a love letter to Osbourne, and Murdy’s appreciation of the artist runs deep. He notes that as a seventh- or eight-grader in the early ‘80s, he wrote a term paper defending the artist. “I didn’t like the fact that people were condemning things when they hadn’t even bothered to read the lyrics and know what they are about,” Murdy says. “Take ‘Crazy Train.’ It’s about the Cold War. It’s about a fear that society is going off the rails. At an early age I was already going, ‘Don’t trust things that you hear at face value.’ ”

Tell us your stories. Ask us your questions.

Have a theme park tale to share? Whether it was a good day or less-than-perfect day, I would love to hear about it. Have a question? A tip? A fun photo from the parks to share? Email me at todd.martens@latimes.com. I may feature your note in an upcoming newsletter.

Ride on,

Todd Martens

P.S.

I can admit when I was largely wrong. Last week I expressed concerns about the way Halloween Horror Nights was adding the character of Nikki from “Obsession,” worrying a hyped incognito approach could open up the actor — or regular paying guests — to being uncomfortably approached by attendees. But while Nikki is not easy to find, she’s far from anonymous, all bloodied up and holding a brick. Plus, she’s accompanied by multiple handlers who keep folks from crowding the performer’s space.

There is a game-like aspect to this. Those who speak a password, released via social media, receive a fake business card, which does mean many a guest is standing there shouting a password at the actor. This is slightly awkward, and where I still have some reservations.

An actor as Nikki from “Obsession” interacting with guests during Halloween Horror Nights at Universal Studios Hollywood.

(Scott Strazzante / For The Times)

But many who find Nikki may discover it’s a highlight of the night. I’m not someone who seeks out characters at theme parks, largely because they’re there more for photos than to completely interact. Nikki is different. Nikki is in full immersive theater mode, responding entirely in character and pushing guests to talk about their devotion — to her, to another, to anything. In my minute with the actor, she aggressively quizzed me on my nonexistent love life, forcefully walking toward me so I had to gently stumble backward, which she lightly mocked.

Despite the unnerving tone of the actor’s questions, I was charmed. More of this type of interacting and play is always welcome. Now, I just wonder why she was so consumed with the health and age of my cat.

The Eiffel Tower was temporarily closed on Monday after workers went on strike to protest the sidelining of female staff during a private visit by a Hindu religious group.

The tower, which has since reopened, shut after members of Bochasanwasi Akshar Purushottam Swaminarayan Sanstha (BAPS), a global socio‑spiritual Hindu denomination, visited the site. Female staff were reportedly asked to give way to male staff for the group’s tour, prompting protests from the workers’ union, outrage from French politicians and an apology from the Hindu group.

Here is more about BAPS and how the controversy unfolded.

What’s the controversy about?

The Eiffel Tower closed after staff walked out over the removal of women staff during a weekend visit by BAPS.

The Societe d’Exploitation de la Tour Eiffel, or SETE, which runs the Paris landmark, acknowledged that the group had requested the Saturday visit be organised in a way that limited “interactions with women”, and said “these conditions should not have been accepted”.

The BAPS monks, or sadhus, practise strict celibacy, which requires them to avoid physical contact with women and being alone in their company, and to minimise personal interaction or attention towards the opposite sex.

Wider community members of BAPS are not bound by these celibacy rules. According to news reports, the BAPS delegation visiting the Eiffel Tower comprised both monks and community members.

Eiffel Tower staff said in a statement that they condemned “professional instructions that led to female employees being sidelined, replaced and made invisible because of their sex” during the visit by the delegation.

“Some were asked to leave their posts and withdraw to other areas. In some posts they were replaced by men. And all female employees were instructed not to go through or cross certain areas while the delegation was present,” the staff union said, adding they were shocked to have been put in such a situation.

Paris Mayor Emmanuel Gregoire said an investigation would be launched “as soon as possible”. In a post on social media, he said he was aware of the employees’ anger and agreed their dissatisfaction was legitimate.

What is BAPS and how have they responded?

BAPS was founded in India in 1907 and began expanding internationally from the 1960s. It is a spiritual organisation which works on community building, constructing temples, helping with disaster relief and running medical camps, environmental drives and educational programmes.

It now also runs an extensive network of temples and cultural centres across the world, including more than 100 in the United States and more than 1,000 worldwide, including across Europe, Africa and Asia. BAPS also runs a temple in Paris.

On Tuesday, the BAPS Paris account posted a statement on X responding to the controversy.

“To our knowledge, at no time was access to the Eiffel Tower denied to anyone,” the account wrote, originally in French.

“Nevertheless, we wish to offer our sincere apologies to anyone who may have been hurt or inconvenienced by this situation,” it added.

How has the response in France been?

Leaders within France expressed outrage over reports of women being removed from the premises.

Aurore Berge, the minister delegate for gender equality and fight against discrimination in France, wrote in an X post on Monday: “In France, we do not ask women to step aside. No dogma, no religion is superior to the laws of the Republic.”

Yael Braun-Pivet, president of the National Assembly, wrote in a post on social media: “Welcoming others never means giving up our values. In France, women are fully present in public life. No one tells them to become invisible.”

Former French President Francois Hollande, now an MP, wrote on X on Tuesday: “We do not ask women to step aside to satisfy religious demands.”

He expressed support for the Eiffel Tower staff who walked out.

“Equality between women and men is a fundamental achievement of our Republic. It applies everywhere, to all women and all men, without exception,” Hollande wrote.

Parliamentarian and former PM Michel Barnier wrote on X: “It is therefore utterly unacceptable that an order aimed at making women disappear from this space could have been issued.”

Barnier added that “women are not hidden. They are not erased. They are respected, and their freedom is defended”, demanding an explanation from the SETE.

Jordan Bardella, the president of the far-right National Rally, wrote on X on Tuesday: “This degrading demand should never have been met. In a free country like France, gender equality is respected, and no religious reason can override women’s dignity.”

Prominent far-right MP and leader of the National Rally (RN), Marine Le Pen wrote in an X post: “In France, we will never accept that the presence of women be ‘limited.’”

Is BAPS linked to the Modi government?

BAPS is not officially part of a political party in India, and has long insisted that it is apolitical.

But researchers have long pointed to a close, cooperative relationship with Prime Minister Narendra Modi and his Bharatiya Janata Party (BJP) government.

In fact, the Eiffel Tower closure came just a day after Modi virtually inaugurated the BAPS temple in Paris.

Modi also attended the physical inauguration of the BAPS temple in the United Arab Emirates (UAE) in 2024.

Has BAPS faced other controversies in the past?

BAPS has faced a series of high-profile controversies in the past.

During a landmark legal battle in 1966, BAPS leaders argued in court that their sect was not part of Hinduism but a distinct religion. They did so in an attempt to avoid the Bombay Harijan Temple Entry Act, which required Hindu temples to open their doors to Dalits, a historically marginalised caste group. The Indian Supreme Court rejected the appeal made by BAPS.

In 2013, two former BAPS monks filed a complaint accusing senior BAPS leaders of sexual assault dating back to the 1970s. BAPS leaders denied the allegations. The complaint did not result in any publicly reported criminal charges.

In 2021, a US federal class‑action lawsuit accused BAPS of exploiting low‑caste labourers from India to work on its temples. The case, brought on behalf of about 200 Indian workers, alleged they were lured from India, coerced into employment agreements, and forced to work more than 12 hours a day with only five days off a year at a temple in Robbinsville Township, New Jersey.

The suit says they were paid as little as $1.20 an hour, far below the US federal minimum wage of $7.25 and New Jersey’s $12 statewide minimum.

A US federal investigation into labour trafficking at the Robbinsville temple has since been closed without criminal charges, but the civil class‑action lawsuit brought by the workers continues.

Air traffic controllers in Washington and the pilots of President Trump’s helicopter met to discuss communication issues one week before a jet was allowed to take off just as Marine One left the White House, federal investigators said Thursday.

Controllers reported not receiving the standard three-minute warning call ahead of Marine One flights, and both sides agreed to an alternative in those instances — but that plan to relay the radio call through someone else also was unsuccessful on the day of the Aug. 4 incident near Ronald Reagan Washington National Airport, the National Transportation Safety Board’s preliminary report shows.

Having both the jet and helicopter in the air at the same time seemed to violate safety procedures put in place after last year’s midair collision near the busy airport that killed 67 people, but officials stressed that the president was never in danger. The Pentagon also has a long-standing agreement with the Federal Aviation Administration to provide controllers with a three-minute warning before the president’s helicopter takes off that predates last year’s crash.

The NTSB said recordings from the tower showed that the controllers never heard the calls from Marine One’s pilot that day warning that the helicopter was getting ready to take off, but separate recordings posted by ATC.com show the helicopter did make those calls.

The helicopter pilots tried to relay their three-minute call through the helicopter facility at Joint Base Anacostia-Bolling, but that also was unsuccessful.

After an airliner collided with an Army Black Hawk helicopter on Jan. 29, 2025, the FAA decided all takeoffs and landings at the airport would be halted anytime a helicopter passes by on a conflicting route. The airspace near the White House and Reagan is heavily congested with military and commercial aircraft.

The FAA acknowledged the helicopter and airliner briefly got too close before the two aircraft started to move away from each other. The airplane quickly climbed above the helicopter after Marine One’s pilots saw the plane and paused until it safely left the area.

The NTSB said preliminary estimates show the helicopter and plane were about eight-tenths of a mile apart laterally and about 700 feet apart vertically at their closest. The crew of the Envoy Air flight told investigators they received a traffic warning from their collision avoidance system right after they took off, but they never saw the helicopter.

The official FAA recordings from the tower at Reagan did not include the warnings that Marine One was getting ready to head to Andrews Air Force Base with the president aboard.

A recording posted by ATC.com showed the Marine One pilot telling the tower that the helicopter was “three minutes to life” just like the 2013 agreement between the FAA and the military calls for. But the controller seemed surprised a few minutes later when the helicopter took off.

“Uh, Marine One, you said, uh, you’re proceeding as briefed?” the controller asked before giving the helicopter directions and commenting, “OK, no three minutes, roger, proceed as briefed.”

After the controller warned the helicopter about the plane taking off, the Marine One pilot said he saw the traffic and declared, “We’ll be doing a momentary delay.”

After last year’s midair collision, it became clear that poor communication between air traffic controllers and the military had been a long-standing issue. During a congressional hearing, it came out that a hotline connecting the Pentagon to the tower at Reagan hadn’t been working for more than three years, and the FAA hadn’t even realized it.

The NTSB said that after this incident involving Marine One, FAA technicians determined there wasn’t an adequate line of sight between the radio receiver at the airport and the location where the helicopter takes off at the White House. So those radios were moved from the neighborhood where they had been located to the top of the tower at Reagan. Subsequent tests showed the radios working well after that change.

Funk writes for the Associated Press.

Recently revealed evidence from government investigators and court filings renewed questions about Southern California Edison’s claim that it operated its electrical grid safely before last year’s deadly Eaton fire.

Most records surrounding the fire’s cause have been sealed at the request of Edison and plaintiff attorneys. Yet new details revealed in court show that critical fire prevention equipment needed repair before the blaze and that vegetation under the tower where it ignited hadn’t been trimmed for years.

Los Angeles County and state fire investigators cited eight violations, including three of California’s criminal code, in their report released on Aug. 4. The details were blacked out as the district attorney continues an investigation into the devastating fire.

“We don’t believe there is a basis for criminal liability and we will cooperate with any review,” said Kathleen Dunleavy, an Edison spokeswoman.

The investigators said in the report that the Jan. 7, 2025 inferno, which killed 19 people and destroyed more than 9,000 homes and other structures, was caused by electrical arcing on an out-of-service transmission line in Eaton Canyon, which caused hot metal fragments to fall into the dried vegetation below.

Here are key takeaways from the investigative report and recent court filings by lawyers representing fire victims:

Edison didn’t turn off power on its Eaton Canyon transmission lines, despite emergency conditions.

Before the fire, the National Weather Service predicted a “life-threatening” windstorm, investigators wrote in their report released Aug. 4. Santa Ana wind gusts were forecast to reach speeds of 60 to 80 miles per hour, with peak gusts of 90 miles per hour in the mountains.

Earlier that day, Gov. Gavin Newsom declared a state of emergency because of an out-of-control fire that was burning homes in Pacific Palisades.

Despite those conditions, Edison kept power flowing through its high-voltage transmission lines built in the mountains above Altadena. Investigators noted that wind gusts at a weather station about a half-mile from the Edison tower where the fire started recorded gusts up to 68 miles per hour just before the first flames at 6:11 p.m. By 7, gusts were up to 85 miles per hour.

Dunleavy said the conditions did not meet the company’s internal standards for shutting off the lines.

“SCE was actively monitoring the transmission lines in Eaton Canyon on Jan. 7 and none of these lines met our de-energization criteria,” Dunleavy said.

Safety equipment on the out-of-service line was damaged before the fire but not fixed.

Edison had installed safety equipment at both ends of the out-of-service, unconnected transmission line in Eaton Canyon, including at the pylon known as Tower 208 where the fire ignited. But on the night of the fire, the equipment was broken, according to a June court filing.

The equipment was designed to send any unexpected power on the out-of-service line safely into the earth. The grounding equipment was necessary because the idle Mesa-Sylmar line ran parallel to 12 energized high-voltage lines, creating the danger of induction.

Induction happens when electromagnetic fields cause power on energized lines to jump to nearby idle equipment.

At Tower 208, a component known as a compression paddle was not securely bonded to the pylon, allowing debris to form and creating a dangerous air pocket, the filing said. The paddle was meant to be secured with four bolts, but only one bolt was used.

Government fire investigators also found broken equipment at one of the Mesa-Sylmar towers during a tour of the site with Edison after the fire. According to their report, investigators observed “the center conductor dangling free from the bridge section of the tower; it appeared that the remaining two conductors were not bored down to the tower bridge.”

The investigators said they discussed the equipment “abnormalities” with an Edison lineman and lawyer on the tour. “The Lineman said that they were not new and were like this last year; he was also unsure why they were not corrected when it was inspected,” the investigators wrote.

Asked why the equipment was not fixed, Dunleavy said, “We’re looking into that.”

She said the company strives to have a strong maintenance and inspection program and still was performing post-fire examinations and testing.

Edison kept the century-old, out-of-service Mesa-Sylmar line in place for decades, despite knowing idle lines could reenergize and spark fires.

Utilities have known for decades that unused lines can become energized from nearby electrified equipment through the induction process.

To teach employees about the danger, Edison created a training video featuring a 2007 incident in which a line known as the Kramer-Coolwater circuit was de-energized to allow work by a crew. The line became reenergerized while laying on the ground and started several fires, according to a retelling of the video in a July court filing by lawyers representing victims. Later that day, the crew’s foreman was injured when he touched the line.

Eleven years later, the Kramer-Coolwater circuit was unconnected from the grid, similar to the line in Eaton Canyon. Yet the line was electrified by induction from adjacent lines again in 2018, electrocuting a lineman who touched the conductor, the court filing said.

The company has said it kept the line in place even though it hadn’t carried power since 1971 because executives believed it could be used in the future.

Dunleavy said the induction event in the training video was different from what appears to have happened on Jan. 7 with the Eaton Canyon transmission lines.

“We had never seen an idle, de-energized transmission line cause an ignition,” she said.

Edison failed to clear vegetation below the tower where the fire ignited.

The investigators’ report said the fire ignited when electrical arcing on the idle line caused hot metal particles to fall into “the receptive fuel beds consisting of dry vegetation” below the tower.

The June court filing includes details from Google Earth images showing that the vegetation under Tower 208 had not been trimmed since at least 2021. Leaving the brush to grow violated Edison’s safety standard for “structure brushing,” the filing said.

Edison explained structure brushing in an article last year, describing how it cleared all vegetation around certain equipment, creating a 10-foot barrier to reduce the fire risk.

Asked why Edison let brush grow below the idle line, Dunleavy said, “We inspect and maintain all our equipment according to existing regulations and laws.”

Edison has sued L.A. County and other public entities, saying that their failures, including not clearing brush and delayed evacuation warnings, increased the fire’s destruction.

A fight over accountability

The first jury trial looking at whether Edison acted negligently in igniting the fire is scheduled to begin Jan. 25.

Later, state regulators will evaluate whether the company acted “prudently” in its actions related to the fire’s start.

Under a 2019 law brought by Newsom to protect utilities from bankruptcy, the companies automatically are deemed to have acted prudently if regulators sign off on their wildfire prevention plan.

Newsom’s safety regulators approved Edison’s plan just before the Eaton fire. That means Edison will be fully reimbursed for the billions of dollars in Eaton fire damages by a state fund that Newsom’s legislation created unless outside parties can prove Edison acted imprudently, negligently or worse.

“We continue to believe we will make a good faith showing of prudency,” Dunleavy said.

Newsom is working behind closed doors on legislation to further protect Edison and the state’s two other big for-profit electric utilities from the cost of wildfires caused by their equipment, the Times reported this year.

The three companies’ equipment ignited at least seven of the state’s 20 most destructive wildfires, according to CalFire. The Eaton fire was the state’s second-most destructive fire after the 2018 Camp fire, which killed 85 people and destroyed most of the town of Paradise. That fire, according to investigators, was ignited by an old transmission line owned by Pacific Gas & Electric.

The survivors of Eaton and other fires are fighting Newsom’s plan, saying it would leave California more vulnerable to utility-sparked fires.

“The real danger is what will happen to Californians if we further strip away these corporations’ financial incentives to prevent catastrophic fires,” Joy Chen, executive director of Every Fire Survivor’s Network, wrote in an analysis sent to state lawmakers this week.

“These are not innocent companies overtaken by climate change, nor is this an abstract problem of ‘wildfire liability,’” she wrote. “It is a continuing pattern of catastrophic corporate failure.”