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The Brief

The most important stories for you to know today
  • Judge to decide what going “out of business” means
    A group of protestors stand in a Santa Monica sidewalk. A woman with blue hair and a black shirt holds a sign saying "Stop the evictions. Ellis equals homelessness."
    More than 50 people protested outside the corporate office of their landlord, Douglas Emmett Inc., in Santa Monica on Thursday, Aug. 10.

    Topline:

    In one of the city’s largest and most high-profile eviction cases in decades, a judge has to answer a question that will decide the future of more than 100 Los Angeles renters: What exactly does it mean for a landlord to “go out of business”?

    The backstory: The evictions are playing out at Barrington Plaza, a 712-unit high-rise complex in West L.A. Corporate landlord Douglas Emmett filed evictions against all of the property’s tenants in May of 2023 with the goal of installing a new fire sprinkler system. Many renters have already left. But about 100 units are still occupied, with tenants now suing the landlord.

    Closing arguments: Douglas Emmett representatives have indicated they plan to keep renting out Barrington Plaza in the future. They say the state’s Ellis Act gives them the “unfettered right” to temporarily stop renting units in order to carry out extensive fire safety upgrades. Barrington Plaza Tenants Association attorneys said that goes against the plain meaning of the law, which states its goal is “to permit landlords to go out of business.”

    What’s next: L.A. County Superior Court Judge H. Jay Ford III said finding an answer to what “going out of business” means won’t be easy. He said he expects to issue a ruling sometime in the next two weeks.

    In one of the city’s largest and most high-profile eviction cases in decades, a judge has to answer a question that will decide the future of more than 100 Los Angeles renters: What exactly does it mean for a landlord to “go out of business”?

    The evictions are playing out at Barrington Plaza, a 712-unit high-rise complex in West L.A. where many tenants pay below market-rate rents due to the city’s rent stabilization ordinance. Corporate landlord Douglas Emmett filed evictions against all of the property’s tenants in May 2023 with the goal of installing a new fire sprinkler system.

    Many renters have already left. But about 100 units are still occupied, with tenants now suing the landlord over what they argue is an abuse of California’s Ellis Act.

    “The Ellis Act cannot be used for renovations,” said Monique Gomez, one of the leaders of the Barrington Plaza Tenant Association. “If they get away with it in this lawsuit, I believe that there's going to be a lot of other people and a lot of corporate landlords doing the same thing.”

    What the Ellis Act says

    Landlords invoke the Ellis Act, passed by state lawmakers in 1985, when they want to vacate properties and take them off the market. The text of the law states its purpose is “to permit landlords to go out of business.” Sometimes that means completely demolishing an apartment building. In other cases it means converting rental units into for-sale condos.

    This case is more complicated. At various points, Douglas Emmett representatives have said they plan to keep renting out Barrington Plaza apartments in the future. They argue the Ellis Act gives them the “unfettered right” to temporarily stop renting units in order to carry out extensive fire safety upgrades.

    The property was built at a time when the city did not require fire sprinklers in high-rise buildings. Two large fires have damaged Barrington Plaza in recent years. The most recent fire in 2020 resulted in the death of a 19-year-old resident.

    “Two fires in seven years. A life lost,” John Gibson, an attorney for Douglas Emmett, said during closing arguments on Monday. “It’s time to vacate the buildings in Barrington Plaza.”

    People are standing across the street from a large apartment tower during the day. One of the floors near the bottom of the tower is charred black from a fire.
    People stand outside Barrington Plaza after a damaging fire on Jan. 29, 2020.
    (
    Frederic J. Brown
    /
    AFP via Getty Images
    )

    Going out of business… but for how long?

    Gibson argued the Ellis Act does not require landlords to “permanently” go out of business in order to evict tenants, nor does it state a specific amount of time landlords must halt operations.

    “You can go out of business temporarily,” Gibson said.

    RENT CONTROL GUIDE

    How much can rent go up in my neighborhood?

    • Read our rent control guide to find out how much your rent can be legally increased each year, depending on where you live in L.A. County.

    Frances Campbell, the attorney for the Barrington Plaza Tenants Association, said that goes against the plain meaning of the law. When customers see a sign for a “going out of business” sale, Campbell argued, they understand that to mean the business will soon cease to exist.

    “They are simply remodeling with the intent to re-rent,” Campbell said during closing arguments. “[The Ellis Act] gives them the unfettered right to stop being landlords. That is not what’s happening here.”

    Campbell said Douglas Emmett has always had the option of installing sprinklers without resorting to evictions. They could have temporarily relocated tenants through the city’s Tenant Habitability Program, she said. Tenants argue they’ve never opposed fire safety upgrades.

    “Our fight is actually not going against fire sprinklers,” said Gomez with the tenant association, who notes that the landlord allowed her to move in after the deadly 2020 fire. “Our fight is being able to leave our units, do the work you need to do and then bring us back.”

     The front sign of the L.A. County Superior Courthouse in Santa Monica, where the Barrington Plaza wrongful eviction case is being carried out, is seen.
    The Barrington Plaza wrongful eviction case is being carried out at the L.A. County Superior Courthouse in Santa Monica.
    (
    David Wagner/LAist
    )

    Douglas Emmett representatives have said installing sprinklers in stages is not feasible, and neither is paying to relocate hundreds of tenants for work that could take years.

    Tenants say they’re fighting for the whole city

    Barrington Plaza represents one of the largest mass evictions in L.A.’s history. It has become a political flashpoint — in part because the building’s age makes it subject to the city’s rent stabilization ordinance. City council members have condemned the decision to evict long-term tenants paying below market rates in the middle of a housing crisis. The fight has spilled into election politics, with Douglas Emmett spending $400,000 on an unsuccessful campaign to oust the council’s housing committee chair, Nithya Raman.

    Some long-term tenants say the cost of finding a comparable unit on L.A.’s Westside is prohibitive. Pischy Izady moved in just about six years ago. She said if she’s forced to leave, a similar apartment nearby could cost double what she’s paying now. She said many tenants have lived at Barrington much longer than her, and some simply cannot afford to move.

    “They have been here for 30 years, 20 years,” Izady said. “They’re paying these low rents. And they are older. They cannot go get a second job or a third job. I really want us to win this case. Not for me personally — I would move out tomorrow if I have to — but to set a precedent for the city of Los Angeles, and for the other tenants that are really in need of these rent controlled places.”

     Barrington Plaza tenant Pischy Izady stands in front of the Santa Monica courthouse just after closing arguments in a case she says could impact renters across the city of L.A.
    Barrington Plaza tenant Pischy Izady stands in front of the Santa Monica courthouse just after closing arguments in a case she says could impact renters across the city of L.A.
    (
    David Wagner/LAist
    )

    What’s next?

    During closing arguments, L.A. County Superior Court Judge H. Jay Ford III repeatedly pressed attorneys on both sides about their interpretation of what it means for a landlord to “go out of business.”

    Near the end of the hearing, Ford said figuring out the answer to that deceptively simple question won’t be easy.

    “I’ve got my work cut out for me,” he said.

    Ford said he expects to issue a ruling sometime in the next two weeks.

  • Questions of accuracy around Washington Post plan
    The incoming editor of <em>The Washington Post</em>, Robert Winnett, has withdrawn from the job and will remain in the U.K.
    The Washington Post is experimenting with personalized news podcasts created by AI.

    Topline:

    The Washington Post's new offering, "Your Personal Podcast," uses artificial intelligence to customize podcasts for its users, blending the algorithm you might find in a news feed with the convenience of portable audio.

    What critics are saying: The AI podcast immediately made headlines — and drew criticisms from people questioning its accuracy, and the motives behind it.

    What the Post is saying: Bailey Kattleman, head of product and design at the Post, calls it "an AI-powered audio briefing experience" — and one that will soon let listeners talk back to it.

    Read on ... for more details and answers to the biggest questions about this new experiment.

    It's not your mother's podcast — or your father's, or anyone else's. The Washington Post's new offering, "Your Personal Podcast," uses artificial intelligence to customize podcasts for its users, blending the algorithm you might find in a news feed with the convenience of portable audio.

    The podcast is "personalized automatically based on your reading history" of Post articles, the newspaper says on its help page. Listeners also have some control: At the click of a button, they can alter their podcast's topic mix — or even swap its computer-generated "hosts."

    The AI podcast immediately made headlines — and drew criticisms from people questioning its accuracy, and the motives behind it.

    Nicholas Quah, a critic and staff writer for Vulture and New York magazine who writes a newsletter about podcasts, says the AI podcast is an example of the Post's wide-ranging digital experiments — but one that didn't go quite right.

    "This is one of many technologically, digitally oriented experiments that they're doing" that is aimed at "getting more audience, breaking into new demographics," he says. Those broader efforts range from a generative AI tool for readers to a digital publishing platform. But in this case, Quah adds, "It feels like it's compromising the core idea of what the news product is."

    On that help page, the newspaper stresses that the podcast is in its early beta phase and "is not a traditional editorial podcast."

    Bailey Kattleman, head of product and design at the Post, calls it "an AI-powered audio briefing experience" — and one that will soon let listeners talk back to it.

    "In an upcoming release, they'll be able to actually interact and ask follow up questions to dig in deeper to what they've just heard," Kattleman says in an interview with NPR.

    As technically sophisticated as that sounds, there are many questions about the new podcast's accuracy — even its ability to correctly pronounce the names of Post journalists it cites. Semafor reported that errors, cited by staffers at the Postincluded "misattributing or inventing quotes and inserting commentary, such as interpreting a source's quotes" as the paper's own stance.

    In the newspaper's app, a note advises listeners to "verify information" by checking the podcast against its source material.

    In a statement, the Washington Post Guild — which represents newsroom employees and other staff — tells NPR, "We are concerned about this new product and its rollout," alleging that it undermines the Post's mission and its journalists' work.

    Citing the paper's standing practice of issuing a correction if a story contains an error, the guild added, "why would we support any technology that is held to a different, lower standard?"

    So, why is the Post rolling out an AI podcast? And will other news and audio outlets follow its lead?

    Here are some questions, and answers:

    Isn't AI podcasting already a thing?

    "The Post has certainly gone out on a ledge here among U.S. legacy publishers," Andrew Deck tells NPR. But he adds that the newspaper isn't the first to experiment with AI-generated podcasts in the wider news industry.

    Deck, who writes about journalism and AI for Harvard University's Nieman Lab, points to examples such as the BBC's My Club Daily, an AI-generated soccer podcast that lets users hear content related to their favorite club. In 2023, he adds, "a Swiss public broadcaster used voice clones of real radio hosts on the air."

    News outlets have also long offered an automated feature that converts text articles into computer-generated voices.

    Even outside of the news industry, AI tools for creating podcasts and other audio are more accessible than ever. Some promise to streamline the editing process, while others can synthesize documents or websites into what sounds like a podcast conversation.

    Why do publishers want to experiment with AI podcasts?

    "It's cost-effective," says Gabriel Soto, senior director of research at Edison Research, which tracks the podcast industry. "You cut out many of the resources and people needed to produce a podcast (studios, writers, editors, and the host themselves)."

    And if a brand can create a successful AI virtual podcast in today's highly competitive podcasting market, Soto adds, it could become a valuable intellectual property in the future.

    Deck says that if the Post's experiment works, the newspaper "may be able to significantly scale up and expand its audio journalism offerings, without investing in the labor that would normally be required to expand."

    In an interview, Kattleman stresses the new product isn't meant to replace traditional podcasts: "We think they have a unique and enduring role, and that's not going away at the Post."

    What's unique about the Post AI podcast?

    For Deck, the level of customization it promises is an innovation. Being able to tailor a podcast specific to one person, he says, "is arguably beyond what any podcast team in journalism right now can produce manually."

    In an example the Post published, listeners can choose from voice options with names like "Charlie and Lucy" and "Bert and Ernie."

    Kattleman says her team was working from the idea that for an audience, there isn't a "one size fits all" when it comes to AI and journalism.

    "Some people want that really straight briefing style; some people prefer something more conversational and more voicey," she says.

    Quah says that adding an AI podcast is a bid to make stories accessible to a broader audience.

    He says that with the podcast, the Post seems to be trying to reach young people who "don't want to read anymore, they just want to listen to the news."

    A key goal, Kattleman says, is to make podcasts more flexible, to appeal to younger listeners who are on the go.

    Outlining the process behind the Post's AI podcast, Kattleman says, "Everything is based on Washington Post journalism."

    An LLM, or large language model, converts a story into a short audio script, she says. A second LLM then vets the script for accuracy. After the final script is stitched together, Kattleman adds, the voice narrates the episode.

    Will listeners embrace an AI news podcast?

    Soto, of Edison Research, says that 1 in 5 podcast consumers say they've listened to an AI-narrated podcast.

    But, he adds that for podcast listeners, "many prefer the human connection, accepting AI tools to assist in creating the content, but not in executing or hosting the podcast."

    The new AI podcast reminds Deck a bit of the hyper-personalized choices for users offered by TikTok and other social media.

    "There is a level of familiarity
    and, arguably, comfort with algorithmic curation among younger audiences," he says.

    But while younger audiences tend to be tech savvy, many of them are also thoughtful about authenticity and connection.

    "Community is at the core of why people listen to podcasts," Soto says.

    Then there's the idea of a host or creator's personality, which drives engagement on TikTok and other platforms.

    "These creators have built a relationship with their audience — and maybe even trust — even if they haven't spoken to sources themselves," Deck says. "This type of news content is a far cry from the disembodied banter of AI podcast hosts."

    What are the potential downsides of AI podcasts?

    One big potential consequence is the loss of jobs — and for companies, the loss of talent.

    "The automation of it kind of erases the entire sort of voice performance industry," Quah says. "There are people who do this for a living," he adds, who could "produce higher quality versions of these recordings."

    There are also concerns that, if AI chooses a story and controls how it's presented, it might create an echo chamber, omitting context or skepticism that a journalist would likely provide.

    "AI-based news personalization tends to land firmly in the camp of delivering audiences what they want to know," Deck says.

    Deck says he's willing to give the Post's AI podcast a bit of time to see how it plays out. But Deck does have a chief concern: "I can say point blank, generative AI models hallucinate."

    And when AI models are wrong, he says, they're often confidently so.

    Blurring boundaries between human and AI voices could also raise questions of trust — a critical factor for a news organization.

    As Soto puts it, "What happens when your audience expects content from the real you and ends up finding AI instead?"

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  • Legendary OC venue to close
    Four people -- three men and one women -- posing in the backstage of a concert venue.
    No Doubt, Tony Kanal, Gwen Stefani, Adrian Young and Tom Dumont, backstage at the Wadsworth Theater before a taping of ABC Family's "Front Row Center" in Los Angeles, Ca. Sunday, November 11, 2001. *Exclusive* Photo by Kevin Winter/Getty Images.

    Topline:

    Sad news for pretty much anyone who went out to see bands big and small over the past few decades. A storied Orange County indie venue is closing down after some 30 years.

    Why it matters: Over the years the venue has hosted budding local bands and big acts alike, including No Doubt and Turnstile.

    Last shows: Chain Reaction in Anaheim announced on their Instagram that their final shows will be on Dec. 18 and Dec. 19. The Rancho Santa Margarita band Movements will headline.

    No word on why the venue is shutting down.

    "This call wasn't made quickly. We wrestled with it and have ultimately made the decision to close our doors," said Chain Reaction management on Instagram.

    "We want to thank you for the friendships and memories made in our special club. Thank you for supporting us through the years and when we needed it most," the post continued.

  • Fewer characters went through with the procedure
    A teenage girl with brown hair and a jean jacket with a hospital bracelet on talks to a woman with a brownish-red sweater and short brown hair.
    Abby Ryder Fortson portrayed Kristi Wheeler, a teen who came into the hospital for a medication abortion, on The Pitt.

    Topline:

    Storylines about abortion and conversations about it showed up on television 65 times this year, on prestigious dramas like The Pitt and Call the Midwife, on reality shows such as W.A.G.s to Riches and Love is Blind and on lowbrow animated comedies like Family Guy and South Park. That's about the same as last year. In 2024, TV shows featured 66 such plotlines.

    Why it matters: "I think there still is a lot of stigma, even in allegedly liberal Hollywood," says researcher Steph Herold. She says the report, which has come out for about a decade, reflects a profound lack of accurate representation of abortion use in America.

    Read on ... for more details from the annual Abortion Onscreen report.

    Storylines about abortion and conversations about it showed up on television 65 times this year, on prestigious dramas like The Pitt and Call the Midwife, on reality shows such as W.A.G.s to Riches and Love is Blind and on lowbrow animated comedies like Family Guy and South Park. That's about the same as last year. In 2024, TV shows featured 66 such plotlines.

    But in the past few years, there's been a significant drop in the number of characters who actually went through with an abortion. 37% obtained an abortion in 2025, a 14% decline since 2023.

    That's according to the annual Abortion Onscreen report. It comes from Advancing New Standards in Reproductive Health, a research program on abortion and reproductive health based at the University of California San Francisco.

    "I think there still is a lot of stigma, even in allegedly liberal Hollywood," says researcher Steph Herold. She says the report, which has come out for about a decade, reflects a profound lack of accurate representation of abortion use in America. For example, she points to research showing that about 60% of real life Americans who seek an abortion deal with some sort of barrier.

    "But only about a third of people who are characters on screen face any kind of barrier to abortion," Herold said. "Whether it was not being able to come up with the cost of the abortion, not having somebody to watch their kids or cover for them at work, having to deal with clinics that are miles away, or in other states having insurance that wouldn't cover the cost." Most TV shows in 2025 depicting women struggling to get abortions focused on legal obstacles in the past and present.

    On TV, 80% of characters seeking abortions are upper or middle class, but in real life, most abortion patients struggle to make ends meet. "This [disparity] obscures the role that poverty plays in obstructing access to abortion, and perhaps explains why we so rarely see plotlines in which characters wrestle with financial barriers to abortion access," the study says.

    This year, a teenager on The Pitt sought abortion pills to end her pregnancy — one of only three stories depicting medication abortion out of 65 plotlines about abortion this year. That's another disparity between representation on-screen and real-world numbers: research shows that abortion pills account for the majority of abortions in the U.S. Another difference: only 8% of people seeking abortion on TV are parents. In real life, most abortion patients have at least one child.

    It is unrealistic, says Herold, to expect TV to perfectly reflect current abortion use in the U.S., but she said she was disappointed by certain trends. Fewer characters this year received emotional support around their abortions, and more shows, she said, including Chicago Med, 1923, Breathless and Secrets We Keep featured plotlines that emphasized shame and stigma around abortions, especially because of religion. These storylines, the report says, "both obscure the diversity of religious observance among people having abortions, portraying religious patients as exclusively Christian, and also only associating religion with prohibiting abortion, instead of being a meaningful or supportive part of someone's abortion decision-making and experience."

    But even though abortion has long been a hot-button political issue, Herold says millions of Americans have had some sort of experience with abortions. "Whether it's having one themselves or helping a daughter or a friend," she said, adding that stories that reflect a diversity of abortion experiences will be familiar to many viewers.

    One bright spot, she added, was that television is doing a better job of reflecting the racial realities of abortion. A slight majority of characters in abortion plotlines are people of color — and although they are by far the majority of abortion seekers in real life, this marks a notable improvement from a decade ago, when TV shows more often portrayed women seeking abortions as wealthy and white.

  • Is the brightest meteor show of the year
    A meteor is seen burning in space over a desert. Various stars surround the meteor. A caravan of stargazers is seen in the bottom left.
    A meteor burns up in the sky over al-Abrak desert north of Kuwait City during the annual Geminid meteor shower.

    Topline:

    Geminids, the strongest meteor shower of the year hit their peak this weekend.

    Why it matters: Over 150 meteors per hour are expected to burn through the night sky tonight and Sunday.

    Read on ... to find the best places and learn the best time to watch the celestial phenomenon.

    Geminids, the strongest meteor shower of the year, hit a peak this weekend, sending over 150 meteors per hour through the night sky tonight and Sunday.

    Vanessa Alarcon, an astronomical observer at the Griffith Observatory, says despite being the best and brightest every year, these meteors don’t tend to get many fans.

    " It's usually not as heavily attended, I think because it's a lot colder in the winter. So it's definitely a deterrent, but technically, it's more meteors per hour than the Perseids are," Alarcon said.

    The Perseids are typically visible between July and August, but this summer, they were mostly drowned out because of light pollution from the full moon.

    Alarcon says it will be a different story this weekend.

    " The Geminids ... there's about a 25% crescent moon. So it's actually going be even better than the Perseids," Alarcon said.

    Where to go for the best view

    For the best viewing experience, you'll have to brave the cold of the deserts and mountains at night, but it should be worth the trip.

    "You should go to a darker sky," Alarcon said. "And basically, you just want to get away from the city lights — anything away from the city lights is going to be an improvement from trying to watch it at home."

    When to best see it

    The Geminids are notable for being exceptionally bright, burning like fireballs for several seconds. The meteors can be seen after 8 p.m. tonight, Alarcon said, peaking between 1:20 and 2:20 a.m. and visible until 5:20 a.m.