journalist

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Art director: Judy Pryor

3D illustrations and lead animation: Daniel Jurman

Executive director of photography: Kim Chapin

Photo editors: Taylor Arthur, Raul Roa

Copy editors: Blake Hennon, Ruthanne Salido

Digital production: Nicole Vas

Fact checking: Michael Darling

Audience engagement: Defne Karabatur, David Viramontes

Editor’s note: Prices and availability of items and experiences in the Gift Guide and on latimes.com are subject to change.

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

How do you spot a journalist?

The question lies at the center of a legal battle between Los Angeles City Atty. Hydee Feldstein Soto and the Los Angeles Press Club, as well as a political battle between Feldstein Soto and the City Council.

Two weeks ago council members called on her to give up her opposition to a federal judge’s order prohibiting LAPD officers from targeting journalists with crowd control weapons. According to the press club, dozens of journalists were excluded from public areas or attacked by police during chaotic summer protests against the Trump administration’s immigration crackdown.

Despite the slap down by the council, Feldstein Soto hopes to press forward. This week, in a confidential attorney-client memo shared with The Times by a source, she stressed to the council why she still wants to appeal the judge’s preliminary injunction, which she says makes virtually anyone a journalist.

In the injunction, U.S. District Judge Hernán Vera proposes “indicia” for LAPD officers to identify journalists, which include wearing distinctive clothing or carrying professional photographic equipment.

But the City Attorney’s Office, which is representing the city in the case, sees future issues.

“The problem with this vague definition is that anyone can claim they are a Journalist under the court’s definition,” Supervising Assistant City Atty. Shaun Dabby Jacobs wrote in the memo. “All a person needs to do is print out a badge that says ‘Press,’ or carry a camera … and they can go behind police line or into other restricted areas.”

The memo asks what clothing might identify a person as a journalist. “Is it simply that the person is wearing a suit or professional work dress? … It would be very easy for someone who is not a member of the media and is intent on causing trouble or harm to other peaceful protesters or to the LAPD, to pose as a journalist since they have some of these ‘indicia of being a Journalist.’”

Vera’s injunction imposes more onerous conditions on when police can use “less lethal” weapons than state law does, the memo also argued, allowing the “less lethal” force only when “danger has reached the point where deadly force is justified.”

The injunction also creates issues if the LAPD calls on mutual aid organizations, like the sheriff’s department or federal partners, since it applies only to the city’s police, the memo said. “The city could potentially be liable for our law enforcement partners’ actions if they act in a manner inconsistent with the terms of the injunction.”

All in all, the memo said, the judge’s injunction amounts to a “consent decree.”

With the nine-page memo in hand, Feldstein Soto headed to a closed session with the council Tuesday. Tempers flared when she and Chief Deputy City Atty. Denise Mills suggested that the press club’s lawyer, Carol Sobel, took on the case only to make money, according to two City Hall sources. (Feldstein Soto’s spokesperson, Karen Richardson, said the city attorney does not comment on closed session conversations but added that Feldstein Soto “absolutely did not say that.”)

Many council members, including Council President Marqueece Harris-Dawson, came to Sobel’s defense, according to a source with knowledge of the meeting.

“I’m trying to restrain myself right now,” Sobel said when she heard about the claim from Mills and the city attorney. “I’m really outraged. It is a baseless suggestion, and it doesn’t alter the fact that they’re shooting people in the head. Whether I get paid or not, they’re shooting people in the head.”

Sobel said she has taken on pro bono work frequently over her 40-year career and that when she is paid, it is partially to help fund future pro bono work.

Susan Seager, who also represents the press club in the case, took issue with Feldstein Soto’s continued pursuit of an appeal.

“She’s a cop wannabe,” Seager said. “She’s just a fake Democrat doing what [LAPD] Chief Jim McDonnell wants her to do.”

Richardson said Feldstein Soto has been a Democrat since 1976 and never worked with the police before she became the city attorney.

State of play

— FIRE BOMBSHELL: Los Angeles Fire Department firefighters told a battalion chief that parts of a New Year’s Day fire in Pacific Palisades still were smoldering the next day, according to text messages. Firefighters were told to leave anyway, and the blaze reignited on Jan. 7, killing 12 and burning thousands of homes. Interim LAFD Chief Ronnie Villanueva said the Palisades fire was not caused by “failed suppression” of the New Year’s blaze.

The story in The Times led to a tweet from sports critic Bill Simmons (bet you didn’t expect to see his name in bold in this newsletter!) blasting the city’s “indefensibly bad leadership,” which predictably led to a quote tweet from none other than Rick Caruso, who called Simmons’ tweet “spot on.” “The buck stops with Mayor Bass,” he added.

— TRASH ATTACK: Mayoral candidate Austin Beutner attacked Mayor Karen Bass over the rising cost of city services for Angelenos, calling out the City Council’s vote to increase trash collection fees. The mayor’s campaign responded that the hike was long overdue. “Nobody was willing to face the music and request the rate hikes,” said Doug Herman, spokesperson for Bass’ campaign.

— SAYONARA, SANITATION: The city’s top Bureau of Sanitation executive, Barbara Romero, stepped down this week. Romero, who was appointed by then-Mayor Eric Garcetti in 2021, touted the agency’s accomplishments, including increasing sewer fees and championing the construction of a water purification facility expected to recharge the San Fernando Valley groundwater aquifer.

— FREE(WAY) AT LAST: A judge agreed to place 29 protesters who shut down the southbound 110 Freeway in 2023 into a 12-month diversion program, which would require 20 hours of community service each. If the protesters, who were demonstrating against Israel’s war in Gaza, comply and don’t break other laws, they will have their criminal charges dropped.

— PHOTO BLOCK: L.A. County is trying to block a journalist from obtaining photographs of about 8,500 sheriff’s deputies and other sworn personnel in the department. The dispute centers on a public records request filed by journalist Cerise Castle in 2023 asking for the names and official headshots of all deputies not working undercover. An L.A. Superior Court judge ordered the release of the photos, but the county is appealing.

— A DOZEN BUSTED: Federal prosecutors announced charges against 12 people who allegedly assaulted law enforcement officers during the chaotic protests this summer against the Trump administration’s immigration raids. Many of the charges stem from demonstrators throwing items at police from a freeway overpass on June 8.

— CANDIDATE ALERT: A new candidate has thrown his hat in the ring to be the city’s next controller. Zach Sokoloff works for Hackman Capital Partners, serving as “Asset Manager of the firm’s Television City Studios and Radford Studio Center.” Sokoloff is running against incumbent Kenneth Mejia as well as veteran politician Isadore Hall.

QUICK HITS

• Where is Inside Safe? There were no Inside Safe operations this week. The mayor’s team held a virtual town hall with Councilmember Katy Yaroslavsky to engage with residents near nine operations in the West L.A. area, according to the mayor’s office.
• On the docket next week: Councilmember Curren Price will be in Los Angeles Superior Court for the preliminary hearing in his criminal case. The hearing is expected to last about five days.

Stay in touch

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.

Oct. 27 (UPI) — U.S. immigration authorities have detained British journalist and political commentator Sami Hamdi, who was in the country on a speaking tour.

Homeland Security Assistant Secretary Tricia McLaughlin confirmed Hamdi’s detention by Immigration and Customs Enforcement on X, saying his visa was revoked and that he would remain in ICE custody pending removal.

“Under President [Donald] Trump, those who support terrorism and undermine American national security will not be allowed to work or visit this country,” she said in a statement.

“It’s common sense.”

The Council on American-Islamic Relations said Hamdi was detained Sunday morning at San Francisco International Airport, stating his arrest was due to his criticism of Israel and its war in Gaza that has killed tens of thousands of Palestinians.

Hamdi was speaking at a series of CAIR-scheduled speaking events. On Saturday he spoke at CAIR Sacramento’s annual gala and was to speak Sunday at a CAIR Florida gala.

CAIR referred to his arrest as an abduction because of his criticism of Israel.

“Our attorneys and partners are working to address this injustice. We call on ICE to immediately account for and release Mr. Hamdi, whose only ‘crime’ is criticizing a foreign government that has committed genocide,” the nation’s largest Muslim civil rights and advocacy organization said in a statement.

Far-right conspiracy theorist and self-proclaimed “proud Islamophobe” Laura Loomer has claimed credit for Hamdi’s detention.

“I demanded that federal authorities inside the Trump administration treat Hamdi as the major National security threat that he is and I reported Sami Hamdi to federal immigration authorities over his documented support for Islamic terrorism,” she said on X, without providing evidence.

His detention comes amid the Trump administration’s crackdowns on both immigration and left-leaning ideology. Pro-Palestinian protests and comments made online have been targeted by immigration and State Department authorities.

Secretary of State Marco Rubio has said hundreds of visas have been revoked in connection to their holders’ involvement with pro-Palestinian protests. Pro-Palestinian protesters have also been detained with the intention of deporting them .

Critics have accused the Trump administration of seeking to silence criticism and dissent.

“We’ve said it before, we’ll say it again: The United States has no obligation to host foreigners who support terrorism and actively undermine the safety of Americans,” the State Department said in a statement.

“We continue to revoke the visas of persons engaged in such activity,” it added.

It did not provide information about the allegations against Hamdi.

The Muslim Council of Britain is calling on the British government to “take urgent diplomatic action” in response to Hamdi’s detention.

“We value the critical work of our friends at CAIR and stand ready to work with them to ensure Mr. Hamdi’s rights are protected. The bedrock of a democracy is freedom of expression and thought,” it said in a statement.

“Press freedom cannot be selective and we urge the British Government to come to the defense of its citizens being detained in this manner.”

British political commentator and journalist Sami Hamdi has been detained by federal authorities in the United States in what a US Muslim civil rights group has called an “abduction”.

The Council on American-Islamic Relations (CAIR) condemned Hamdi’s detention at San Francisco airport on Sunday as “a blatant affront to free speech”, attributing his arrest to his criticism of Israel’s war on Gaza.

Hamdi, a frequent critic of US and Israeli policy, had addressed a CAIR gala in Sacramento on Saturday evening and was due to speak at another CAIR event in Florida the next day before his detention by the Department of Homeland Security’s (DHS) Immigration and Customs Enforcement (ICE) agency.

CAIR said he was stopped at the airport following a coordinated “far-right, Israel First campaign”.

“Our nation must stop abducting critics of the Israeli government at the behest of unhinged Israel First bigots,” it said in a statement. “This is an Israel First policy, not an America First policy, and it must end.”

In a statement seen by Al Jazeera, friends of Hamdi called his arrest “a deeply troubling precedent for freedom of expression and the safety of British citizens abroad”.

The statement called for the United Kingdom Foreign Office to “demand urgent clarification from the US authorities regarding the grounds for Mr Hamdi’s detention”.

Al Jazeera was told that he remains in US custody and has not been deported.

“The detention of a British citizen for expressing political opinions sets a dangerous precedent that no democracy should tolerate,” the statement added.

Hamdi’s father, Mohamed El-Hachmi Hamdi, said in a post on X that his son “has no affiliation” with any political or religious group.

“His stance on Palestine is not aligned with any faction there, but rather with the people’s right to security, peace, freedom and dignity. He is, quite simply, one of the young dreamers of this generation, yearning for a world with more compassion, justice, and solidarity,” he added.

Earlier this morning, ICE agents abducted British Muslim journalist and political commentator Sami Hamdi at San Francisco Airport, apparently in response to his vocal criticism of the Israeli government during his ongoing speaking tour.

We can confirm that Mr. Hamdi has not been… https://t.co/dfcVGvz6UX

— CAIR National (@CAIRNational) October 26, 2025

‘Proud Islamophobe’

DHS Assistant Secretary Tricia McLaughlin confirmed Hamdi’s detention on Sunday, claiming without evidence that he posed a national security threat. “This individual’s visa was revoked, and he is in ICE custody pending removal,” she wrote on X.

Hamdi has been outspoken in accusing US politicians of actively enabling Israel’s genocide in Gaza, and has been widely quoted, challenging Western governments directly over arms transfers and diplomatic cover for Israeli war crimes.

His detention comes amid a wider pattern of US authorities blocking entry to Palestinian and pro-Palestine voices.

In June, two Palestinian men, Awdah Hathaleen and his cousin, Eid Hathaleen, were denied entry at the same airport and deported to Qatar. Weeks later, Awdah was reportedly killed by an Israeli settler in the occupied West Bank.

Far-right activist and ally of US President Donald Trump, Laura Loomer, who has publicly described herself as a “proud Islamophobe” and “white advocate”, immediately celebrated online for playing a part in Hamdi’s detention.

“You’re lucky his only fate is being arrested and deported,” she wrote, falsely branding him “a supporter of HAMAS and the Muslim Brotherhood”.

Loomer has previously pushed conspiracy theories, including the claim that the September 11 attacks in the US were an inside job.

Loomer and others credited the escalation against Hamdi to the RAIR Foundation, a pro-Israel pressure network whose stated mission is to oppose “Islamic supremacy”. RAIR recently accused Hamdi of trying to “expand a foreign political network hostile to American interests” and urged authorities to expel him from the country.

On Sunday, Shaun Maguire, a partner at the tech investment firm Sequoia and a vocal defender of Israel, alleged without evidence that Hamdi had tried to get him fired through an AI-generated email campaign, claiming: “There are jihadists in America whose full time job is to silence us.”

Hamdi’s supporters and civil rights advocates say the opposite is true, and that this detention is yet another case of political retaliation against critics of Israel, enforced at the border level before a single public word is uttered.

CAIR says it intends to fight the deportation order, warning that the US is sending a chilling message to Muslim and Palestinian speakers across the country.

When “Kiss of the Spider Woman” premiered at the Sundance Film Festival in January, it was in the shadow of President Trump’s return to office.

Just days earlier, Trump had begun his term with a wave of executive orders to expand the country’s immigration detention infrastructure, fast-track deportations, remove protections preventing Immigrations and Customs Enforcement (ICE) officials from targeting schools and churches, and a declaration that the U.S. government would recognize only two sexes.

Referencing these developments ahead of the screening in Park City, Utah, writer-director Bill Condon told the audience: “That’s a sentiment I think you’ll see the movie has a different point of view on.”

Released in theaters Oct. 10, “Kiss of the Spider Woman” is set in the final year of Argentina’s Dirty War, the violent military dictatorship that spanned from 1976-1983. The story begins in the confines of a Buenos Aires prison, where newfound cellmates Valentin Arregui Paz (Diego Luna) and Luis Molina (Tonatiuh) find they have little in common. Arregui is a principled revolutionary dedicated to his cause, while Molina is a gay, flamboyant window dresser who’s been arrested for public indecency.

Undeterred by their differences, Molina punctuates the bleak existence of their imprisonment — one marked by torture and deprivation — by recounting the plot of “The Kiss of the Spider Woman,” a fictional Golden Age musical starring his favorite actress, Ingrid Luna (Jennifer Lopez), casting himself and Arregui as her co-stars. Transported from their dreary cell to the bright, indulgent universe of the musical, their main conflicts become a quest for love and honor, rather than a fight for their basic human rights.

When Argentinian author Manuel Puig began writing the celebrated novel, “Kiss of the Spider Woman,” in 1974, it was just a year into his self-imposed exile to Mexico as his native Argentina lurched toward authoritarianism. By the time the book was released in 1976, a military junta had seized control of the government. The next seven years were marked by the forced disappearance of an estimated 20,000-30,000 people, many of whom were kidnapped and taken to clandestine detention camps to be tortured and killed. Among those targeted were artists, journalists, student activists, members of the LGBTQ+ community and anyone deemed “subversive” by the regime.

Initially banned in Argentina, Puig’s novel has been adapted and reimagined multiple times, including as an Oscar-winning film in 1985 and a Tony Award-winning musical in 1993. With each iteration, the central elements have remained unchanged. And yet, as the 2025 adaptation arrived in theaters this month, this queer, Latino-led story of two prisoners fighting the claustrophobia of life under fascism feels at once like a minor miracle, and a startling wake-up call.

Tonatiuh, left, and Diego Luna in the movie “Kiss of the Spider Woman.”

(Sundance Institute)

In the months since the film’s Sundance premiere, the parallels between the fraught political climate of 1970s Argentina and that of our present have only become more pronounced.

Under Trump, an endless stream of escalating violence from masked federal agents has become our new normal. ICE officers have been filmed apprehending people outside of immigration court; firing pepper balls, rubber bullets and tear gas at journalists, protesters and clergymen; and, earlier this month, they descended from Black Hawk helicopters, using flash-bang grenades to clear a Chicago apartment building in a militarized raid that had men, women and children zip-tied and removed from their homes. As the country’s immigrant detention population reaches record highs, widespread reports of abuse, neglect and sexual harassment, particularly against LGBTQ+ detainees, have emerged from facilities across the U.S.

Amidst these headlines are people just like Molina and Arregui — activists, artists and human beings — finding their own ways to survive and resist an increasingly paranoid and repressive government. And while Arregui’s instinct is to remain unwavering in his cause, Molina’s is to retreat into the glamorous, over-the-top world of the “Spider Woman.”

In dazzling musical numbers expertly performed by Lopez, who delivers each song and dance with all the magnetism of a true Old Hollywood icon, both the prisoners and the audience can’t help but be drawn further and further into her Technicolor web.

Jennifer Lopez and Tonatiuh in the movie “Kiss of the Spider Woman.”

(Roadside Attractions)

It might be easy to write these moments off as nothing more than a superficial distraction, as Arregui does early on, and characterize musicals as shallow and cliche. At first, Molina is happy to admit that’s why he loves them, but the truth is more complicated.

During Argentina’s dictatorship, discrimination and attacks by paramilitary groups against LGBTQ+ people became more and more frequent. Molina accepts the role society has cast him in, allowing himself to be the “monster,” the “deviant” or the “sissy” that people want him to be, while retreating mentally into the world of classic films and pop culture. For him, their beauty is a salve — an opportunity to abandon reality and cast himself in a role that doesn’t actually exist for him.

Though he never explicitly claims an identity, it’s made clear that he doesn’t just love “La Luna” — he wants to be her. And in their first feature lead role, the queer, L.A.-born actor Tonatiuh embodies all of Molina’s contradictions — his bluster, his pain, his radiance — to heart-wrenching effect.

As Molina and Arregui grow closer, the boundaries between reality and fantasy begin to melt, and their formerly rigid perceptions collapse along with them. Arregui takes on some of Molina’s idealism, and the musical he once saw as a tired cliche becomes something invaluable: a sliver of joy that can’t be taken from him. A cynic convinced of the world’s brokenness, he realizes that revolutions need hope too.

In the film’s final act, while the world around Molina hasn’t changed, he has. Still trapped within the confines of a society that is doing its best to crush him, he adopts Arregui’s integrity and realizes that he has a choice: “I learned about dignity in that most undignified place,” he says in the film. “I had always believed nothing could ever change for me, and I felt sorry for myself. But I can’t live like that now.”

Like the film within the film, “Kiss of the Spider Woman” isn’t an escape. It’s a lifeline — and a reminder that, even in the darkest of times, art has the power to transport us, sustain us and embolden us to be brave.

In a rare public rebuke, the Los Angeles City Council pressed the city’s top lawyer to abandon her attempt to halt a federal judge’s order prohibiting LAPD officers from targeting journalists with crowd control weapons.

One day before “No Kings” demonstrations against the Trump administration were set to launch in L.A. and elsewhere, the council voted 12-0 to direct City Atty. Hydee Feldstein Soto to withdraw her request to lift the order.

Hours later, Feldstein Soto’s legal team did just that, informing the judge it was pulling back its request — around the same time the judge rejected it.

Since June, the city has been hit with dozens of legal claims from protesters and journalists who reported that LAPD officers used excessive force against them during protests over Trump’s immigration crackdown.

The lawsuit that prompted the judge’s ban was brought by the Los Angeles Press Club and the news outlet Status Coup, who pointed to video evidence and testimonials suggesting that LAPD officers violated their own guidelines, as well as state law, by shooting journalists and others in sensitive parts of the body, such as the head, with weapons that launch projectiles the size of a mini soda can at speeds of more than 200 miles per hour.

“Journalism is under attack in this country — from the Trump Administration’s revocation of press access to the Pentagon to corporate consolidation of local newsrooms,” Councilmember Eunisses Hernandez, who introduced the motion opposing Feldstein Soto’s legal filing, said in a statement. “The answer cannot be for Los Angeles to join that assault by undermining court-ordered protections for journalists.”

In a motion filed Wednesday, Feldstein Soto’s legal team sought a temporary stay of the order issued by U.S. District Judge Hernán D. Vera. She reiterated her earlier argument that Vera’s ban was overly broad, extending protections to “any journalist covering a protest in [the City of] Los Angeles.”

The city’s lawyers also argued that the ban, which bars the LAPD from using so-called less lethal munitions against journalists and nonviolent protesters, creates “ambiguous mandates” that jeopardize “good-faith conduct” by officers and pose “immediate and concrete risk to officer and public safety.”

In addition to Feldstein Soto’s request for a temporary stay, the city has filed an appeal of Vera’s injunction. The U.S. 9th Circuit Court of Appeals is taking up the appeal, with a hearing tentatively set for mid-November.

Council members have become increasingly vocal about their frustrations with the city attorney’s office. Two months ago, they voiced alarm that an outside law firm billed the city $1.8 million in just two weeks — double the amount authorized by the council. They have also grown exasperated over the rising cost of legal payouts, which have consumed a steadily larger portion of the city budget.

After Feldstein Soto’s motion was reported by LAist, several city council members publicly distanced themselves from her and condemned her decision.

In a sternly worded statement before Friday’s vote, Councilmember Hugo Soto-Martínez wrote that the city attorney’s “position does not speak for the full City Council.”

“The LAPD should NEVER be permitted to use force against journalists or anyone peacefully exercising their First Amendment rights,” said the statement from Soto-Martínez, who signed Hernandez’s proposal along with Councilmembers Ysabel Jurado and Monica Rodriguez.

On Friday, the council also asked the city attorney’s office to report back within 30 days on “all proactive litigation the Office has moved forward without explicit direction from the City Council or Mayor since July 1, 2024.”

Rodriguez said that Friday’s vote should send a message that the city council needs “to be consulted as a legislative body that is independently elected by the people.”

“What I hope is that this becomes a more permanent act of this body — to exercise its role in oversight,” she said.

Carol Sobel, the civil rights attorney who filed the lawsuit on behalf of the plaintiffs, welcomed the council’s action. Still, she said Feldstein Soto’s filings in the case raise questions about whose interests the city attorney is representing.

“Sometimes you say ‘Mea culpa, we were wrong. We shouldn’t have shot people in the head, despite our policies,’” she said.

WASHINGTON — Dozens of reporters turned in access badges and exited the Pentagon on Wednesday rather than agree to government-imposed restrictions on their work, pushing journalists who cover the American military further from the seat of its power. The U.S. government has called the new rules “common sense.”

News outlets were nearly unanimous in rejecting new rules imposed by Defense Secretary Pete Hegseth that would leave journalists vulnerable to expulsion if they sought to report on information — classified or otherwise — that had not been approved by Hegseth for release.

Many of the reporters waited to leave together at a 4 p.m. deadline set by the Defense Department to get out of the building. As the hour approached, boxes of documents lined a Pentagon corridor and reporters carried chairs, a copying machine, books and old photos to the parking lot from suddenly abandoned workspaces. Shortly after 4, about 40 to 50 journalists left together after handing in badges.

“It’s sad, but I’m also really proud of the press corps that we stuck together,” said Nancy Youssef, a reporter for the Atlantic who has had a desk at the Pentagon since 2007. She took a map of the Middle East out to her car.

It is unclear what practical effect the new rules will have, though news organizations vowed they’d continue robust coverage of the military no matter the vantage point.

Images of reporters effectively demonstrating against barriers to their work are unlikely to move supporters of President Trump, many of whom resent journalists and cheer his efforts to make their jobs harder. Trump has been involved in court fights against the New York Times, CBS News, ABC News, the Wall Street Journal and the Associated Press in the last year.

Trump supports the new rules

Speaking to reporters at the White House on Tuesday, Trump backed his Defense secretary’s new rules. “I think he finds the press to be very disruptive in terms of world peace,” Trump said. “The press is very dishonest.”

Even before issuing his new press policy, Hegseth, a former Fox News Channel host, has systematically choked off the flow of information. He has held only two formal press briefings, banned reporters from accessing many parts of the sprawling Pentagon without an escort and and launched investigations into leaks to the media.

He has called his new rules “common sense” and said the requirement that journalists sign a document outlining the rules means they acknowledge the new rules, not necessarily agree to them. Journalists see that as a distinction without a difference.

“What they’re really doing, they want to spoon-feed information to the journalist, and that would be their story. That’s not journalism,” said Jack Keane, a retired Army general and Fox News analyst, said on Hegseth’s former network.

When he served, Keane said he required new brigadier generals to take a class on the role of the media in a democracy so they wouldn’t be intimidated and also see reporters as a conduit to the American public. “There were times when stories were done that made me flinch a little bit,” he said. “But that’s usually because we had done something that wasn’t as good as we should have done it.”

Youssef said it made no sense to sign on to rules that said reporters should not solicit military officials for information. “To agree to not solicit information is to agree to not be a journalist,” she said. “Our whole goal is soliciting information.”

Reporting on U.S. military affairs will continue — from a greater distance

Several reporters posted on social media when they turned in their press badges.

“It’s such a tiny thing, but I was really proud to see my picture up on the wall of Pentagon correspondents,” wrote Heather Mongillo, a reporter for USNI News, which covers the Navy. “Today, I’ll hand in my badge. The reporting will continue.”

Mongillo, Youssef and others emphasized that they’ll continue to do their jobs no matter where their desks are. Some sources will continue to speak with them, although they say some in the military have been chilled by threats from Pentagon leadership.

In an essay, NPR reporter Tom Bowman noted the many times he’d been tipped off by people he knew from the Pentagon and while embedded in the military about what was happening, even if it contradicted official lines put out by leadership. Many understand the media’s role.

“They knew the American public deserved to know what’s going on,” Bowman wrote. “With no reporters able to ask questions, it seems the Pentagon leadership will continue to rely on slick social media posts, carefully orchestrated short videos and interviews with partisan commentators and podcasters. No one should think that’s good enough.”

The Pentagon Press Assn., which has 101 members representing 56 news outlets, has spoken out against the rules. Organizations from across the media spectrum, from legacy organizations like the Associated Press and the New York Times to conservative outlets like Fox and Newsmax, told their reporters to leave instead of signing the new rules.

Only the conservative One America News Network signed on. Its management probably believes it will have greater access to Trump administration officials by showing its support, Gabrielle Cuccia, a former Pentagon reporter who was fired by OANN earlier this year for writing an online column criticizing Hegseth’s media policies, told the AP in an interview.

Bauder writes for the Associated Press. AP writer Laurie Kellman in London contributed to this report.

‘Not only has our past been destroyed but so has our future.’ A Palestinian journalist broke down into tears as he returned to northern Gaza to find his family home as a pile of rubble. Many Palestinians returning to the area are finding nothing left but destruction following Israel’s war.

Sources say the 28-year-old was killed by members of an Israel-linked ‘militia’ fighting Hamas in the Sabra neighbourhood.

Palestinian journalist Saleh Aljafarawi has been killed during clashes in Gaza City, just days after Israel and Hamas reached a ceasefire agreement in the Gaza Strip.

Palestinian sources told Al Jazeera Arabic that the 28-year-old, who had gained prominence for his videos covering the war, was shot and killed by members of an “armed militia” while covering clashes in the city’s Sabra neighbourhood.

Al Jazeera’s Sanad agency verified footage published by reporters and activists showing his body – in a “press” flak jacket – on what appeared to be the back of a truck. He had been missing since Sunday morning.

Palestinian sources said clashes were taking place between Hamas security forces and fighters from the Doghmush clan in Sabra on Sunday, although this has not been confirmed by local authorities.

A senior source in Gaza’s Ministry of Interior told Al Jazeera Arabic that the clashes in Gaza City involved “an armed militia affiliated with the [Israeli] occupation”.

The source said security forces imposed a siege on the militia, adding that “militia members” killed displaced people as they were returning from southern Gaza to Gaza City.

Despite the recent ceasefire, local authorities have repeatedly warned that the security situation in Gaza remains challenging.

‘I lived in fear for every second’

Speaking to Al Jazeera in January, several days before the start of a temporary ceasefire in the war at the time, Aljafarawi talked about his experiences being displaced from northern Gaza.

“All the scenes and situations I went through during these 467 days will not be erased from my memory. All the situations we faced, we will never be able to forget them,” Aljafarawi said.

The journalist added that he had received numerous threats from Israel due to his work.

“Honestly, I lived in fear for every second, especially after hearing what the Israeli occupation was saying about me. I was living life second to second, not knowing what the next second would bring,” he said.

In the deadliest-ever conflict for journalists, more than 270 media workers have now been killed in Gaza since the start of Israel’s war in October 2023.

Aljafarawi’s death comes as the current ceasefire in Gaza has held for a third day, ahead of an expected hostage-prisoner exchange.

United States President Donald Trump is set to gather with other world leaders on Monday in Egypt’s Red Sea resort town of Sharm el-Sheikh for a Gaza summit co-hosted by Egypt’s President Abdel Fattah el-Sisi.

It aims “to end the war in the Gaza Strip, enhance efforts to achieve peace and stability in the Middle East, and usher in a new era of regional security and stability”, according to the Egyptian president’s office.

During the “historic” gathering, a “document ending the war in the Gaza Strip” is set to be signed, Egypt’s Foreign Ministry said on Sunday. Neither Israel nor Hamas will have representatives at the talks.

Diane Keaton, who died Saturday at 79, is one of cinema’s most legendary actors. She played some of the most recognizable roles of the late 20th century, and blazed a trail for generations of women to come. Here’s a list of Keaton’s 10 most important films, presented in alphabetical order. We’ll leave the ranking to her devoted fans.

‘Annie Hall’

Woody Allen and Diane Keaton in a scene from the movie “Annie Hall” from MGM / UA Home Video.

(MGM / UA Home Video)

Keaton’s role in Woody Allen’s 1977 romantic comedy was written just for her. Her portrayal of the feisty, eccentric, charming title character would define Keaton as an actor for the rest of her career. Her signature bowler hat and ties became a fashion staple, and fans still can’t think of the song “Seems Like Old Times” without sobbing. The film about the bittersweet nature of lost love was a critical success, and Keaton won her only Academy Award for her work in it.

‘Crimes of the Heart’

Keaton plays Lenny McGrath — the oldest of three sisters — in this 1986 black comedy also starring Diane Lange and Sissy Spacek. The actresses are at the height of their powers in the film, which finds a trio of siblings reuniting at their family home in Mississippi after Babe (Spacek) shoots, and seriously injures, her abusive husband. Spacek won a Golden Globe for her work, and was nominated for an Oscar, but Keaton shines as the less ostentatious of the sisters — an unassuming, terminally single woman who believes a shrunken ovary is the reason for her failure to launch.

‘The Godfather’ parts I and II

Keaton plays Kay Adams Corleone in Francis Ford Coppola’s epic crime family trilogy. As Michael Corleone’s second wife, and the mother of his children, Kay is one of the few fully realized women in the films. Many fans love Keaton’s performance in the second film best because Kay is the only one to stand up to Michael. When the ruthless mafia boss confronts her about an abortion she has had, Kay lets loose and confronts him about his vicious nature and many lies, vowing to never bring another Corleone into the world.

‘Looking for Mr. Goodbar’

Richard Gere, left, and Diane Keaton in a scene from the 1977 movie, “Looking For Mr. Goodbar.”

(Paramount / Getty Images)

This 1977 crime drama written and directed by Richard Brooks is perhaps Keaton’s most tragic film. She plays a lonely schoolteacher named Theresa Dunn who engages in increasingly risky behavior with strangers in pursuit of love. The film also stars Richard Gere as a controlling, abusive, drug-addicted boyfriend in his first major role. Keaton’s sorrow and desperation in this dark, gritty movie is palpable, making this a defining and heartbreaking part of her ouvré.

‘Manhattan’

Mary Wilke (Diane Keaton) and Isaac Davis (Woody Allen) in the shadow of the Queensborough Bridge in the movie “Manhattan.”

(United Artists)

This 1979 Woody Allen film is now one of the director’s most controversial due to its subject matter. Allen stars as a 42-year-old comedy writer who dates a 17-year-old girl, but ends up falling in love with his best friend’s mistress. Keaton plays that mistress, Mary Wilkie, and her depiction of the witty, wry, journalist with a robust social calendar and strong opinions that she never hesitates to express, is among her most seminal performances.

‘Marvin’s Room’

Keaton stars alongside Meryl Streep, Robert De Niro and a young Leonardo DiCaprio in this 1996 family drama. Keaton was nominated for an Academy Award for her portrayal of Bessie Lee, a woman who has been caring for years for her bedridden father when she is diagnosed with leukemia. She turns to her estranged sister, Lee, for help finding a bone marrow transplant match — an endeavor that finds the family once again under the same roof. The tender story of loss and redemption showed that Keaton had staying power decades into her career.

‘Radio Days’

This nostalgic, charmer of a dramedy written and directed by Woody Allen takes place in Rockaway Beach in the 1930s and ‘40s during the golden age of radio. Keaton is part of an ensemble cast in a film filled with vignettes, and she appears in what is essentially a cameo as a New Year’s Eve singer. Wearing a a long-sleeved white dress with her hair pulled back in a bow, she sings a lovely rendition of Cole Porter’s “You’d Be So Nice to Come Home To,” proving that when you’re a star of her caliber, you can shine no matter how small the role.

‘Reds’

Warren Beatty co-wrote, produced and directed this historical drama about John Reed, a journalist who chronicled Russia’s 1917 October Revolution. Keaton plays Louise Bryant, a married journalist and suffragist who leaves her husband to move to Greenwich Village with Reed where she becomes part of a robust group of artists and activists, including playwright Eugene O’Neil (Jack Nicholson). The 195-minute film opened to critical acclaim and was nominated for 12 Academy Awards, including best picture. Keaton received her second nomination for best actress but ultimately did not win.

‘Sleeper’

Keaton plays Luna Schlosser, a poet from the 22nd century, in Woody Allen’s 1973 madcap science fiction comedy about a jazz musician named Miles Monroe who owns the Happy Carrot health-food store before being cryogenically frozen for 200 years. Miles wakes in 2173 after being clandestinely revived by a group of rebels and is later delivered — disguised as a robot — into Luna’s home. Hilarious bickering ensues when Luna discovers Miles’ true identity, but she ultimately comes around to his cause. Keaton’s fabulous feathery silver outfits, her ability to utter lines like, “it’s pure keen,” with a straight face, and her substantial use of the “orgasmatron” made the role an instant classic.

‘Something’s Gotta Give’

Diane Keaton and Jack Nicholson in the Columbia Pictures romantic comedy movie, “Something’s Gotta Give.”

(Bob Marshak/Columbia Pictures)

Keaton again paired with Jack Nicholson in this 2003 romantic comedy about a pair of mismatched professionals who fall in love in late middle age despite their best efforts to the contrary. The stars have the undeniable chemistry of two acting legends whose work appears absolutely effortless at this stage in their careers. The film was not a critical home run, but Keaton fans think of it as one of her best later roles.

The chief spokesperson for the Los Angeles Police Department has resigned amid accusations from the region’s top federal prosecutor that her office was leaking information, according to three sources familiar with the matter but not cleared to speak publicly.

Jennifer Forkish, the LAPD’s public information director, said she left the department Thursday at the request of Chief Jim McDonnell but vehemently denied making any unauthorized disclosures.

“Any suggestion that I have ever shared or leaked information to the media is categorically false,” she said in a statement. “No one in the Department, including the Chief has ever raised or discussed this baseless allegation with me, because it simply never happened. Anyone claiming otherwise is lying.”

The three law enforcement sources said the chief’s concerns about Forkish’s overall performance had been mounting, and that pressure Tuesday from acting U.S. Atty. Bill Essayli may have prompted her ouster.

The drama began the prior evening after a Times reporter reached out to an official at the U.S. Attorney’s office to inquire about plans to schedule a news conference related to the Palisades fire.

Flanked by McDonnell and other law enforcement leaders, Essayli announced at a briefing on Wednesday that authorities had arrested and charged a 29-year-old Uber driver with intentionally sparking one of the most destructive fires in California history.

Before the media event, according to the three sources who had been briefed on the matter, Essayli called LAPD senior staff and demanded to know who in the department had tipped the paper off to the news conference, which had not yet been officially scheduled when The Times asked about it.

It wasn’t immediately clear why Forkish was suspected of revealing details about the news conference, which federal authorities announced to members of the media via email at 5 a.m. Wednesday.

Forkish had already left work that afternoon when McDonnell summoned her back to his office at LAPD headquarters for a meeting with him and Assistant Chief Dominic Choi, she told The Times. McDonnell did not reference a call with Essayli during the meeting, telling Forkish only that he did not share her long-term vision for the department’s public relations strategy, she said.

She said the conversation revolved around the difference of opinion about the department’s overall media strategy, adding “there has never been any conversation with me regarding the possibility of a leak with anyone from the LAPD.”

Choi would not address any phone conversation between LAPD leadership and Essayli. He told The Times he could not discuss Forkish’s case due to confidentiality around personnel matters but confirmed she submitted her letter of resignation on Thursday morning.

“We don’t wish any ill will or anything for her,” he said in a brief telephone interview. “We thank her for her service and everything she’s done and for her time with the department.”

McDonnell did not respond to a phone call and email seeking comment on Thursday. Inquiries to the U.S. Attorney’s office and Mayor Karen Bass also went unreturned.

Forkish expressed gratitude for her time with the LAPD.

“After much thought, I’ve decided to step down from my role to pursue new opportunities,” she wrote in a statement. “I do so with immense pride in what my team and I accomplished together. We told the hard stories with honesty and balance, supported our officers and our city in moments of crisis, and built a foundation of professionalism that I’ll always be proud of.”

For months, word has circulated in the U.S. Attorney’s office in Los Angeles that Essayli — a Trump appointee — is trying to root out leaks to the media. The LAPD has itself routinely opened investigations into employees who speak with journalists without authorization, and faced lawsuits from employees who claimed they were falsely accused of leaks.

Forkish began her career working for former Los Angeles City Councilman Dennis Zine, who worked as an LAPD cop for more than three decades before going into politics. She later had stints at PR firms around town, including GCG Rose & Kindel, where she worked with Celine Cordero, the future mayor’s deputy chief of staff.

After working as a vice president of corporate communications for casino giant Caesars Entertainment Corp. in Las Vegas, Forkish served as a spokesperson for former Los Angeles County Dist. Atty. George Gascón for several months in 2024.

Eric Rose, a partner at the lobbying and crisis communication firm EKA, where he was once Forkish’s boss, said she has made a positive mark at every stop of her career.

“Jennifer is an accomplished public affairs professional with deep and diverse expertise, having worked with elected officials at the local, state and federal levels for more than two decades,” he said.

But Forkish’s appointment to the LAPD job was not without controversy. Multiple department sources not authorized to speak publicly said a dispute over Forkish’s salary demands created tension before she started on the job. Then, the sources, said there was a disagreement over strategy between Forkish and her predecessor, Capt. Kelly Muniz, which ended with Muniz’s transfer to another unit.

Some press advocates say McDonnell’s tenure has been marked by conflict with the local media. The department faces lawsuits for aggressive behavior by officers toward journalists who covered protests against the Trump administration over the summer, and a federal judge has barred police from targeting reporters with less-lethal projectiles during demonstrations.

Adam Rose, a deputy director of advocacy for the Freedom of the Press Foundation, said the department has in recent months been frustratingly unresponsive when confronted with reports of abuses by officers.

“While I often vehemently disagreed with past PIOs and past department leadership, at least they were responsive,” Rose said. “The fact that McDonnell and his staff are so recalcitrant — and are so reluctant — to do their jobs is shameful.”

In her statement, Forkish said she is proud of her time at the LAPD.

“I’ve always approached this work with transparency, respect, and accountability, and that will never change,” she said.

Times staff writers James Queally and Brittny Mejia contributed to this report.

An Israeli air strike has killed journalist Yahia Barzaq, who was known for his creative portraits of newborn children before the war in Gaza.

Smack-dab in the middle of Hispanic Heritage Month, PBS will air the 38th Hispanic Heritage Awards tonight.

The show took place on Sept. 4 at the Warner Theatre in Washington, D.C., and honored a collection of musicians, artists, actors, journalists and business leaders.

This year’s honorees, selected by the Hispanic Heritage Foundation, included NPR’s “Alt. Latino” journalist Felix Contreras, stoner comic and Chicano art collector Cheech Marin, Puerto Rican pop music visionary Rauw Alejandro, Oscar-nominated actor and dancer Rosie Perez, Rizos Curls Chief Executive Julissa Prado and “Mexican Queen of Pop” Gloria Trevi.

Honoree Felix Contreras accepts the Journalism Award onstage during the 38th Hispanic Heritage Awards in Washington, D.C.

(Paul Morigi / Getty Images for Hispanic Heritage Foundation)

Contreras is one of the few journalists to ever receive the esteemed honor, though he was initially reticent to accept. “We learn early on that [journalists] are not supposed to be the story,” Contreras told The Times earlier this year.

Recently, Marin has moved on from a successful career making stoner comedy films and is now best known for his work as a collector of Chicano art. After being a lifelong gatherer of art, the Cheech Marin Center for Chicano Art & Culture of the Riverside Art Museum opened to the public in June 2022.

Rauw Alejandro, meanwhile, has innovated the Latin music scene with his experimental albums, such as 2022’s techno-infused psychedelic album, “Saturno”; his beachy follow-up, “Playa Saturno,” in 2023; and his 2024 ode to the 1970s New York City salsa scene, “Cosa Nuestra.”

Cheech Marin accepts the Arts Award onstage during the 38th Hispanic Heritage Awards.

(Paul Morigi / Getty Images for Hispanic Heritage Foundation)

Rosie Perez made a name for herself as a dancer on the TV show “In Living Color” and with starring roles in Spike Lee films before being nominated for an Oscar for 1993‘s “Fearless.”

Gloria Trevi is one of the most successful Latina artists of her time. She has garnered over 30 million sold albums and 7 billion combined streams, along with several top-selling albums and an induction into the Latin Music Songwriters Hall of Fame.

As the Rizos Curls co-founder and CEO, Prado is being honored, per the HHF, for “her personal journey of self-discovery into a nationally celebrated, multi-million-dollar business specializing in textured hair care.”

Gloria Trevi performs onstage at the 38th Hispanic Heritage Awards.

(Paul Morigi / Getty Images for Hispanic Heritage Foundation)

The ceremony was hosted by actor and writer Mayan Lopez, and viewers will be able to take in performances by Trevi, along with artists Daymé Arocena, DannyLux, Lisa Lisa and RaiNao.

The awards show was established in 1988 by the White House to honor cultural visionaries within the Latino community. Previous awardees include Bad Bunny, Anthony Quinn, Sonia Sotomayor, Linda Ronstadt, Los Tigres Del Norte, Gloria Estefan and Tito Puente, among others.

FORMER Sun journalist Tony Grassby died yesterday aged 69.

TG, as he was known to friends and colleagues, joined in 2000 and became a hugely talented and respected member of the production team.

He left The Sun in 2018 and retired to Croatia where he died in hospital after a brief illness.

TG was a dedicated supporter of Chelsea and Bristol City, and a huge heavy metal fan.

His career began in 1973 on a local paper in North Somerset

He also worked at Today, the Sunday ­Mirror and Daily Star.

Ex-colleagues paid ­tribute, describing TG as “one of life’s good guys”, “a joyful character who was never in a bad mood” and “a warm, caring fella who was also a brilliant journalist”.

He is survived by his five children, four grandchildren, ex-wife, three sisters and mother Mary.

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NEW YORK — President Donald Trump filed a $15-billion defamation lawsuit against The New York Times and four of its journalists on Monday, according to court documents.

The lawsuit filed in U.S. District Court in Florida names several articles and one book written by two of the publication’s journalists and published in the lead up to the 2024 election, saying they are “part of a decades-long pattern by the New York Times of intentional and malicious defamation against President Trump.”

“Defendants published such statements negligently, with knowledge of the falsity of the statements, and/or with reckless disregard of their truth or falsity,” the lawsuit says.

The New York Times did not immediately respond to an email requesting comment early Tuesday.

In a Truth Social post announcing the lawsuit, Trump accused The New York Times of lying about him and defaming him, saying it has become “a virtual ‘mouthpiece’ for the Radical Left Democrat Party.”

Trump has gone after other media outlets, including filing a $10-billion defamation lawsuit against the The Wall Street Journal and media mogul Rupert Murdoch in July after the newspaper published a story reporting on his ties to wealthy financier Jeffrey Epstein.

The Italian journalist who — for some reason — excluded Ayo Edebiri in a question about Hollywood and the Black Lives Matter and #MeToo movements has spoken out about the now-viral interview.

Federica Polidoro posted a statement Monday on Instagram defending her work, saying that she has been subject to “violent language, personal attacks, and cyberbullying” following the “question that, for some reason, was not well received by some members of the public.”

“Rather than focusing on the thoughtful responses of Ayo Edebiri, Julia Roberts, and Andrew Garfield, the discussion continues solely on how I should have phrased the question,” Polidoro wrote.

The exchange in question occurred at a press event with Edebiri, Roberts and Garfield at the Venice Film Festival, where their film “After the Hunt,” directed by Luca Guadagnino, made its world premiere. In a video that has been shared widely, Polidoro is heard asking Roberts and Garfield what they thought was “lost during the politically correct era” and what people can expect from Hollywood now that “the #MeToo movement and Black Lives Matters are done.”

After Roberts asks the journalist to clarify who the question is directed to, Polidoro reiterates that her question is for Roberts and Garfield. As the actors share a look, Edebiri raises her hand to respond instead.

“I know that that’s not for me and I don’t know if it’s purposeful that it’s not for me — but I am curious — but I don’t think it’s done,” the star of “The Bear” says. “I don’t think it’s done at all.”

“I think maybe hashtags might not be used as much,” she continues, “but I do think that there’s work being done by activists, by people, every day, that’s beautiful, important work that’s not finished. That’s really, really, really active for a reason. Because this world is really charged. And that work isn’t finished at all. Maybe there’s not mainstream coverage in the way that there might have been, daily headlines in the way that it might have been, eight or so years ago, but I don’t think it means that the work is done. That’s what I would say.”

“The movements are still absolutely alive,” Garfield says in agreement. “Just maybe not as labeled or covered or magnified as much in this present moment.”

In her statement, Polidoro pushed back against accusations of racism, saying she has “interviewed people of every background and ethnicity” over the course of her 20-year career.

“My own family is multi-ethnic, matriarchal, and feminist, with a significant history of immigration,” wrote Polidoro, who in her Instagram bio mentions being a Golden Globes voter and awards season analyst. “In my view, the real racists are those who see racism everywhere and seek to muzzle journalism, limiting freedom of analysis, critical thinking, and the plurality of perspectives.”

Polidoro’s statement also said, “Censoring or delegitimizing questions considered ‘uncomfortable’ does not fall within the practice of democracy. … Journalism’s role is to ask questions, even on delicate topics, with respect and responsibility.”

The afternoon sun glimmered off the ocean as I drove down MacArthur Boulevard in Newport Beach to fulfill a promise.

This September marks five years since I debuted as a columnist for The Times. My first dispatch was from the mausoleum niche at Pacific View Memorial Park that holds the cremains of one of my predecessors, Ruben Salazar.

Exactly 55 years ago, Salazar was killed in an East Los Angeles bar by a tear gas canister launched by an L.A. County sheriff’s deputy that tore through his head. He was one of three people who died that day during the Chicano Moratorium, a rally against the Vietnam War that out-of-control cops turned into a melee.

Salazar was only eight months into his columnist gig. He was a well-respected Times veteran who had done stints covering immigration, as a foreign correspondent and Metro reporter for the paper. Once he got a Friday slot on the op-ed page at the start of 1970, the journalist became a must-read chronicler of the Chicano experience.

In death, Salazar became immortal. Murals of him sprang up around the Southwest. Wearing a suit jacket and tie, with a full head of hair and a confident look on his face, he symbolized the potential and peril of being a Mexican American in the United States. Even as the decades passed, and his clips were relegated to archives and the memories of those who had read him in real time, Salazar has thankfully yet to fade from L.A.’s physical and spiritual landscape.

A high school is named after him in Pico Rivera, as are Salazar Park in East L.A. and Salazar Hall at Cal State L.A. The U.S. Postal Service sells stamps with his likeness.

United Teachers Los Angeles gives out a scholarship in his name, just like the National Assn. of Hispanic Journalists. The nonprofit CCNMA: Latino Journalists of California honors reporters who cover Latinos with the annual Ruben Salazar Awards, handing out medallions bearing his image.

When I visited Salazar’s final resting place in 2020, I brought a bottle of Manzanilla to toast the hard-charging bon vivant’s memory and ask for his blessing in my new role. I promised to visit and offer an update about my career every year near the anniversary of his death … but, well, the job got in the way.

A historic pandemic. The storming of the U.S. Capitol. A racist audio leak scandal that upended L.A. City Hall. Corrupt politicians. Increasing poverty. The rise, fall and return of Donald Trump. Horrible fires. A cruel deportation deluge. I’ve barely had time to spend with friends and family, let alone an afternoon driving to a far-off cemetery for a few minutes with a long-gone man I had never met.

For 2025, there would be no excuses. Because in a year that seems to get worse by the day, we need to remember Salazar more than ever.

A painting of former Los Angeles Times journalist Ruben Salazar and a copy of his last column, published on Aug. 28, 1970, the day before he died, are on display inside Ruben Salazar Hall on the campus of Cal State Los Angeles.

(Mel Melcon / Los Angeles Times)

Every time my Times colleagues report from a protest, I invoke Salazar’s name in my prayers to God that He watch over them. Our profession faces existential threats — and I’m not just talking finances.

The Trump administration has pursued scorched-earth campaigns against news organizations it doesn’t like with lawsuits and funding cuts, while limiting access to mainstream reporters in favor of sycophantic press coverage. Journalists have suffered injuries at the hands of LAPD officers while covering this summer’s anti-migra protests, from being struck with less-lethal projectiles to getting smacked with batons.

The climate against my profession is so ugly that the L.A. County Board of Supervisors unanimously passed a motion this month requiring the Sheriff’s Department to send them a report about what training, if any, deputies receive on allowing reporters to do their jobs during protests. Supervisor Hilda Solis, who authored the motion, cited Salazar as an impetus, calling his killing “one of the most painful chapters in Los Angeles County history.”

She also described him as “a crucial voice for the Latino community, dedicated to covering stories that mainstream outlets often ignored” — a legacy that all Latino reporters at The Times must try and live up to. So every time I open my laptop to start my next columna, I ask myself:

What would Ruben write?

That Salazar died in the course of doing his job has sadly eclipsed what he actually wrote, so I always encourage people to read his columns. The Times republished them online for the 50th anniversary of his death, so there’s no excuse not to familiarize yourself with his work. It would have seamlessly fit into this hell year — the 1970 in his columnas reads eerily similar to what we’re going through right now.

Immigration raids were terrorizing Los Angeles. Democrats were still lost after suffering a historic beatdown from a once-defeated Republican presidential candidate. Young progressives were disgusted with their moderate Democratic elders and tiring of the party altogether. Latinos were pushing for more political power. A redistricting battle in California was about to explode. The rise of computers was upending life. Politicians were going after nonprofits they accused of fomenting wokosos.

And there was Salazar, covering every development and hero and villain with crisp columns that got better with every month. All of this at just 42, four years younger than I am today.

I think he would have been thrilled to see regular people filming the cruelties of la migra as a counternarrative to the lies of the Trump administration. He would have urged young reporters who believe in so-called movement journalism — unapologetically leftist, with talking to the other side considered unnecessary and even immoral — to not let their biases get in the way of a good story.

I know he wouldn’t have been lionized the way he is today. In a June 19, 1970 columna, he antagonized the left by describing the pachucos of a previous generation as “anarchistic.” In the same column, he angered the right, arguing that because of programs such as Head Start and Chicano studies, gang members were “experiencing a social revolution and so is learning and liking political power.”

And that’s what makes Salazar more important today than ever.

He wanted Chicanos to better themselves, so he wasn’t afraid to call out their failures. He was skeptical of our legal system but wanted it to succeed — “A Beautiful Sight: the System Working the Way It Should” was the title of a July 24, 1970, column about the federal grand jury indictment of seven Los Angeles Police Department officers in the deaths of two unarmed Mexican immigrants.

As an immigrant himself, he loved a United States he had no problem criticizing. For his sole Fourth of July column, he urged people to tone down their pomp and circumstance and to relate to their fellow Americans rather than “to fixed ideas that apparently are not working.”

To paraphrase a 2014 PBS documentary about his life, Salazar was a man in the middle. His business was truth-telling for the greater cause of a just society. He literally lost his life for it. The least we can do is follow his example.

A bronze marker hangs outside the niche that holds the cremains of former L.A. Times columnist Ruben Salazar, who was killed in East L.A. on Aug. 29, 1970, while reporting on the Chicano Moratorium, a protest against the involvement of Chicanos in the Vietnam War.

(Gustavo Arellano / Los Angles Times)

No one was around when I finally got to Salazar’s niche, in a section of the cemetery called the Alcove of Time. A simple bronze plaque included the accent over the “e” in “Rubén,” which his Times byline never had. Instead of Spanish wine, I brought a flask of mezcal — I don’t think he would have minded the stiffer drink in this 2025.

I thanked Salazar again for his work — I learn more from it every time I read it. I told him about some of the columnas I’ve published and those I want to do. I shared how there are far more Latino reporters at The Times and beyond, but still not nearly enough. I apologized for not visiting more often and swore to never stop talking about him and his words.

“To you, Ruben,” I quietly said. I hoisted my flask in the air, took a small swig and splashed some in front of where he rested.

I made the sign of the cross, offered a short prayer, then drove back home. Another columna loomed. I’m sure Salazar would have understood and hopefully would have been proud.

BEIRUT — A U.S. diplomat apologized Thursday for using the word “animalistic” while calling for a gaggle of reporters to quiet down during a news conference in Lebanon earlier this week.

Tom Barrack, who is the U.S. ambassador to Turkey and envoy to Syria and has also been on a temporary assignment in Lebanon, said he didn’t intend to use the word “in a derogatory manner” but that his comments had been “inappropriate.”

Barrack visited Beirut along with a delegation of U.S. officials on Tuesday to discuss efforts by the Lebanese government to disarm the Hezbollah militant group and implementation of the ceasefire agreement that ended the latest war between Israel and the Hezbollah in November.

At the start of a news conference at the presidential palace, journalists shouted at Barrack to move to the podium after he started speaking from another spot in the room. After taking the podium Barrack told the crowd of journalists to “act civilized, act kind, act tolerant.” He threatened to end the conference early otherwise.

“The moment that this starts becoming chaotic, like animalistic, we’re gone,” said Barrack.

The comment sparked an outcry, with the Lebanese press syndicate calling for an apology and calling for a boycott of Barrack’s visits if none was issued. The Presidential Palace also issued a statement expressing regret for the comments made by “one of our guests” and thanking journalists for their “hard work.”

In an interview with Mario Nawfal, a media personality on the X platform, an excerpt of which was published Thursday, Barrack said, “Animalistic was a word that I didn’t use in a derogatory manner, I was just saying ‘can we calm down, can we find some tolerance and kindness, let’s be civilized.’ But it was inappropriate to do when the media was just doing their job.”

He added, “I should have been more generous with my time and more tolerant myself.”

Barrack’s visit came after Israeli Prime Minister Benjamin Netanyahu said Israeli forces could begin withdrawing from territory they hold in southern Lebanon after the Lebanese government’s decision to disarm Hezbollah. When, how and in what order the Hezbollah disarmament and Israeli withdrawal would take place remain in dispute.

The Israeli army on Thursday launched airstrikes in southern Lebanon that it said were targeting “terrorist infrastructure and a rocket platform” belonging to Hezbollah.

Several hours later the Lebanese army announced that two of its soldiers had been killed while investigating an Israeli drone that had crashed in the area of Naqoura on the southern coast, which then exploded. It was not clear why the drone had fallen or what caused the explosion.

Attorneys for a documentary filmmaker who sued the city of Los Angeles for excessive police force said Wednesday that they had reached a settlement over claims their client was assaulted by an LAPD officer at a 2021 protest.

The settlement came abruptly after the first day of the civil trial, when the plaintiff, Vishal Singh, was accosted by a man, with his phone out recording, as Singh walked out of the federal courthouse downtown. Christian Contreras, an attorney for Singh, identified the man who confronted his client as Tomas Morales, a prominent alt-right livestreamer.

Proceedings had just wrapped up for the day Tuesday when Morales approached Singh, Contreras and others as they walked out of the glass-paneled building at 1st and Hill streets, according to video posted on social media.

Morales posted a clip on his Instagram account in which he can be heard demanding to know whether Singh still wants to “burn LAPD to the ground” and asking whether he is a member of “antifa.” The barrage of questions continued as the group walked up Hill away from the courthouse, the video shows.

Morales didn’t immediately respond to a message sent Wednesday to his account on X.

Contreras said Singh was so shaken by the encounter that his attorneys pushed the judge to declare a mistrial on the grounds that Morales was trying to intimidate a party to the case. After the judge declined to grant their motion, the two sides agreed to settle for an unspecified amount of money, Contreras said.

Larger settlements require a final sign-off from the City Council.

Even if the case ended in an “anticlimactic” fashion, Contreras said that “there has been some accountability” since jurors saw videos of Los Angeles Police Department officers using excessive force against Singh and others.

“He was looking forward to taking this case to a full resolution at trial, and this issue came up,” Contreras said. “It’s unsettling, but he just wants to move forward in his life.”

Singh said in the lawsuit and interviews with The Times that Singh was standing in the middle of Coronado Street outside a Koreatown establishment called Wi Spa, filming a confrontation between left-wing and far-right groups. Bystander video showed Singh rapidly walking backward as instructed by police and filming with a phone from behind a parked car when an officer leaned over and swung his baton at Singh like it was a “baseball bat.” The impact fractured a joint in Singh’s right hand and two of Singh’s fingers, the lawsuit said.

The officer, John Jenal, argued in court documents that he did not perceive the object in Singh’s raised and outstretched hand to be a phone, and that he saw Singh as an immediate threat.

“I’m relieved that there’s both compensation and validation for what Vishal has experienced through this settlement,” said Adam Rose of the Los Angeles Press Club, adding in a text message that Singh has been a “figurative and literal punching bag for far-right extremists for years.”

In one instance, the online harassment threats got so bad that Singh was forced to bow out of a speaking appearance at the Asian American Journalism Assn.’s annual conference, Rose said.

“It shows that there is this prevailing threat toward journalists of all types, but in particular it can happen to independent journalists,” he said.

The settlement comes as a federal judge is expected to make a ruling in two lawsuits brought by press advocates against the LAPD and the U.S. Department of Homeland Security for the treatment of journalists covering the recent pro-immigration protests.