sensitive

Reporters blocked from key White House area without prior approval, citing structural changes and security concerns.

United States President Donald Trump’s administration has barred reporters from accessing part of the White House press office without an appointment, citing the need to protect “sensitive material”.

In a memorandum on Friday to White House Communications Director Steven Cheung and Press Secretary Karoline Leavitt, the National Security Council (NSC) said journalists were “no longer permitted” to visit a section where Leavitt’s office is located, “without prior approval in the form of an appointment”.

The National Security Council said the change was made because structural changes to the NSC meant White House communications officials are now “routinely engaging with sensitive material”.

“In order to protect such material, and maintain coordination between National Security Council Staff and White House Communications Staff, members of the press are no longer permitted to access Room 140 without prior approval in the form of an appointment with an authorized White House Staff Member,” the memo said.

The White House move follows restrictions put in place earlier this month for reporters at the Department of Defense, a move that prompted dozens of journalists to vacate their offices in the Pentagon and return their credentials.

Previously, credentialed White House journalists could access Room 140, which is a short hallway from the Oval Office known as “Upper Press”, on short notice to speak with Leavitt, her deputy Cheung and other senior officials.

The White House Correspondents Association, which represents journalists covering the White House, could not be reached for immediate comment.

The Trump administration removed Reuters, The Associated Press and Bloomberg News from the permanent “pool” of reporters covering the president months ago, although it allows those outlets to participate on a sporadic basis.

Friday’s announcement comes weeks after the crackdown on press access by the Defense Department, which now requires news outlets to sign a new policy or lose access to press credentials and Pentagon workspaces.

At least 30 news organisations declined to agree to the Pentagon restrictions, citing a threat to press freedoms and their ability to conduct independent newsgathering.

The Pentagon policy requires journalists to acknowledge new rules on press access, including that they could be branded security risks and have their Pentagon press badges revoked if they ask department employees to disclose classified or certain unclassified information.

In 1997, the comedy “In & Out” did its shiny, star-studded best to mainstream the story of a closeted gay man in a rock-ribbed American community embracing his truth. The fine new indie drama “Plainclothes,” which takes place in 1997 in Syracuse, N.Y., and centers on a young police officer in the throes of desire, wants to remind us that the reality of such reckonings was a bit more fraught.

In first-time screenwriter-director Carmen Emmi’s tense, sensitively threaded scenario, fresh-faced cop Lucas (Tom Blyth) isn’t just holding a secret — he’s involved in the enforced criminalization of it. His assigned undercover detail is the mall, using a seductive look (not entirely acting) to lure gay men to the restroom, silently clocking the moment they meet the minimum requirement for breaking indecent exposure laws, then having them arrested.

Something shifts inside Lucas during one of these stings, however, when he locks eyes with a target named Andrew (Russell Tovey), whose soulful return gaze promises a deeper connection than instant gratification. He spares Andrew the planned indignity waiting outside, but secures a phone number away from the watchful eye of his sergeant (Christian Cooke). Weeks later, the pair arrange to meet in the upstairs balcony of an old movie palace. (Though we never see the screen, sharp-eared film buffs will recognize allusions to Francis Ford Coppola’s 1974 surveillance classic “The Conversation.”) After a couple of warm, intimate exchanges in secluded spaces, Lucas allows himself to imagine a future free from hiding, even if Andrew cautions that what they have can only ever be temporary.

Early in “Plainclothes,” thanks to changes in aspect ratio and Lucas’ facial hair, we realize that this timeline amounts to an extended memory, triggered in the present scenes by tense New Year’s Eve preparations at Lucas’ childhood home and a misplaced letter that he hopes neither his adoring, recently widowed mother (a wonderful Maria Dizzia) nor his obnoxious, hot-headed uncle (Gabe Fazio) find.

The backward-forward structure creates entwined tracks of suspense between the outcome of the Andrew relationship and the expected ramifications of what’s assumed to be a revealing letter. That framework gives “Plainclothes” the feeling of an emotional chase film where pursuer and pursued are the same, stuck in a loop of possibility, torn about what being caught really means.

Emmi’s well-conceived screenplay does justice to the ways a compartmentalized life can crack. When Lucas is with Andrew — and even in scenes with a nice ex-girlfriend (Amy Forsyth) — acceptance is palpable, understanding real. Among family, the pressure to conform activates his guardedness. And when his department, steeped in macho culture and eager for more mall arrests, starts deploying a video camera behind a one-way mirror, an increasingly anxious Lucas is made to feel nothing but risk about his identity.

There may be little that’s psychologically fresh about “Plainclothes,” but the fact that its low-key, close-framed style suggests a taut, moody gay indie you might have seen in the ’90s works in its favor. It’s also well cast, with the appealing Blyth always in control of the undercurrents, especially alongside the excellent Tovey, playing a sadder, wiser closetedness. I wish Emmi hadn’t overegged the visual motif that Lucas’ POV in moments of stress is akin to the fuzzy texture of Hi8 video: A little of it goes a long way and too often pulls us out of the tone in a room. But it’s the kind of choice that’s easier to forgive in a movie so well-attuned to shifts in perception, one that dimensionalizes the problem of achieving clarity when leading a double life.

My 8-year-old daughter hates sand in her shoes, but loves to play in the sand. She doesn’t like very loud environments, but enjoys thrill rides at amusement parks. She gets uncomfortable when the playground is too full, but loves to make friends. She wants to explore new places, but often needs to take breaks. And she needs to feel safe expressing and processing her emotions — whether that means crying or crying out — without being stared at or feeling judged.

As you can see, my daughter has particular sensory needs that some may call a “sensory diet.” When she was 3, I realized she is a Highly Sensitive Child. HSC is not a diagnosis or a disorder— rather, it’s a personality trait defined by psychologist Elaine Aron in her 1996 book “The Highly Sensitive Person.” Most people think “sensitive” means emotional, but that’s not the case here. “Sensitive” refers to our senses. In their book “Raising a Sensory Smart Child,” Lindsey Biel and Nancy Peske explain that when it comes to our understanding of sensory experiences, there are seven: the five we’re all familiar with — taste, touch, smell, sight and hearing — along with proprioception (knowing how one’s body moves) and vestibular (how one feels their body in space).

HSCs and neurodivergent kids with autism spectrum disorder, sensory processing disorder, ADHD or other neurodivergent conditions have something in common: differing sensory needs.

An occupational therapist can prescribe a sensory diet as treatment for kids who need help calming down or being alert — in other words, to help them self-regulate. Finding or creating the right atmosphere also takes some trial and error from parents and caregivers.

I, too, am Highly Sensitive and have been mining L.A. County for play environments that are well suited for my daughter and perhaps other kids with similar sensory needs. I’ve learned the hard way that the usual loud, crowded bouncy house birthday party isn’t fun for everyone, and that’s OK. Luckily, Los Angeles has plenty of play spaces that are intentional about being inclusive to all kids.

In my experience, the best play places include a quiet room or an area for kids and their parents to be alone or separate if they need an escape. Some provide sensory bags from KultureCity, a nonprofit focused on sensory inclusion. These bags include noise-cancelling headphones, fidget toys and a nose plug to help the experience. Many places offer a social narrative or story online — with pictures of what happens and where they will be — so kids know what to expect. Some have specific “sensory hours” when the lights are dimmed and the number of guests is limited. All of these inclusive spots invite kids to use their senses — to touch, feel, see, hear, sense, taste, smell or move.

Here are 10 great play places around L.A. for highly sensitive and neurodivergent kids. For each place, I’ve noted whether it’s suited well for neurodivergent kids or highly sensitive kids, or both.

Of course, the best play space isn’t some magical destination, and you don’t need a ticket for it. It’s a space where kids don’t feel judged because of their actions or reactions. It’s a space that gives them the comfort of being accepted, no matter what. You can provide your child with that space wherever you go.

Any western worth its dusty boots and big-sky openness should know what’s breathtaking about freedom, at the same time grasping how being tamed is an uneasy, clarifying rite of passage. That men have typically led these stories means there’s a lot still to be mined when women tackle this genre — both in front of and behind the camera — and in “East of Wall,” about a struggling ranch matriarch (Tabatha Zimiga) with a headstrong daughter (Porshia Zimiga), writer-director Kate Beecroft has found a worthy modern story of cowgirl hardiness near South Dakota’s Badlands.

That air of independence and restriction applies also to what “East of Wall” itself is: a narrative centered on first-time actors playing versions of themselves in a story shaped from their lives, in this case the joys and sorrows of the Zimigas’ open-plains existence rescuing, riding and selling horses, and dealing with financial uncertainty after the loss of a loved one.

When Chloé Zhao took the docu-fiction approach with her melancholy 2017 neo-western “The Rider,” the blended realism and dramatic choreography achieved something heartbreaking, reawakening the hybrid’s possibilities. Beecroft’s solid-enough first feature isn’t as effortlessly transcendent — the seams show a bit more. But there’s plenty of lived-in warmth in its accumulation of details and it gives needed voice to the concerns of women forging their own way in an environment that isn’t exactly kind on anyone.

Very quickly, we’re swept up in what’s loose, chaotic and appealing about tough, tattooed horse whisperer Tabatha and her rough-and-tumble operation, which includes her own children — Porshia is already a rising rodeo star — and various teenagers from this strapped region’s broken homes, plus her hard-bitten mom (Jennifer Ehle), who enjoys her peach moonshine. There’s an unruly found-family charm that belies what’s isolating and rundown about their situation and Austin Shelton’s vista-friendly cinematography does a good job contrasting that beauty and severity, especially in Tabatha herself, an earthy, battle-hardened goddess with a head half-shaved and half-draped with golden hair, and kind eyes rimmed with mascara. She always looks ready to calm a bronc, knock back a beer or tell you off.

Tabatha’s reputation for breaking wild steeds and supporting wayward kids is legion and her sales methods lean toward the unconventional: TikTok videos that frame horses at full speed against ravishing backdrops, and at barn sales, showcases that spotlight her girls’ performing skills. Money is tight, though, and the sting of her husband’s suicide a year earlier has put a grief wedge between Tabatha and Porshia as each tries to imagine what the future holds. That’s when an observant, dogged Texas rancher with his own baggage (Scoot McNairy) shows up with a tempting lifeline that puts everyone’s ownership of their fate in stark relief.

“East of Wall” lives in that indie space of wanting to respect and vibe equally, which means there’s a little too much slo-mo montage and, considering how invested we are in this family, not enough memorable scene work. But even with the thinnest of narrative framing and some arty touches that feel superfluous, there’s an overall portrait of authentic grit and resilience here, of knowing when to hold on and when to let go, that is well-nurtured by Beecroft’s admiring eye for these renegade women.

Nothing against McNairy and Ehle who play well with the first-timers, but there are moments when you wonder if Beecroft should have straight-up made a documentary, foregoing the harnessing of scripted incident for the rawness of what drew her to these people and this world in the first place. Which is another way of saying mother and daughter Zimiga are real finds, true-to-themselves keepers of a heartland tradition, and fresh faces getting to tell that story in a nontraditional form.

Aug. 10 (UPI) — A federal judge in Hawaii has outlawed commercial fishing in the Pacific Islands Heritage marine national monument, a protected and fragile ecosystem in the Pacific Ocean.

The action by judge Michael WJ Smith reverses a decision made by a branch of the National Oceanic and Atmospheric Administration that banned fishing in parts of the monument that was signed by President Barack Obama while he was in office.

Smith’s ruling comes about a week after President Donald Trump signed a proclamation that reveres federal fishing regulations in the monument, a world heritage fund site that is home to marine mammals, seabirds and coral reefs.

Friday’s court order by Smith means that commercial fishing cannot occur in waters 50 to 200 nautical miles around Johnson Atoll, Jarvis Island and Wake Island, and must stop immediately.

“The Fisheries Service cannot ignore our perspectives as the native people who belong to the islands and to the ocean that surrounds us,” said Solomon Pili, Kaho’ohalahala, a founding member of Kapa’a, the Conservation Council for Hawaii and the Center for Biological Diversity.

“The law guarantees a process where we can advocate for protecting the generations of our children’s children who are yet to be born.”

Earthjustice, an environmental conservation group, filed a lawsuit in May, arguing the National Marine Fisheries Service violated federal law by sidestepping the formal rulemaking process required to change fishing rules, which mandates public notice and comment.

President George W. Bush established the moment in 2009. It comprised 500,000 square miles of a remote part of the central Pacific Ocean southwest of Hawaii. Obama widened the area in 2014.