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WASHINGTON — Hurling a sandwich at a federal agent was an act of protest for Washington, D.C., resident Sean Charles Dunn. A jury must decide if it was also a federal crime.

“No matter who you are, you can’t just go around throwing stuff at people because you’re mad,” Assistant U.S. Atty. John Parron told jurors Tuesday at the start of Dunn’s trial on a misdemeanor assault charge.

Dunn doesn’t dispute that he threw his submarine-style sandwich at a U.S. Customs and Border Protection agent outside a nightclub on the night of Aug. 10. It was an “exclamation point” for Dunn as he expressed his opposition to President Trump’s law enforcement surge in the nation’s capital, defense attorney Julia Gatto said during the trial’s opening statements.

“It was a harmless gesture at the end of him exercising his right to speak out,” Gatto said. “He is overwhelmingly not guilty.”

A bystander’s cellphone video of the confrontation went viral on social media, turning Dunn into a symbol of resistance against Trump’s months-long federal takeover. Murals depicting him mid-throw popped up in the city virtually overnight.

“He did it. He threw the sandwich,” Gatto told jurors. “And now the U.S. attorney for the District of Columbia has turned that moment — a thrown sandwich — into a criminal case, a federal criminal case charging a federal offense.”

A grand jury refused to indict Dunn on a felony assault count, part of a pattern of pushback against the Justice Department’s prosecution of surge-related criminal cases. After the rare rebuke from the grand jury, U.S. Atty. Jeanine Pirro’s office charged Dunn instead with a misdemeanor.

Customs and Border Protection Agent Gregory Lairmore, the government’s first witness, said the sandwich “exploded” when it struck his chest hard enough that he could feel it through his ballistic vest.

“You could smell the onions and the mustard,” he recalled.

Lairmore and other agents were standing in front of a club hosting a “Latin Night” when Dunn approached and shouted profanities at them, calling them “fascists” and “racists” and chanting “shame.”

“Why are you here? I don’t want you in my city!” Dunn shouted, according to police.

Lairmore testified that he and the other agents tried to de-escalate the situation.

“He was red-faced. Enraged. Calling me and my colleagues all kinds of names,” he said. “I didn’t respond. That’s his constitutional right to express his opinion.”

After throwing the sandwich, Dunn ran away but was apprehended about a block away.

Later, Lairmore’s colleagues jokingly gave him gifts making light of the incident, including a subway sandwich-shaped plush toy and a patch that said “felony footlong.” Defense attorney Sabrina Schroff pointed to those as proof that the agents recognize this case is “overblown” and “worthy of a joke.”

Parron told jurors that everybody is entitled to their views about Trump’s federal surge. But “respectfully, that’s not what this case is about,” the prosecutor said. “You just can’t do what the defendant did here. He crossed a line.”

Dunn was a Justice Department employee who worked as an international affairs specialist in its criminal division. After Dunn’s arrest, Atty. Gen. Pam Bondi announced his firing in a social media post that referred to him as “an example of the Deep State.”

Dunn was released from custody but rearrested when a team of armed federal agents in riot gear raided his home. The White House posted a highly produced “propaganda” video of the raid on its official X account, Dunn’s lawyers said.

Dunn’s lawyers have argued that the posts by Bondi and the White House show Dunn was impermissibly targeted for his political speech. They urged U.S. District Judge Carl Nichols to dismiss the case, calling it a vindictive and selective prosecution. Nichols, who was nominated by Trump, didn’t rule on that request before the trial started Monday.

Dunn is charged with assaulting, resisting, opposing, impeding, intimidating and interfering with a federal officer. Dozens of Trump supporters who stormed the Capitol were convicted of felonies for assaulting or interfering with police during the Jan. 6 attack. Trump pardoned or ordered the dismissal of charges for all of them.

Kunzelman writes for the Associated Press.

Singer Paloma Faith was ‘fuming’ after finding out her close pal Alan Carr was responsible for sealing her fate, along with fellow Traitors Cat Burns and Jonathan Ross

Paloma Faith “threw a wobbly” over being the first in The Celebrity Traitors to be thrown out the castle, sources have revealed.

Last night viewers saw the singer, 44, have her fate sealed when the lid on her coffin was slammed shut during the mission and she was physically carried out of the game.

But off camera, Paloma was said to have been “fuming” over her murder, especially when she discovered that the three Traitors who’d killed her off were people she felt close to. One source said: “She threw a wobbly afterwards about being the first to go.

“Some players just shrug it off when they leave, but Paloma was fuming when she discovered who had betrayed her. She couldn’t work out what had actually happened, and when she found out the details it only made her feel worse. Paloma is loud and wears her heart on her sleeve – it’s fair to say that she wasn’t happy with going home first.”

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As well as being close to comedian Alan Carr, the chart-topper also felt let down by Cat Burns, because she’s on the same record label, and Jonathan Ross, because she has known him for years and appeared on his chat show.

Speaking afterwards, Paloma described the experience as having been “up and down”. She explained: “I found it quite nerve wracking because I knew when I went in that I have a huge personality and that I’d be very visible.

“I knew that I couldn’t fade into the background. I’m the sort of person that lets my feelings about people be known by talking a lot, so it was never an option for me to be able to quietly just simmer under the surface.”

And she quipped: “I don’t think my technique was great in this game, but it works very well in real life.” Saying she’d have made a great Traitor, she added: “I feel like it was a big fashion mistake not to see me in the cloak.”

Asked who she’d like to see triumph in the game, Paloma snubbed the Traitors, saying: “I’d like to see someone kind and strategic win like Nick Mohammed. He’s proof you can be kind, considerate and clever to play the game well – you don’t have to be evil.”

On last night’s show, viewers saw Alan commit the murder in plain sight by brushing some hair from his pal’s cheek during a chat in the kitchen.

He went for Paloma in the poison pollen plot after she’d told him cosily: “I definitely trust you.” But after the killing, he admitted: “I feel awful. I didn’t know what else to do! I’ve gone and murdered one of my best friends.”

Alan, 49, also told the cameras that carrying out the murder had challenged him: “It was a stretch fo my acting ability – I don’t know how Meryl Streep does it.”

But when Alan spoke of his guilt to fellow Traitors Jonathan Ross and Cat Burns, he was told to “toughen up” after claiming that killing her off “broke my heart”. Wossy insisted: “You’re not a bad person – you’re a good Traitor. I don’t want to hear any more of this broken heart nonsense. We’ve got to start enjoying this.”

Later, there was confusion when all 19 of the group arrived for breakfast. Not realising she was a dead woman walking because of the slow-working poison, Paloma said she felt “happy and relieved” adding: “I thought thank goodness not to be the first one dead.”

And even after Claudia revealed that the Traitors had murdered in plain sight, she had no idea she was the victim, saying: “I had so few interactions yesterday that I don’t feel that I was got.”

During the mission, the group had to try and work out who had actually been murdered. When Paloma found herself lying in a coffin alongside comic Lucy Beaumont and online prankster Niko Omilana, she told the group: “I think it’s me.” Afterwards, Stephen Fry sighed sadly: “Oh Paloma, you were right.”

Weeping during her exit interview, she said: “I thought I wasn’t going to get emotional but I feel really sad. It’s been really a wonderful experience – I wish it had been longer.”

The BBC1 series kicked off with a huge audience of 6.1million and continues next Wednesday, with the result of the first banishment revealed.

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DAME PATRICIA ROUTLEDGE created a monster, and we loved her for it.

The actress, who has died aged 96, turned Hyacinth Bucket – pronounced “Bouquet” – into one of the most memorable TV characters of all time.

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Decades on from Nineties sitcom Keeping Up Appearances the pearl-wearing snob, with her candlelight suppers and white slimline telephone, is still as embedded in the national psyche as a character from Charles Dickens.

In Patricia’s own words: “She was grotesque.”

But the actress, like viewers, could not help but admire her: “She was always getting it wrong and slipping on the banana skin, and then coming back and flying the flag.”

By the time the sitcom first hit screens, Patricia had been acting for nearly 40 years, in roles from Coronation Street to Broadway musicals, with co-stars from Sidney Poitier to Jerry Lewis.

She was also a favourite of writer Alan Bennett, who wrote his first great TV monologue especially for her in 1982.

Its success led to the landmark series Talking Heads, in which she also starred.

Alan said in 1998: “She has an enormous amount of zest and brio and she puts a lot of air into the language, so it lifts dialogue which might otherwise seem quite banal.”

After leaving Keeping Up Appearances, Patricia had a second smash-hit with Hetty Wainthropp Investigates, and in 1996 was voted the nation’s favourite actress of all time.

But Patricia managed to keep her private life out of the spotlight.

She never married or had children, and for years refused to discuss her relationships except to say: “I do know what it is to have loved and suffered.”

Eventually, she revealed she had had three great love affairs, including one with a married man, which tormented her as a devout Christian.

She also admitted: “I didn’t make a decision not to be married and not to be a mother -– life just turned out like that because my involvement with acting was so total.

“Now I think it’s a pity I didn’t have children. But I’m not sure you can have a career and a family and do both satisfactorily. I always knew, deep down, that everything has a cost.”

But whenever she was asked how to become a success, she had the same answer: “I say, I can give you a tip. It’s called risk. And if you’re prepared to risk everything, then you can do anything.”

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Katherine Patricia Routledge was born on February 17, 1929, in Birkenhead, Wirral, and grew up in a house behind father Isaac’s “high-class gentlemen’s outfitters” shop.

The family was theatre-mad and Patricia acted in school plays but never saw it as her future: “I always intended to be a go-ahead headmistress in a red sports car who had romances all over Europe in the holidays.”

With that in mind, she studied English at the University of Liverpool but spent so much time in the student drama club that older brother Graham urged her to audition for the Liverpool Playhouse.

She said: “He was the one who said, ‘That’s what you ought to do.’”
In 1952, aged 23, she made her professional debut with the company as Hippolyta in Shakespeare’s A Midsummer Night’s Dream.

Just two years later she was in the West End, showing off her roof-raising contralto singing voice in musical comedy The Duenna.

By early 1961 she was so well known on stage stage that the makers of Coronation Street, which had begun a couple of months earlier, pounced: “They created a character for me – Sylvia Snape. She had a little cafe.”

Their idea was for the no-nonsense proprietor to become one of the cobbles’ stalwarts, but after just three episodes Patricia quit.

She recalled: “I just knew inside that I needed to have other adventures.”

That included belting out satirical songs on That Was The Week It Was, as well as her big-screen debut in 1967’s To Sir with Love.

She played a teacher who offers support to Sidney Poitier’s character, and years later recalled the actor’s generosity: “I just had one scene alone with him, and he gave it to me.”

Patricia had less happy memories of working with Jerry Lewis in 1968’s Don’t Raise the Bridge, Lower the River: “An absolute nightmare. And I’m afraid I didn’t find him funny at all.”

BROADWAY DEBUT

That year Patricia also took Broadway by storm, with the New York Times critic describing her performance in Darling of the Day as “the most spectacular, most scrumptious, most embraceable musical comedy debut since Beatrice Lillie and Gertrude Lawrence came to the country.”

It landed her a Tony Award, presented by Groucho Marx.

Back at home, Alan Bennett had been a long-time fan and so when he wrote his first ground-breaking TV monologue, he wrote it for her.

Initially, Patricia turned him down: the piece was 47 minutes of just one character speaking directly to the camera.

Patricia recalled: “I said it wouldn’t work – people would switch off in their thousands.”

But Alan told her: “If you don’t do it, nobody will. I’ve written it for you.”

A Woman of No Importance screened on BBC2 in November 1982, with Patricia as Miss Schofield, who bubbled away about office gossip and the goings on at a hospital where, it slowly dawned on viewers, she was dying.

It was a sensation, and won Patricia a British Press Guild award for best actress. She later said of the writer: “He turns cliche into poetry.
“He sees a world in a grain of sand – the sympathy, the humanity.”

Its success led to 1988’s beloved Talking Heads series of six monologues, with Patricia in A Lady of Letters as a lonely busybody who finally finds friendship when she is sent to prison.

She said: “It’s about salvation, about learning to love at a tremendous cost. Oh, it was a joyous thing to do.”

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A second series was made in 1998, with Patricia’s monologue this time about a shop assistant who ends up in the thrall of her chiropodist.

In 2004 she admitted she found that part “very kinky”: “I didn’t really enjoy it. I didn’t understand it, deep down.”

Alan said later: “Patricia has a very strong moral streak and very strong views, and I think if a part doesn’t conform with those she’s very dubious about it.”

In between all this, she showed off her comedy brilliance again in Victoria Wood’s series As Seen on TV, playing an overconfident recurring character called Kitty who came out with lines like: “I’m something of a celebrity having walked the entire length of the Pennine Way in slingbacks, to publicise mental health.”

But when sitcom writer Roy Clarke, already famous for Last of the Summer Wine, presented the BBC with scripts for a new series about a suburban social climber, he did not have a lead actress in mind.

He recalled in 2004: “People do assume I must have written Keeping Up Appearances for Patricia Routledge, but I didn’t.”

It was director and producer Harold Snoad who Roy credited for “that perfect bit of casting”.

Harold said: “I wanted the character of Hyacinth to be a sort of stately galleon. I didn’t want somebody lightweight, either in size or vocal terms.”

Patricia said of the character: “She leapt from the page.”

GLOBAL HIT

The first series began on BBC1 in October 1990; soon 13million people a week were tuning in, including superfan the Queen Mum.

Nobody could have delivered lines like her (“I hope that’s a first-class stamp. I object to having second-class stamps thrust through my letterbox”) but she also brought a bursting energy to the role that was unmatchable.

The late Clive Swift, who played Hyacinth’s long-suffering husband Richard, said in 1998: “I can’t think of an another actress who could have brought the physical clowning to the part, which isn’t there particularly in the script.”

It was a global hit, but in 1995 after five series Patricia announced she would not do any more, despite the BBC’s pleas: “There were other adventures to have.”

They included, at the time, a new relationship.

Speaking to The Sun in 1996 she opened up about her private life for the first time, admitting: “A corner of my heart is taken. I’ve got a sneaking feeling that I might have almost everything in the end.

“He’s someone I’ve known for years and years. He’s in theatrical management but we hadn’t seen each other for a long time and then we met again.

“Life is full of the most wonderful surprises.”

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Patricia moved to Chichester, West Sussex, in 1999 to be closer to this new love, whose identity was never revealed, and lived there for the rest of her life.

She also told The Sun: “I had my heart broken when I was young. It was a grand passion, but it was complicated because he was married and, of course, I felt very guilty.

“I would gladly have lived with him and I wanted his children. But I couldn’t do it because I thought it would kill my parents.”

Her second great passion came in the late Eighties, when she least expected it: “Out of the blue this enchanting person appeared.

“He was a theatre director – a very funny and delightful man. But he had a heart condition, which I didn’t know about for a while.

“One day I went to rehearsal and was told he’d died in the night. This dear man was no more. I was just so hurt, so sore with the pain of loss.”

‘ILLUMINATING LIFE’

Work was always a refuge. In 1996 she was back on screen in Hetty Wainthropp Investigates as pensioner-turned-crime fighter, who was a down-to-earth, proud working-class opposite of Hyacinth.

Patricia later said of that character: “I loved her.”

It was another hit and the actress never forgave the BBC for axing the programme after four series without telling the cast: “No word ever came – how rude.”

Hetty was her last major TV role; afterwards she focused on theatre.
Her final role was in Oscar Wilde’s play An Ideal Husband in 2014 in her adopted hometown of Chichester, where she worshipped at the cathedral each week.

In 2017 she was made a dame for services to the theatre and charity.

On getting the news, she said: “I started to laugh, and then I started to cry. It was extraordinary.”

But Patricia believed her profession was important.

She once said: “It sounds a bit high-faluting, but I think acting is the physicalisation of the imagination.

“If the word becomes flesh, then you are illuminating life for other people.”

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A MUM received a £3,500 payout after “disgusting” police officers were caught throwing her lingerie around and laughing at her sex toys while raiding her home.

Nichola Corr, 51, claimed the cops were like “children in a playground” as they searched her house as part of a drugs investigation into a family member.

Bodycam footage captured them discovering her £1,000 collection of erotic gadgets and chucking her racy G-string knickers at each other on her bed.

Nichola said: “The male officer that threw the underwear was looking through my whole toy box, laughing, joking, going: ‘Oh, look at this. Jesus Christ, look at this!’

“They were taking the absolute piss! It was like they were children in a playground the way they were acting. It was disgusting.”

She complained after no arrests, charges or prosecutions were brought by Suffolk Police following the raid of her home in Essex in October 2023.

Its Professional Standards Department found the officers’ behaviour was “unacceptable and unprofessional” but formal disciplinary action wasn’t required.

Nichola, who is now getting a divorce from her husband, added: “I don’t trust the police anymore.

“I always used to say if you ever need the police, they’ll be there for you. But no, not in this day and age. They’re using their power over people.”

Suffolk Police claimed the cops were all “very young in terms of service” and their behaviour was “considered to be more due to immaturity than spite”.

One officer had already left the force when the complaint was received but the remaining two were required to apologise and undertake ‘Reflective Practice’.

Last week, Hertfordshire Police cop Marcin Zielinski, 27, was jailed for four months after nicking a woman’s underwear while searching her home.

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DENVER — Edgardo Henriquez has a gift. He can throw a baseball faster than all but a few humans in history.

Yet he prefers to think of it as something he and God created together, not something that was just given to him.

“We’ve worked for that,” said Henriquez, who frequently uses the plural pronoun when talking about himself. “All the work, the effort, the physics. And God’s reward, most of all.”

Wherever the lightning in his right arm came from, he’s making good use of it. Of the 83 pitches he’s thrown this season entering Wednesday’s game, 28 have topped 101 miles per hour. The fastest hit 103.3 on the radar gun last Saturday, making it the hardest-thrown pitch by a Dodger since Statcast began tracking speed in 2015 and likely the fastest pitch in franchise history.

Henriquez, 23, shrugs and smiles at the numbers.

“Now we have to stay consistent,” he said in Spanish. “Even growing up in Venezuela, I always threw hard.”

What he didn’t do in Venezuela was pitch because when he signed as a 16-year-old in 2018, Henriquez was a catcher. The Dodgers moved him to the other side of the plate a year later, when they got him to their Dominican academy.

The process was not a smooth one. The right-hander allowed 22 runs in 30 innings in his first season then, after sitting out the summer of 2020 because of the coronavirus pandemic, he came to the U.S. a year later and went 2-3 with a 4.93 ERA in 13 games split between the Arizona Complex League and Single A Rancho Cucamonga.

The Dodgers projected him as a starter but after Henriquez missed the 2023 season to Tommy John surgery, he came back throwing gas and the team moved him to the bullpen. The results were spectacular, with Henriquez climbing four levels, from Low A Rancho Cucamonga to the majors, in six months to make his big-league debut in the final week of the regular season.

And he announced his presence with authority, topping 101 mph twice to earn the save in his third game.

Henriquez grew up in Cumaná, a historic beach city of about half a million people wedged between the Manzanares Rivers and Venezuela’s Caribbean coast, 250 miles east of Caracas. The oldest continuously-inhabited Spanish settlement in South America, it has been the birthplace and poets and presidents. But baseball players? Not so much.

Pitcher Armando Galarraga, who was robbed of a perfect game by an umpire’s call in 2010, is probably the best known of Cumaná’s big-leagues while Maracay, on the other end of the country, has produced more than two dozen players, among them all-stars Bobby Abreu, Miguel Cabrera and Elvis Andrus.

“Maracay, yes. They say that is the birthplace of baseball in Venezuela,” Henriquez said. “But the truth is it’s Cumaná.”

Henriquez took to the game at an early age, playing on local fields and sandlots. And because he was among the biggest of the neighborhood kids, he was put behind the plate. The Dodgers liked his size — he looks much bigger than the 6-foot-4 and 200 pounds he’s credited with on the roster — and arm so they offered him $80,000 to sign as an international free agent with the intention of making him a pitcher.

Before the elbow-reconstruction surgery, Henriquez touched 101 mph with this fastball but he came back throwing even harder, averaging 99 mph and reaching 104 in the minors last summer. That earned him a September promotion and a spot on the roster for the Dodgers’ first two postseason series.

He was also in line for a spot on the opening day roster this season before a metatarsal injury in his left foot landed him in a walking boot, sidelining him for most of spring training.

Neither the Dodgers nor Henriquez will talk about how the injury happened.

“I’d rather keep that to myself,” the pitcher said this week.

Yet that setback proved just another obstacle for Henriquez to overcome, and after striking out 36 batters in 23 2/3 innings for Triple A Oklahoma City, he was summoned back to the Dodgers a month ago.

In some ways, he was a different pitcher.

“He looks much more confident,” manager Dave Roberts said. “I think he was confident last year, but there was like a fake confidence, understandably. He knows his stuff plays here, so it’s good to see.”

His record-setting pitch came in his sixth of seven scoreless appearances when he struck out pinch-hitter Ryan O’Hearn out on a four-seam fastball in the seventh inning of a win over the San Diego Padres.

His parents, Edgar and Erika, where visiting from Venezuela and in the stands at Dodger Stadium for the pitch to O’Hearn, one that has generated a lot of attention on social media. As a result Roberts said pitching coach Mark Prior and bullpen coach Josh Bard are making sure Henriquez understands there’s more to pitching that just lighting up the radar gun.

As good as the four-seamer is, however, it may not be Henriquez’s best pitch. His cutter, which sits in the mid-90s, can be all but unhitable and he also has a devastating slider. He’ll need every bit of that repertoire to succeed in the majors, said Chris Forbes, the senior director of player development for the Colorado Rockies, because the number of hard-throwers is growing.

“If there isn’t deception, there isn’t ride, [hitters] can catch up if you don’t have something else that they can think about,” he said.

So far the hitters aren’t catching up: In seven innings this summer entering Wednesday, Henriquez has allowed just three hits and walked one while striking out four. Opponents are hitting .120 against him.

It’s been a rapid rise for Henriquez, who has gone from teenage catcher to big-league reliever, surviving a global pandemic, Tommy John surgery and a fractured bone in his foot to pitch for a World Series champion. But there’s still one goal left, albeit one he talks about only grudgingly.

On a team without set bullpen roles, Henriquez wants to be a closer, using his blazing fastball not just to demoralize hitters but to shut down games as well.

“Whatever God has in store for me. We’ll work wherever and keep going,” he said. “But yes, I’d like to be a closer.”

Children’s Hospital Los Angeles is the preeminent center for pediatric medicine in Southern California. For three decades, it’s also been one of the world’s leading destinations for trans care for minors. Don’t take my word for it: CHLA boasts about its record of providing “high-quality, evidence-based, medically essential care for transgender and gender-diverse youth, young adults, and their families.”

Earlier this month, it abruptly ended all that, telling its staff in a meeting that the Center for Transyouth Health and Development would be shutting down. (My daughter was, until this announcement, a patient at the center.)

Did some new medical breakthrough, some unexpected research drive the decision to cut off care for roughly 2,500 patients with no warning? No. It came, the hospital said, after “a thorough legal and financial assessment of the increasingly severe impacts of recent administrative actions and proposed policies.”

In other words, the hospital caved. In advance.

CHLA made the move a week before the Supreme Court’s 6-3 decision in the United States vs. Skrmetti, which upheld a Tennessee law that bans most gender-affirming care for minors. More than 20 states have passed similar laws that prevent trans minors from accessing many different forms of medical care. The decision essentially shields those laws from future legal challenges.

But the Supreme Court ruling had nothing to do with CHLA’s decision. There is no such law in California.

Why, then, without any court order or law, did the center suddenly close, leaving so many young patients in need of doctors, medications and procedures? You can probably guess the answer.

Pressure from the Trump administration threatened the hospital with severe repercussions if it continued to serve these patients. One form of pressure arrived in a May 28 letter from the Centers for Medicare and Medicaid Services, signed by its administrator, the former TV host Dr. Mehmet Oz. He announced that his agency would seek financial records on a range of gender-affirming care procedures from several dozen hospitals.

Being faced with the choice of discontinuing care for an entire class of patients or battling the administration over access to financial records is not a dilemma any doctor wants to face. To be clear, this is not a debate over medical science or proper care for trans youth. CHLA followed the science — until it didn’t. This is a debate over ideology about who is deserving of medical care.

In the past few months, we have seen powerful law firms, large corporations and universities forced to contend with difficult bargains. Settle with an administration that has singled you out? Or take the battle to court?

In February, when Children’s Hospital announced that it would stop taking on new patients in its Transyouth Center, California Atty. Gen. Rob Bonta sternly reminded them that they had a legal obligation to continue to provide this care. The hospital quickly reversed course.

That’s why the recent choice of the CHLA board marks a huge shift that could potentially affect care for not just trans youth patients but so many others as well.

Because what the board of CHLA did was, in fact, a choice. Moreover, CHLA’s choice went against its own medical advice about the urgent need for such care. On its website, the hospital claims it was “immensely proud of this legacy of caring for young people on the path to achieving their authentic selves.”

When confronted with threats, the board chose to sacrifice the care of one group of patients in the hope that it could continue to care for others. Perhaps the board concluded that it was following a crude, utilitarian logic: denying the medical needs of some would allow it to provide for many more.

That’s not how I see it. In caving to blackmail, they have endorsed the administration’s bigotry. They have demonstrated that trans youth are expendable. The board has made it clear that this group of patients is not as deserving of care as others. When CHLA faced actual pressure, its own record of providing “high-quality, evidence-based, medically essential care” simply became too inconvenient.

This time, it was trans youth. Who will it be next time? Disabled children? Children born outside the U.S.? CHLA agreed to play the game rather than call it out for what it is.

As a journalist, I occasionally grant anonymity to a source. It’s not an action I take lightly. The decision means that if pressured, even when threatened with contempt of court, I will not reveal their identity. Thankfully, it’s never come to that for me, although other journalists have gone to jail to protect sources. If I were to break that pledge once, I could never in good conscience grant it again.

I now wonder how doctors at CHLA can ever look their young patients in the eye again and promise that, no matter what, they will fight for their care.

Gabriel Kahn is a professor of professional practice at the USC Annenberg School for Communication and Journalism.