rules

Sir Paul McCartney BANNED from his own online fan page after ‘breaking its rules’

SIR Paul McCartney got a social media platform ban — for supposedly breaking the rules on his own fan page.

The Beatles legend, 83, joined a Reddit forum to send photos from his no-phones-allowed gig that took place in Los Angeles last Friday.

Paul McCartney posing for photographers.
Sir Paul McCartney got a social media platform ban — for supposedly breaking the rules on his own fan pageCredit: AP

But his official account on the site was taken down by moderators who thought it was spam — sparking fury from fans.

It is thought Sir Paul’s media team was posting on his behalf.

A message, alongside a link to photos, said: “We wanted to make sure you had memories from the show to share with friends, family and loved ones.”

It was the first time since 2020 that the account of the former Wings frontman, who composed classic 1973 album Band on the Run, had been used.

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But hours later, a message on his u/paulmccartney profile said: “Paul McCartney has been banned.”

One fan on the forum declared: “What clownery is going on here that Paul McCartney himself gets banned? I wanted to see the photos but now I can’t.”

The account has since been allowed back on Reddit — but with the photos message still deleted.

It is unclear why he got the boot in the first place.

The forum warns there must be no advertising on its list of rules. Reddit also has a zero-tolerance policy towards spam, banning things judged as responsible for “artificially inflating exposure to unwanted or irrelevant content”.

Sir Paul, who also played the Fonda Theatre venue on Saturday, releases his 19th solo studio album, The Boys of Dungeon Lane, in May.

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David Cross says stand-up specials aren’t special anymore unless comics start breaking some rules

Ranting about the decline of comedy specials while releasing a new one at the same time feels a bit like an oxymoron. But somehow it still makes sense coming from alt-comedy pioneer David Cross, who isn’t just complaining; he’s finding his own route to making specials feel special again. The only way to do that is by putting one out in the manner he’d like to see more often — starting by making the whole crowd stand up too.

Capturing the energy of a concert at the famous 40 Watt Club in Athens, Ga., was the first step in differentiating “The End of the Beginning of the End” from the typical hour you watch on a big streamer. And, with this new special, Cross is able to get back to his own beginnings of touring across the country with love bands as his openers, performing for crowds for as long as he could until he had to run offstage to pee.

Premiering the special earlier this month on his website (and on April 7, it will be available on YouTube via production company 800 Pound Gorilla), Cross is hoping the special connects with comedy fans in a way that we’ve forgotten specials could.

This interview has been edited for length and clarity

Your new special is called “The End of the Beginning of the End.” What does that title mean to you as it relates to the impending doom of what we’re all living right now.

David Cross: Well, you can look at it in a couple different ways. To me, it signifies that the beginning of the end has occurred. And we are now at the end of the beginning of the end. And from where you go with that, that’s for you to decide.

One of the things I love about the special is the fact that you shoot it at a club in the style of a livemusic concert.

I’ve shot specials in theaters and it’s just different, not that one is better than the other, but they’re just different. You have a different relationship with the audience. When I first started touring, I would go to music venues and I’d have a band open for me and then I would just go up and pretty much [perform] as long as I could until I had to pee. Sometimes I’d have a band playing, sometimes two bands, then I’d go out. And I did that a couple of times, and then stopped doing that and did theaters, and I decided for the last two specials I’m going to go to, when I shoot it, I’ll go to a music venue, and I was at the 40 Watt Club in Athens this last time, I was at the Metro in Chicago before that, both places I played on earlier tours, and, you know, it’s not seated. People are standing there at the stage, and I prefer it. It’s more fun. It’s not as lucrative but, to me, a more fun show to do.

Comedian David Cross poses for a portrait

Comedian David Cross

(Jason Armond / Los Angeles Times)

The ambience of it was great. You can hear people shouting and drinking and having a good time, and the crowd work is also a little more spontaneous and fun than it would be in a regular venue.

Yeah, well, there’s more opportunity for that. But my thing has never been about crowd work. I like engaging with it, it’s kind of a nice distraction from the set that you’ve been doing 100 times, 150 times at that point. So it’s always fun to have that thing happen and that feeling of spontaneity. And like the guy [who I talk to in the crowd during the special], I could not have asked for [someone better]. I mean, even if it was scripted, it wouldn’t have been as good. The guy who [I talk to] during the stuff about hiking Machu Picchu [with Bob Odenkirk], that’s just… [chef’s kiss].

Speaking of Bob Odenkirk, you guys have this long relationship. How would you describe the dynamic of working with Bob and just how you guys bounce ideas off each other?

I mean, it’s great. We have an inordinate amount of respect for each other, both as people and as creative partners. And so there’s never any real issues. There’s things we will definitely disagree with, but we’re both decent people. So you know somebody backs off and says, “OK, let’s do it that way.” But even then, there aren’t that many of those [issues]. We just have really worked well at building something or molding it, creating it and shaping it. And our aforementioned hike to Machu Picchu, we have a documentary about that, that will be premiering at a fancy festival at some point in the near-future. And so we got that doc and we’ve been working on that. And for the way we work now, because he lives in L.A. and I live in New York, and it’s been like that for a while, he’ll write a bunch of stuff, I’ll make notes, I’ll write my things, send it back. And so we’re able to do that and not necessarily have to be in the same room because we’ve had 30-plus years of working with each other.

It’s a kind of like an unspoken language you guys probably have in terms of comedy, which is super important, I imagine, just for collaborating.

Yeah, and it’s something we discovered very early on … before there was even “Mr. Show,” what would ultimately become “Mr. Show,” when we got together to write sketches for this bigger kind of comedy collective thing, and these shows that we would all do with each other, for each other, and the stuff that we would write together was just, like, really good, easy writing — again, one person adding this thing and one person saying here’s a switch yeah and another person adding this thing in. It was fun, it’s cool, still is. One thing he doesn’t get credit for is he’s a really decent human being. And with all the awfulness in the world that’s magnified, every sense is bombarded with it — it’s just good to be hanging with somebody whose energy is a good person, a decent person and an equitable, nice guy, so that’s good as well.

Comedian David Cross poses for a portrait

Comedian David Cross poses for a portrait ahead of his comedy special “The End of the Beginning of the End.”

(Jason Armond / Los Angeles Times)

One thing you guys also have in common is you both have kids, and he has a comedy show for kids called “The Appropriate Show.” Have you taken your daughter to see it?

It’s a sketch show [in which] all the sketches are appropriate for kids to watch. And the sketches have been done in other sketch shows onstage, live. And he puts together this thing once, twice a year here in L.A. And I took my daughter to it last year. It’s just sketches that kids can [understand]. At least if they don’t understand the actual references they get the archetype. “Oh, that’s the boss, that’s that uh… And it’s great, it’s a really cool idea uh… “ And would an ass— think of [a show like] that? No, one good decent person; a good man. But listen, this interview isn’t about me, it’s about Bob Odenkirk, so let’s get back to that.

Well, speaking of having comedy geared toward kids, your daughter’s at an age where she’s probably consumed or seen some of your comedy at this point.

Not, not really. No, no.

Do you shield her from your stuff, or are you not so concerned about it?

I don’t actively shield her, but I don’t introduce her to anything. So I was a little bummed out, and I got over it pretty quickly, but when I found out that she had seen a little bit of “Alvin and the Chipmunks,” and only because I don’t want to spoil the enjoyment of what movies are and what kids’ movies are and how things work. And I feel like that would introduce an element of reality that I want her to be able to just enjoy these things without — she’s seen “Kung Fu Panda”when she was younger, like, I don’t know, three, four, five times, has no idea that I’m in that, that my voice is in there. She knows I do stand-up, she gets that now. And when she was younger, she’d say, “Daddy’s silly for a living.” … I’m just trying to ride the balance of letting her have those childhood joys and experiences.

David Cross poses for a portrait

Comedian David Cross.

(Jason Armond / Los Angeles Times)

Does having a kid make you think about what’s coming up in the future of comedy, or what kids are gonna maybe find funny, or what they find funny now? Do you have any thoughts on kid comedy in general?

Not really. I mean, I can see that she and her friends, who are kind of like-minded, are naturally funny, and then that’s kind of encouraging and heartwarming and they’re silly, but I’ll be long gone when that generation is is providing comedy. And I’m still, although I’ve kind of given up, I’m still trying to grasp what works now. I mean, it’s short-term TikTok, Instagram stuff. There are some amazing, like really, really great things being done as far as film sketches for YouTube channels. “Almost Friday,” they’ve got genius-level stuff. I mean, really good. And where the sketch goes in a place, you’re never ahead of it, goes in a place where you’re not expecting. It’s really well written and well performed.

What are your thoughts on what a comedy special is nowadays or what it should be?

I mean, that’s a great question. I think anybody who plays with the form, whether I think it’s that funny or not, is different. But I’m happy when anybody kind of tries at least to play with a form. I just went to Rory Scovel‘s taping last week of his latest special. I don’t know when that’ll air, but if you’ve seen the beginning to his first special, stuff like that where you’re like, “Wait, what’s happening? What’s going on?” I love stuff like that.

I still get excited to watch specials by some of my favorite comics, but there’s a quality that’s missing. And these are stand-ups I love, and they’re not that great. They’re not bad but they’re not special, you know? And all those guys I mentioned, and more, have great specials. Like, you can go back and they’re great. And I don’t know why that is. I mean, there’s still funny stuff, but I don’t ever want to get to that place where its just feels a little phoned-in a little bit… that is, in part, why the last two specials were shot in this more intimate setting that feels special. And … as I said, the energy’s different, it’s a little bit different, and it’s less slick. It feels like you’re in the moment. You don’t need a million dollars to shoot a special. You don’t 28 camera angles, it‘s just bull—. And it takes something away.

Comedian David Cross poses for a portrait

Comedian David Cross

(Jason Armond / Los Angeles Times)

It all should feel the right amount of unsafe as well, I think.

That’s never gonna happen at a theater show. You’re never gonna feel that. And I don’t know, it really does feel almost like maybe we peaked in a sense, like there’s too much, and because of that, these things aren’t special. They’re not revelatory, they’re not unique. I dunno, can 18,000 people in an arena really relate to a … billionaire talking about how they’re gonna get canceled. I mean, is that a thing I guess? Those other big, slick specials that are shot in, like, a 3,200-seat, 3,500-seat theater, it just feels like, “Oh this person is up there and I’m listening to their jokes.” There’s nothing wrong with that. They’re often very funny jokes, but it doesn’t go beyond that. It’s just like, “All right, tell me your joke.” It might as well be an audio thing, you know?

Well, hopefully the robots aren’t coming for your job anytime soon.

Absolutely not. I mean, this could be naive, but I feel 100% safe that you are never going to replicate an evening of stand-up at a nigtclub like that. And not sitting down at tables while you’re having drinks and waitresses are coming by. I’m talking about everybody’s up on the stage, sold-out, maximum capacity; everybody’s there, focused, we’re all sharing that thing. You can’t. AI’s not going to be able to do that.

Yeah, the robots can’t do that, Terminator can’t do that..

Oh, I forgot about Terminator. He could do that. G— it.

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Holiday warning for Brits as UK Foreign Office says ‘expect long queues’ at the airport due to new travel rules

THE UK Foreign Office has warned Brits heading abroad to be wary of longer-than-usual airport queues ahead of new travel rules being fully rolled out next month.

The new EES requirement has already resulted in lengthy wait times at airports and are predicted to only get worse across the next few weeks.

New EES machines are set to cause length delays at airportsCredit: Alamy
Non-EU citizens are required to register details before they flyCredit: Alamy

The Entry/Exit System (EES) is the new travel system replacing the need for a passport stamp by automatically checking when a person enters and exits an EU country.

Non‑EU residents have to register their details on their first visit to a Schengen area country.

This is done using the EES machines at airports and ferry terminals to log their fingerprints, facial images and scan passports.

With lots of Brits are still yet to register, and with an influx of families heading abroad over the upcoming Easter break – it’s anticipated that this will result in delays and queues at the EES machines.

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New advice on the government website reads: “Ahead of the Easter holidays, Brits are being advised to be aware of extra border checks – the EU’s Entry Exit System (EES) – and allow additional time at the border when travelling to the EU.”

It added: “EES checks should take only a few minutes per person, although longer waits at border control are possible, including for your journeys back to the UK.”

From April 10, EES will be fully operational with with every participating border crossing using the system.

Previously, there have been reports of delays of up to four hours with Brits lining up in the airport to use the EES machines.

Travel Reporter Alice Penwill queued for three hours through Lanzarote Airport.

Other airports that have seen long delays include Brussels, Lisbon and Prague.

Some passengers could be subject to further delays – especially those heading to Spain as ground staff are planning to strike at 12 airports across the country.

Travel Reporter Alice Penwill queued for three hours through Lanzarote Airport

Several Spanish unions are set to begin an indefinite strike too from today.

Walkouts are planned to take place on Mondays, Wednesdays and Fridays, across three time slots: from 5am to 7am, from 11am to 5pm and from 10pm to midnight.

Other baggage handling staff have planned 24-hour strikes on March 28-29 and April 2-6.

Airports that could be disrupted by these strikes include Madrid-Barajas, Málaga-Costa del Sol, Alicante-Elche, Palma de Mallorca, Barcelona-El Prat, Bilbao, Valencia and Bilbao.

It could disrupt also affect airports on popular Spanish islands too, like Gran Canaria, Tenerife Sur and Norte, Lanzarote, Fuerteventura and Ibiza.

Here are Sun Travel’s top tips on how to deal with EES travel chaos…

Here are our top tips on how to ease the travel chaos if you’re caught up in EES delays…

  1. Sit at the front
    First off is quite simple, book a seat at the front of the plane. If you want to get to border control before the rest of the passengers on your flight, then by being at the front, you’ll be able to get off first.
  2. Early flights
    When you’re booking, it might ease wait times if you go head out on one of the first flights of the day. There are generally fewer scheduled flights and they experience less disruption.
  3. Anticipate delays
    If you are taking a connecting flight, we’d advise to anticipate delays. Of course this varies from airport to airport, but some travellers might find it will take longer to get through because of the EES requirements. Similarly, if someone’s collecting you perhaps give them a bit more time – especially if they’re in one of the pick-up zones that costs money.
  4. Go for a bigger airport
    If you can go to a bigger airport and take a longer road transfer, it could be worth it At a larger airport there’s likely to be more EES machines than at one of the smaller ones For example, Assistant Travel Editor Sophie Swietochowski found there were plenty more of the machines in Spain‘s Alicante Airport than in Austria‘s Salzburg.
  5. Bring entertainment
    If you have children, or are generally just bored of queues (and who can blame you?) – think about entertainment It could be worth setting the kids up with an iPad or something that will keep them occupied. Bring a reserve of snacks because standing in line means no access to the airport’s cafes and shops.
  6. Get into the priority lane
    For those who are disabled and require assistance make sure to let the airline know in advance as you would usually. After landing, staff should escort you straight through to the front of border control queues. Many major airports offer priority family lanes at passport control for families with young children (usually under 12 years old).
  7. Use the plane facilities
    Quite simply, if you are going to be waiting in line for yours, then you want to be comfortable. So before landing, go to the toilet on the plane. If you’re queueing along corridors before heading into border control, then the chances are there won’t be access to toilets

For more on Easter breaks, here are 10 European getaways under £200 per person from beach resorts to cool cities.

And here are 10 of the most affordable English seaside towns for Easter holidays with £1 rides, £2 pints & mega cheap hotels.

The Foreign Office has warned Brits to expect delays ahead of their Easter travelsCredit: Alamy

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Brits are missing flights after Spanish airport chaos caused by new biometric entry rules

NEW rules being rolled out across Europe are causing so much chaos at airports, that Brits are even missing their flights.

The new The Entry/Exit System (EES) has already been causing long wait times across Europe.

Reports say that even police have been called in to deal with angry holidaymakers in TenerifeCredit: Alamy
There have been reports of further travel chaos at Tenerife South due to EESCredit: Alamy

EES is replacing the need for a passport stamp by automatically checking when a person enters and exits an EU country.

Non-EU nationals – which includes Brits – are required to register their details like fingerprints, facial images and scan passports on their first visit to a Schengen area country.

But at Tenerife South, passengers say that only a handful of these EES machines are working with some rejecting fingerprints.

Passengers are even saying they’ve missed flights due to delays in getting through controls.

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Some Brits are warning to give as much as three hours before a flight just in case.

One Brit wrote on social media: “The key is to arrive three hours early so at least you are in the front of the queue when problems start.”

Another added: “Love Tenerife but HATE the airport.”

Police have reportedly been called in to the South Airport on several occasions to calm the crowds of angry passengers.

With bad weather and storms hitting the Canary Islands, those who miss flights are having to sleep inside the airport overnight before catching another plane home.

On one particular day, around 100 passengers were stranded there and many were unable to find overnight accommodation, so stayed in the terminal.

Passengers are blaming lack of staff and proper organisation for the chaos, with computers not working.

“Passport control is a disaster,” posted another Brit. “One person for thousands of travellers.”

Only 20 per cent of the biometric machines are working and officials admitted to the Spanish media that there were “computer failures.”

The chaos has been going on for months and tourism chiefs and hoteliers say the island’s reputation is being hit, compounded by the bad weather.

Since last week, the Canary Islands, including Tenerife, have also been struck with flash flooding and snow as a result of Storm Therese.

Even without bad weather, many airports have experienced delays caused by the new travel requirement of EES registration.

Due to their small size, airports on the Canary Islands have seen reports of long queues.

Travel Reporter Alice Penwill said she waited in line at Lanzarote Airport for three hours after landing – just to get through to EES and passport control.

And matters could only get worse with Spanish airport staff preparing to strike during March and April.

Ground staff are planning to strike at 12 airports across the country – including Tenerife South.

Other airports that could be affected include Madrid-Barajas, Málaga-Costa del Sol, Alicante-Elche, Barcelona-El Prat, Bilbao, Valencia and Bilbao.

And on the islands; Palma de Mallorca,  Gran Canaria, Tenerife Norte, Lanzarote, Fuerteventura and Ibiza.

For anyone heading to Tenerife – here are the top tips from someone who has been travelling there for a decade.

And here’s more on the Spanish island that feels more like Mars and flights are just £35.

Tenerife South has experienced long delays due to EES requirement and bad weatherCredit: Alamy

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After judge rules Voice of America be revived, what’s next?

In a strongly worded decision this week, a federal judge ordered that the Voice of America — an international broadcaster with the mission to provide news for countries around the world that was largely shut down for the last year by the Trump administration — come roaring back to life.

Whether or not that actually happens is uncertain.

The government filed notice Thursday to appeal U.S. District Judge Royce C. Lamberth’s order two days earlier to put hundreds of VOA employees who have been on paid leave the last year back to work. Lamberth had ruled on March 7 that Kari Lake, President Trump’s choice to oversee the bureaucratic parent U.S. Agency for Global Media, didn’t have the authority to reduce VOA to a skeleton.

The Voice of America was established as a news source in World War II, beaming reports to many countries that had no tradition of a free press. Before Trump took office again last year, Voice of America was operating in 49 different languages, heard by an estimated 362 million people.

Trump’s team contended that government-run news sources, which also include Radio Free Europe/Radio Liberty, were an example of bloated government and that it wanted news reporting more favorable to the current administration. With a greatly reduced staff, VOA currently operates in Iran, Afghanistan, China, North Korea and in countries with a large population of Kurds.

Lamberth, in his decision, said Lake had “repeatedly thumbed her nose” at laws mandating VOA’s operation.

Time to turn the page at VOA?

VOA director Michael Abramowitz said legislators in both parties understand the need for a strong operation and have set aside enough funding for the job to be done. “It is time for all parties to come together and work to rebuild and strengthen the agency,” he said.

Don’t expect that to happen soon. “President Trump was elected to eliminate waste, fraud and abuse across the administration, including the Voice of America — and efforts to improve efficiency at USAGM have been a tremendous success,” said White House spokeswoman Anna Kelly. “This will not be the final say on the matter.”

Patsy Widakuswara, VOA’s White House bureau chief and a plaintiff in the lawsuit to bring it back, said that “restoring the physical infrastructure is going to take a lot of money and some time, but it can be done. What is more difficult is recovering from the trauma that our newsroom has gone through.”

It’s an open question whether the administration wants a real news organization or a mouthpiece, said David Ensor, a former Voice of America director between 2010 and 2014. “We don’t know — maybe no one does at the moment — what the future holds,” he said.

The administration’s efforts over the last year to bolster friendly outlets and fight coverage that displeases Trump offer a clue, even though Congress has required that Voice of America be an objective and unbiased news source. This week it was announced that Christopher Wallace, an executive at the far-right network Newsmax who had previously spent 15 years at Fox News Channel, will be the new deputy director at VOA. Abramowitz didn’t know he was getting a new deputy until it was announced.

Widakuswara wouldn’t comment on what Wallace’s appointment might mean. “I’m not going to pass judgment before seeing his work,” she said.

While Lamberth ordered more than a thousand employees on leave to go back to work, it’s not clear how many of them moved on to other jobs or retired in the last year. The judge also said he did not have the authority to bring back hundreds of independent contractors who were terminated.

One employee who left is Steve Herman, a former White House bureau chief and national correspondent at VOA and now executive director of the Jordan Center for Journalism Advocacy and Innovation at the University of Mississippi. Despite the court decisions, he questions whether the Trump administration would oversee a return to what the organization used to be.

“I’m a bit of a pessimist,” Herman said. “I think it’s going to be very difficult.”

An administration loath to admit defeat

Besides fighting to shut it down, Trump is loath to admit defeat. The White House recently nominated Sarah Rogers, the undersecretary of State for public diplomacy, to run the U.S. Agency for Global Media, putting it more firmly within the administration’s control. Her nomination requires Senate approval.

“Is Marco Rubio’s State Department going to allow objective journalism in 49 languages?” Herman asked. “I don’t think so. I would want that to happen, but that’s a fairy tale.”

In the budget bill passed in February, Congress set aside $200 million for Voice of America’s operation. While that represents about a 25% cut in the agency’s previous appropriation, it sent a bipartisan message of support, said Kate Neeper, VOA’s director of strategy and performance evaluation. Besides being a plaintiff with Widakuswara in the lawsuit to restore the agency, she has helped some of her colleagues deal with some of their own problems over the past year, including immigration issues.

“There is a lot of enthusiasm for going back to work,” she said. “People are eager to show up on Monday.”

The hunger for information from Voice of America in Iran when he was director was a clear example of what the organization meant, Ensor said. Surveys showed that between a quarter and a third of Iran’s households tuned in to VOA once a week, primarily on satellite television. Occasionally the government would crack down and confiscate satellite dishes, but Iranians could usually quickly find replacements, he said.

“I believe in Voice of America as a news organization and as a voice of America,” Ensor said. “It was important, and it can be again.”

Bauder writes for the Associated Press.

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Court rules for N.Y. Times, orders Pentagon credentials restored

March 21 (UPI) — A federal judge struck down the Department of Defense’s policy that led to the ouster of most journalists from the Pentagon last fall and replaced them with those who agreed to the department’s new rules.

Judge Paul Friedman of the U.S. District Court for the District of Columbia ruled in favor of The New York Times, which sued the Department of Defense over the policy. Friedman ruled that the policy is unconstitutional and ordered the department to give back the credentials of the seven Times journalists who cover the Pentagon.

Though he didn’t order the restoration of other reporters’ credentials, he voided the policy that they refused to sign, allowing them to get credentialed again.

Pentagon spokesperson Sean Parnell wrote on X: “We disagree with the decision and are pursuing an immediate appeal.”

In October, the Defense Department required that all credentialed journalists sign the policy. Signing it gave the Pentagon the ability to label the journalists “security risks” and revoke their credentials if the department decided they had endangered national security. They had to pledge to only publish approved information.

Most news outlets refused to sign, losing their press passes and desks inside the Pentagon. They were replaced with news outlets and people friendly to the administration. The Times then sued the department over its First Amendment rights.

“A primary purpose of the First Amendment is to enable the press to publish what it will and the public to read what it chooses, free of any official proscription,” Friedman wrote in his opinion.

“Those who drafted the First Amendment believed that the nation’s security requires a free press and an informed people and that such security is endangered by governmental suppression of political speech,” Friedman added. “That principle has preserved the nation’s security for almost 250 years. It must not be abandoned now.”

First Amendment attorney Theodore Boutrous, who is representing The Times in the suit, told CNN: “The district court’s decision is a powerful rejection of the Pentagon’s effort to impede freedom of the press and the reporting of vital information to the American people during a time of war.”

“The district court’s opinion is not just a win for The Times, [Times reporter] Mr. [Julian E.] Barnes, and other journalists, but most importantly, for the American people who benefit from their coverage of the Pentagon,” Boutrous said.

Friedman also agreed with the Times that the policy violated its due process rights because it was vague and could be accidentally violated by reporters. Part of the policy prevented reporters from asking certain questions.

“A primary way in which journalists obtain information is by asking questions,” he wrote. “Under the policy’s terms, then, essential journalistic practices that the plaintiffs and others engage in every day — such as asking questions of department employees — could trigger a determination by the department that a journalist poses a security or safety risk.”

First Amendment advocates said they support the decision.

“The court affirmed that our security and liberty rely on the press’s freedom to publish and the public’s ability to access news about government affairs free from state control,” said Gabe Rottman, vice president of policy at the Reporters Committee for Freedom of the Press, in a statement.

Seth Stern, chief of advocacy at Freedom of the Press Foundation, said the ruling is especially important right now.

“It’s unfortunate that it took this long for the Pentagon’s ridiculous policy to be thrown in the trash. Especially now that we are spending money and blood on yet another war based on constantly shifting pretexts, journalists should double down on their commitment to finding out what the Pentagon does not want the public to know rather than parroting ‘authorized’ narratives,” Stern said in a statement.

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