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WASHINGTON — President Trump’s AI-fueled vision for a drone port he intends to install atop the new White House ballroom includes missile-bearing unmanned aerial vehicles and gun-toting troops, ostensibly to protect the 18-acre complex and the nation’s capital.

A few hundred feet away, a drone port, run by the U.S. Secret Service and not the military, is already quietly operational. Equipped with cameras and sensors to scope out potential threats from a bird’s-eye view, the small UAVs stand on alert in four gray weatherproof boxes until deployed at officers’ commands.

The agency is using a model known as “drone as first responder,” deploying speedy unarmed drones from outdoor stations to serve as flying cameras. That model has been adopted by hundreds of police agencies across the U.S., often powered by AI software to help dodge obstacles or track targets.

The existence of the surveillance drones on a Treasury Department building adjacent to the White House complex has not been previously reported, and could undercut Trump’s legal claims that the ballroom construction is necessary “to protect the White House and surrounding region from aerial attacks.” The need for the drone port underpinned Trump’s national security defense for the construction project — a justification he is now citing for the construction of a massive arch outside the gates of Arlington National Cemetery.

The installation is thus far markedly less imposing than the vision outlined by Trump, with its rows of futuristic attack drones, apparently modeled after those used in U.S. military strikes, that drone experts describe as outlandish.

“To be honest, if a drone was so close to the White House that it needed interdiction, it’s already gotten too far,” said Matt Sloane, co-founder of SkyfireAI, which makes software for drones used by public safety agencies.

It would be more realistic for the White House to build something akin to what the Secret Service is using next door, Sloane said: “The drone takes off and does some type of perimeter sweep or whatever, and then puts itself back in the box.”

The White House did not comment for the story. The Secret Service declined to comment on the specifics of its drone operations but said the new docks are separate from Trump’s ballroom drone port.

The details of Trump’s ballroom drone port remain murky

Security of the president and the White House complex is generally the domain of the Secret Service, which works in close concert with the White House Military Office and other military elements when needed.

Trump has said the drone port came at the request of U.S. military officials. Speaking to reporters in May, he said the building’s plans were expanded to meet the request: “They wanted more drone capacity,” he said. On social media, he boasted that the drone port might end up being the “most sophisticated” in the world.

What Trump is ultimately aiming to build, and how far it goes beyond what has already been installed, remains unclear. Beyond Trump’s AI images, some of which he filed in his appeal to the U.S. Supreme Court to lift lower courts’ blocks on the construction, the White House has not disclosed what kinds of drones will be used or for what tactical purpose.

The Secret Service is using smaller surveillance drones that are a fraction of the size of the attack drones depicted in Trump’s AI images. The U.S. Air Force bought similar drones from Skydio in April to protect bases across the Middle East. The company also supplied drones to help protect World Cup matches this year.

The Secret Service has been building out its drone- and counter-drone programs for years. But work has accelerated since the 2024 attempted assassination of Trump at a campaign rally in Butler, Pa., when the agency failed both to take action against a drone used by the shooter to scout out the attack and to fly one of its own to provide overwatch of the event.

In the weeks that followed, tethered and untethered surveillance drones became commonplace at campaign rallies and large events at the White House complex.

In an online video released by the agency highlighting their deployment, the Secret Service said the Skydio drones are used to provide “real-time situational awareness” and “aerial overwatch.”

“It allows you to see the threat before it becomes an issue, and to task assets accordingly,” Dustin Talbott, of the Secret Service’s Aviation and Airspace Security Division, said in the video. “We no longer wait for the threat to reveal itself. We find it first.”

Skydio did not provide comment for this story.

Trump’s drone port vision would face logistical hurdles

Trump has made it a priority to build a stronger drone presence around the White House, responding to an increase in political violence and the evolution of drone warfare.

Paul Eckloff, a former supervisor of the Secret Service’s presidential protection division, said the Russia-Ukraine war has highlighted the risks posed by drones, even off-the-shelf models that can cause massive damage. Drones now represent one of the largest emerging threats the White House must defend against, he said.

During Trump’s first term, conversations about drones often centered on their use in places like Iraq and Syria, said Javed Ali, who served on the National Security Council during at that time and now teaches national security at the University of Michigan. Since then, it has become a matter of domestic security, he said.

Yet there would be major logistical hurdles involved in putting a busy drone port on top of the White House, he said. “There’s a whole host of questions, like who is responsible for overseeing it, and how would there be any de-confliction with commercial airspace?” he said.

Complexities around federal oversight were laid bare this year when the U.S. military used a laser to shoot down a drone near El Paso, Texas, only to find it belonged to Customs and Border Protection. The mishap briefly led the FAA to close nearby airspace.

A drone hub at the White House would navigate crowded and complex airspace around Washington, not far from Reagan Washington National Airport and flight paths shared by other military aircraft.

Opponents say the White House is becoming a fortress

Trump started talking about the drone port in May, weeks after a federal judge halted ballroom construction but allowed work on security components to continue. Trump later went on to refer to the ballroom as a “military complex,” leaning on that security role as a legal justification.

The Supreme Court in August cleared Trump to continue construction as the legal challenge moves ahead.

Opponents say the president is going too far in his hardening of the White House, turning it into something closer to a fortress. Edward Lengel, a former chief historian for the White House Historical Assn., said Trump has militarized the White House at a scale that’s at odds with its legacy as “the people’s house.”

“It turns it into a big giant porcupine that has its spines pointing out against the people and against the world,” Lengel said.

Trump has argued that the White House was in “very bad condition” when he returned to office, saying it had become vulnerable to modern threats.

At times, he has expressed concerns about his own safety and the risks posed by drones and other air threats. Speaking at a Rose Garden dinner for law enforcement officials in May, Trump quickly glanced up from the lectern as a low bird flew overhead.

“I thought that was a drone,” Trump said, bringing laughs from the crowd. “They make them in all different sizes nowadays — they can be very destructive, as you’ve probably heard.”

Binkley writes for the Associated Press.

CINCINNATI — Dodgers left-handed pitcher Kris Bubic is scheduled to meet the team in Cincinnati, according to people with knowledge of the plans who weren’t authorized to discuss it publicly.

Bubic made his last rehab appearance for Triple-A Oklahoma City on Sunday, so the Dodgers are not expected to activate him off the 60-day injured list right away.

The Dodgers acquired Bubic from the Royals at the trade deadline this year. He’d been on the IL since May, first with a low-grade flexor strain in his left forearm, and then a shoulder impingement setback.

Bubic reported to the Dodgers’ Arizona complex, where the 2025 All-Star began working back as a reliever due to the time constraints of the season.

In six Triple-A rehab appearances (5 2/3 Innings) this month, Bubic didn’t allow a run, and he limited opponents to two hits and two walks.

Because Bubic is on the 60-day IL, the Dodgers will need to clear spots on the active and 40-man rosters to reinstate him.

What do you do when a creative team mounts an acclaimed production of a beloved play, breaking box office records as one of the most successful shows in your theater’s more than 100-year history? For the Pasadena Playhouse, the answer was clear. You get them back on the boards as soon as possible — say, six months later.

Which is how it came to pass that more than a dozen creatives behind Peter Shaffer’s “Amadeus,” including director Darko Tresnjak and actor Jefferson Mays, have returned to the historic theater for a new production of Swiss dramatist Fredrich Dürrenmatt’s revenge tragicomedy “The Visit,” running through Oct. 4.

“It feels like we just cleaned out our dressing rooms and we’re moving back in,” notes Mays.

The cast and crew of the adaptation of Friedrich Durrenmatt’s “The Visit,” at the Pasadena Playhouse. Many have returned to the venue after helping stage the hit production of “Amadeus” there in April.

(Carlin Stiehl / For The Times)

“Amadeus,” which ended its run in April, was a critical and box office hit, so popular that after tickets were gone, additional shows were added — which also quickly sold out. Danny Feldman, producing artistic director of the Pasadena Playhouse, puts it simply: “Theater is a team sport, and when you’ve got a winning team, you want to keep playing together.”

It was during tech for “Amadeus” that Tresnjak told Feldman of his love for “The Visit,” which he first directed in college. “I quite literally found my calling in life because of it,” says Tresnjak.

Feldman was also a fan — of both the play and working with Tresnjak — and quickly scheduled the show for the new season.

“Our job is to give artists a home where they can stretch and take risks,” says Feldman. “Audiences got to experience this artistic synchronicity during ‘Amadeus,’ and we’re so excited they get to deepen their relationship with these artists as they watch ‘The Visit.’ ”

The respect is mutual. Mays, who has won almost every major theater award in existence including a Tony and an Obie, says the Playhouse is one of the best he’s ever worked at. “It’s certainly the most healthy,” he notes. “They are unabashed theater fans and lovely people.”

Only days earlier, Mays had given what could be perceived as a backhanded compliment. “I said, ‘You don’t run a theater at all, you run a high school drama club,’ ” Mays recalls. “I meant that in the way it’s infused with joy and a sense of play and support and that we can do anything with impunity and embarrass ourselves and they will be there to pick us up and dust us off. It’s just a gorgeous feeling.”

While Mays brought Tresnjak to “Amadeus,” this time the director asked the actor to join “The Visit.” Mays admits he wasn’t very familiar with the text. Tresnjak’s production, which utilizes the 1956 adaptation by Maurice Valency, centers on the small town of Güllen, which is facing financial ruin.

Actors Jefferson Mays and Melinda Page Hamilton star in an adaptation of Friedrich Durrenmatt’s “The Visit,”at Pasadena Playhouse.

(Carlin Stiehl / For The Times)

The townspeople are preparing to welcome back former resident and potential patron Claire Zachanassian (Melinda Page Hamilton), who has become the richest woman in the world since leaving. It turns out, Claire is more than happy to help. But there is one condition: Someone must kill her former lover Anton Shill (Mays), who impregnated and abandoned Claire in their youth.

Audiences expecting an easy villain and a clear case of right and wrong will be surprised as the narrative unfolds with an examination of community, complicity and corruption within institutions of power.

Tresnjak says “The Visit” can’t be described as one thing. “I don’t want to call it a feminist revenge fantasy because that belittles it,” he says. “It’s also an inversion of a medieval mystery play where the Earth Mother is not benevolent. It’s also a fun, nifty stage thriller.”

And as relevant as the day it was written, Tresnjak adds. Dürrenmatt penned “The Visit” as a critique of Switzerland’s neutrality after World War II, which he saw as an abandonment of ethics driven by capitalism.

Tresnjak says he recently directed a scene where one townsperson urges the others to hold out against Claire’s proposition of murder, on the same day news broke that the U.S. Department of Education had pressured the American Bar Assn. to end Diversity, Equity and Inclusion efforts. “It made me think how in some ways, the citizens of Güllen are better off than we are,” Tresnjak says

“It really is more timely than ever,” agrees Mays, who wonders if that might keep audiences away. In 2007, he starred in the World War I drama “Journey’s End,” which went on to win a Tony Award for best revival. “It was a beautiful play, but nobody came,” he says. “We were at war with Afghanistan and Iraq, and people had enough of war. Sometimes you hold the mirror up to the world, and it reflects it too well.”

Mays jokes he said yes because “it was only fair after I hornswoggled Darko into ‘Amadeus.’ ” The actor is known not just for his versatility but for displaying it in rapid succession. He won the 2004 Tony Award for playing more than 40 characters in “I Am My Own Wife,” and his 2022 adaptation of “A Christmas Carol” saw him take on more than 50 characters.

Mays admits the role of Anton is “a strangely passive and reactive role that I’m still not sure I’m entirely right for,” even going so far as to say, “I can name 10 actor friends who would be better.” But he was bowled over by the director’s passion. “It’s so thrilling when someone approaches you with something they are burning about, and I couldn’t say no.”

Indeed, Anton has a lot to react to; Hamilton’s Claire is the proactive role, forcing the action at every turn. Hamilton is known to TV audiences for her roles on “Mad Men” and “Desperate Housewives,” but she previously worked with Tresjnak on “Bell, Book and Candle” and “Rear Window” and is a big admirer of his work.

Melinda Page Hamilton plays Claire in an adaptation of Friedrich Durrenmatt’s “The Visit.” She is one of a handful of cast and crew that didn’t appear in “Amadeus” this spring.

(Carlin Stiehl / For The Times)

“I also tried to see ‘Amadeus,’ but I couldn’t get tickets,” she says with a laugh. She was thrilled to get a call from Tresnjak, who felt it was important to cast L.A. actors and enjoys working with previous collaborators — to the point where he didn’t hold auditions.

“I think traditionally Claire has been portrayed as crazy and evil, and that didn’t interest Darko,” Hamilton says. “I also think post-Epstein, post-#MeToo, post sheer volume of terrible behavior that men get away with, it has a different resonance today.”

Tresnjak says the role of Claire has long been special to him. “This is a woman who owns everything she is, who never tells a single lie or tries to obscure what she wants,” he says. “She is simply making society look at itself.”

Tresnjak’s upbringing was largely influenced by his mother, Maria, an immigrant from Yugoslavia (now Serbia) who served as a military skydiver in World War II. “My mother was a very strong woman, a woman who fought for what she believed in,” he says. “I have no interest in doing something like ‘Streetcar,’ where a woman is being driven out of her mind. I enjoy characters with agency.”

Director Darko Tresnjak has long wanted to stage a production of Friedrich Durrenmatt’s “The Visit,” a play dear to his heart for many years.

(Carlin Stiehl / For The Times)

And he’s thrilled to have found a home that supports his vision, praising Feldman and associate artistic director Jenny Slattery, who was his student when he taught at UC San Diego. “They’re not afraid of big swings and of taking chances, and not only do people seem to appreciate that, they’re coming to see it,” he says.

With two productions in a year, is it too early to hope that this team has found a recurring home at the Pasadena Playhouse? Tresnjak demures, “I wouldn’t want to put that pressure on Danny and Jenny,” but admits he would be thrilled to return. “Of course, I’m very happy here.”

Mays is equally game. “It’s such a rare and wonderful thing in this country to have a sense of company,” he says. “To have so many actors and designers back from ‘Amadeus’ and to return to a place of such support; it feels like something that rarely exists anymore.”