project

“Beast Mode” started as a phrase people used to describe the running style of former NFL running back Marshawn Lynch.

“I think it was just my relentlessness and my no-back-down type of demeanor when it came to running the ball, like, ‘Boy, that boy a beast,’” Lynch said. “And it’s like, yeah, when I get the ball, that’s what type of mode I’m in — I’m in beast mode.”

Lynch played 12 seasons for the Buffalo Bills, Seattle Seahawks and Oakland Raiders, amassing 10,413 in 2,453 carries with 85 touchdowns. Somewhere along the way, he said, the phrase “Beast Mode” evolved into “this persona bigger than myself.”

“The way that I get approached by kids and fans, like the way that they approach me is almost as if I am like a character so to speak, and I don’t think that I was doing it justice because I’m like, ‘Well s—, I’m just only a man,” the Super Bowl XLVIII champion said.

“But I believe in their mind what they had made up as Beast Mode is this larger-than-life, kind of surreal individual.”

An early look at a page from the upcoming “Beast Mode 510” graphic novel, starring Marshawn Lynch as the title character. Text will be added closer to the Oct. 6 publishing date.

(Art by Denys Cowan / Courtesy of AWA)

Lynch is embracing that perception of himself … and Beast Mode is about to become a literal comic book hero.

On Friday, Arists Writers and Artisans announced the graphic novel “Beast Mode 510,” which is scheduled to be released Oct. 6. Written by NAACP Image Award-nominated author Sheldon Allen and illustrated by Eisner Hall of Fame artist Denys Cowan, the book was “inspired and guided by” Lynch and is a “deeply personal love letter” to his hometown Oakland, according to a news release from AWA.

“At its center is Beast Mode: the 510’s legendary fixer and freelance sleuth whose rough exterior hides a code of loyalty and willingness to deal with problems others won’t touch,” the release reads. “If you’ve got a problem the authorities won’t handle, Beast Mode will. No invoices. No contracts. Just results.”

AWA chief creative officer Axel Alonso said when he was approached by Lynch and his team about possibly working on a project together, the idea of turning Beast Mode into an almost superhuman crime fighter quickly came to mind.

“To use a football analogy, when Marshawn and his people came to me and said, ‘Can you do anything with this, Beast Mode?’ it was like they gave me the ball on the one-yard line and I had to just walk it in — and Pete Carroll wasn’t the coach, so I could just go right in,” Alonso said, referring to an infamous play at the end of Seattle’s loss to New England in Super Bowl XLIX.

“It was as easy as that. I was like, come on, ‘Beast Mode’? So automatically I talked with Marshawn and said, ‘What’s important to you?’”

Lynch’s input has been key every step of the way, Alonso said, with the five-time Pro Bowl selection getting final say on every aspect. Lynch said he appreciates having his voice heard and being able to put his stamp on the project.

“From the start, we just sat down and had a conversation about where it was that we wanted to go, what is the kind of feel, the look that we want, the kind of tone that we want to tell the story,” Lynch said.

Seahawks running back Marshawn Lynch #24 of the Seattle Seahawks runs for a 67-yard touchdown against the New Orleans Saints during an NFC wild-card playoff game Jan. 8, 2011, at Qwest Field.

(Jonathan Ferrey / Getty Images)

An early look at pages from the upcoming “Beast Mode 510” graphic novel starring Super Bowl champion Marshawn Lynch as an underground crime fighter.

(Art by Denys Cowan / Courtesy of AWA)

“I can’t draw or nothing like that, but any type of update or anything Axel will get over to me and, you know what I mean, yea or nay. And then when it comes to like how certain characters would look, certain names, individuals — I would say I’m involved, but I’m not stepping on their toes.”

For Lynch, one of the top priorities was to bring attention to all the unique aspects of his beloved city.

“We kinda have Oakland being a character of its own,” he said. “The personality of what Oakland stands for is something that I would really like to highlight ‘cause I feel that my city gets overlooked. And then the amount of individuals that we have coming out of area, it’s also an opportunity to show a nod to a lot of the Bay Area cultures and icons that we have.”

Even though the book is fiction, Lynch insisted on authenticity in the depictions of the city and the people who live there, including the way they look, act and speak.

“I think the biggest thing will probably be just the way that I speak in general,” Lynch said. “Mother— from where I’m from, we talk with a certain type of a tone, a type of swag.”

An early look at a page from the upcoming “Beast Mode 510” graphic novel. Marshawn Lynch says his character was inspired by the larger-than-life persona fans sometimes associate with him.

(Art by Denys Cowan / Courtesy of AWA.)

And, judging from Lynch’s signature way of talking, a lot of profanity.

None of Lynch’s ideas has been toned down.

“This is an R-rated book,” Alonso said.

“I want this s— to be turned up to the max,” Lynch added, “so if a mother— do pick this up to read, it’s gonna be like, ‘Oh, this some real s—.’ As well as entertaining, as well as insightful and impactful.”

Lynch is used to keeping people entertained, including as the co-host of the “Get Got Pod” with former Seahawks teammate Mike Robinson and as an actor with numerous roles in TV and film (including a breakout performancein 2023’s “Bottoms”).

He said he’s proud of how the project is turning out.

“When you see work and be like, ‘Damn that s— was nice’ and you start thinking about the thought process and how they got to those points, how they got to those things that drew you in, those things that give you that warm feeling,” Lynch said, “I’m feeling like I’m living that as this s— is going.

“Which is crazy as f— because I played in Super Bowls, I walked the red carpet of f—in’ premieres, and this one feels like, out of a lot of s—, this one is capturing that feeling for me. I’m a [Black man] — you know we don’t feel too much. But when we do, we be like, ‘Oh yeah, you know this s— is special.’”

March 12 (UPI) — The recent, new delay in NASA’s moon landing program represents the latest in a string of technical, budgetary, workforce and public perception challenges that plague the space agency, a UPI analysis shows.

When flight officials pulled the Artemis II Space Launch System and Orion spacecraft off the launch pad at Kennedy Space Center on Feb. 25 after a recurrence of helium flow problems and pushed the launch back to April at the earliest, it served as another reminder of the space agency’s current assortment of formidable problems.

Those issues include a moon program whose timeline keeps slipping; recurring technical failures and cost overruns with its flagship SLS rocket; a commercial lander — SpaceX’s Starship — that has yet to demonstrate reliability; the effective grounding of the Vulcan Centaur rocket made by United Launch Alliance; the departures of thousands of NASA workers and turnover in its top leadership positions.

The agency announced March 3 it had identified the latest problem with Artemis II as a faulty helium seal in the SLS upper stage, and that it is repairing the assembly, as well as making other fixes to the spacecraft.

But meanwhile, the lag time since the last crewed U.S. spaceflight has now stretched to three full years. This lengthy drought has prompted outside analysts and NASA officials to worry about how public support for the space program is being affected.

“When missions occur every few years, it is easy for people to lose interest,” said Burt Dicht, a leader of the National Space Society, who added he backs a newly announced NASA effort to increase the frequency of launches.

The latest delay has prompted a fresh look at some of the major challenges facing the space agency’s moon effort, as well as more general problems.

Headwinds with partners, personnel issues

One of the more pressing issues with the Artemis program is its dependence on SpaceX’s Starship Human Landing System, or HLS, as the initial human lander that will put the first U.S. astronauts on the lunar surface.

Elon Musk’s company signed a contract with NASA in 2021 to provide the lander, but struggled in 2025 to perfect the mammoth Starship V3 rocket necessary for a key element of the HLS mission, according to a report issued by NASA’s Aerospace Safety Advisory Panel and released last month.

The Starship V3 incorporates upgraded Raptor engines to provide it with the required performance for low-Earth orbit flight and on-orbit operations, and its development is deemed crucial for transferring fuel to an orbiting tanker.

How it performs will “ultimately determine the number of refueling missions required for the HLS mission,” which is now pegged at roughly 12 fueling flights, the report’s authors wrote.

“The development and test progress necessary for a version of Starship that has not yet flown in time to support a human lunar landing mission within the next few years appears daunting and, to the panel, probably not achievable,” they wrote.

SpaceX announced Feb. 26 that the first Starship V3 had left its build site at Boca Chica, Texas, and had begun prelaunch testing.

In 2023, NASA selected Blue Origin, owned by Amazon founder Jeff Bezos, to develop a second human landing system to compete with the HLS. Its Blue Moon Mark 2, to be launched aboard a New Glenn rocket, is to be tested twice and then carry a crew to the moon in late 2028.

New critical report

But NASA’s Office of Inspector General, in a report issued Tuesday, looked at both programs to carry astronauts to the moon and advised that the agency faces significant technical and programmatic risks that threaten mission timelines and crew safety.

The report said NASA is not fully adhering to “test like you fly” principles, particularly for uncrewed demonstration missions, and has not yet ensured that SpaceX’s Starship lander will meet manual control requirements for astronauts.

The inspector general also noted gaps in hazard‑mitigation planning and insufficient testing of critical systems, especially given the complexity of both SpaceX’s and Blue Origin’s lander architectures.

The report also warned that NASA the capability to rescue astronauts in the event of a life‑threatening emergency during lunar surface operations, echoing limitations from the Apollo era.

And it concluded that SpaceX and Blue Origin face technical challenges likely to cause additional delays, with SpaceX’s schedule slipping beyond its earlier 2027 target and even the revised 2028 goal remaining uncertain.

The report recommends stronger risk‑management practices, more realistic scheduling and more rigorous testing to ensure crew safety and mission success.

Meanwhile, NASA’s larger operations also could be affected by problems encountered in the new Vulcan Centaur rockets made by United Launch Alliance.

Vulcan launches halted

The U.S. Space Force last week temporarily halted all national security launches using the rocket after the same booster malfunction occurred twice, according to comments made by Col. Eric Zarybnisky at a meeting last month in Colorado.

The Vulcan Centaur program was established by ULA to reduce costs and eliminate reliance on the current workhorse Atlas V Russian-supplied RD-180 engine and is primarily meant to meet U.S. military needs.

But the program benefits NASA as well, giving it greater flexibility and transport capability for launching of payloads, the space agency said.

NASA also continues to struggle with an exodus of workers, including thousands of crucial senior staff, which some analysts believe is impacting its moon and Mars exploration goals due to a loss of expertise.

Nearly 4,000 agency employees last year chose to accept “deferred resignations” as part of the Trump administration’s efforts to slash the federal workforce — a move that reduced NASA’s employee roster by more than 20% to some 14,000, NASA spokesperson Cheryl Warner told NPR in June.

Still, even amid all of those issues, the agency was able to dodge the biggest potential bullet of them all — a proposed 24% reduction in its budget issued by the White House, which would have been the biggest cut in agency history.

That threat all but evaporated when Congress agreed on a $24.4 billion NASA spending bill in January, representing a mere 1.7% budget reduction.

The NASA administrator’s job itself remained unfilled throughout 2025, as President Donald Trump withdrew his nomination of Isaacman. Trump ultimately changed course, and Isaacman was confirmed by the Senate on Dec. 17.

Major changes for the Artemis program

Of all the difficulties faced by NASA, the technical problems and cost overruns of the Artemis program itself have emerged as perhaps the most high-profile.

The Feb. 25 postponement was the second recent delay for Artemis II, which is to send four astronauts on a “slingshot” fly-by around the moon. Last month, NASA pushed back the launch to March after engineers discovered what they called a significant hydrogen leak during a wet dress rehearsal.

NASA said Thursday it plans to roll the Artemis II Space Launch System rocket and Orion capsule back out to the launchpad next week, aiming for a launch in April.

The rollout wis to begin March 19, with an eye at launching as early as the evening of April 1, NASA officials said during a press briefing.

The original target date for landing astronauts on the moon — 55 years after the United States first did it — was 2024. When that was announced in 2019, many observers thought the target date was too optimistic.

The effort’s total cost after NASA recently added nine new elements now exceeds $20 billion, the Government Accountability Office reported last summer. Three of those elements have racked up a total of $7 billion in cost overruns.

NASA has made efforts to get a handle on the overruns through its Moon to Mars Program Office, the GAO said, but warned that each new delay to mission dates can create a cascading effect of increased costs across multiple programs that function independently of each other.

Clear warnings

And in its report from last month, the NASA safety panel sounded clear warnings about the “ambitious timeline” for developing the Human Landing System, given its “intricate operational design” and :complex concept of operations,” as well as other serious safety concerns surrounding the Artemis program.

Taken together, the issues posed a “high safety risk,” the panel concluded, which “casts doubt on the current Artemis III timeline and the feasibility of the Artemis III mission goals.”

In the wake of the latest issues, Isaacman announced a major revamp of Artemis under which the expected moon landing was pushed back from Artemis III in 2027 to Artemis IV in 2028.

“We have to rebuild core competencies,” he told reporters Feb. 27, blaming the repeated delays on too-infrequent launch schedules (known as the “launch cadence”), which he said causes “muscle memory” to “atrophy.”

“This is just not the right pathway forward,” he asserted, while revealing that a moon landing with Artemis III in 2027 has been deemed too ambitious and will instead now be attempted with Artemis IV in 2028.

Artemis III will instead now serve as a mission to perform tests on connecting with lunar landers in low-Earth orbit, as well as to test equipment that will go on Artemis IV.

Meanwhile, to bump up the launch cadence to once every 10 months rather than every three years, Isaacman announced a standardization of the SLS rocket fleet to “essentially near ‘Block-1’ configuration.”

The idea, he said, is to reduce the complexity of the massive rocket and to “accelerate manufacturing, pull in the hardware and increase launch rate, which obviously has a direct safety consideration to it, as well. You get into a good rhythm launching with greater frequency, you get that muscle memory.”

To do that, he added, “we need to rebuild and strengthen the workforce here at NASA. … We have to rebuild core competencies. The ability to turn around our launch pads and launch with frequency greater than every three years is imperative,” he said, pointing to the histories of the Mercury, Gemini, Apollo and Space Shuttle programs, when “the average launch cadence was closer to three months.”

The decision to simplify and standardize the SLS starting with Artemis IV also means the agency will no longer need to use the $1.5 billion Mobile Launcher 2 at Kennedy Space Center, which is still under construction and has faced its own cost overruns and delays.

Experts’ reactions

Experts who have been closely following the development of Artemis expressed a range of opinions about whether the latest moves are the right ones for the moon program and the U.S. space program generally.

Kenny Evans, a fellow in science, technology and innovation policy at Rice University’s Baker Institute for Public Policy in Houston, told UPI the glitches and the resulting negative perceptions of the program are indeed tied to the drawn-out launch cadence.

“The extended periods between SLS launches have given NASA fewer chances to test out hardware — and less cover for when things go wrong,” he said. “That has long been a valid criticism of the SLS program and a source of bad press — for example, the fueling issues in prior wet dress rehearsals.

“Working out kinks, as visible and expensive as they are, should be seen as net positives rather than programmatic failures,” he said.

“Frankly I’m relieved to see the timeline revamp,” Evans added. “The Artemis schedule Isaacman inherited had absolutely no chance of meeting its prior targets, and I’ve been impressed by his willingness to address the hard truths about the program.

“In terms of safety, making Artemis III a system test will provide NASA a much needed opportunity to remove as much risk as possible before attempting a lunar landing for Artemis IV,” he said while noting he is “particularly enthusiastic” about the NASA leader’s stated commitment to strengthening its workforce, “especially in light of cuts to agency staff.”

Meanwhile, the National Space Society’s Dicht, said his interactions with students, engineers, long-time space advocates and the public have shown him there is “real enthusiasm for progress in the space program,” but that new momentum is needed.

“I believe NASA Administrator Isaacman’s proposals to improve launch cadence, strengthen the workforce and standardize the SLS are positive steps that can help stabilize the Artemis program and move it toward a sustained return to the moon,” Dicht said.

“Whether it is SLS or any other rocket, these are extraordinarily complex machines,” he said. “Increasing the cadence of launches and ensuring the workforce is well-trained and consistently engaged helps build the operational experience, or ‘muscle memory,’ that improves reliability and the likelihood of mission success.”

While there is steady and palpable excitement over humankind’s first return to the moon since 1972 among committed enthusiasts, “there remains a segment of the public, including some social media influencers, who interpret technical issues as a sign that the program is failing,” he said.

“When missions occur every few years it is easy for people to lose interest,” Dicht said. “If the program can move toward a more regular rhythm, possibly two flights per year, it will attract attention and reinforce the sense that progress is being made.”

Similar to Apollo 9

Spaceflight historian and science author Amy Shira Teitel, creator of The Vintage Space YouTube channel, said the revamp “doesn’t particularly surprise me,” noting the decision to change Artemis III’s moon landing mission into a test flight is reminiscent of Apollo 9 in March 1969.

In that mission, a three-astronaut crew carried out vital tests while in low-Earth orbit to prepare for the historic Apollo 11 moon landing four months later.

“The plan to land Artemis III while still not having the lander ready or even chosen, from what I could tell, seemed like trouble waiting to happen, so the idea of going back to Apollo 9 and testing the hardware/mission in Earth orbit seems both safe and like it should have been the first step before going to the moon,” she told UPI in emailed comments.

The author of Breaking the Chains of Gravity: The Story of Spaceflight before NASA has questioned the overall purpose, cost and broader implications of the moon-to-Mars effort, contending it lacks a compelling justification other than “going for the sake of going” while the highly successful and popular International Space Station is scheduled to be scrapped in 2030.

All of the Artemis changes, Teitel said, are “emphasizing how hard it is, and how insane it is to be looking at canceling the ISS without a replacement and just focusing on the moon-to-Mars pipeline without any kind of long-term infrastructure or planning.

“And the endless issues with SLS — why are we adding more launches?” she asked. “We know this system is flawed. It feels like retrofitting a mission into the hardware to justify the … launch cost.”

Kathdhara village is a riot of colour as the early evening light turns the clouds the rosy hue of Himalayan salt. Bright red chillies lie drying in front of cornflower blue doorways. The pink of a sari and the orange of marigolds pop against a backdrop of verdant terraced fields, where cabbages grow in perfect rows like a picture from a Peter Rabbit book.

Just 22 families live in this remote hamlet in Binsar Wildlife Sanctuary, in the Kumaon region of Uttarakhand, north-east India. As we stroll with our guide, Deepak, taking in views of the layered hills and soaring, snow-capped Panchachuli peaks beyond, we are welcomed by villagers tending homes and gardens, strings of Diwali fairy lights adding extra sparkle to the scene.

I’m here to explore the foothills of the Himalayas and sample village life on a walking holiday with Village Ways, a pioneer of responsible, community-based tourism in India, which is celebrating its 21st anniversary this year. Dreamed up by Manisha and Himanshu Pande, the couple who run the Khali Estate, a small hotel in the reserve, the goal is to help address urban migration and support traditional rural life through low-impact tourism. Village Ways launched in 2005 with just five villages in the reserve, which guests hike between, and now more than 30 villages are involved in different parts of the country, from Madhya Pradesh to Kerala.

“The idea was to bring the community together to run something collectively, training people in all aspects of business. Everyone has a role to play,” says Manisha. “The Village Ways model has captured the attention of the government, too, and we’re collaborating on various projects in other states now, which is exciting.”

Most accommodation is in small, village-built guesthouses sleeping up to eight, rather than homestays, and money is evenly distributed to everyone from cleaners to porters, with committees making joint decisions. Back at the Kathdhara guesthouse, we join Diwali celebrations, sharing sweets, lighting lamps and praying to the goddess Lakshmi by a makeshift shrine. We feast on a delicious thali – spicy yams, dal, hemp chutney and warm roti – and sleep soundly, cocooned by the silence of the mountains.

The next day brings blue skies, and after breakfast we set out on a gentle walk to the neighbouring Gonap village. Binsar Wildlife Sanctuary was created in 1988, a 47 sq km (18 sq mile) area to help protect the broadleaf oak forest and wildlife. For the people living here, it altered their relationship with the forest, ending tree felling and hunting – tempting many to abandon village life for the cities. Village Ways offered an alternative – former hunters turned guides, sharing knowledge of the land and wildlife with guests, and seeing outsiders’ interest in local customs and traditions renewed their sense of pride.

We hike through pristine pine, oak and rhododendron forests (come in March or April to see the land painted red, pink and white when they bloom). I’m fascinated by the Himalayan oaks, which play a key role in storing and releasing water and stabilising the land with their vast root networks. We see the bright red flowers of wild turmeric and countless medicinal plants, from goat weed (some believe the juice stops bleeding) to Indian tobacco (used for toothache).

Leopards roam here too and, though they remain elusive, we spy footprints and scat, as well as porcupine quills. But the sanctuary is best known for its amazing birdlife – more than 200 species are found here – and we stop frequently as Deepak points out the crested serpent eagle, leaf warbler, black-headed jay and noisy parakeets.

Gonap itself is tiny – home to just seven families today. We’re welcomed to the guesthouse with chai and plates of warm pakora – enjoyed with staggering mountain views as Eurasian griffon vultures float on the thermals. Deepak leads us to a tiny temple, past houses with gardens heaving with jumbo lemons and air potatoes on giant stalks, the sounds of cicadas in the air.

No roads connect the five villages in the Binsar circuit, but the paths between them offer easy walking and there’s plenty of time to rest. A higher-altitude route in the nearby Saryu and Pindar valleys, close to the border with Tibet, offers more challenging hikes. But limited time means we head back to the Khali Estate from Gonap, stopping at Zero Point lookout – the highest vantage spot in the reserve, at 2,500 metres – to gawp at the 360-degree Himalayan panorama, dominated by Nanda Devi, the second highest mountain in India.

Built 150 years ago by a British commissioner, Gen Sir Henry Ramsay, the Khali Estate makes a picturesque base, with accommodation in stone rondavel cabins and a sitting room with roaring fire. During his time in Kumaon, Ramsay is credited with developing local infrastructure, founding a leper colony in the historical capital of the region, Almora, and regulating tree felling. We delve into the estate’s history on a tour with Himanshu, poring over photos and library texts, and learn how it was also a retreat for the Nehru family and an ashram for Mahatma Gandhi. Surrounded by forest, it’s utterly peaceful. Later, I fall asleep to the distant sound of barking deer.

For visitors wanting to learn more about the region’s history and the characters who shaped it, Village Ways has launched a new itinerary, Khali in Kumaon. As well as the Binsar walks, it takes in the lakeside hill station of Nainital, where we had stopped on the 270-mile journey from Delhi. Guests will also explore Almora, with its local primary school supported by Village Ways, the museum of the Anglo-Indian hunter turned conservationist Jim Corbett, and the Gandhi trail, heading into the hills to see some of the first looms he established for homespun cotton – a symbol of economic independence and resistance to British rule – at Anasakti ashram.

But our last day is very much focused on the present, as a stream of villagers arrive at Khali from far and wide to join the anniversary celebrations. Other Village Ways founders – Brits who worked in development and tourism – are here too, and there are talks, feasting and dancing. I learn about the Village Ways charitable trust, which supports healthcare in these remote villages, training local women to run mobile clinics. Since Village Ways’ inception, it has hosted 7,000 guests, benefiting about 5,000 people, from artists to taxi drivers, according to Manisha, and 470 villagers are directly involved in decision-making as members of the village tourism committees in six states.

I buy locally made scarves and handicrafts, and many of the young villagers – now guides, cooks or porters – tell me about the positive impact tourism has had on their lives. “Since I joined as a guide three years ago I’ve learned lots about Binsar and our birds – and my English has really improved,” said 23-year-old Ashirwad Joshi from Dalar village. “I’m very happy to be part of it and share my knowledge with visitors – it makes me proud.”

When we leave the next morning for the long drive to Kathgodam and onward train journey to Delhi, it’s the feeling of mutual respect and warmth that stays with me. The challenges are many, from ageing village populations to a decline in international visitor numbers to the area since Covid, but the Village Ways mission is very much full steam ahead – taking its ethos to other parts of the country. This type of tourism – one that involves communities as partners and is collaborative rather than exploitative – benefits locals and travellers alike. In these times of division, it is to be celebrated more than ever.

The trip was provided by Village Ways, which creates bespoke itineraries, tailored to travellers’ interests. The suggested 10-day Khali in Kumaon itinerary (available until 30 May, and from 15 September to 30 November 2026) costs from £1,315pp, based on a party of four, including transfers, rail travel, accommodation and most meals

WASHINGTON — A federal panel reviewing President Trump’s plans to build a ballroom at the White House has set April 2 for a final vote on the project, the chairman said as the agency prepared to give additional consideration to the construction plans.

Will Scharf, chairman of the National Capital Planning Commission and a top aide to the Republican president, made the announcement Thursday at the start of the panel’s March meeting.

The panel will hear additional details about the project from the White House as well as its own staff, and had been expected to vote on Thursday.

But Scharf announced that the vote was switched to April to give every member of the public who wants to comment a chance to do so. More than 100 people had signed up to comment at Thursday’s meeting, which was being conducted online as a result.

The panel has also been flooded with scores of written comments about Trump’s plans to build a 90,000-square-foot addition where the East Wing of the White House once stood. Trump has said it will cost about $400 million and be paid for with private money. Trump had the East Wing demolished in October.

Scharf said the meeting was being conducted online to ease the public testimony portion, which he said was likely to extend into Friday given the number of people who had signed up to speak.

“They are taking time out of what I presume are busy schedules to join us,” he said. “One way or the other, we are going to make sure that members of the public have the opportunity to be heard on this project.”

Critics of the project have argued that Trump should not have demolished the East Wing until the National Capital Planning Commission and a separate panel, the U.S. Commission of Fine Arts, had reviewed and voted on his plans. The fine arts panel approved the project last month.

The National Trust for Historic Preservation, a private, nonprofit group, asked a federal judge to temporarily halt construction until the White House submitted the plans both to federal panels and to Congress for approval, and allowed the public to comment.

U.S. District Judge Richard Leon rejected the request last week, and the trust has said it plans to file an amended lawsuit.

Superville writes for the Associated Press.

New animated sequences of songs from “Encanto,” “Frozen 2” and “Moana 2” are headed to Disney+.

Disney Animation announced Wednesday that “Songs in Sign Language,” comprised of three musical numbers from recent Disney movies newly reimagined in American Sign Language, will debut April 27 in honor of National Deaf History Month.

Directed by veteran Disney animator Hyrum Osmond, “Songs in Sign Language” will feature fresh animation for “Encanto’s” chart-topper “We Don’t Talk About Bruno,” “Frozen 2’s” poignant ballad “The Next Right Thing” and “Moana 2’s” anthem “Beyond.” Produced by Heather Blodget and Christina Chen, the new versions of these songs were created in collaboration with L.A.-based theater company Deaf West Theatre.

“In the majority of cases, we created entirely new animation,” Osmond said in a press statement. “There were a lot of adjustments that we had to do within the animation to be true to the original intention.”

Deaf West Theatre artistic director DJ Kurs, sign language reference choreographer Catalene Sacchetti and a group of eight performers from Deaf West worked together to craft and choreograph the ASL version of the musical numbers for “Songs in Sign Language.” The creatives focused on being true to the concepts and emotion of the songs rather than direct translations of the lyrics.

Kurs said his team jumped at the chance to collaborate and integrate ASL into “the fabric of Disney storytelling.”

“Disney stories are the universal language of childhood,” Kurs said in a statement. “The chance to bring our language into that world was a historic opportunity to reach a global audience. Working on this project was very emotional. For so long, we have known and loved the artistic medium of Disney Animation. Here, the art form was adapting to us. I hope this unlocks possibilities in the minds and hearts of Deaf children, and that this all leads to more down the road.”

Osmond, who led a team of more than 20 animators on this project, said animation was the perfect medium to showcase sign language, which he described as “one of the most beautiful ways of communication on Earth.” The director, whose father is deaf, also saw this project as an opportunity to connect with the Deaf community.

“Growing up, I never learned sign language, and that barrier prevented me from really connecting with my dad,” Osmond said. “This reimagining of Disney Animation musical numbers helps bring down barriers and allows us to connect in a special way with our audiences in the Deaf community. I’m grateful that the Studio got behind making something so impactful.”

Gina Gershon considers herself a storyteller, first and foremost. When we connect via video call, Gershon admits this is the first interview she’s done since submitting the manuscript for her latest book, “AlphaPussy: How I Survived the Valley and Learned to Love My Boobs.”

“I don’t have my spiel yet!” she warns, inquiring for the first of a few times what I thought of it and whether I enjoyed it. Despite the many decades Gershon has been treading the boards, starring in indie films and Hollywood star vehicles, and stalking the stage as a singer-guitarist, she still really cares about what you think, even if it won’t change her own mind. Perhaps that’s the key to her professional longevity.

“AlphaPussy” is neither a memoir nor a guide to self-betterment, but elements of both feed into Gershon’s stories. Each wittily titled chapter plunges readers into Gershon’s freewheeling 1970s childhood, defiant adolescence, burgeoning performance career and collaborations with some of the biggest names in film (including Sharon Stone, Paul Verhoeven and Tom Cruise). Most of the stories take place in the San Fernando Valley, where young Gershon was discovering weed, mushrooms and rock ‘n’ roll. This is not a titillating tell-all, and all the better for it.

“AlphaPussy” by Gina Gershon

(Akashic Books)

“This book realistically started during COVID,” Gershon explains from her New York home. “I’d told my book agent, a friend, some stories one day when we were drunk, and he kept prodding me to write a book. I was hesitant, though. I’m not a tell-all gal, that’s not my MO.”

She adds, “It was during lockdowns, and I think his mother was sick and he was having a hard time, so when he said, ‘Just write me stories to keep me cheered up,’ I started to write stories in no particular order, whatever bubbled up, because otherwise I figured I’d forget them one day.”

At the same time, Gershon had observed that young women weren’t feeling empowered to advocate for themselves in their personal relationships and workplaces.

“I noticed that especially with younger women friends of mine, they’d tell me about things they were going through on set or with their bosses, and I don’t know if it’s a millennial thing, but I said, ‘Why don’t you just look him in the eye and tell him to stop?’ and there was this sense [for me] of ‘Why can’t you do that? Because if you don’t, you’ll always be prey to these guys.’ ”

She clarifies that she means “annoying” men rather than abusive men.

“I’m not that tough,” admits Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”

In her new book, Gina Gershon recalls the industry vitriol toward her 1995 erotic film “Showgirls.”

(Evelyn Freja / For The Times)

And also to steer herself through well-intended advice, both personal and professional, to follow her instincts.

“Listen, it’s not like I’ve had the most normal career. I’ve done most of my projects despite warnings from other people and from my agents saying, ‘You can’t do this, you’ll ruin your career.’ I’m like, ‘Why? I like this project!’ ”

One of those projects, most infamously, was “Showgirls,” which gets plenty of mentions in the book.

As Gershon recalled, it was 1994, and an astrologer had predicted her major breakout role would arrive in October that year, testing the young actor and her ability to cope with notoriety. Great, thought Gershon, bring it on.

Months later, Gershon was hanging from the ceiling, dressed in bondage gear, reflecting upon her early acting goals to perform Chekhov, portray Medea and stun audiences into silence.

She was on the set of “Showgirls” (or “Survival of the Titties,” as she nicknames it), dressed in one of the many glittering, spangled, flimsy outfits that her character Cristal Connors parades about wearing as a veteran of Vegas striptease. That role, and the vitriol from within the industry toward the movie (a flop turned cult favorite), still stings.

“I was super excited going into ‘Showgirls.’ As I talk about in one of the chapters, it was just very different when I got there. It was a completely different show than I thought I was going to be doing. … I thought it was gonna be one of [director Paul Verhoeven’s] dark Dutch films.”

Realizing that it was something else, to say the least, Gershon pivoted.

“I learned how to deal with an insane environment while keeping focused on what it is that I was trying to achieve with the part, without getting swallowed up by the insanity, which is a valuable lesson, you know? I mean, it’s a good lesson to learn no matter what you’re doing.”

Last year, Gershon watched the movie for the first time in decades.

“I hadn’t seen it in a zillion years, and when I saw it, I understood it a little bit more. It made me feel tense, but I also thought, ‘Oh, interesting.’ Some scenes that I thought shouldn’t have been there and others that absolutely have to be there. I saw it with a different lens.”

She says, “Weirdly, I feel like I’m not supposed to be talking about ‘Showgirls,’ although I think I have five chapters about ‘Showgirls’ [in the book]. I did the ones that I thought were kind of funny and fun and had some sort of growth in it for me.”

Having recently wrapped filming on “an independent film, a trans love story” in Palm Springs, penned a script and midway through writing another, Gershon doesn’t intend on writing another book anytime soon. Still, “there’s so many stories I left out,” she concedes.

“I could write three more books with things, but I really wanted to stay on point with the themes of manipulation, survival, and moving around and being able to stand on your own two feet and know who you are and to have agency over your life, especially as a woman, especially as an actress, especially in this world.”

“I’m not that tough,” says Gina Gershon. “But I’d learned how to maneuver a lot just from growing up in the Valley, and it was a crazy time to be living there. So I thought about the stories that led me to be able to steer myself through toxicity.”

(Evelyn Freja / For The Times)

SEOUL, Feb. 27 (UPI) — OCI Energy, a U.S. affiliate of South Korea’s OCI Holdings, said its joint venture with Arava Power has secured nearly $400 million for Project SunRoper, a 347-megawatt solar project in Wharton County, Texas.

OCI Energy joined with Israel’s Arava Power for the project. As sole lead arranger, ING Capital will underwrite the financing package, which includes a mix of loans and letters of credit.

The total investment is estimated to be about $394 million, according to OCI Energy. The construction financing is backed by a 20-year power purchase agreement with a Fortune 100 company, whose identity OCI Energy did not disclose.

Situated some 60 miles southwest of Houston, Project SunRoper is expected to begin commercial operation in the third quarter of next year, supporting grid reliability and emissions reduction.

“The close of construction financing for Project SunRoper represents an important milestone for OCI Energy and our partners,” OCI Energy CEO Sabah Bayatli said in a statement.

“This transaction reflects our continued commitment to delivering high-quality, utility-scale solar projects that strengthen grid reliability and provide affordable energy infrastructure,” he said.

ING Capital Managing Director Sven Wellock said the new initiative would deliver reliable, affordable clean energy for years to come.

“This project exemplifies the high-quality renewable infrastructure we seek to finance — a strong sponsor partnership, a long-term contracted revenue profile and a well-located asset in one of the most dynamic power markets in the United States,” he said.

This is not the first time that OCI Energy has collaborated with ING. They previously worked together on financing for the Alamo City Battery Energy Storage System project in Texas.

IMAGINE if the Eden Project had a Disney makeover – well, one theme park in Europe achieves this and will be getting a new ride for 2026.

Terra Botanica theme park in Angers, France is often compared to the Eden Project in Cornwall due to its focus on plants.

But it also has rides…

And now the theme park has announced two new experiences for this year – Cleamolette’s tractor cabins and a new Terra Nocta show.

Cleamolette’s tractor cabins will be an immersive experience where visitors climb onboard the tractors and set off to meet Cleamolette, who is a ‘passionate inventor’.

There will be 10 tractor cabins in total, which will be able to host up to 500 people an hour.

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During the experience, visitors will get to discover Cleamolette’s botanical experiments.

The park will also have a redesigned discovery trail that sprawls across 1,200sqm.

The trail is entirely dedicated to vegetable plants and over the course of the season, visitors will be able to see more than 10,000 vegetable plants, 4,000 flowering plants, 500 perennials, 200 shrubs and 40 trees.

You might even get a glimpse at some rare species including pistachio trees, Brazilian guava trees, Japanese pickling eggplants and snake gourds.

Then, Terra Nocta – an evening event at the park with light and sound – will return from April 11 but with a new 150metre area that is an immersive water display with mist, waterfalls, sounds and lights to create the ultimate sensory experience.

This new area will allow visitors to discover aquatic biodiversity and learn about the role of water in ecosystems.

The show will also include eight performers from the National Institute of Music Hall Arts in Le Mans.

The theme park will be hosting Terra Spring Festival between March 28 and 29 as well, where attendees can see the theme park’s large plant market and meet lots of local sellers and makers.

The theme park is set to fully reopen for the 2026 season on April 4.

Connexion France previously described the park as “Cornwall’s Eden Project on steroids”, adding that it has “environmental ideas with a Disney twinkle”.

Other rides at the park include giant walnut shells, and a Canopy of Birds experience where you fly virtually through the air and a miniature land train.

You might also want to check out the Garden of Legends, where you will be greeted by a vegetable ogre as he takes you into a mysterious universe.

Other ‘lands’ at the park include a dinosaur reserve, where you can watch a 4D film where you can get behind the wheel of a Jeep and drive among dinosaurs – just like in Jurassic Park.

There are even boat trips, a greenhouse with over 100 butterflies from across the planet and a high ropes course with over 3,000sqm of netting to explore as well.

One person commented on TripAdvisor: “Great place, a bit like England’s Eden Project, only better.”

It is also cheaper than the Eden Project with tickets costing from €21 (£18.38) per adult and €17.50 (£15.32) per child.

In other theme park news, the world’s first Bluey rollercoaster is set to open in the UK next month.

Plus, a top US attraction is set to open its first indoor adventure park in the UK – with 16 slides and a ‘flying’ coaster.

U.S. figure skater Alysa Liu made quite an impression at the Milan-Cortina Olympics with her unique style, her compelling backstory and, of course, her gold medals in the women’s singles competition — the first for an American woman since 2002 — and in the team event.

Her feats captured the attention of local artist Gustavo Zermeño Jr. He wanted to be sure to capture all of it in his new mural paying tribute to the 20-year-old athlete in Gardena.

“Obviously her winning gold was the main factor” in his choosing to paint Liu, Zermeño said.

But once the Mexican-American artist learned more about the Chinese-American skater, he found inspiration in other aspects of her life as well. That includes the Oakland native’s two-year retirement from the sport starting at age 16, her enrollment at UCLA and her decision to express herself in her own way.

“She’s first-generation American, just like myself,” Zermeño said. “So I feel like that tie, her going to UCLA, her stopping skating for awhile and then jumping back in and more being herself — you know, growing up in Venice, I feel like that’s what kind of made me an artist. Venice allowed me to be myself, be wacky on the boardwalk, artists, performers, stuff like that.

U.S. figure skater Alysa Liu poses with the gold medal she won in the women’s singles Feb. 19 at the Milano-Cortina Winter Olympics.

(Matthew Stockman / Getty Images)

“So I feel like there were a lot of connections beyond her just winning the gold medal. But ultimately, I think she just deserves her flowers, man. She accomplished something, and I feel like her personality is what’s really garnering all this support from people.”

Zermeño was driving to get dinner near his home earlier this week and noticed a wall he thought would be perfect for his Liu-inspired project outside the Coe’s Glass & Mirror building at 15532 Crenshaw Blvd. It turned out that Zermeño casually knew the business owner, although Alex Lopez said he never realized his former next-door neighbor was a mural artist.

Still, Lopez approved the project immediately upon seeing samples of Zermeño’s work and a digitally created version of his idea for the Liu painting.

“I mean, I probably should have gone up the chain of command and asked the landlord’s permission, but I knew it was going to come out amazing,” Lopez said. “I just said, ‘Let’s go for it.’ The landlord came by this morning and loved the piece. He was really glad that we did it.”

Artist Gustavo Zermeno Jr. said he was inspired to paint a mural dedicated to U.S. skater Alysa Liu for reasons ‘beyond her just winning the gold medal.’

(Ronaldo Bolanos / Los Angeles Times)

Zermeño started painting Tuesday and hopes to be finished early next week. The mural will feature three images of Liu, including two of her skating, but the centerpiece is a larger-than-life headshot of her from the women’s singles medal ceremony.

In it, the halo-haired athlete smiles broadly as she pretends to take a bite out of her gold medal, putting on full display her now-famous “smiley” piercing in the tissue connecting her upper lip to her gums.

‘I think it really represents her personality and where she’s from, the Bay Area,’ artist Gustavo Zermeño Jr. said of his mural dedicated to U.S. skater and Oakland native Alysa Liu.

(Ronaldo Bolanos / Los Angeles Times)

“I like that it’s a little rough around the edges, but beautiful at the same time,” Zermeño said of the portrait. “I think it really represents her personality and where she’s from, the Bay Area. And so I feel like it just looks, you know, a little hood but at the same time, her being a figure skater, has that softness to it. And that’s kind of what I wanted.”

Lopez added: “I love it. Just her in general, as a person, I think she’s great. What she was able to accomplish in the Olympics is amazing for the United States and just for California. I’m honored to have her mural here. I feel like it represents the community and our business really well.”

We made it! After this weekend, when the Producers Guild of America and Screen Actors Guild hand out their highly predictive precursors, the final shape of the Oscar race should be (reasonably) clear — and nominees worn out by months of campaigning will be breathing a sigh of relief.

Before I share highlights from this week’s issue, one programming note: This will be my last letter from the editor until our inaugural Cannes issue drops in May. (Don’t worry, I will be plenty busy in the interim catching up on this year’s top Emmy contenders.)

Thanks as always for following along, and may you triumph in your Oscar pool!

Cover story: Rose Byrne

(Ryan Pfluger / For The Times)

Times columnist Mary McNamara and I don’t agree on everything, but we do agree on this: “Damages” deserves to be ranked alongside “Mad Men” and “Breaking Bad” in any discussion of the Golden Age of TV.

That’s thanks in one part to a gripping flash-forward narrative structure now so common it could be considered a cliché, and in another to Glenn Close’s indelible performance as ruthless litigator Patty Hewes. But it’s also a testament to the multifaceted talents of Rose Byrne, who went “toe-to-toe” with Close in what would become her breakthrough role — and then confidently pivoted to projects like “Insidious,” “Bridesmaids” and “Spy.”

“Byrne is something of a creative chameleon, moving easily from drama to comedy to horror, film to television to stage and back again,” McNamara writes in this week’s cover story. “In many ways, her gut-wrenching, darkly funny performance as a woman pushed beyond all endurance in “If I Had Legs I’d Kick You” is a culmination of all the characters she brought to life before it.”

Inside Warner Bros.’ dominant Oscar haul

(Christina House/Los Angeles Times)

Whether you come down on the side of “Sinners” or “One Battle After Another” in the best picture race may be perfect fodder for debate with friends over a few small beers, but for Warner Bros. executives Mike De Luca and Pam Abdy it would be akin to choosing a favorite child. After all, both projects emerged from the pair’s desire, as contributor Gregory Ellwood writes, to make WB “a destination where filmmakers of all varieties, including auteurs, bring their projects for ‘white glove’ treatment.”

As De Luca explains, “Everything was original once… If you don’t refresh the coffers with new IP to create new franchises, at some point you get to Chapter 10 or 11 and people start to move on.”

The many faces of ‘The Secret Agent’

(Ryan Pfluger/For The Times)

The moment Tânia Maria arrives onscreen as Dona Sebastiana in “The Secret Agent,” you can’t help but ask yourself, “Who is that?!” (Star Wagner Moura had the same reaction.) But the real feat casting director Gabriel Domingues pulls off in the Oscar-nominated Brazilian thriller is to make you ask yourself the same question, over and over, every time a new character appears.

How did Domingues find a range of actors to represent the country’s endless diversity? It’s part of his process, writes contributor Carlos Aguilar: “He prides himself on doing the shoe-leather work of looking for fresh, compelling faces in cities where others might not think to look — those without a prominent arts scene, for instance.”

More stories from our Feb. 26 issue

The way we travel could be changed forever following a futuristic rail project with rapid journeys from London to Paris within 20 minutes, and to Amsterdam in a mere 22 minutes

In a glimpse into the future of travel, a journey from London to Paris could take just 21 minutes, thanks to an innovative rail project.

As it stands, the fastest train journey from London to Paris takes two hours and 16 minutes, thanks to the efficient Eurostar which departs from St. Pancras International. However, if a futuristic rail project comes into fruition, the trip could be reduced to 1/6 of its current length, thanks to a hypothetical rail service that’d travel at more than 600mph.

This ultra-high-speed service would be made possible with hyperloop technology, which would involve passenger pods travelling through low-pressure tubes. In addition to the 21-minute journey to Paris, it could also provide transport from London to Brussels in 20 minutes, to Amsterdam in 22 minutes, and Berlin in just over an hour, reports the Telegraph.

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Yet the concept isn’t new and was brought to the spotlight in 2013, when entrepreneur Elon Musk published a white paper on the hyperloop, a proposed transportation system. Musk previously labelled it a ‘fifth mode of transport’, and work has been underway in Europe on making this hypothetical engineering marvel a reality.

The European Hyperloop Center (EHC) in Veendam opened in the Netherlands two years ago, offering a 420-metre hyperloop test tube that runs adjacent to a train track. There have been successful hyperloop tests, and engineers have achieved a “zero-moving-parts lane switch” by enabling the pods to alter their course without mechanical track adjustments.

While it was conducted at 55mph, The Telegraph, which visited the European Hyperloop Center, said it was a “turning point” for hyperloop. The inventive project could revolutionise how we travel and is said to feel like flying rather than boarding a standard train.

The managing director of the Hyperloop Center Veendam, Kees Mark, told the Telegraph: “To think that we could be having coffee in Paris in under an hour from now is a huge mindset shift. It’s more like flying. That’s one of the benefits of hyperloop – there’s no wear from moving parts.”

But there’s a long way to go for the ultra-fast transport, with the project facing major setbacks and a bundle of technical difficulties. It can also present some health and safety concerns.

In 2023, Virgin Hyperloop in the US halted passenger operations amid safety concerns, a complicated regulatory process, and substantial financial difficulties. One of the project’s investors, Richard Branson, withdrew after the company failed to reach its goal of 700mph, achieving only 107mph during the first human trial.

The number of passengers the hyperloop service could carry is another hurdle compared to a standard rail service. Hyperloop pods are designed for low-capacity, high-frequency travel, typically holding 28 to 40 passengers per capsule. However, because they are designed to operate every 30 to 120 seconds, they aim to achieve high hourly throughput despite small cabin sizes. Some designs suggest up to 50 passengers, but smaller, faster-moving pods are generally prioritized for efficiency

At this point, the project is still very much in the experimental stage, and it could be years before the form of transport is introduced for use, but with tests well underway, could this be the new normal?

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Feb. 20 (Asia Today) — Motif Technology’s consortium has been selected in an additional call to join South Korea’s government-backed effort to build an “independent” artificial intelligence foundation model, as officials said a second evaluation in August will continue to weigh whether teams meet the project’s originality standard.

The Ministry of Science and ICT said Motif was chosen for its experience designing models with its own architecture and for achieving performance it said could compete with leading global systems despite operating in a limited data environment.

The Motif consortium includes the company, startup More, Seoul National University’s industry-academia cooperation foundation and the Korea Advanced Institute of Science and Technology.

The group plans to build an inference-focused large language model with 300 billion parameters and later expand work into vision-language models and vision-language-action models, the ministry said.

Motif will develop its model from this month through July and then compete in an August stage evaluation against LG AI Research, Upstage and SK Telecom. The ministry said it will extend the development timeline for the existing three teams by one month, setting the deadline at the end of July, and will provide Motif with support comparable to the other teams, including 768 graphics processing units and data.

The August stage evaluation will narrow the field to three teams and will include the originality requirement, officials said. Two teams are to be selected for final support by the end of the year.

Kim Kyung-man, director of the ministry’s AI policy office, said the four teams will discuss how to apply the originality assessment and that more detailed criteria will be developed with input from industry and academia.

The project drew attention last month after Naver Cloud failed to meet the originality requirement in an initial evaluation and NC AI was eliminated after scoring lowest on other criteria, raising questions in some quarters about the program’s momentum.

The ministry said the project’s priority is building a domestic AI ecosystem through teams capable of developing an independent foundation model.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260220010006171

WASHINGTON — The U.S. Commission of Fine Arts, a panel made up of President Trump’s appointees, on Thursday approved his proposal to build a ballroom larger than the White House itself where the East Wing once stood.

The seven-member panel is one of two federal agencies that must approve Trump’s plans for the ballroom. The National Capital Planning Commission, which has jurisdiction over construction and major renovation to government buildings in the region, is also reviewing the project.

Members of the fine arts commission originally had been scheduled to discuss and vote on the design after a follow-up presentation by the architect, and had planned to vote on final approval at next month’s meeting. But after the 6-0 vote on the design, the panel’s chairman, Rodney Mims Cook Jr., unexpectedly made another motion to vote on final approval.

Six of the seven commissioners — all appointed by the Republican president in January — voted once more in favor. Commissioner James McCrery did not participate in the discussion or the votes because he was the initial architect on the project before Trump replaced him.

The ballroom will be built on the site of the former East Wing, which Trump had demolished in October with little public notice. That drew an outcry from lawmakers, historians and preservationists who argued that the president should not have taken that step until the two federal agencies and Congress had reviewed and approved the project, and the public had a chance to provide comment.

The 90,000-square-foot ballroom would be nearly twice the size of the White House, which is 55,000-square-feet, and would accommodate about 1,000 people, Trump has said. The East Room, currently the largest room in the White House, can fit just over 200 people at most.

Commissioners offered mostly complimentary comments before the votes.

Cook echoed one of Trump’s main arguments for adding a larger entertaining space to the White House: It would end the long-standing practice of erecting temporary structures on the South Lawn that Trump describes as tents to host visiting dignitaries for state dinners and other functions.

“Our sitting president has actually designed a very beautiful structure,” Cook said. “The United States just should not be entertaining the world in tents.”

The panel received mainly negative comments from the public

Members of the public were asked to submit written comment by a Wednesday afternoon deadline. Thomas Leubke, the panel’s secretary, said “over 99%” of the more than 2,000 messages it received in the past week from around the country were in opposition to the project.

Leubke tried to summarize the comments for the commissioners.

Some comments cited concerns about Trump’s decision to unilaterally tear down the East Wing, as well as the lack of transparency about who is paying for the ballroom or how contracts were awarded, Leubke said. Comments in support referenced concerns for the image of the United States on the world stage and the need for a larger entertaining space at the White House.

Trump has defended the ballroom in a recent series of social media posts that included drawings of the building. He said in one January post that most of the material needed to build it had been ordered “and there is no practical or reasonable way to go back. IT IS TOO LATE!”

The commission met Thursday over Zoom and heard from Shalom Baranes, the lead architect, and Rick Parisi, the landscape architect. Both described a series of images and sketches of the ballroom and the grounds as they would appear after the project is completed.

Trump has said the ballroom would cost about $400 million and be paid for with private donations. To date, the White House has only released an incomplete list of donors.

A lawsuit against the project is still pending

The National Trust for Historic Preservation has sued in federal court to halt construction. A ruling in the case is pending.

In comments it submitted to the commission, the privately funded group recommended that the size of the ballroom be reduced to “accommodate and respect the primary historic importance of the original Executive Residence.”

At the commission’s January meeting, some commissioners had questioned Baranes, Trump’s architect, about the “immense” design and scale of the project even as they broadly endorsed Trump’s vision. On Thursday, Baranes described changes he has since made to the design, and the commissioners said they welcomed the adjustments.

The ballroom project is scheduled for additional discussion at a March 5 meeting of the National Capital Planning Commission, which is led by a top White House aide. This panel heard an initial presentation about the project in January.

Superville writes for the Associated Press.