Reviewing

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.

Warner Bros. Discovery said Tuesday that it was “reviewing” a revised offer from Paramount Skydance — the latest twist in the high-profile auction to claim one of Hollywood’s corporate jewels.

The company did not provide any details of Paramount’s bid. Paramount separately confirmed that it submitted a revised offer.

In a short statement, Warner acknowledged that Paramount had submitted a modified proposal to buy all of the company’s outstanding shares and that board members were evaluating the offer “in consultation with our financial and legal advisors.”

“We will update our shareholders following the Board’s review,” Warner said.

The Larry Ellison-backed Paramount had been facing a late Monday night deadline to boost its bid to claim the company that owns CNN, HBO, TBS and the storied Warner Bros. movie and film studios. Last week, the auction’s winning bidder — Netflix — agreed to allow Warner Bros. Discovery to reopen talks with Paramount for seven days to determine whether Paramount would bring more money to the table.

Warner instructed Paramount to present its “best and final” offer.

Netflix has matching rights should Warner Bros. Discovery reverse course and accept the Paramount bid.

The move comes nearly three months after Warner’s board unanimously agreed to sell HBO and studio assets, including its deep library that includes Superman, Harry Potter, Scooby-Doo, “Game of Thrones,” and “The Big Bang Theory,” to Netflix for $27.75 a share.

Netflix’s deal, valued at $82.7 billion, does not include Warner’s basic cable channels, including CNN, TBS and HGTV.

Those channels are slated to be spun off to a new company later this year.

But Paramount, managed by scion David Ellison, has repeatedly cried foul, saying its cash bid for all of Warner Bros. Discovery, including the Warner cable channels, would be more lucrative for shareholders. Paramount, which enjoys friendly relations with President Trump, has also boasted that it has a more certain path to win U.S. regulatory approval compared to Netflix.

But Warner Bros.’ board has stuck with Netflix’s bid, saying the streaming giant’s financing was more secure.

“The Netflix merger agreement remains in effect, and the Board continues to recommend in favor of the Netflix transaction,” Warner said in its Tuesday statement.

Warner Bros. Discovery told Paramount last week that it expected the billionaire Ellison to put more money into the deal.

Paramount has previously said that the tech billionaire would guarantee more than $41 billion in equity financing that was needed to pull of the more than $108-billion take-over.

Under Paramount’s previous offer, the Ellison family was planning to contribute about $12 billion. Another $24 billion was expected to come from the royal families from Saudi Arabia, Qatar and Abu Dhabi.

In recent weeks, Paramount agreed to cover a $2.8 billion break-up fee that Warner would owe Netflix should Warner walk away from the Netflix deal. Paramount also suggested that it would increase its offer to at least $31 a share.

The move comes amid heightened political interest in the monumental deal that would reshape Hollywood.

The Department of Justice is investigating whether a Netflix takeover, or Paramount’s alternative bid, would harm competition.

Republican lawmakers have been critical of the Netflix deal, saying it would blunt competition.

President Trump has said he didn’t plan to get involved in the investigation, but over the weekend he threatened Netflix, writing on social media that Netflix must fire Susan Rice, a former high-level Obama and Biden administration official, from its board or “pay the consequences.”

Warner Bros. Discovery is consulting with investment bankers from Allen & Company, J.P. Morgan and Evercore and the law firms Wachtell Lipton and Debevoise & Plimpton.

The nominated Oscar shorts come in three categories — and a lot of subjects, styles and temperaments. It’s further proof that an award dictated by length needn’t be bound by anything else.

In the live-action category, a mixed bag of approaches — some inspired by classic literature — are burnished by inspired performances. Lee Knight’s “A Friend of Dorothy” may be a tad on the nose about the cultural and emotional impact of a lonely London widow on a closeted teenaged boy. But leads Miriam Margolyes and Alistair Nwachukwu practically shimmer with humor and warmth. “Jane Austen’s Period Drama,” a loving tweak of the writer’s oeuvre from Steve Pinder and Julia Aks (who also stars), is essentially a one-joke calling card to make feature comedies and it should do the job. Its cast is exactly the sprightly ensemble needed to land its what-if laughs.

Two others just miss the mark in terms of bringing their tensions to powerful resolutions yet benefit from who the camera adores. Meyer Levinson-Blount’s “Butcher’s Stain,” centered on a flimsy accusation against a friendly Palestinian butcher in an Israeli market, undercuts its gripping story with lackadaisical filmmaking and an unnecessary subplot, but lead Omar Sameer is commanding. The black-and-white future shock “Two People Exchanging Saliva,” directed by Natalie Musteata and Alexandre Singh, is an uneven Euro-art bath of unrealized intimacy and casual violence — kissing is punishable by death, slapping is currency — but is given exquisite tautness by the elegant, unrequited swooniness of stars Zar Amir and Luana Bajrami.

A scene from “Jane Austen’s Period Drama,” nominated in the live-action short category.

(Roadside Attractions)

Then there’s my favorite, Sam A. Davis’ likely winner “The Singers,” from Ivan Turgenev’s short story, which pays off handsomely in bites of soulful warbling that briefly turn a barroom’s den of anesthesia into a temple of feeling.

Most of this year’s documentary nominees deal with the grimmest of tragedies, as in “All the Empty Rooms” and “Children No More: Were and Are Gone,” which address the remembrance of children brutally killed. The former film, from Joshua Seftel, follows CBS correspondent Steve Hartman and photographer Lou Bopp on an essay project into the bedrooms of kids gunned down in school shootings, their private worlds heartbreakingly preserved by their families. The latter short, directed by Hilla Medalia, witnesses Tel Aviv’s silent vigils for Gaza’s children, protests marked by posters with beaming faces, and sometimes met with open scorn. These are dutiful, sobering acts of mourning — Seftel’s is the probable awardee. You may wish they were more than that, however, considering the issues (guns, war, political intransigence) that created the devastation.

Combat is what drove award-winning photojournalist Brent Renaud, killed in Ukraine in 2022. But his brother Craig’s memorializing of him, “Armed Only With a Camera,” is oddly uninvolving, more an excerpted flipbook of Brent’s far-flung assignments than a meaningful portrait of excelling at a dangerous job. A more affecting real-world dispatch (and my pick, if I could vote) is “The Devil Is Busy,” directed by Christalyn Hampton and dual nominee Geeta Gandbhir, also up for the feature “The Perfect Neighbor.” It observes a day in the operation of a carefully guarded, female-run Georgia abortion clinic as if it were a newly medieval world’s last chance healthcare outpost, getting by on grit, compassion and prayer. You certainly won’t forget security head Tracii, the clinic’s heavyhearted knight and guide.

A scene from “Perfectly a Strangeness,” nominated in the documentary short category.

(Roadside Attractions)

Your chaser is Alison McAlpine’s appealing, aptly titled “Perfectly a Strangeness,” sans humans, but starring three donkeys in an unnamed desert happening upon a cluster of hilltop observatories. The whir of science meets the wonder of nature and this charming, gorgeously shot ode to discovery (both on Earth and out there) makes one hope the motion picture academy sees fit to recognize more imaginative nonfiction works going forward.

Animation, of course, thrives on the thrill of conjured worlds, like the one in Konstantin Bronzit’s wordless (but not soundless) desert island farce “The Three Sisters.” It owes nothing to Chekhov — though there are seagulls — but much to a classically Russian sense of humor and a Chaplinesque ingenuity. Elsewhere, you can watch the overly cute Christian homily “Forevergreen,” from Nathan Engelhardt and Jeremy Spears, about a nurturing tree, a restless bear and the dangerous allure of potato chips. The message gets muddled but this eco-conscious journey is charming.

It’s tough to predict a winner when the entrants are this strong, but John Kelly’s “Retirement Plan” feasts on wry relatability, as Domhnall Gleeson narrates a paunchy middle-aged man’s ambitious post-career goals, while the cascade of deadpan funny, thickly-lined and mundanely hued images stress a more poignant, finite reality. In its all-too-human view of life, this is, entertainingly, whatever the opposite of a cloying graduation speech is.

A scene from “Retirement Plan,” nominated in the animated short category.

(Roadside Attractions)

The spindly aged-doll puppetry in the stop-motion gem “The Girl Who Cried Pearls” marks a sly fable of need, greed and destiny, centered on a wealthy grandfather’s Dickensian fashioning of his poverty-stricken childhood in early 19th century Montreal. Filmmakers Chris Lavis and Maciek Szczerbowski find an enchanting balance between storybook allure and adult trickery. Maybe this one steals it?

Whichever the case, the animation that moved me the most is “Butterfly,” from Florence Miailhe, imagining the last, memory-laden swim of Jewish French-Algerian athlete Alfred Nakache, who competed in the Olympics before and after the Holocaust. In the cocooning fluidity of an ocean-borne day, rendered with thick-brushed painterliness and splashes of sound, we travel across flashes of community, injustice, achievement, love and despair. The visual, thematic constant, though, is water as a haven and a poetic life force that feeds renewal.