A federal judge is holding a hearing on Thursday on another challenge to the Kennedy Center‘s plans to add Donald Trump‘s name to the complex.

On Wednesday evening, attorneys for Rep. Joyce Beatty (D-OH) reacted to the most recent filing by the center, in which they suggested that the complex may have to be torn down if Trump’s name was not restored.

Beatty’s attorney wrote, “In plain English, Defendants have not-so-subtly said: ‘What a nice Kennedy Center you have here. What a shame should something happen to it.’ This is a breathtaking assault on the rule of law. It is delusional. And it must stop.”

The board of the Kennedy Center voted earlier this month to add “Renovated and Restored by President Donald J. Trump” to the front facade below the inscription, “The John F. Kennedy Memorial Center for the Performing Arts.” Once a $100 million threshold is met for an endowment, another inscription would be placed below that one to read, “Endowed by the Trump Kennedy Center Fund.”

The board also voted to rename “the physical site and grounds upon which the center sits” as the “President Donald J. Trump Plaza.”

Beatty claims that the addition of Trump’s name in those locations violates a judge’s order prohibiting a previous effort by the board to add POTUS’s to the name of the center.

From December until June, the center was rebranded as the “Trump Kennedy Center.” On the front facade, the words, “The Donald J. Trump and” were placed above “The John F. Kennedy Memorial Center for the Performing Arts.” But a judge ruled that only Congress could approve such changes, not the Trump-controlled board. The POTUS designation was removed in June, and part of the front facade is now covered by a tarp.

In a filing earlier this week, center attorneys wrote that “undisputed evidence demonstrates, that without the prominent recognition of The Trump Administration, and President Trump’s efforts, the donors will not contribute, and the Center will continue to be in a financial and structural death spiral.”

They added that Trump has “marshalled a new donor base to finance an endowment for the Center. These efforts promise to raise hundreds of millions of dollars to fund desperately needed structural improvements, thereby making the Center physically and financially secure for generations to come and, perhaps most importantly, to make the Center structurally safe from collapse or calamity.”

They added, “Without those efforts, the Center will deteriorate further into an unsafe, decrepit structure that will be required to be taken down, with a determination to follow on what to build on the site, such as a large outdoor amphitheater overlooking the Potomac River that has been proposed, by some, for many years. Such a replacement will fail to adequately honor President John F. Kennedy, but would be simpler and more economical to build, operate, and maintain.”

Beatty’s legal team also wrote that the center was “actively misleading” the judge and the public in claiming that “‘undisputed evidence demonstrates’ that ‘the Center will continue to be in a financial and structural death spiral’ unless President Trump’s name is added to the building, and that ‘President Trump’s efforts promise to stem the Center’s tremendous financial losses.’” They pointed to a report in The Washington Post that, after the board’s vote to add Trump’s name to the center, ticket sales and donations collapsed.

“This doublespeak is unconscionable,” Beatty’s legal team wrote. “Moreover, to the extent Defendants cannot fundraise, the solution is to ask Congress to appropriate needed funds and hire professional management with expertise in the performing arts to supplement appropriations as needed—not to violate the law on the ridiculous conceit that putting ‘Trump’ all over the place will open a spigot of contributions.”

A Kennedy Center spokesperson did not immediately return a request for comment. But in a statement earlier this week, the spokesperson said, “Center leadership remains committed to demonstrating, by all legal means, the soundness of the Board’s decision to recognize Chairman President Donald Trump’s unprecedented support for restoring and revitalizing America’s Cultural Center.”

Beatty, an ex officio member of the Kennedy Center board, also denied that she gave her approval to the proposal to rename the grounds of the center for Trump. In its filing earlier this week, the center’s attorneys wrote that at the board meeting earlier this month, Beatty “explicitly stated that she had ‘no objection’ to one component of it—re-naming the Center’s grounds after President Trump to honor the work he is doing to save the Kennedy Center.”

In a declaration to the court, Beatty wrote that at the board meeting, she “tried to explain that I was not categorically opposed to recognizing Trump in some very limited way, for example, inside the building or with a modest bench or plaza.”

She wrote, “My stated willingness, in that moment, to consider a more limited alternative was a good-faith effort to steer the Board away from actions I strongly suspected to be unlawful. And as I made clear at the time, any willingness on my part was conditioned on the lawfulness of the final action.”

Peter Cullen, the Canadian voice actor who starred as the heroic Optimus Prime in a convoy of Transformers films, TV shows and video games and as the gloomy Eeyore in dozens of Winnie the Pooh projects, has died. He was 85.

Cullen died Wednesday at his home in Los Angeles, his family announced.

The Montreal-born Cullen also voiced King Kong for the 1976 remake and the evil K.A.R.R. (short for Knight Automated Roving Robot) on Knight Rider series in 1982 and 2009, and he came up with the scary clicking sounds that emerged from the mouth of the monster in the Arnold Schwarzenegger-starring Predator (1987).

Early in his career, he was a live-action performer and served as the announcer for The Smothers Brothers Comedy Hour and The Sonny & Cher Comedy Hour.

In a 2014 NPR interview, Cullen noted that he initially approached playing Optimus Prime with puzzlement. “I auditioned like everybody else,” he said. “I was told it was a hero, and I was told it was a truck.”

The good-natured Cullen got the job and voiced the honorable leader of the Autobots for the first time on the 1984-87 syndicated series The Transformers, based on the Hasbro toy line and produced by Marvel in association with Toei Animation of Japan and then AKOM in South Korea.

Optimus’ death after a duel with the tyrannical Megatron in The Transformers: The Movie (1986) caused a huge and unexpected outcry, prompting producers to bring Cullen and the character back for the 1987 straight-to-video movie The Transformers: The Return of Optimus Prime.

When director Michael Bay resurrected the property for the big screen with DreamWorks’ Transformers (2007), starring Shia LaBeouf, it was a no-brainer to rehire Cullen after two decades away.

“I describe it as kind of slipping into an old pair of very comfortable shoes that you haven’t worn for a while,” he told IGN in 2007. “I just slipped right into them, and they felt as good as the last time I put them on.”

With Cullen as the Peterbilt 379 semi-trailer truck, the film grossed $709.7 million worldwide — the fifth-highest grossing movie of the year. He followed with the sequels Revenge of the Fallen (2009), which raked in $836.3 million, and Dark of the Moon (2011) and Age of Extinction (2014), which each raked in $1.1 billion.

Cullen also played Optimus in The Last Knight (2017), Bumblebee (2018) and Rise of the Beasts (2023). (Chris Hemsworth voiced the character in 2014’s Transformers One.)

Cullen began as the voice of Eeyore on the 1988-91 series The New Adventures of Winnie the Pooh, and he portrayed the droopy donkey in the featureWinnie the Pooh: A Very Merry Pooh Year (2002) and on other shows and videos.

“I get an awful lot of reactions from, especially, young kids, when I go up and just say [in Eeyore’s voice], ‘Hello. Thanks for noticing me,’” Cullen said.

One of four children, Peter Claver Cullen was born in Montreal on July 28, 1941. His parents, Henry, a longtime newsprint executive with the International Paper Sales Co., and Muriel, were Americans.

He spent time on a relative’s farm as a kid, and “I remember the very first summer, I could imitate the cows, the calves, the chickens, the different dogs they had,” he recalled.

He left the National Theatre School of Canada as a member of its first graduating class in 1963, studied acting under operatic coach Bernard Diamant, did Shakespeare for a summer in Stratford, Ontario, and was a member of the repertory company at The Crest Theatre in Toronto for a year.

He also worked as an announcer for the Montreal radio station CKGM and played an astronaut named Commander Bi Bi Latuque on the 1967 slapstick kids series The Buddies for the Montreal TV station CFCF. He then starred in Les Anglaises, a CBC radio comedy about a French Canadian man and his English Canadian wife (Joan Stuart) for the series Funny You Should Say That.

Cullen headed to Hollywood and landed on The Smothers Brothers Comedy Hour in 1967, and he took part in comedy sketches for the Sonny & Cher program and The Hudson Brothers Razzle Dazzle Comedy Show.

To play Optimus Prime, Cullen said he channeled the spirit of his older brother, Larry, a decorated U.S. Marine who served in Vietnam from 1965-68.

“When he came home, I could see a change. He was quieter and he was a man and a superhero to me,” he said in 2006. “I watched him and listened to him. I’d never had an opportunity to do a superhero, and when that came, [that voice] just came right out of me, and I sounded like Optimus.”

He also got to voice Autobots weapons specialist Ironhide, which he based on Chill Wills, an actor in classic Hollywood Westerns.

Cullen’s performance in the first season of the 2010-13 series Transformers: Prime earned him a Daytime Emmy nomination.

At the urging of his agent, Cullen auditioned for Predator even though he was coughing up blood after working long hours on another project, he recalled in 2018. Producers initially didn’t want to show him what the creature looked like, hoping to keep that a secret, but the actor insisted.

“If I can’t see the character, I don’t know what I’m gonna do. I have to have something to relate to, to put myself inside of,” Cullen said of his voice-acting playbook.

“I saw this ugly, ugly face and these tentacles [moving around]. It reminded me of an upside-down horseshoe crab dying in the sun on a beach when I was a kid. Nasty. But from that was coming all these crackling sounds, bubbles that were coming out and bursting.”

Back on the animation front, Cullen also voiced the cheese-obsessed mouse Monterey Jack on Chip ‘n Dale Rescue Rangers; Coran and King Alfor in the Lion Voltron series; Ramrod in the anime show Saber Rider and the Star Sheriffs; Commander James Hawkins in the Vehicle Voltron series; Mario in Saturday Supercade cartoons; and Councillor 1 in Rise of the Teenage Mutant Ninja Turtles.

He was involved with NASA and the Optimus Prime Spinoff Award, which is presented each year to youngsters studying space, science, technology and math.

Survivors include his children, Angus, Claire, Pilar and Clay, a stunt performer and coordinator.

“The phenomenon of Transformers itself is mind-shaking,” he said. “Being a part of it is not only historical, it’s a part of your life that says, ‘Gee, I’m glad.’ I did something in my life that stood out, and I’m really grateful for that. Humbled by it.”

The Nanny McPhee stage musical with a book by Emma Thompson, first revealed by Deadline back in 2024, will open in London in summer 2027.

Based on the Universal Pictures/Working Title Nanny McPhee films, and the Nurse Matilda character by Christianna Brand and Edward Ardizzone that inspired them, the new musical will take the tale to the stage for the first time.

The creative team behind the production will feature actor and writer Thompson, music by singer-songwriter Gary Clark (frontman of the band Danny Wilson who wrote the music for Sing Street on stage and film), with original lyrics by Thompson and Clark.

‘I’ve lived with Nanny McPhee for so long that to see her finally tread the boards is supremely exciting,” said Thompson, who starred in the 2005 and 2010 McPhee films. “Theatre feels like her natural home – magic, music, mischief and a good dollop of danger can all happen right in front of you. Working with Gary Clark to create the musical heart that beats through the story has been an unforgettable journey of a lifetime. And I am thrilled and so proud that the brilliant Katy Rudd will be bringing it all to life with her inimitable witty wonderment. I can’t wait to introduce the all-new Nanny McPhee to audiences next summer.”

Nanny McPhee will be directed by Katy Rudd (Ballet Shoes and The Ocean at the End of the Lane), with set and costume designs by the Tony and Olivier Award-winning Rob Howell (Matilda the Musical) and choreography by Ellen Kane, winner of the 2023 World Choreography Award for Best Motion Picture Choreography for Matilda the Musical.

The musical’s synopsis: “When the mysterious figure of Nanny McPhee arrives at the Browns’ door she discovers a household in chaos; anarchic children who have driven away every Nanny before her, a desperate father, a donkey that is out of control, and a baby who will stop at nothing. Armed with her strange knobbly stick, exceedingly unorthodox methods and quite a lot of magic, Nanny McPhee begins to restore harmony. And as it turns out, the children aren’t the only family members who have lessons to learn.”

Also part of the creative team are orchestrations by Simon Hale, music supervision by Nigel Lilley, and music arrangements by Simon Hale and Nigel Lilley. Lighting is by Howard Hudson, sound designs by Ian Dickinson for Autograph, illusions by Chris Fisher, puppetry by Samuel Wyer, and projections by Andrzej Goulding.

Nanny McPhee is presented by Working Title Films and Universal Theatrical Group. The show is produced by Tim Bevan, Eric Fellner, Lindsay Doran, Emma Thompson, Paul Warwick Griffin, Gareth Hewitt Williams and Rebecca Quigley for Working Title Films.