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Trump Points To WHCA Dinner Shooting In Urging Judge To Let Him Build White House Ballroom

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Donald Trump is pointing to the shooting at the White House Correspondents’ Dinner to make the case to a federal judge that he should lift his order to stop construction of a new White House ballroom.

The argument is that the incident never would have happened had the event been at the White House, which currently has a much smaller space, the East Room or outside tents, to host large events.

In a new filing late Monday, much of which reads like one of the president’s Truth Social posts, Justice Department attorneys argue the judge should never have stopped the project, “but after the Saturday night attempted assassination, which could have never have taken place in the new facility, reasonable minds can no longer differ — the injunction must be dissolved.” The DOJ lawyers also argue that the injunction “greatly endangers the lives of all presidents, current and future.”

The calls to get the ballroom built started shortly after Trump, First Lady Melania Trump and other administration officials were rushed from the Washington Hilton event space after shots were heard from an adjacent lobby area. On Monday, Cole Tomas Allen, 31, was charged with attempting to assassinate the president, along with other crimes, after he rushed through a security checkpoint carrying a rifle. That led to shots being fired, including one that struck a Secret Service agent, who was unharmed because he was wearing a protective vest.

U.S. District Judge Richard Leon ruled that while construction of an underground bunker, below the proposed ballroom, can continue, Trump needs approval of Congress to build the ballroom above it.

The DOJ’s latest filing starts with an attack on the National Trust for Historic Preservation, which brought suit to halt the ballroom.

“The are bad for the country,” the DOJ attorneys say in the filing about the National Trust. “They stop many projects that are worthy, and hurt many others.”

The Trump administration already has appealed Leon’s order and, for now, the ballroom construction can proceed at least until June, when the D.C. Circuit is scheduled to hear the case.

On Monday, Gregory Craig, the attorney for the National Trust, wrote to Assistant Attorney General Breet Shumate, who had urged the plaintiffs to drop the case, citing the events at the Correspondents’ Dinner.

The National Trust has declined to do so. The trust has said that recognizes the need for a larger meeting space at the White House, but argued that only Congress could authorize it. A number of preservationists and architects have said that the ballroom is way too big given the size of the main Executive Mansion.

Craig wrote, “What Saturday’s awful event does not change is that the Constitution and multiple federal statutes require Congress to authorize construction of a ballroom on White House grounds, and that Congress has not done so. 

“Equally clear is that nothing in this lawsuit puts the personal safety of the president, his family, or his staff in any jeopardy. Indeed, after reviewing multiple secret security submissions by  your office, the court concluded that the absence of a White House ballroom is not a matter of  national security permitting those federal laws to be ignored.”

Sen. Lindsey Graham (R-SC) and other GOP Senators proposed legislation to authorize $400 million to build the ballroom, offset by custom fees. Trump has said that he has lined up private donations to construct the 90,000 square foot structure, but Graham said that such funding should be used to buy “china and stuff like that.”

It’s unclear if the White House Correspondents’ Association would even hoist its dinner at the White House, given that it is a private non profit organization representing journalists who cover the administration. The Washington Hilton also has held about 2,800 guests, far more than the proposed White House ballroom, which is expected to hold up to 1,000.

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Tokyo Film Festival to Honor Mohammad Rasoulof and Mipo O

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The Tokyo International Film Festival will honor filmmakers Mohammad Rasoulof and Mipo O with its Kurosawa Akira Award at the event’s 39th edition next month.

Named for the Japanese master, the award recognizes directors whose work has made an impact on cinema and who are expected to help shape its future. It was revived in 2022 after a 14-year hiatus with support from Capcom. Last year’s recipients were Chloé Zhao and Lee Sang-il.

This year’s honorees were selected by a committee comprising filmmakers Yoji Yamada and Lee Sang-il, cinematographer Akiko Ashizawa and TIFF programming director Shozo Ichiyama.

Rasoulof, one of Iran’s leading dissident directors now living in exile in Europe, won Berlin’s Golden Bear for There Is No Evil (2020), while The Seed of the Sacred Fig (2024) received a special prize at Cannes before earning an international feature Oscar nomination as Germany’s submission.

The committee singled out the two films for “their humanist perspective, which portrays even those who perpetrate oppression as ordinary citizens.” It also praised Rasoulof’s “unwavering commitment to creative expression despite relentless pressure.”

“Receiving the Kurosawa Award is a great honor for me. His films are profound explorations of the human condition and the moral choices we make in moments of crisis. Kurosawa was a dynamic and inquisitive visual storyteller whose unique perspective on humanity, nature, and the world has made his work an enduring source of inspiration in cinema,” Rasoulof said.

O, a Japanese-born filmmaker of Korean descent, made her feature debut with The Sakais’ Happiness in 2006. Her credits include The Light Shines Only There (2014), Japan’s Oscar submission that year, and Being Good (2015), an ensemble drama exploring child abuse, bullying and the possibility of breaking those cycles through human connection.

After a nine-year break from feature filmmaking, she returned with Living in Two Worlds (2024), a family drama starring Ryo Yoshizawa as the hearing son of deaf parents, whose desire for independence complicates his relationship with his mother. Her latest, How Dare You? (2025), takes a more comic approach to childhood, following three elementary school students whose budding environmental activism — mixed with a classroom crush — leads to unintended consequences.

The selection committee praised her “multifaceted perspective on individuals living on the margins of society” and her avoidance of “a simple lens of good vs. evil,” while highlighting her work with child performers.

“To receive such an extraordinary honor on the 20th anniversary of my directorial debut fills me with immense gratitude and deep humility,” O said. “Winning the Shindo Kaneto Award in 2010 provided me with the vital support to keep making films. Though my progress has been slow, reaching the Kurosawa Akira Award is a stroke of fortune that makes me truly savor what a happy cinematic journey I have had. This recognition is by no means mine alone. My heartfelt thanks go to all the cast and crew members I have met along the way, the audience who stepped into the theaters, and the selection committee—led by director Yamada Yoji—who discovered my films.”

Tokyo will also screen 4K restorations of Kurosawa’s Sanshiro Sugata (1943) and Ikiru (1952), alongside Charles Chaplin’s The Circus (1928) and Abbas Kiarostami’s Where Is the Friend’s House? (1987).

Separately, the festival named Alice in Borderland actor Hayato Isomura president of its Ethical Film Award jury. Launched in 2023 with Sumitomo Corporation, the prize recognizes films addressing social issues including the environment, poverty and discrimination. Three members of TIFF’s Student PR team will join Isomura on the jury.

The nominees are Brazil’s Amadeo and the Hypothetical New World, the German-Ukrainian feature I Rarely Wake Up Dreaming and Australia’s Time and Tide. The award ceremony and a talk with Isomura are scheduled for Nov. 2.

“Today, we absorb vast amounts of information in seconds through a small screen. I often feel we fall into the trap of believing we understand something instantly, constantly searching for quick answers. Yet, when it comes to deepening our awareness and understanding of social issues, the process of reaching those answers is what truly matters,” Isomura said. “Cinema possesses the unique power to pause our hurried pace, allowing us to experience that very process through the lives and emotions of others. I am committed to taking the thoughts, hopes, and wishes woven into these films by each filmmaker deeply to heart, and to reflecting on them together with everyone.”

The 39th Tokyo International Film Festival runs Oct. 26-Nov. 4, with the TIFFCOM market taking place Oct. 28-30.

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Dennis Haskins Dies: ‘Saved By The Bell’s Mr. Belding Was 75

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Dennis Haskins, best known for playing Mr. Belding in Saved by the Bell, has died. He was 75.

His agent Jay Schachter confirmed the news to Deadline, saying in a statement, “It’s a tragic loss. Everyone loved Mr. Belding and those of us who got to know Dennis, loved him even more. He was a great person, and he loved, I mean absolutely LOVED his fans.”

“He always had time for them, no matter what. He was my client and dear friend for over 20 years, and I will miss him terribly. I’m heartbroken,” he continued.

Haskins cause of death was not disclosed.

Haskins first played Principal Richard Belding in the Disney Channel series Good Morning, Miss Bliss, opposite Hayley Mills in 1989. After one season, the show was retooled as Saved by the Bell on NBC, where he reprised his role through its four-season run. Haskins returned as Mr. Belding for Saved by the Bell: The New Class in 1993 and played the role for seven more seasons, until the show’s finale in 2000.

Other acting credits for Haskins included Hangin’ with Mr. Cooper, Malibu, CA, The Practice, The West Wing, The Rerun Show, The Stoneman, 7th Heaven, Going Down, Red Water, Tangy Guacamole, An Ordinary Killer, JAG, Dead End Road, It’s Always Sunny in Philadelphia, Men of a Certain Age, The Bold and the Beautiful, Victorious, Mad Men, Emerald Acres, How I Met Your Mother, Destroy the Alpha Gammas, New Girl, Hot In Cleveland, This Isn’t Working, Bill Nye Saves the World, Abstruse, Enigma, A Bennett Song Holiday, among many others.

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Russo Brothers On The Hulk Appearing On ‘Avengers: Doomsday’: “Certainly Involved In The Story That Revolves Around Doom”

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Many questions surround Avengers: Doomsday, and one major one is whether Mark Ruffalo will reprise his role as Bruce Banner.

The actor recently appeared in Spider-Man: Brand New Day as Banner, and the Russo Brothers teased that the Hulk is “certainly involved” in the story around Doctor Doom.

“I think [what] we could say is, [Banner] is certainly involved in the story that revolves around Doom,” Joe Russo told Empire Online. “We will not confirm nor deny his appearance in Doomsday.”

Anthony Russo added, “The farthest we can go is to say, there are characters and actors who have not been announced, who are a part of Doomsday.”

Avengers: Doomsday is set to be released on December 18 as part of Phase 6 of the MCU. The film follows 2019’s Avengers: Endgame, which the Russos also directed.

Avengers: Doomsday will feature different groups of heroes from different universes, including the Avengers, the Wakandans from Black Panther, the Thunderbolts (known as the New Avengers) from Earth-616, the Fantastic Four from Earth-828, and the original X-Men.

RELATED: 15 Movies & Shows To Watch Before ‘Avengers: Doomsday’

In a recent interview, the Russo Brothers said they started filming Avengers: Doomsday without a finished script.

“We’re improvisation-based, rehearsal-based directors,” Joe Russo told AP. “We like to see what the actors bring to the characters, and sometimes you don’t get the actors until a few days or few weeks before you shoot them. And a lot of the time, that’s when the magic happens.”

RELATED: ‘Avengers: Doomsday’ Ticket Pre-Sales Cross $50M Domestically Three Months Out

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