The drone market is hotter than ever, with newbie and slightly more experienced drone pilots now able to enjoy some seriously impressive features on low-cost drones. The new DJI Lito series replaces the older Mini series, with the exception of the DJI Mini 5 Pro, which is DJI’s flagship sub-250 g drone. There are two models available and in this review, we are going to take a look at the DJI Lito 1.

The Lito 1 may be the entry-level Lito model, but it still comes with a feature we’ve been waiting to see on a beginner drone for ages - 5-lux omnidirectional obstacle sensing, otherwise known as collision avoidance. This is a feature that, up until now, has only been available on more advanced and expensive drones, despite being a feature that beginners can truly benefit from.

There are also intelligent flight modes, including ActiveTrack, QuickShots, MasterShots, Hyperlapse, and Panorama, that help you to capture professional-looking photos and videos at the touch of a button. The subject tracking modes are particularly impressive, especially for an entry-level drone, thanks to the omnidirectional obstacle sensing.

The Lito 1 features a 48MP 1/2-inch CMOS sensor with video capture available up to 4K at 100 FPS and photos in JPEG and Raw format. Video can only be captured in the normal profile, which is perfect for beginners because it can be used straight out of camera with no need for color grading.

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DJI Lito 1: Design

• Sub-250 g drone
• Compact folding design
• Respectable battery life

The Lito 1 is a small, lightweight camera drone that looks much like other DJI ‘mini’ drones, with a folding design that makes it even more compact for travel and storage. At 8.78 oz / 249 g, this regulator-friendly drone is just 5.67 x 3.70 x 2.44 in / 144 x 94 x 62 mm when folded, and 7.20 x 9.88 x 3.11 in / 183 x 251 x 79 mm unfolded.

In terms of overall design, it won’t win any innovation awards with its typically DJI light gray build, but it’s undoubtedly a functional drone with great build quality. One of the main visual differences between the Lito 1 and the DJI Mini 4K, for example, is that the Lito 1 has one 5-Lux omnidirectional obstacle sensor on the top of the drone, and another on the bottom.

These two sensors provide highly effective 360-degree obstacle avoidance that will give beginner drone pilots confidence, but you can never fully rely on them to avoid obstacles. Omnidirectional obstacle sensing is fantastic, but it’s no substitute for flying with care and attention. You can also change the way it behaves to suit different situations.

The Lito 1 comes with the DJI RC-N3 controller in the Fly More Combo. This is the most basic DJI controller, where you attach your phone to a telescopic phone holder at the top to give you a camera view and access to settings.

It’s not as convenient as a smart controller but it does its job well and helps to keep costs down. The DJI RC-N3 has a decent battery life and is comfortable to hold, with detachable control sticks that stow away at the bottom of the controller when not in use.

Battery life of the drone itself is great but the claimed 36 minutes of flight time doesn’t quite translate to reality. Flight times came in at around 24 minutes before the battery reached around 16% and 'Return to Home' was initiated. This is still great for small 2590 mAh batteries and plenty of time if you have three batteries from the 'Fly More Bundle' to offer over an hour of flight time.

DJI Lito 1: Functionality

• Quick takeoff
• No internal storage
• Non-GPS RTH

The Lito 1 is a nimble drone capable of some respectable flight speeds, with a maximum speed of 40.27 mph in sport mode and 26.84 mph in normal mode and when tracking subjects. Cine mode is also available with reduced speed and less sensitive controls to assist pilots when capturing cinematic footage. Wind resistance is also great at 23.94 mph, so it will only be on the most windy days when you can’t fly.

Controls are responsive, and you undoubtedly enjoy a robust DJI flight experience with the drone. Plus, video transmission is faultless, and there were no issues whatsoever during testing. Then there are the intelligent flight modes, which include ActiveTrack, QuickShots, MasterShots, Hyperlapse, and Panorama; these all help beginners and experienced pilots alike to capture professional-looking photos and videos at the touch of a button.

The jewel in the crown feature has to be the Omnidirectional Obstacle Sensing because this is the first time it’s been available on a beginner drone model, not to mention one that is so competitively priced. There are several modes available, including Brake and Bypass, so you can select the option that suits the flying situation, and despite having only two sensors – one on the top and one on the bottom of the drone – it does a fantastic job. The subject-tracking modes are impressive, thanks to omnidirectional obstacle sensing and selecting a subject to track is incredibly easy.

Other useful features include Quick Takeoff and Return to Home (RTH). The former allows you to take off before satellite signals have been fixed for GPS, which is useful in more built-up locations.

RTH is the feature pilots know and appreciate, but where it differs slightly from the Lito 1 is that during the latter stages of the RTH process, the drone tracks its take-off route, so a strong GPS connection isn’t essential. This wasn't tested because there were always strong signals, but on paper, it sounds great.

One missing feature is internal storage, so you’ll have to rely on using a microSD card to save your photos and videos. It’s certainly not a dealbreaker and is typical of beginner models. It does, however, offer Wi‑Fi 6 QuickTransfer at up to 50 MB/s, so you can transfer imagery to your smartphone using the DJI Fly app quickly.

DJI Lito 1: Performance

• 1/2-inch 48MP CMOS sensor
• Up to 4K 100 FPS video
• Raw & JPEG photos

The Lito 1 is the absolute beginner model in the new Lito line-up, and as such it has the smaller sensor of the two available models. The camera features a 1/2-inch 48MP CMOS sensor and the lens offers an equivalent focal length of 26.2mm. The aperture is fixed at f/1.8 while focus is available from 4m to infinity.

Image quality is impressive overall, despite the small sensor, and much better than many drones at a similar price point with a small sensor. So, despite this being a beginner model, there’s no doubt that the Lito 1 will keep most beginner pilots happy for years to come before the desire to upgrade to a more advanced model takes hold.

Photos are typically sharpest in the central area of the frame with some fall-off towards the edges of the frame. Video quality is better, as is usually the case, but this is due to using fewer sensor pixels and the centre of the lens. Not to mention, video is much more forgiving than photos because the image is moving.

Photos can be captured in Raw and/or JPEG using shooting modes including Single Shot, Burst Shooting, Automatic Exposure Bracketing (AEB) and Timed shots with delays between two and 60 seconds. This is exactly what you need for shooting photos with a drone.

Please note the footage below was shot in 4K, but our video player only plays in HD.

Video can be captured at up to 4K 100 FPS, 2.7K vertical up to 60 FPS and FHD up to 100 FPS. Video can only be captured in the Normal color profile for straight out of camera footage, so there’s no need for color grading.

The main downside for more advanced users is that the Lito 1 doesn’t capture video in the 10-bit D-Log M color profile, but if you need this, the slightly higher-spec Lito X1 is the model for you.

DJI Lito 1: Price

The DJI Lito 1 is competitively priced at just £429 for the Fly More Combo, or £299 for the drone and a battery if you already own a DJI RC-N3 controller. The Fly More Combo includes three batteries, a charging hub, a carry case, and accessories, along with the drone and the controller. At the time of writing, the drone is unfortunately unavailable in the United States.

This is a great price for an entry-level drone in a Fly More Combo with all those useful accessories. It’s slightly more expensive than some other entry-level drones, but the main advantage of the Lito 1 is that it has Obstacle Sensing.

Should you buy the DJI Lito 1?

If you’re an absolute beginner looking for a solid drone that will meet your needs for some time to come, the DJI Lito 1 is one of the most attractive drones available. If you’d like the same drone but with some additional features, the DJI Lito X1 is a more advanced version.

Flight performance is excellent, and the omnidirectional obstacle sensing is incredibly useful for beginners because it can seriously reduce the risk of crashing. Image quality is also impressive considering the size of the camera sensor, although it’s not a drone that you’d choose to use professionally.

Alongside the omnidirectional obstacle sensing, another impressive and indeed useful feature is subject tracking, which performs incredibly well. This is a feature you don’t often see in entry-level drones, and when you do, it doesn’t work well, but with the Lito 1, the performance can’t be faulted.

If this drone isn't for you

The DJI Lito X1 is the higher spec model of the two new Lito models and features a larger sensor alongside forward-facing LiDAR for improved obstacle sensing. It can also capture video in the flat D-Log M color profile.

If you’d like the most advanced sub-250 g drone available, the DJI Mini 5 Pro offers the best image quality, features and functionality of any compact and lightweight drone.

If you’d like a sub-250 g drone at a competitive price but don’t need obstacle avoidance, the Potensic Atom 2 is a fantastic sub-250 g drone capable of capturing 4K video and photos in Raw and JPEG.

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NASA announced on Tuesday (July 28) that it has officially fueled-up the Roman Space Telescope — a magnificent new observatory expected to generate over 500 terabytes of cosmic data per year. By comparison, the Hubble Space Telescope, in its 35 years of service, has created over 400 terabytes in total.

At present, the Roman Space Telescope's launch aboard a SpaceX Falcon Heavy rocket is scheduled to occur on Aug. 30 at 7:26 a.m. EDT (1126 GMT). And considering the project is sort of the gold-standard for telescope-building, as the team says it's nine months ahead of schedule and under budget, hopes are high that this launch date will stick.

Fueling of the observatory took place on Saturday (July 25) and involved pumping it up with what's known as hydrazine fuel. Hydrazine fuel is a classic sort of fuel used in NASA spacecraft as it's highly efficient; however, because its extremely toxic and unstable, there have been attempts to move away from this sort of fuel and replace it with something less hazardous.

The Roman Space Telescope's inauguration into NASA's fleet of observatories will mark a pretty big moment for the advancement of astronomy.

Roman's specs are quite impressive; thanks to that showy data-generation figure discussed above, the telescope is expected to further our knowledge of intriguing phenomena like dark matter, dark energy, supernova explosions and even the hunt for habitable exoplanets.

It will work as a complement to other major telescopes, including the James Webb Space Telescope (JWST). For example, while Roman can't see as far as the JWST, it does have the same sort of infrared vision that enables such deep space probing. What it can do that the JWST cannot, though, is see a much wider swath of space at once.

One of Roman's instruments, named Wide Field Instrument (WFI), will be able to create images of the infrared universe 50 times wider than the JWST's images. This means that while the JWST is zooming in on a particular object of interest, Roman could meanwhile be compiling future targets for the JWST or catching anything fleeting that the JWST would've missed due to its highly narrow view.

As another example, to help with dark universe studies, this ultra-wide view should allow Roman to study lots of galaxy movements at once. That's great because the only way we even know dark matter and dark energy exist (aka one of the best ways we have of studying the two) is by the way they affect galaxy movements.

"So we're going to see thousands of supernovae, and some of these are going to be further away than any supernovae we've ever seen before," Dominic Benford, program scientist for the Nancy Grace Roman Telescope previously told Space.com.

To accomplish all of these goals though, Roman will have to use its new fuel supply to get to its designated station in space: Lagrange point 2. This is a sought-after spot for spacecraft as it's a gravitationally stable point about a million miles from Earth. That stability means spacecraft have to use less fuel to stay put.

"Roman will use its propellant to power two types of thrusters that help it stay in its planned orbit around L2 and ensure the solar array panels face the sun, which is the observatory's main source of power throughout the mission," NASA explained in a statement.

It's where the JWST is right now — if all goes to plan, we'll really have a nice tag-team operation happening over there.

The Milky Way's spiral disk may have flipped over by 90 degrees, in turn altering the solar system's orbit around the center of the galaxy.

Spiral galaxies such as the Milky Way have two main, visible, structural components: a disk that encapsulates most of its stars, gas and the central black hole, and a more diffuse halo of older stars that encapsulates the disk.

However, the Milky Way's stellar halo has always been a bit of an oddity. The European Space Agency's Gaia mission measured the motion of the halo's stars to find they rotate slowly compared to other material within the spiral disk. Now, supercomputer models led by Kirill Batrakov of the University of Durham have found what triggers this: galactic mergers and spiral disks becoming flipped over.

In their simulations, Batrakov and colleagues tracked the evolution of 25 Milky-Way-like galaxies across billions of years. They found that those which had slowly spinning haloes also experienced head-on mergers with other galaxies and had their disk flipped at some point.

"We already know that the Milky Way had a massive head-on collision in the past with a galaxy known as Gaia-Sausage-Enceladus," Batrakov said in a statement. "So, we think that the Milky Way disk likely flipped in the past."

Gaia-Sausage-Enceladus was a dwarf galaxy with more than 10 billion times the mass of our sun that slammed into the Milky Way between 8 billion and 11 billion years ago. The evidence for this collision was also found in Gaia's measurements of the motions of stars. The colliding galaxy's strange name comes in part because as it was ripped to pieces by the Milky Way's gravity, its stars were channeled onto highly elongated, sausage-shaped streams that our galaxy incorporated into its halo.

This collision was the last major impact that our Milky Way galaxy experienced, but maybe not the last major event that it experienced. At some point, the Milky Way's disk seems to have also flipped, but what caused this is uncertain. Also of note: The simulations showed that galaxies whose disks flipped hadn't always experienced a merger.

"We think that there might possibly be different mechanisms driving the disk flips," Batrakov told Space.com. "At this point, we are not sure which scenario applies to the Milky Way specifically and a further investigation is needed on the precise mechanics of disk flips."

These two mechanisms — the merger and the flip — would both contribute to the slower spinning halo. The head-on merger sees lots of stars from the Gaia-Sausage-Enceladus galaxy get thrown into the halo but on trajectories strongly misaligned with the disk. So, relative to the disk, they collectively rotate more slowly.

The disk flip leads to a similar situation. In the simulations, the flip is measured with respect to the space around the galaxy, but as the orientation of the disk changes relative to the halo, the halo doesn't immediately reorient with it and takes its time to synchronize its rotation with the disk. Hence, this misalignment results in the halo having less coherent rotation relative to the new orientation of the disk.

If the disk flip occurred during the solar system's lifetime, then it could have impacted our own orbit around the galactic center.

"A disk flip means that most of the Milky Way's stars once moved on very different trajectories than they do today, possibly even our sun, meaning our 'stable' spot in the galaxy might not have been so stable for the solar system's whole lifetime," said Batrakov.

Much of what we understand about other galaxies comes from our knowledge of the Milky Way and its story.

"Finding that its disk flipped adds a new chapter to that story, one we must account for when placing the Milky Way in a broader context of other galaxies," said Batrakov, who recognizes just how incredible it is that we can infer this story through careful observations billions of years after the fact.

"What excites me most is that this complex history can be reconstructed just from present-day observations," he said.

Batrakov presented his work at the Royal Astronomical Society's National Astronomy Meeting, being held at the University of Birmingham between July 20 and July 24.

In Apple TV’s "Silo" season 3, we lunge back 352 years to the Before Times to see how the greatest engineering project in the history of the world began… and would end.

Center stage in this dark sci-fi drama are ambitious Congressman Daniel Keene (Ashley Zukerman) and journalist Helen Drew (Jessica Henwick), the pre-apocalypse duo we were first introduced to in Season 2's final episode.

In that scene, the handsome couple met on a first date in a Washington, D.C. restaurant in the aftermath of a dirty bomb that had irradiated the city.

Daniel and Helen play pivotal roles in "Silo's" elaborate conspiracy to save humanity, helping to orchestrate a colossal project in Georgia to build a controlled network of survival bunkers that will last centuries until the Earth somehow becomes habitable again after a mysterious calamity. Wait, that sounds familiar...

Zukerman and Henwick create a completely believable relationship as they’re reluctantly drawn into this mind-boggling plot to save the human race. We connected with them to learn details about cultivating their chemistry and intimacy on the show.

"It's nothing we worked to generate; it was really just there from the beginning," Zukerman tells Space. "We hung out, and we certainly didn’t hang out for the purpose of building that chemistry. I think we got very lucky to find a teammate to be able to do that with."

"We share the same taste and work ethic," elaborates Zuckerman. "When you go on a journey that’s this big with someone, and we shot every day for four months together, we just always had each other’s backs, and there was an immense amount of unconditional respect and excitement. I’m not the kind of actor that could fake it."

Henwick discussed the complexities of her resourceful character and her expanded role in season 3 by exploring what she drew from to compose a layered Helen.

"It was my memory of working on the school newspaper when I was 14," she explains. "And also my natural inclination to ‘Spanish Inquisition’ everyone. I do feel quite an affinity to journalists. I always love to ask questions, and I want to know why and want to understand things. I’m really curious about the world. I didn’t feel like I had to generate much for Helen. I actually felt like she was very close to me."

"Silo"'s impressive set design certainly helped the cast immerse themselves in the doomsday world of author Hugh Howey's dystopian novels and in this lavish Apple TV adaptation.

"I'm sort of a terrible guest to sets, especially if I'm a part of the production," Zukerman adds. "I have to remember to sit in wonder for a second at the scale of the operation. Usually I just try to live as the characters live. Then I'm so thankful that you actually get to live in a real space, especially in a sci-fi, which is not our real world.

"Where the drawers open and when you're looking at something, you're not looking at a blue screen or a green screen, you're actually able to experience life as close as you can within this alternate reality."

Likewise, Henwick absorbed "Silo's" immense scope and scale right from the start.

"I've done a lot of fantasy and sci-fi where I’m stuck in front of a green screen, or there's a tennis ball on a stick, and you have to follow it, and that's the spaceship," she shares. "It was nice to be on a show where so much of it was done practically. I remember the first day going to visit the stairs, and that blew my mind. It is a massive set, one of the biggest sets I've been on."

Executive produced by Graham Yost, “Silo” Season 3 is now streaming on Apple TV.

SpaceX launched 24 more satellites for its Starlink network on Saturday (July 25), a day after demonstrating it could do the same on its next-gen rocket.

A Falcon 9 rocket carrying Starlink group 17-51 lifted off at 11:51 a.m. EDT (1521 GMT or 8:51 a.m. PDT local time) on Saturday from Space Launch Complex 4 East at Vandenberg Space Force Base in California.

About an hour later, the 24 broadband internet satellites were deployed into low Earth orbit (LEO), as planned.

The launch marked the eighth flight of the Falcon's 9 first stage (Booster 1100), which touched down on the "Of Course I Still Love You" droneship, stationed in the Pacific Ocean.

The successful launch raised the total number of active Starlink satellites to 10,865, according to satellite tracker Jonathan McDowell. That number had been 20 units higher for about 20 minutes on Friday, when SpaceX conducted a deployment and operations trial during the 13th test flight of its Starship launch vehicle.

The Starship test was planned to be short-lived but was successful in providing data to support NASA's decision to fly Starlink systems on its Artemis III crewed mission to LEO, which is scheduled to fly next year.

Saturday's launch was SpaceX's 87th Falcon 9 mission of the year.

An astrophotographer captured a breathtaking scene as the International Space Station zoomed by Venus in the daytime sky.

What is it?

Photographer AJ Smadi set up the scene on July 18 in a park near Seattle, Washington. Smadi used a 9.25" (23.5 cm) Celestron Schmidt-Cassegrain Telescope and a ZWO ASI662MC camera equipped with an ultraviolet and infrared filter to capture the incredible image.

But this isn't the first time Smadi has pulled off such a feat. Just over a year ago, the photographer captured the ISS beside Venus in a photo that was selected by NASA as one of its Astronomy Photos of the Day.

"The thing that inspired me to capture Venus with the ISS is the fact that nobody has done it before," Smadi told Space.com by email. "After having realized this in April 2025 following my first time capturing the pair together, I was determined to best my own achievement," Smadi said.

Smadi regularly photographs the ISS but says the clarity differs greatly depending on the stability of the air and its distance.

Why is it incredible?

Capturing Venus, the ISS, or any other object in space (other than the moon) during the daylight hours takes careful planning and a deep understanding of astrophotography techniques and filters.

The ISS travels at a mind-boggling 4.6 miles per second (7.5 km per second) and is 84 million miles (135 million kilometers) away from Venus, so lining up a photograph of the two seemingly side-by-side is no easy feat and takes painstaking planning.

For more of AJ Smadi's work, including photos of the ISS transiting the sun, the moon, and passing by Saturn, visit his Instagram.

On July 28, 1851, the first-ever photo of a total solar eclipse was recorded by a Prussian daguerreotypist named Johann Julius Friedrich Berkowski.

Daguerreotypy is an old photographic process that uses silver-plated copper treated with chemical fumes that make it light-sensitive. Previous attempts to take photos of solar eclipses failed to show the contrast between the sun's corona and the dark disk of the moon.

Using a small, 6-centimeter telescope, Berkowski captured an 84-second exposure starting right after the moon moved completely in front of the sun.

• The Evolution of Solar Eclipse Photography in Photos

Why it mattered

Until Berkowski, total solar eclipses were something people saw once and never again. The ability to document a solar eclipse visually opened the door for scientists to study the solar event - and the sun - like never before. (Not to mention, make a rare astronomical phenomenon more accessible to people unable to see it.)

To be clear, many photographers did try to capture solar eclipses before Berkowski, but those attempts were often overexposed or underexposed. But Berkowski's daguerreotype was detailed enough that in 2005, 154 years, it was hailed as the first correctly exposed image of the sun's corona, the super-hot outer atmosphere of the sun that is visible around the moon during totality.

Today, more than 170 years later, the advent of digital cameras — and even smartphones — has put the ability to photograph a solar eclipse literally in the palm of our hands. Our Editor-in-Chief Tariq Malik has seen two total solar eclipses (in 2017 and 2024), and managed to snap the 2024 eclipse with a smartphone with no training at all (and a bit of luck).

By the way, the next total solar eclipse is coming on Aug. 12 and will be visible across parts of Greenand, Iceland and Spain. To find out how you can capture a totality photo of your own during a total solar eclipse, check out our solar eclipse photography guide and gear up with our best solar eclipse photography equipmetnt for 2026.

And DON'T FORGET! If you're observing a solar eclipse on your own, you'll need eclipse glasses for safety.

Want more space history? Check out our full On This Day In Space video archive on YouTube.

China's Chang'e-8 moon lander mission scheduled for 2029 could send Africa's first space exploration mission to the lunar south pole.

Under the Africa2Moon venture, the Bounced African Low Lunar Sphere, or BALLS for short, is a technology demonstrator in which a trio of spherical probes on the lunar surface will form a radio astronomy array at the moon's south pole region. Each of the metal spheres contains low-frequency radio telescope antennas that will search for signals from some of the oldest and most distant parts of the universe.

Astronomers say the lunar far side is the most radio-quiet site in Earth's vicinity, a location perfect for "listening" to the universe without interference. The BALLS array will work together to observe low frequency radio signals from space that are not observable from the surface of the Earth, according to Carla Mitchell, mission director of the Africa2Moon initiative and Africa Program manager at the South African Radio Astronomy Observatory (SARAO). The moon is an ideal place to perform such studies, they said, as the low frequency signals to be measured are unobservable from Earth due to interference created by our planet's atmosphere.

Pathfinder

The Africa2Moon project was selected by the Chinese National Space Administration in April 2025 as one of nearly a dozen of Chang'e-8's international payloads.

BALLS will enable observations below 20 megahertz (MHz) that are inaccessible from Earth due to ionospheric distortion and radio interference. Low-frequency radio waves (below about 50 MHz) come from some of the oldest and most distant parts of the universe.

The BALLS array will serve as pathfinder hardware for future lunar technologies and radio astronomy experiments. They will also act as a technology demonstrator for the full Africa2Moon mission, which plans for an array of 55 antennas to be deployed on the far side of the moon.

From paperwork to hardware

"As a little girl I thought space was not possible for people in Africa. I never thought I would be here today, presenting our lunar mission at NASA," said Mitchell.

Mitchell detailed years of team work on the BALLS initiative, rolling forward from paperwork to hardware, speaking July 22 at the NASA Exploration Science Forum 2026, held at NASA's Ames Research Center and staged by the NASA Solar System Exploration Research Virtual Institute (SSERVI).

SARAO is the national radio astronomy facility of South Africa, operating and managing such facilities as MeerKAT and the South African Square Kilometer Array (SKA) project. SARAO is involved in a range of cosmic inquiries, from pulsar research to studying fast radio bursts, dark matter and dark energy.

Spaced out

Once deployed on the moon, the BALLS trio would be spaced out on the lunar surface. Signals captured from the BALLS array are to be communicated to the Chinese lander and then relayed back to Earth for further processing.

Each of the BALLS consists of a spherical gyroscope-like frame made of interlocking rings, encasing two large triangular solar panel arrays with a grid-like surface texture. The panels are oriented in opposite directions — one pointing upward and one downward — giving the structure a tetrahedron-like inner form.

The mission is led by the Foundation for Space Development Africa in collaboration with SARAO, the South African National Space Agency, the National Institute for Theoretical and Computational Sciences, as well as institutions in Kenya, Ghana, Botswana and across the continent.

Teams at Petrawell in Cape Town, Aerospace Systems Research Institute at the University of KwaZulu-Natal and Electronic Systems Laboratory at Stellenbosch University were involved in manufacturing the components of the structural and functional BALLS models. They were assembled in April 2026, to be delivered to China's Chang'e-8 team for testing.

"The power of collaboration, education and hope cannot be underestimated for Africa's future in space science and technology," she said.

Looking to a second mission

As for the full Africa2Moon mission consisting of 55 antennas emplaced on the far side of the moon, Mitchell said they would require a launch as with the first mission.

"So yes, it would probably be contingent on China partnering again with us," Mitchell told Space.com.

The design of the second mission instruments would be a little different too.

"We would want to have them a little larger in diameter and so they would have to go in a flat version that will deploy into a ball versus the current version that travels as a ball, due to space constraints," Mitchell said.

"The deployment onto the lunar surface would also be different, as in self-deploying from the lander as opposed to a robot deployment. This would enable a faster and more random and further dispersed deployment pattern, which enhances the science," she said.

Shoe-string budget

"I am amazed that it is being done on a shoe-string budget by volunteers. This demonstrates the inspiration of space and if this is successful, it will ignite the reality of space on the African continent," said Clive Neal, a lunar science exploration specialist and professor in civil and environmental engineering and Earth sciences at the University of Notre Dame.

Attending Mitchell's talk at the recent forum at Ames Research Center, Neal said the broader lunar exploration community is willing to help if needed.

"Her talk was inspirational," Neal said, "especially as the broader planetary science community over here [in the U.S.] is moaning about the lack of funding!"

Astronomers have used the Very Large Telescope (VLT) in the Atacama Desert region of Northern Chile to discover the strongest evidence yet that the famous star Betelgeuse has a companion star. That means after a century of investigation, scientists are closer than ever before to conclusively identifying Betelgeuse as a binary system composed of two stars, Betelgeuse A and Betelgeuse B.

Betelgeuse is a red colored star visible with the naked eye in the constellation of Orion and located around 650 light-years from Earth. Astronomers initially proposed the existence of another star orbiting Betelgeuse around 100 years ago in an attempt to explain the familiar star's strange dimming, which has been observed for over 1,000 years. While other teams have gathered evidence of the existence of Betelgeuse B, this new image is the clearest ever direct observation of the star. The scientists behind the discovery are thrilled.

"This is the conclusion of a century-long quest," team leader Miguel Montargès of the Observatoire de Paris, France, said in a statement. "We have shown that Betelgeuse is not single; it is accompanied by a faint stellar companion. I jumped from my chair when I saw the processed images."

The discovery of this new evidence of Betelgeuse B follows two papers published in 2024 that suggested this elusive stellar companion would be at its furthest from Betelgeuse A in December of that year. With that clue in hand, Montargès and colleagues set about hunting it.

"Honestly, I thought we did not have the sensitivity to detect Betelgeuse B as it was predicted," Montargès said. "Because it is more massive than predicted, we see it!"

Betelgeuse B had previously been theorized to be around the same mass as the sun, but these new observations reveal that this elusive star has instead around two to three times the mass of our star.

"The fact that we can still discover a nearby companion, more massive and brighter than the sun, around such a well-studied star is remarkable," Montargès added. "These are among the best moments in science: seeing something new, unexpected."

Capturing Betelegeuse B was only possible thanks to the VLT's SPHERE instrument, which features a coronagraph that blocks out the light of a planetary system's star. Combined with the advanced optics on the instrument, this allows scientists to measure the wavelength and polarity of light both coming directly from the star and being reflected off of any nearby planets. But that's not all SPHERE can do.

"It is remarkable to see how SPHERE and advanced post-processing techniques, originally developed to find exoplanets, also excel at detecting a companion around a massive, evolved star like Betelgeuse," team member Anthony Boccaletti, also an astronomer at the Observatoire de Paris, said.

There are still many questions to answer regarding Betelgeuse B. The team still needs to solidly confirm that what they have seen is actually a companion star, and they would also like to know how the presence of this star could shape the future of Betelgeuse A.

This red supergiant star nearing the end of its evolution gained notoriety a few years ago when its sudden and rapid brightening led to speculation it was about to suffer an explosive death.

"To be certain that the companion is really there, we still need to observe it in one year on the other side of the star, but there is very little space left for doubt," Montargès said. "The question is truly open whether this companion is going to have an impact on the evolution of the red supergiant."

The team's research was published on Tuesday (July 28) in the journal Astronomy & Astrophysics.

Radio telescopes are designed to listen for signals from the stars and from distant galaxies, but scientists are also pointing out that these instruments can also track objects somewhat closer to home: junk in Earth's orbit.

Engineers have used the famed radio telescope at Jodrell Bank in the U.K. as part of an international plan to watch high-altitude space debris. Normally, old satellites and bits of spacecraft stuck up in geostationary orbit are too high up for our normal ways of watching space debris. However, said international project, called Long Baseline Multistatic Radar (LBMR), successfully used a radio telescope to get around this problem.

"That's the first time that's ever been done," Simon Garrington, associate director of Jodrell Bank, said in a video about the project.

A pressing problem

It's hardly a secret that junk is rapidly piling up in Earth's orbit — dead satellites, rocket remnants, rubble from satellite collisions or anti-satellite missile tests, and more. And as we keep filling Earth's orbit with thousands more satellites each year, we're also increasing the risk that one is struck by a debris fragment. We need to track this debris.

Most satellites exist in low Earth orbit (LEO) below altitudes of 1,250 miles (2000 kilometers), and indeed space debris is more concentrated at LEO. Still, there’s good reason to be just as concerned about debris in the much higher geostationary orbit (GEO), which falls 22,500 miles (36,000 kilometers) in altitude. Crucial communications and weather satellites lie in GEO, for instance, and space debris doesn't need to come in great quantities to pose a threat — just one unfortunate strike can cripple a satellite.

This leaves debris-hawks with a conundrum. They typically track space junk in LEO with radar, but most ground-based radar systems aren't sensitive enough to watch GEO's heights. Instead, they rely on optical telescopes to see objects in GEO. These telescopes are good for tracking larger objects (larger than about 4 inches, or 10 centimeters, across), but they can't resolve smaller objects as well as radar can. Yet these smaller objects can be just as deadly and destructive as their larger counterparts. If we want to see them with radar, we'll need especially sensitive receivers.

Fortunately, that equipment already exists, too — that's where radio telescopes can help.

Engineers have tried debris-watching with radio telescopes as early as the 1990s, but LBMR, backed by NATO and the U.K. Space Agency, wanted to go further and watch debris in real time.

LBMR's engineers drew up a scheme to make this work. They would broadcast radio waves with a radar installation at the Massachusetts Institute of Technology's Lincoln Laboratory in the U.S. These radio waves would glance off debris and fall back into the dishes of U.K. radio telescopes such as the Lovell Telescope at Jodrell Bank. Back on the ground, the radio telescope's signal would be processed and analyzed in real time.

Aligning a radar transmitter with a radio telescope on the far side of an ocean, then processing its signals, is far easier said than done.

"This idea started about seven years ago. It sounded at that time like a crazy idea, because we had no synchronization. We had assets on one end of the ocean and other assets on the other end of the ocean," said Marco Martorella, an electronic engineer at the University of Birmingham and another member of LBMR, in a video. "But we were crazy enough to continue."

This required years of work, but the researchers have now successfully demonstrated that they can receive a signal with a single antenna. This has allowed them to track the distance to a piece of debris, and how quickly that distance is changing, in real time.

Next, the LBMR researchers hope to demonstrate that they can receive radar reflections of the same object with multiple radio telescopes at once. This, the researchers say, would allow debris-hawks to use the radio telescope technique to truly track debris in three dimensions.

Drones are more accessible than ever before, and DJI shows no signs of slowing down in its aggressive drive to take over the beginner drone market. The DJI Neo 2 is both affordable and impressive as a selfie, camera and FPV drone, but with the new DJI Lito X1, high-end features and functionality have finally made it to a beginner model.

The Lito X1 features a 48MP 1/1.3-inch CMOS sensor with video capture available up to 4K at 100 FPS and photos in JPEG and Raw format. The drone features a 5-lux omnidirectional obstacle sensing and forward-facing LiDAR for safer flights in complex environments. Obstacle sensing is a no-brainer for beginner drones, and it’s finally here.

Then there are intelligent flight modes, including ActiveTrack, QuickShots, MasterShots, Hyperlapse, and Panorama, which make it incredibly easy to capture professional-looking imagery. The subject tracking modes are great performers thanks to the omnidirectional obstacle sensing, where you can be confident that the chances of the drone crashing are greatly reduced.

The Lito X1 is priced competitively and is arguably excellent value for money, with the DJI Lito X1 Fly More Combo (DJI RC 2) costing just £599; this is the bundle that features a smart controller with a built-in screen. It’s safe to say that this could be both one of the best beginner drones and possibly even one of the best camera drones available.

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DJI Lito X1: Design

• Compact folding design
• Sub-250 g model
• Two controller options

With its standard DJI folding design, build quality and light gray color, the DJI Lito X1 is a solid yet unremarkable drone from a design point of view.

That said, there’s nothing wrong with this at all, and the Lito X1 is undoubtedly an impressive performer. The drone is just 5.67 x 3.70 x 2.44 in / 144 x 94 x 62 mm folded and 7.20 x 9.88 x 3.11 in / 183 x 251 x 79 mm unfolded, with a regulator-friendly weight of 8.78 oz / 249 g.

The Lito X1 looks like most other drones in the sub-250 g class, but one standout feature is the 5-Lux Omnidirectional obstacle sensors – one on the top of the drone and the second one on the bottom.

These provide up, down, left, right, forward and backward obstacle avoidance, and despite there being just two sensors, the system performs incredibly well. There’s also forward-facing LiDAR for increased precision. The inclusion of these features is a first for a beginner drone.

With the Fly More Combos, you can opt for either the DJI RC-N3 controller, which requires a phone to be used with the DJI Fly app, or the DJI RC 2 smart controller with a built-in 5.5 in FHD touchscreen. This more advanced controller isn’t much more expensive and is significantly more convenient than the standard controller, so it’s well worth consideration.

In terms of battery life, the standard batteries are claimed to last up to 36 minutes, but during testing, flights were coming in at around 24 minutes before Return to Home was initiated when the battery reached around 16%. This is still pretty good, although the higher capacity Prlus batteries will extend flight times further to a claimed 52 minutes.

One point to make is that the Plus batteries take the weight of the drone over 250 g, so you have to be aware of this and its regulatory implications. For most people, the standard batteries offering flight times around 24 minutes will be more than sufficient and keep things simple by maintaining the X1’s sub-250 g weight.

DJI Lito X1: Functionality

• Quick takeoff
• 42GB of internal storage
• Non-GPS RTH

Despite its small size and light weight, the Lito X1 is still a fairly fast and powerful drone with a maximum speed of 40.27 mph in Sport Mode and 26.84 mph in Normal Mode and when tracking. Wind resistance comes in at a respectable 23.94 mph. There’s also Cine Mode, which reduces speed further and reduces the sensitivity of controls to help you to capture more cinematic footage.

Video transmission is solid, and there was no image breakup or stuttering during testing. The maximum range goes far beyond the legal flight distance limits, so they’re impossible to test, but with such robust transmission, you’re pretty much guaranteed a great connection within the legal range.

The X1 flies as well as you’d expect for a DJI drone, so no complaints here. Plus, ActiveTrack, QuickShots and MasterShots all perform particularly well. Subject tracking is excellent thanks to the collision avoidance system, which provides confidence with the drone flying autonomously. Other useful shooting modes include Hyperlapse and Panorama, which make capturing these types of photos and videos incredibly easy.

Another standout set of features is Quick Takeoff and Smart RTH. The former allows you to take off before stallites have been fixed, instead using vision positioning until satellites are connected.

For the latter, the Lito X1 memorizes flight routes in well-lit environments, which helps to provide a safe Return to Home without satellite connection for GPS. This is unlikely, but still useful, and the system aids RTH in all situations.

While the Lito X1 has a microSD slot for removable storage, there’s also 42GB of internal storage that can be used independently or as a backup when using a memory card.

Then there’s QuickTransfer, where files can be transferred to your smart device at up to 50 MB/s via Wi-Fi 6. You can also plug the drone into a computer when it’s switched off and connect to its storage to download photos and videos without switching the drone on.

DJI Lito X1: Performance

• 1/1.3-inch CMOS sensor
• Raw & JPEG photos
• 10-Bit D-Log M

The Lito X1 is an advanced beginner drone, and despite the small sensor size, image quality is surprisingly good. It’s not on par with more expensive drones such as the DJI Mini 5 Pro, DJI Air 3S or DJI Mavic 4 Pro, unsurprisingly, but you could produce both photos and videos to a professional level with the drone.

The camera features a 48MP 1/1.3-inch CMOS sensor that can be set to shoot 12MP and 48MP photos. The lens has a full-frame equivalent focal length of 24mm, while the fixed aperture is f/1.7.

Photos can be captured in Raw and/or JPEG using Single Shot, Burst Shooting, Automatic Exposure Bracketing (AEB) or Timed shots with delays ranging from two to 60 seconds.

Like most drones, photos are sharpest in the central area of the frame with a small amount of fall-off towards the edges. Plus, as usual, results are typically better in brighter conditions.

Video quality is sharper across the frame because shooting at up to 4K uses a crop of the full sensor, and the moving image is much more forgiving.

Please note the footage below was shot in 4K, but our video player only plays in HD.

Video can be captured at up to 4K 100 FPS, 2.7K vertical up to 60 FPS and FHD up to 200 FPS. Video can be captured in the Normal color profile at 8-bit or 10-bit for straight out-of-camera footage.

if you’d like to capture more professional video that needs to be color graded, you can shoot in the 10-bit D-Log M color profile with a maximum bitrate of 130 Mbps. Log footage is generally not available with beginner drone models, so this is impressive.

DJI Lito X1: Price

The DJI Lito X1 comes in at a beginner-friendly price considering the impressive features and functionality on offer. At the time of writing, the drone is unavailable in the United States.

For UK residents, the X1 costs £369 for just the drone and a battery, which is ideal if you already own a compatible DJI controller. The DJI Lito X1 Fly More Combo (DJI RC-N3) costs £509, while the DJI Lito X1 Fly More Combo (DJI RC 2) costs £599. A DJI Lito X1 Fly More Combo Plus (DJI RC 2), which includes higher capacity batteries for longer flight times, costs £669.

The Fly More combos include three batteries, a charging hub, a carry case, and accessories, along with the drone and the relevant controller. For just an extra £90, the DJI RC 2 smart controller Fly More Combo is extremely attractive and offers a much more convenient experience than the DJI RC-N3 controller.

Should you buy the DJI Lito X1?

If you’re looking for a highly capable sub-250 g drone, but one that’s less expensive than the DJI mini 5 Pro, the DJI Lito X1 is one of the most impressive beginner drones we’ve ever tested.

Flight performance is excellent, while image quality for photo and video capture certainly won’t disappoint; capture photos in Raw and JPEG, while you can capture up to 4K 100 FPS video in Standard and D-Log M color profiles.

What makes this drone stand out from the competition, besides this, is the omnidirectional obstacle sensing and forward-facing LiDAR that make flights even safer.

This is a first for beginner drones and a most welcome pair of features that set a new bar for beginner drones. If you’re on a budget but would still like a drone with professional features and functionality, the Lito X1 is a fantastic option.

If this drone isn't for you

The DJI Neo 2 is a highly affordable selfie drone featuring autonomous flight modes and subject tracking. It can also be flown as a camera drone or an FPV drone when paired with different controllers.

The DJI Mini 5 Pro is the most advanced sub-250 g drone available with excellent features, functionality and image quality, making it ideal for professionals and enthusiasts alike.

If you’re on a tight budget and don’t need obstacle sensing, the Potensic Atom 2 is one of the best budget sub-250 g drones available. It shoots Raw and JPEG photos, alongside video up to 4K.

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The 13th test flight of SpaceX's Starship megarocket went pretty well — and provided some amazing visuals, too.

Flight 13 launched on Friday (July 24), sending the 408-foot-tall (124 meters) Starship Version 3 (V3) vehicle aloft from SpaceX's Starbase site in South Texas.

Starship's Super Heavy booster had some engine issues on its way back to Earth. But the Ship upper stage hit all of its marks, successfully deploying 20 next-gen Starlink satellites, re-igniting one of its Raptor engines in space as planned and splashing down softly off the coast of Western Australia. So softly, in fact, that Ship didn't explode after hitting the water — a first for a Starship flight.

SpaceX shared these milestones with us in real time, via the company's Flight 13 launch webcast. And the company highlighted a few of them after the fact as well, with some stunning imagery published on its X account.

One Friday post, for example, shows footage from Super Heavy of Ship cruising away shortly after stage separation, its six Raptors glowing with exertion against the backdrop of a gorgeously blue Earth.

Another Friday X post provides a Ship's-eye view of the vehicle's descent toward the Indian Ocean, steering its way from sky to sea. The video switches over to drone footage just before Ship hits the water, capturing from above the dramatic splashdown — and Ship's survival, despite the outbreak of a sizeable fire around its nose.

Both Ship and Super Heavy are designed to be fully and rapidly reusable. Eventually, both vehicles will return to the launch site shortly after liftoff, for capture with their launch tower's "chopstick" arms, refurbishment and reflight.

SpaceX has already caught Super Heavy on three Starship test flights and will try to do the same with Ship for the first time on Flight 14, provided no red flags emerge during Flight 13 data review, according to SpaceX founder and CEO Elon Musk.

Starship conducted its first test flight in April 2023. Flight 13 was the second launch Version 3 of the vehicle, the first iteration of the vehicle that's designed to be operational.

SpaceX is working hard to get the giant rocket up and running soon. Starship is slated to fly on NASA's Artemis III astronaut mission to Earth orbit next summer and to land astronauts near the moon's south pole on Artemis IV in late 2028.

Rocket Lab is expanding its launch operations to the snowy north.

The California-based company, which already flies from New Zealand and Virginia, just inked a $266 million deal with the U.S. Space Force to fly up to 18 missile-defense missions, most of them from Alaska.

"The size and scale of this contract reflects the Space Force's confidence in our ability to meet their urgent national security demands with speed, responsiveness and scale, and we're proud to provide the high-frequency launch capacity required to keep the U.S. ahead of global threats," Rocket Lab founder and CEO Peter Beck said in a statement today (July 27).

The contract covers 12 suborbital launches, with the possibility of up to six more. These missions "will primarily take place" from the Pacific Spaceport Complex, a picturesque site on Alaska's Kodiak Island, which is most famous for its thriving population of brown bears.

The spaceport has hosted nearly three dozen missions since opening in 1998, most of them suborbital flights for the U.S. military. Recently, however, it has supported launches of private orbital rockets — specifically, those built by Astra and ABL Space Systems (now known as Long Wall).

The newly announced Rocket Lab missions will almost certainly be performed by HASTE, a suborbital variant of the company's workhorse Electron small-satellite launcher that customers use to test hypersonic technologies in the flight environment.

They may also be part of the United States' sprawling Golden Dome missile-defense initiative, though we don't know that for sure; today's release provides few details about the launches.

Rocket Lab's primary launch site is on Māhia Peninsula, on the North Island of Peter Beck's native New Zealand. The company also flies from two pads on Wallops Island, Virginia, one of which has been the jumping-off point for all HASTE suborbital launches to date.

HASTE debuted in June 2023 and now has nine missions under its belt. Electron lifted off for the first time in May 2017 and has flown 82 times to date.

We didn't exactly go bananas for Tim Burton's odd take on "Planet of the Apes" back in 2001, but now, on the occasion of the sci-fi film’s 25th anniversary, we've had time to reflect on not only the summertime spectacle's notable missteps, but also its unsung merits.

Invading the hallowed grounds of director Franklin Schaffner’s 1968 original "Planet of the Apes" was risky business at best, but 20th Century Fox rolled the dice with their long-gestating $100 million remake and a competent cast that included Mark “Markie Mark” Wahlberg, Tim Roth, Helena Bonham Carter, Michael Clarke Duncan, Paul Giamatti, David Warner, and the lovely Lisa Marie.

The studio no doubt hoped a modern makeover of one of the most respected science fiction films ever would reignite interest in the franchise and spawn a bunch of sequels similar to what Schaffner’s Charlton Heston-starring classic did.

Instead, "Planet of the Apes" swiftly killed that notion with its poor critical response despite a respectable box office haul of $362 million after it was released to awful reviews on July 27, 2001. That ended any lofty dreams of triumphantly resurrecting Ape mania for another decade, until director Matt Reeves rebooted everything once more in 2011 with "Rise of the Planet of the Apes."

Treading upon sacred cinematic territory was a brash move, one even considered by filmmakers like Peter Jackson, Oliver Stone, Chris Columbus, and James Cameron at one point.

But Tim Burton was anything but timid, and he prematurely plunged into his "Planet of the Apes" project with unbridled enthusiasm. The aftermath was a strange mix of superficial camp and chaotic action that doesn’t really add up to anything of interest, and it remains a curious addition to Burton’s incredible 40-year filmography.

So, let’s peel back the polarizing "Planet of the Apes" to find some of the sweet and sour!

Rick Baker's Fantastic Makeup

Oscar-winning makeup master Rick Baker provided the astonishingly realistic prosthetics for "Planet of the Apes", and the effects are quite convincing. Well, except for Helena Bonham Carter’s Ari chimp character, which often looks like something out of Dr. Seuss's Whoville with her pronounced muzzle and rodent-like appearance (An apt comparison since Baker also did the special makeup effects for "How the Grinch Stole Christmas" the previous year).

That aside, Baker’s practical magic on the movie is fantastic and one of the production’s finest achievements. The man who created the makeup for "King Kong," "An American Werewolf in London," "Michael Jackson’s Thriller," "Harry and the Hendersons," "Men in Black," and "The Wolfman" designed some of the best simian masks ever seen on screen.

Baker’s earlier work on films like "Gorillas in the Mist" and "Mighty Joe Young" made him a natural for the job, and he truly shined here. Charlton Heston even made a cameo appearance as Zaius, a character from the 1968 original.

The Baffling Time-Tripping Plot

The confusing screenplay by Mark Rosenthal, William Broyles Jr and Lawrence Konner was cobbled together at the last minute and was still being rewritten as cameras began rolling.

It’s a soulless retelling of the 1968 version that relies on a few bad one-liners and uninspired performances by a cadre of fine performers, relegated to delivering flat dialogue and clunky exposition amid some cheap-looking soundstage sets.

A miscast Wahlberg plays Captain Leo Davidson, an astronaut scientist marooned on the planet Ashlar where apes are the masters and humans their inferior slaves.

He follows a genetically modified chimpanzee pilot named Pericles into a cosmic storm that engulfed their research station, Oberon, only to be transported to the year 5021, where humans and apes exist in a reversed society caused by the Oberon’s crash thousands of years before his arrival. Those super-smart chimps, gorillas, and orangutans eventually evolved and rebelled against their human masters.

Leo Davidson's time-traveling odyssey goes from 2029 all the way to the 51st century and then back again to his own era, where things have gone totally haywire. The twist ending is infamous. Davidson returns home to Washington, D.C. to find a marble monument of the human-hating warlord General Thade has replaced the iconic Abraham Lincoln statue.

This alternate timeline is a head-scratching "Ape Lincoln" finale that attempts to imitate that famous Statue of Liberty shocker seen in the original Planet of the Apes. It’s a controversial end to Burton’s rushed reimagining and feels forced.

It seems possible that Burton was attempting to be respectful of Pierre Boulle’s 1963 novel by revealing a modern ape-dominated world in the end, yet at the same time recalling the sensation of that nostalgic beach scene with Lady Liberty in the sand. Whatever he was aiming for, he missed.

Danny Elfman's Magnificent Music

Ah, the sonic magic of Danny Elfman ends our tribute to "Planet of the Apes" as a salute to Burton’s ambitious folly. Elfman and Burton are a melodic combo whose collaboration goes back to 1985’s "Pee-Wee’s Big Adventure" and here Elfman goes for a bombastic sound that utilizes a full range of instrumentals.

His robust, under-appreciated score is composed with droning synthesizer undercurrents, old-fashioned action adventure fanfares, and intense rapid-fire tracks punctuated by brass exclamations and roaring percussion.

It's a more serious piece of musical work that safely avoids the sentimentality and whimsy of earlier scores for Tim Burton projects. This reflects an important evolutionary step for Elfman's maturity as an artist, mirroring some of the movie’s main themes.

"I had been more concerned that the score was going to be more of a traditional, very aggressive Jerry Goldsmith score, which he does so brilliantly, and the fact that it was such an ethereal, otherworldly score, immediately eased all problems I may have had, because I saw that there was not going to be any overlap," Elfman told Soundtrack Magazine.

"I would have been more concerned, if his score was more traditional and aggressive, of what to avoid, so as to not cross over or step on his toes. So it really became very easy once I watched the movie again after 30-something years. The score was such a beautiful, odd, dissonant piece of work. I felt clearly, this is a completely different animal – no pun intended. Having just seen a rough cut of the film, I knew it was going to be a very big, aggressive, muscular, kind of a tribal, driving score."

In summation, anyone attempting to remake the original "Planet of the Apes" was bound to butt up against intense scrutiny and comparison.

Even if Burton’s vision came up far short of what was intended, we still respect the maverick filmmaker for taking on a tough undertaking on the film’s milestone 25th anniversary.

'Planet of the Apes' is available to watch on Hulu in the US, and on Disney+ in the UK.

On July 27, 1962, two Russian cosmonauts boarded a Soviet airliner and experienced weightlessness without going to space. This was the first time cosmonauts completed zero-G training on an airplane.

The Tupolev Tu-104 was a type of jetliner originally designed to transport 50 passengers. It was modified to accommodate cosmonauts who needed to train in an environment that simulated weightlessness. By flying in a parabolic arc, passengers could experience 6 to 25 seconds of weightlessness on each maneuver.

Cosmonauts Andriyan Nikolayev and Pavel Popovich were on this flight to prepare for their upcoming orbital missions Vostok 3 and Vostok 4.

Why it mattered

Human spaceflight was barely a year old in July 1962, so methods of training cosmonauts (and astronauts) were still in development. In the early days of the Space Age, the effects of weightlessness on the human body — including basic functions like eating and using the bathroom — were still being understood, so the more realistic training could be the better.

For Nikilayev and Popovich, this training was vital. Their Vostok 3 and Vostok 4 missions flew at the same time, marking the first-ever dual spacefligth of two crewed craft (they were single-person capsules). Vostok 2 lasted nearly four days — something NASA would not beat until the Gemini program in 1965 — while Vostok 4 was a nearly three-day flight. The two spacecraft flew within 4 miles of each other during their missions.

Today, NASA and Russia's Federal Space Agency (Roscosmos) still train astronauts and cosmonauts on modified jets that simulate weightlessness by flying parbolic flights. You can even buy a ticket to try it yourself through commercial companies like Zero Gravity Corporation, which also flies science flights for NASA.

Want more space history? Check out our full On This Day In Space video archive on YouTube.

The search for alien life has tended to focus on looking for either signs of extraterrestrial technology or evidence of biological processes on other worlds. But new and ongoing research suggests that scientists should start considering signs of intelligence that are not necessarily technological, but which are sufficiently complex as to be evidence of a conscious mind at work.

Biosignatures are possible signs of biology on other planets, whereas technosignatures are clues to the presence of advanced technology that might be detectable across light-years. What, though, of everything that comes between these two extremes? How do we detect life that is more complex than simple microbes and which displays intelligence that is not highly technological?

This is where the field of noosemiotics comes in, says Julia DeMarines, an American astrobiologist who has been involved in both biosignature and technosignature research. "We want to figure out if we can detect signatures of intelligence that occur before the invention of radio communication," DeMarines told Space.com. "We're looking at the ways that mind can be imprinted on matter."

Noosemiotics is derived from the Ancient Greek concept of 'nous', which refers to the theory of mind. In the 1920s the Soviet biochemist Vladimir and the French Jesuit priest Pierre Teilhard de Chardin developed the idea of the noosphere as being the sphere of human reason or thought encapsulating the Earth.

More recently, Adam Frank, David Grinspoon and Sara Imari Walker applied the noosphere to SETI by considering the collective intelligence of all the beings on a planet acting as a kind of combined planetary scale intelligence.

Therefore, according to DeMarines, a noosignature would be a sign of a noosphere, of conscious minds at work.

"Bread doesn't just pop out of a molecular cloud"

Technology is, of course, a major imprint of mind on matter, and DeMarines acknowledges that just as technosignatures can be biosignatures since they can originate from biological entities, they can also be noosignatures — for instance, gases such as nitrogen released into the atmosphere by agricultural practices. But noosignatures can be something other than biosignatures and technosignatures, too.

Which is where DeMarines’ work comes in. She had been working for a company who were looking to apply the concept of Assembly Theory, which is a chemistry theory originated by Sara Walker and Glasgow-based chemist Lee Cronin, to online data and artificial intelligence to search for thresholds that denote complex signatures of intelligence.

Assembly Theory describes the minimum number of steps required to assemble something. In chemistry it is the steps taken to assemble, for example, important biomolecules, or to facilitate evolutionary processes. The number of steps taken is referred to as the Assembly Index. As part of her work on this, as a thought exercise, DeMarines was given the task of applying assembly theory to 'bread as a technosignature'.

"I know how that sounds," she laughed. "I get weird looks when I tell people about it!"

However, bread, like anything that is made by a conscious mind be it a stone tool or a radio telescope, is a signature of intelligence. At first DeMarines approached it as a proto-technosignature before realizing that it was more appropriate to describe it as a noosignature.

"Bread doesn't just pop out of a molecular cloud, it requires technology, it requires history, it requires intelligence," said DeMarines. "Say that you have samples of bread at different human and hominin archaeological sites throughout time, dating back 14,000 years – the bread would be a signature of intelligence changing over time as the type of bread, its ingredients and how it is made also change."

How it changes over time can be measured by Assembly Theory – the number of steps taken to get from early breads made from wild grain to modern sliced white bread produced from domesticated wheat is the Assembly Index. The task is to identify how many steps it takes to get past certain thresholds that indicate change, or rather developments, in intelligence, such as new technology for farming and germinating seeds, the construction of windmills or mass production.

As such, it fills part of the space between talking about a simple biosphere and searching for a technosphere, as do things ranging from stone tools to the development of written language and everything in between.

Non-technological intelligence

The trick, though, is detecting such signatures. Archaeological finds require being present on a planet, and digging up artifacts. Are there noosignatures that could be detected on other planets remotely from Earth? DeMarines isn't sure yet, and admits that at this stage she is thinking about it from the perspectives of metrics and thresholds rather than detectability.

If there are detectable noosignatures, they could also operate as a sign to anyone watching that there is intelligence on Earth, too. DeMarines highlights the example of gases released into the atmosphere by basic agriculture. Around three-quarters of all human-made nitrogen emissions were produced before industrialization, and agriculture was the source of that, ranging from fertilizers to animal waste to microbes in the soils used, all beginning many thousands of years ago.

For example, it took human civilization 4,000 years of bread-making before they domesticated wheat over 10,000 years ago. The release of excess nitrogen into the atmosphere disrupts the planet's nitrogen cycle, creating a disequilibrium.

While thousands of years is far too long a time for humans to detect such disequilibrium on exoplanets, alien observers may have been watching Earth for a lot longer than that. Common wisdom is that while biology on Earth has been detectable for billions of years through biosignatures, intelligence only became apparent in the past 100 years or so when we began beaming radio waves out into space.

However, if we are producing noosignatures that are detectable, such as disrupting the nitrogen cycle, then that means intelligence on Earth has been visible to the rest of the universe for much longer than we realized.

Then there's the conundrum of non-technological intelligent life in the universe. Often in the past intelligence has been equated to technology, but to solely rely on technology as a measure of intelligence misunderstands what intelligence is. Technological intelligence is one form of intelligence, but there are others.

Dolphins, for instance, are greatly intelligent creatures with sophisticated social interactions, but with the best will in the world dolphins will never have technology because they do not have the dexterity in their flippers to manipulate the environment around them to the necessary degree.

However, can they imprint their minds on their environment in other ways? It has previously been speculated that the universe is silent because technological intelligence is rare, but Dolphin-like intelligence could be abundant  — yet we'd never detect it. Now, thanks to noosemiotics, perhaps a way will be found to detect signs of such life. If that can happen, maybe we will quickly discover that we are not alone after all.

You can read about DeMarines work in a paper published on the open-source arXiv repository.

ZWO is well known for its Seestar smart telescopes but they also make dedicated astronomy cameras for use with telescopes to get highly detailed astrophotography. We have reviewed three of these ZWO astrocams and they have delivered beautiful images of the different objects.

The color cameras like the ZWO ASI183MC Pro and ZWO ASI533MC Pro have delivered beautiful colored detail in galaxies and nebulas, whereas the monochrome ZWO ASI175 mono delivered exceptional solar photography.

Explore the ZWO range on sale at B&H Photo and Video, with the ZWO ASI183MC Pro, ASI153MC Pro and ASI175 mono astronomy cameras 10% off.

An astronomy camera has only one job: To be good at astrophotography, nothing else. They are essentially just camera sensors but full of features that only benefit astro. It has active cooling for reducing image noise, no infrared (IR) cut filter to allow nebula colors in Hydrogen-alpha to be captured and a range of different things that sharpen every aspect of image capture during astrophotography. If you want to start using an astrocam, you will need optics to use with your astrocam, so grabbing a telescope or a special astrophotography telescope is essential.

• We've got you covered with reviews and rankings of the best telescopes, binoculars, star projectors, cameras, drones, Lego, streaming and more.

Professional astrophotographer Damian Peach gave strong ratings to these astrocams for their performance in capturing deep-sky targets such as the Orion Nebula (M42), the galaxy NGC 6946 and the planet Jupiter.

He said both the ZWO ASI183MC Pro and ASI533MC Pro are suitable for those looking to get a dedicated multi-use camera for astrophotography, including deep sky objects and short exposure lunar and planetary photography. The ASI533 is the pro choice, as it features newer sensor technology with zero amp glow circuitry, decreasing the need for dark frame captures like with the older ASI183MC.

Astronomy expert Jamie Carter tested out the ZWO ASI174mm mono camera to photograph the solar surface, along with a Sky-Watcher Heliostar 76mm and Solar Quest mount. He was able to capture some incredibly detailed images of the solar surface, showing features like sunspots, filaments and prominences.

You should grab a monochrome camera like this if you are interested primarily in getting solar, lunar and planetary photography. They can capture more detail in these objects than color astronomy cameras and then color can be corrected in post-processing.

Check out our other guides to the best telescopes, binoculars, cameras, star projectors, drones, lego and much more.

NASA's Curiosity Mars rover has experienced some serious wear and tear during its nearly 14 years on the Red Planet.

A new photo posted to Curiosity's raw image server offers a close-up of the damage one of the rover's wheels has experienced as it explores the Martian surface.

What is it?

Curiosity landed in Mars' Gale Crater on Aug. 5, 2012, touching down while hanging under a 'sky crane' that lowered it to the planet's surface. Since then, the rover has traveled over 20 miles (32 kilometers) across the rocky Martian soil, searching for potential signs of ancient life on the Red Planet.

All of that mileage has taken a toll on the rover, as these new images show. Curiosity weighs over one ton, and the terrain on Mars can be quite rocky and rugged.

NASA and the Jet Propulsion Laboratory (JPL) periodically use the rover's cameras to check on the wheels, and despite the holes and cracks, the agency said in a 2024 statement that they're "holding up well despite taking some of the worst abuse from Mars."

Why is it amazing?

We've been exploring Mars for decades now, so it can be easy to take for granted how incredible it is that we get new images beamed from the surface of another planet to Earth daily from NASA's two robotic explorers.

These images of Curiosity's wheels help illustrate the incredible feats of engineering and science it took to place wheeled robots safely on the surface of another planet where they spend years and travel dozens of miles to bring us answers about what other worlds are like.

While they might not be human, Curiosity and Perseverance nonetheless represent humanity's first foray into becoming an interplanetary species. The groundwork laid by the rovers and other Mars orbiters, landers and probes could someday help humanity take its first steps on another planet.

Using the Chandra X-ray spacecraft, astronomers have seen a supermassive black hole jet churning and "cooking" gas surrounding a galaxy nicknamed the "red potato." And this potato is seen as it was when the universe was around 2 billion years old.

The galaxy in question is officially designated MQN01 J004131.9-493704 and is located about 11.7 billion light-years from Earth at the intersection of a vast cosmic web along which galaxies formed in the early universe. Originally discovered by the James Webb Space Telescope (JWST), the odd, blob-like appearance of the galaxy is why it has such a peculiar nickname.

The red potato sits in a cosmic "pot" of cold and dense gas. This is a little puzzling, as this should mean that stars are actively forming around it, but that isn't happening. New research offers an explanation: a supermassive black hole in the vicinity of the red potato is churning and heating the galaxy's pot of gas. This could be preventing the gas from cooling and collapsing to birth stellar bodies.

“Stars are not forming like we thought they would, so we went searching for the reason why," team leader Weichen Wang of the University of Milan-Bicocca in Italy said in a statement. "We found there may be a cook in this cosmic kitchen."

An unexpected chef

A supermassive black hole's interference with the red potato was first indicated by the fact that its surrounding gas is unexpectedly turbulent in comparison to similar gas clouds around similar galaxies.

Wang and colleagues set about hunting for the source of this turbulence with Chandra. That's when they found a black hole jet pointed toward the red potato, which they reasoned must be slamming into this ancient galaxy's gas envelope.

"If the black hole's jet is stirring up the gas around the red potato, it could greatly slow down how quickly the galaxy can acquire new, fresh material to form stars," team member Sebastiano Cantalupo of the University of Milan-Bicocca said in the statement. "With the energy from the stirring, the galaxy will starve and not be able to produce new stars at the rate expected for similar galaxies at the same cosmic epoch."

The meddling supermassive black hole is located in a galaxy around 200,000 light-years from the red potato, and this galaxy is actually very actively forming new stars. Indeed, other galaxies in the vicinity of the Red Potato are also birthing new stars.

This discovery, as part of some of the first research to investigate the behavior of gas around non-star-forming galaxies, could be vital in improving our understanding of how neighboring galaxies interact and, occasionally, interfere with each other's evolution.

"The red potato is leaving crumbs of information that may help us track down the answers to some really big questions," team member Andrea Travascio, also of the University of Milan-Bicocca, said. "Quite an important job for a galactic spud like this."

The team's research was published on July 7 in the journal Astronomy & Astrophysics.

The U.S. Federal Communications Commission (FCC) can single-handedly green-light massive spaceflight projects that could completely change the view of the night sky for the entire world. Despite the outcry these projects have caused, space law experts say there is very little other nations and the international community can do to thwart them if the FCC were to grant them licenses.

On July 10, the FCC approved an application by California-based Reflect Orbital to launch a 59-by-59-foot (18-by-18 meters) space mirror to test how to reflect sunlight onto solar farms on Earth after dusk. The decision has sparked outcry among astronomers and environmentalists who are concerned about the impact on global light pollution levels that Reflect Orbital's plans might have.

Opponents see the FCC's approval, despite hundreds of objections filed in response to the application, as an indication that the agency might eventually grant Reflect Orbital a license to fly an entire constellation of 50,000 such sun-reflecting mirrors. On top of Reflect Orbital's plans, companies including SpaceX, Blue Origin and Starcloud are awaiting the FCC's decisions on respective applications to deploy their own massive fleets of orbiting data centers and internet-beaming satellites. If all those projects come to fruition, the view of the night sky could change beyond recognition all over the world.

"The technology is outpacing the regulatory environment."

The United Nations' Outer Space Treaty conceived in the late 1960s lays down the international framework for the use and exploration of outer space. The document states that approvals for satellite projects are the domain of the nation in which those satellites are registered.

"The U.N. Treaty for Uses of Outer Space very well specifies that how many satellites are shot into space and how they are registered is a prerogative of the country in which they are registered," a source familiar with the operations of the United Nations Office of Outer Space Affairs (UNOOSA), who didn't wish to be named, told Space.com.

The states from which they launch, however, are responsible for any damage the satellites registered under their flags cause to other countries. But Ruskin Hartley, the CEO and Executive Director of the advocacy group DarkSky International, told Space.com that this liability provision only covers physical damage such as satellites colliding in space or spacecraft crashing down on Earth and damaging property.

"It hasn't been tested at all but most people don't think this damage extends to optical interference," Hartley said. "It would have to be physical damage. If a satellite reflects sunlight down and damages someone's observatory, that probably doesn't count as damage under the Outer Space Treaty."

In its Article I, the Outer Space Treaty states that "the exploration and use of outer space, including the moon and other celestial bodies, shall be carried out for the benefit and in the interests of all countries." But what exactly that means and what could be done if there is no consensus about those benefits is not clear at all.

The anonymous source told Space.com that UNOOSA and the UN-wide Committee on the Peaceful Uses of Outer Space (COPUOS) may discuss the issue, but despite the global consequences, are unlikely to come up with a mechanism to stop the corporations from doing what they want if the FCC backs them.

"These UN institutions were all started in the last century and are very slow," the source said. "They require unanimous consensus to pass anything and that obviously hardly ever happens. So nothing gets passed. By the time UN COPUOS and UNOOSA are done discussing anything, SpaceX will have launched another thousands satellites."

The European state of Slovakia in cooperation with the International Astronomical Union (IAU), in fact, submitted a paper to UN COPUOS in June calling for a "general prohibition on the use of space mirrors" or the development of "strong oversight mechanisms."

Aaron Boley, an astronomer at the University of British Columbia, who has been involved with the initiative, admits that these efforts are not likely to progress fast enough.

"There is indeed a major challenge right now with single states being able to create large changes to the sky and the orbital environment," Boley told Space.com in an email. "At the U.N. COPUOS, there are important steps being taken. But these agreements can be slow to achieve."

Hartley added that the companies pushing for grandiose space projects are taking advantage of existing legal loopholes that are not being effectively closed.

"These entrepreneurs that are pursuing these projects, either in the U.S. context as private entrepreneurs or in some instances in Europe and in China as government-level projects, clearly demonstrate that the regulatory environment and regulatory framework has significant gaps and holes in it," Hartley said. "Essentially, the technology is outpacing the regulatory environment."

Unilateral U.S. decisions

According to international space law and policy expert and former NASA legal council Robin J. Frank, this is not the first time the U.S. has pushed ahead with its agenda regardless of the concerns of the international community.

"This is not the first time the FCC has started down the route of unilateral decisions," Frank told Space.com. "Recently, for example, the FCC has approved direct-to-cell communication systems, which connect from a satellite directly to your phone, to use parts of the radio frequency spectrum that have not been authorized for that use by the International Communications Union. Their argument is that they are giving the U.S. industry a leg up."

The U.S., responsible for roughly 25 percent of the global GDP, has historically been reluctant to agree to binding international mechanisms that could restrict its actions, Frank added. Other major global powers, such as China or Russia tend to have a similar attitude, she said.

Currently, the U.S. is not even a party to the Paris Agreement, an international treaty that binds nations to work toward reducing their greenhouse gas emissions in order to curb global warming.

Frank added that individual nations could, for example, take action against constellations of orbiting mirrors by banning them from beaming light onto their territory at a threat of hefty fines. That however, is still not going to stop the development and mitigate the overall light pollution these satellites cause as they inadvertently reflect light as they zoom around Earth.

DarkSky International previously sued the FCC at the District Court of Columbia, challenging its decision to grant SpaceX a license to launch tens of thousands of satellites without conducting an environmental review. The court eventually rejected the non-profit's arguments, but Hartley said the advocacy group would consider filing another lawsuit if the FCC were to green-light the full Reflect Orbital constellation of 50,000 space mirrors or SpaceX's million orbiting data centers.

Despite the massive growth in the past decade, the satellite industry is exempt from the U.S. National Environmental Policy Act, meaning neither the FCC nor the satellite companies are obliged to prove their technologies will not be detrimental to the environment. That exclusion was put in place in the 1980s when satellite launches were few and far between. Many argue it's more than a high time to do away with it.

"It's a regulatory failure," Hartley said. "The ultimate fix is probably a legislative fix, or an administration that directs them to act differently. But this administration is not going to do that."

"This is an issue that's going to affect the quality of life for everybody on Earth."

A recent study by astronomers from the European Southern Observatory found that the brightness of the night sky would rise by up to 300 percent if all the currently planned constellations were to get deployed. That, the astronomers say, would be an end to astronomy as we know it.

Other experts pointed out that the need to have access to constant sunshine would force all orbital data center operators into a single narrow region of space, creating a bright "Saturn's ring" of satellites around the planet.

In its justification for granting the Reflect Orbital test flight license, the FCC stated that arguments about light pollution are outside its merit to judge. No other U.S. government agency, however, currently has a say over granting licenses to satellite companies.

Hartley added the issue far exceeds the interests of astronomers. The brightening of the sky would affect the entire world, including indigenous communities who rely on stars as part of their cultural heritage. The excessive light pollution is also likely to confuse wild animals and affect ecosystems.

On top of that, the air pollution from large quantities of re-entering satellites and the rockets that launch them risks damaging the ozone layer and altering the thermal balance of Earth's atmosphere, according to ongoing research. Greenhouse gas emissions released during launch and the manufacturing of the satellites may offset the advantages of putting data centers to space, extolled by the companies behind those plans.

"The industrialization of space is going to impact carbon in the atmosphere, through the launch phases of all these rockets, and it's very clear that the deorbit of these satellites is likely to change the composition of the atmosphere," Hartley said.

"This is more than just a niche issue for astronomers. This is an issue that's going to affect the quality of life for everybody on Earth."

NEW YORK — Madison Square Park in midtown Manhattan is home to some 44 tree species. And on a Thursday afternoon blanketed in wildfire smoke, a small crowd gathered to see one in particular. The slender American sweet gum looked unassuming, especially compared to the enormous English elm neighboring it. But this tree had a secret: it had traveled 1.3 million miles before landing in New York.

The sapling was germinated from one of 1,000 seeds NASA sent aboard the uncrewed Artemis I mission, which saw a space capsule orbit the moon in 2022. Just a few years later, the same kind of capsule would take the famous Artemis II crewmembers on the same journey. Hundreds of these "moon trees" have been planted across the U.S. in the last two years as the space agency drums up excitement for future Artemis missions, which aim to return humans — and not just seeds — to the lunar surface by 2028.

Steph Lucas, director of horticulture for the Madison Square Park Conservancy, applied with NASA for a moon tree seedling in 2023. The request was finally granted in 2025. "We were so thrilled," Lucas told Space.com. The tree grew quietly for a year before the conservancy unveiled its presence with a "birthday party" extravaganza on Thursday (July 16).

Madison Square Park's moon tree is part of a legacy spanning back to NASA's original lunar program. In 1971, astronaut Stuart "Smoky" Roosa brought about 500 seeds aboard the Apollo 14 moon mission. These seeds later grew into saplings that NASA distributed to parks, arboretums and historic sites across the globe. A seed from one of these first-generation moon trees even attended the new tree's birthday party.

The event also featured a celestial-themed garden, poetry reading, a gallery of children's artwork, launch-able foam rockets and, of course, birthday cake — enough for about 100 people.

However, the party had fewer guests than expected. A thick plume of smoke from wildfires raging in Canada blew southward and tinted the sky above New York orange. The air quality plummeted, and many people chose to remain indoors for their health. Some of those who did turn up wore KN95 masks.

In a strange way, the atmosphere was fitting. The specter of climate change hung heavy over the city, and it was very much on Lucas' mind as she was vying for the conservancy's moon tree selection. NASA offered five different species of moon tree: Douglas fir, Loblolly pine, Sequoia, London plane and American sweet gum. Lucas requested an American sweet gum over a more cold-hardy London plane tree, even though its current range falls slightly south of New York City. Sweet gums are well-adapted to wet, temperate conditions, and as the climate warms in the coming decades they will likely feel right at home in Manhattan. "We think that this will be a better selection as the future goes on," said Lucas.

Stuart Roosa himself was a former smokejumper for the US Forest Service, a job that involves dropping from a helicopter into the heart of an active wildfire to fight it. He agreed to bring along those first moon seeds as a love letter to future generations on Earth. That's the spirit the Madison Square Park Conservancy hopes to channel.

"Space inspires us, right? And plants can be inspiring too," Lucas said. After a year of growth, the park's moon tree is now firmly rooted and standing tall without supports. Gazing at it through the wildfire haze, Lucas mentioned that the young tree seems by all accounts to be thriving. Its progress, she said, brings her hope. "We can always work towards a better future."

One month from today, skywatchers across the Americas, Europe and Africa will have the chance to witness the best lunar eclipse until New Year's Eve 2028.

On Aug. 28, Earth's shadow will cover up to 96% of the moon's disk in an exceptionally deep partial lunar eclipse. At maximum eclipse, only a thin sliver of the moon will remain outside Earth's darkest shadow, creating an "almost blood moon" with nearly the entire lunar surface glowing a deep reddish-orange.

Unlike a solar eclipse, a lunar eclipse is completely safe to observe with the naked eye and requires no special equipment. All you need is clear skies and a view of the moon.

Where can I see the lunar eclipse?

The eclipse will be visible across Europe, Africa, the Americas and parts of western Asia, though exactly what you'll see depends on your location.

The Americas are particularly well-placed to catch the eclipse's most dramatic stages, as many locations will see the moon rise already deep within Earth's shadow. Across eastern North America, observers will see the "almost blood moon" climb above the horizon shortly before or during maximum eclipse.

Across Europe and Africa, the eclipse occurs before dawn on Aug. 28. Observers in the U.K. and western Europe will see the moon low in the western sky during the final stages of the eclipse, before it sets shortly after maximum. Farther east, progressively less of the eclipse will be visible before moonset.

• North & South America: Best overall views
• Europe & Africa: Excellent predawn moonset eclipse
• Western Asia: Limited views before moonset
• Eastern Asia: Little or no visibility.

What will it look like?

Because 96% of the moon will pass through Earth's central dark shadow, known as the umbra, this eclipse is expected to look remarkably similar to a total lunar eclipse or a "blood moon" lunar eclipse. The moon will likely take on a deep coppery-red hue with only a narrow bright silver lining remaining.

Follow along with Space.com

Over the coming month, Space.com will bring you everything you need to prepare for eclipse night. From viewing guides and photographing the event to a live blog bringing you the latest news and action from the best lunar eclipse until NYE 2028. We'll also be releasing details on how you can watch the eclipse online if you're unable to catch it in person.

We all know the cliché: any horror franchise that goes on long enough inevitably goes to space. Critters, Hellraiser, Friday the 13th, Dracula… they've all taken a trip to the stars.

The trope, fair or not, has often overshadowed the fact that science fiction and horror are absolutely perfect bedfellows, with outer space's total isolation, tiny quarters, and oppressive vastness perfectly suited for the horror genre. Horror movies set in space have delivered classics of both genres that have lasted generations and built entire franchises in and of themselves.

Why then, in the middle of a horror film renaissance, has the genre seemingly abandoned outer space? What has become of the space horror movie, and why has Hollywood either stopped producing them entirely or, maybe more accurately, failed to make a good one out of the few they do put out?

Space: The horror frontier

To be clear, science fiction and horror haven’t been on that much of a break overall; it’s just that when the two genres meet, they no longer seem to have any interest in leaving planet Earth.

Instead, the combination either brings the alien threat planetside, à la "The Quiet Place", "Nope", or "No One Will Save You", or makes the horror come from man’s own hand like "Ex Machina" or "M3GAN". Either way, the result is that horror no longer lives in space, with the only truly major space-horror film release this decade being the admittedly excellent "Alien: Romulus", along with some smaller projects like "Europa Report" and "Life".

I was sure there must be more — some hidden classics that I missed — but researching for this article, I was shocked at just how few space horror movies we've had in the past couple of decades. It’s like everyone agreed "Event Horizon" was peak and gave up making horror films in space.

Horror in space has never been a dominant subgenre, but it was once big enough to be considered an entire trope. So it feels especially strange that in the middle of a horror renaissance, as the genre continues to dominate box offices, it is totally left behind. Horror has crawled out of the B-grade shadows and into Oscar contention with films like "Get Out", "Midsommar", and "It Follows", and the box office returns are staggering.

Respected directors are diving into the genre and creating masterpieces, but none of them seem interested in outer space. We are nearly a decade into a horror renaissance that has seen almost every type of horror unpacked, remade, and turned into arthouse, and yet space horror has sat almost entirely dormant. So what gives?

In space, no one can hear you arthouse

Why is this happening then? Where is the arthouse unpacking of "Jason X"? Why didn’t Danny Boyle’s "Sunshine" kick off the horror renaissance a decade earlier? Why did the "Alien" franchise become whatever the hell "Prometheus" was before finally returning to its roots (and then promptly coming down to Earth!)? Where’s our English remake of Aniara from an up-and-coming indie director?

There’s most likely a slew of reasons none of this has happened, but the most likely culprit is that horror has become far more grounded than it used to be. While we still get slashers and jump scares, the renaissance that A24 ushered in has not only brought horror out of the shadows, but also delivered a redefined genre that doesn’t jive as well with spaceships and alien creatures.

That’s not to say it can’t, but this new generation of horror isn’t interested in going off-planet to tell its slow-burning stories of grief and trauma, full of thinly veiled metaphors for real-life issues. “Earth and the present day are scary enough as is” seems to be the argument.

Of course, there’s the other reason. The reason for everything: money.

The other new branch of horror that has come out of this renaissance comes from studios like Blumhouse, which churn out low-budget horror films and rake in huge profits. And that's no knock on budget horror flicks, some of which are truly amazing.

But while space horror can be made on the cheap, it’s definitely not as easy to do. It requires more investment, design, and often sets and special effects than a traditional horror film does. It’s just cheaper and easier to make sci-fi horror that’s set on Earth, and with so many of them becoming massive hits, why bother going to space?

Drag me to space

Given both sci-fi and horror's history of social commentary and cultural unpacking, arthouse horror not going to space — budget restraints aside — seems like a major miss, especially when the very aspects it explores are perfectly built for the isolation, detachment, and fear that space evokes.

Outside of horror, excellent space movies like "Moon" and "The Martian" have explored these themes, but we're missing that spooky, scary edge.

And look, I’m not even saying that space horror has to be arthouse. The trope that horror franchises go to space eventually is actually one I’d like to see more of. Why not jump the shark a bit more with horror franchises? A science fiction version of Saw sounds a hell of a lot more fun than Chris Rock's dreadful spin-off. Sci-fi space "Purge" on a colony ship? Yes, and please. "Evil Dead"’s new anthology style of horror is practically begging to take a trip to space. There’s so much space in space, and these franchises could totally take a trip there.

There is one bright spot, however, for the space-loving horror enthusiast. Video games seem to have taken up the mantle.

Space horror has always flourished in the medium, from AAA classics like "Dead Space" to indie darlings like "Iron Lung" (which itself was transformed into a space horror film!). The subgenre has been going strong for decades, even if film gave up on it. Hell, for nearly a decade, the best output from the "Alien" franchise was "Alien: Isolation", one of the scariest games ever made.

While movies may no longer be playing in the wider universe, at least our video games are taking us there and then scaring us out of our space boots.

NEW YORK — I'm the kind of person who, every so often, falls into accidental daydreams about the concept of space. Usually because I'm listening to some sort of sad girl Spotify playlist, I start feeling infuriated that we may never learn the true meaning of the cosmos and become embarrassingly poetic about our isolation on Earth. I tend to ponder how strange microgravity is and begin Googling things like "what lies beyond the edge of the universe best evidence we have" and "when commercial rocket launch become same price JetBlue flight."

I'm pretty sure I've lived in these clouds ever since I got past the Freddi Fish and Microsoft Paint phase of my internet literacy — but then, a month before my 30th birthday, something huge happened. On a random Tuesday, I woke up, brushed my teeth, made myself an espresso, sauntered over to the Franklin Avenue C, and went to the International Space Station.

Once I got there, it was bizarre to float through the corridors and living quarters I've written about for so long as a science journalist and thought about for even longer. The walls felt lived in. The station's speed in orbit seemed a little too fast for comfort. The highly esteemed cupola — a protruding corner of the station with seven windows arranged in the shape of a daisy — was far larger than I imagined. In fact, the entire ISS was way more enormous than I can explain. Solar panels tower over you like rust-colored billboards and the station's floors threaten to collapse any second, fooling you as you gaze down at Earth. It's a little scary to be so exposed to the void of space, and that's true even when you're there in virtual reality.

Yes, unfortunately (or fortunately, depending on your caution levels) I launched to the ISS through a virtual reality experience called "Space Explorers: The ISS Experience" shown at Eclipsio in Manhattan. It's probably the closest I'll ever get to the real thing, until of course my dream of a cheap RocketBlue economy seat becomes possible. And most importantly, I'm here to tell you that if you're ever able to do the same, you should do it, too.

Here's what you'd see

The way it works is you put on some VR glasses and follow instructions in your headset to walk a certain direction or move your hands a certain way — your "hands" in the digital world look like floating yellow outlines of hands that correspond to the movements of your actual hands. To be transparent, my glasses were a bit glitchy. My digital hands were quite a bit unstable, for example, which did distract me a little bit but it was easy to get over.

Okay, once you're in the world of space, which is simply darkness, a few things happen (which I won't spoil). Eventually, a life-size structure of the International Space Station (ISS) appears. Suddenly, you're within the station. The interior of this structure isn't totally accurate to reality, to be clear. It's a gray, translucent rendering of the ISS's insides that you can explore. Still, the size is meant to be true to life.

Along the way, you can touch giant floating orbs that bring you a short snippet of video to watch. It is because of these snippets that I think this show is 100% worth it.

Each one corresponds to the location in which the orb sits — a cupola orb might show you a couple of astronauts floating around and looking out the window, while one near the gym equipment might bring you straight into a training session with Artemis II mission specialist Christina Koch. Perhaps you'd like to venture "outside" and float eye-level with the station's robotic arm. In your periphery to the left, a spacewalker traverses the exterior of the station. To the right, the Earth is majestic. In front of you, sunlight hitting the laboratory's worn white walls causes a realistic glare. You can't help but squint.

And the reason these snippets are outstanding is that they are made with real footage from the ISS.

A show made by astronauts

I sat down with Félix Lajeunesse, co-founder of Felix & Paul studios — the organization behind the exhibit — to learn how this was possible. What does it take to recreate the ISS with this level of detail, and this level of soul?

"It took about a year and a half to two years to just prepare for this project, and eventually cameras were sent up there in space," he said. "That was the beginning of a three year production."

More specifically, the footage you see in this VR show was filmed across six NASA expeditions and involved shipping three cameras to space — two cameras operating inside the ISS and one camera designed to function in the vacuum of space. That latter camera was attached to the Canadian robotic arm on the exterior of the station and operators on the ground could remotely control it to achieve the cinematic quality they wished. The astronauts first put it on the sliding table of the ISS's Japanese module. Then, the camera was egressed from the station and the robotic arm could pick it up.

When it came to the interior cameras, however, that's where the astronauts themselves stepped in.

"It's not a traditional camera — it's a virtual reality camera," Lajeunesse said. "So, if you're going to be around a table, for example, having coffee together in the morning, well, this camera is not going to be in the middle of the table because no one would ever be there. It will be at the same height as the rest of you around the table because in the end it's going to be replaced by a person being there with you."

"This kind of anthropomorphic idea that the camera is a person really resonated with them," he added.

In order to ensure the camera didn't interfere with the many experiments and procedures on the station Lajeunesse and his team made sure to send the astronauts what he calls a "shooting script" for each day of work. This script explained which different camera positions were desired; if anything wasn't possible, the astronauts would offer suggestions of better locations. "We had this ongoing conversation with them during the production, as if it was on a real set, essentially," Lajeunesse said.

And speaking with Lajeunesse, it became remarkably clear that this show wouldn't have been as heartfelt as it is without the astronauts' own desire to create it. It seems like the astronauts wanted to be able to share their indescribable experience of living beyond our planet with those stuck on it. This is a way for them to show their families the place they used to call home.

The team even made sure to premiere the U.S. version of the show at Houston, Texas, often called "Space City" because that's where NASA astronaut training happens at the agency's Johnson Space Center.

"Our first audience in the United States were the astronauts," Lajeunesse said. "It was quite an extraordinary and emotional turnout — almost all of them referred to experiencing this as going back home."

A time capsule for future generations

As upsetting as it is, the International Space Station isn't forever. Unless a potential boosting mission reaches fruition, it'll be de-orbited and mostly lost in the flames of reentry in the year 2030. Its charred remnants will probably be placed in museums. One day, those museums will be visited by people who never lived during a time when you just knew the iconic lab was up there somewhere in the sky.

When that day comes, this ISS show will grow in sentimental value. It may end up offering the only way for ISS astronauts to go "home."

"VR points to the capacity to create simulations that are just as rich and vibrant and open and possibilities than reality itself." Lejeuneusse said, comparing it to console video games or movies. "I think it's probably the most human medium there's ever been."

He hopes that, someday, VR will improve to the point where it becomes possible to generate open worlds that we can all be a part of together. Perhaps, he says, artificial intelligence will be a big part of that.

"This feeling of witnessing the Earth, this sense of the overview experience is something pretty special, pretty emotional for people, and something that could not be communicated through any other media," he said.

As for what's next? The team is working on a show in Las Vegas called Interstellar Arc, a science fiction futuristic VR experience that Lajeuneusse says is even more interactive than this International Space Station one. But still, he emphasizes that while future VR shows may continue to increase in capabilities, there will always be something profound about the ISS project.

"You know, the International Space Station is one of the most extraordinary examples of human collaboration; human cooperation. It's many different countries, some of them which are opponents at the political stage, that kind of all came together to build this enormous structure in space habitat where humans can go and live," he said. "It was all built through cooperation, and it's all maintained through cooperation."

"When they're up there, they're kind of like a microcosm of humanity," he added. "Just the fact that it exists, just the fact that it continues to exist. We should marvel at that."

All systems are go! PBS just launched the second episode of its "Once Upon a Time in Space" miniseries on Tuesday, titled "The Russian Thing," and we’ve got an exclusive clip from the harrowing chapter that focuses on near disasters aboard the Space Station Mir in 1997.

In addition to the video, we’re also proud to share an exclusive interview with NASA's celebrated British-American astronaut Michael Foale, who is featured prominently in the new segment regarding the infamous cargo pod collision on Mir, which caused a decompression incident that became a life-threatening crisis.

Hailing from British filmmaker James Bluemel and his crew that delivered the award-winning "Once Upon a Time in Northern Ireland," "Once Upon a Time in Space" is a 4-part exploration of human spaceflight. Its weekly episodes trace pivotal events in spacefaring history via the personal experiences of astronauts, cosmonauts, and loved ones left on Earth from the birth of the Space Shuttle program to the blossoming of today’s commercial spaceflight industry.

"James Bluemel is a very perceptive director, and he was different from others that have interviewed me," Foale tells Space.

"What I loved about his method was he would dig up clips from our training or at different points when I was a brand new astronaut, looking really young and had a surfer boy haircut. I love windsurfing. He would dig up clips I don't know where from. And then he'd show it to you, and then he'd say, 'What do you think?'"

Foale — a distinguished veteran of six space missions who retired in 2013 — takes us back to that day of May 25, 1997, when a manual docking maneuver caused an unmanned Progress cargo ship to collide with Mir, ripping a large hole in the Russian space station’s Spektr module.

The crew’s valiant attempt to halt the pressure leak and save the station is like something straight out of a Hollywood thriller. With only 23 minutes of oxygen left, Foale and cosmonauts Vasily Tsibliev and Alexander ‘Sasha’ Lazutkin were able to repair the damage and stop the tumbling spacecraft from spinning wildly out of control.

"The root cause of the accident was trying to save money," he explains. "And the root cause was an attempt to do a manual docking from a large distance longer than any cosmonaut or astronaut does a manual docking from and doing it without the radar. The radar was built in Ukraine and cost $2 million in that timeframe. And the Russian managers did not want to pay Ukraine $2 million.

"So someone in the Energia corporation — they're the guilty company — decided they would try and get this crew at the last minute to try and do a manual rendezvous and docking without the radar from about a six-kilometer starting point. And that test was with a Progress we'd already filled up with trash and was meant to be de-orbited into the Pacific Ocean. Before it was going to be de-orbited finally, it was going to do this test."

Unfortunately, that test went horribly wrong due to Vasily Tsibliev not being able, based on measurements he could make in real time, to determine the exact closing velocity of the Progress.

"He couldn't ascertain distance very well, but you need the distance first, and then you need to divide by time to get the velocity,” notes Foale. “That was not possible in that situation and never attempted again. It caused a much higher velocity than Vasily could extinguish using the one thruster set that were turned on the Progress.

"So it bounced off, literally bounced off after crumpling part of the Spektr module and bending one of the solar arrays. The joint cracked at the base of the solar array into the module, and that's where the unseen hole is or was. And that's where the air was leaving from. It was a multiple hit that caused it to float away. And we were told as a crew about three days later, because we asked what had happened to it. They said, 'Well, engine was capable of being fired. It was capable of reorienting itself, and it de-orbited into the Pacific.'"

In the aftermath of the collision, an adapter was sent up to try and connect power back from the Spektr module into the Mir system.

"Vasily and Sasha were planned to do an internal spacewalk into the Spektr module to get to those cables that Sasha and I had had to disconnect to save the station," Foale adds. "They were going to go back in during an internal EVA. Vasily, because of the stress of the event, didn't pass the medical test done before the spacewalk, and they wire you up for a heart monitor.

"So then a day later, a call came up from the head of the program, Valery Ryumin, saying, 'Oh, Michael, you're on the radio. I'm going to ask you, would you be willing to go in and do the spacewalk inside the Spektr module instead of Vasily?'", remembers Foale. "I just knew that that was going to create a huge issue with me and Vasily because it was so humiliating for him. And he took all the blame of the collision on his shoulders, which was unfair."

Foale retired from NASA and space travel after a brilliant 30-year career with the agency and six space shuttle missions, but the lifestyle adjustment was a bit troubling at first.

“That was a depressing moment when I was being told, 'Oh, you're done,'" he shares. "I knew I couldn't survive the envy of my astronaut colleagues who are younger than me and haven't flown but once or twice. So I knew I was kind of done in space, at least with NASA. I was dreaming of being an astronaut guide like Peggy Whitson or Michael Lopez-Alegria on an Axiom mission. Those were my daydreams initially. I miss space, but I’ve found other things to replace that fun.

“I've always been turned on emotionally and romantically by soaring and flying. So living in Texas amongst the mountains with fantastic stars every night and soaring here, it's not space. It's not in a spacesuit outside the Mir looking at it, but it's pretty cool. I do go back to a much more comfortable situation in the evening, and I do ride my bike.

"As a 69-year-old now, I have a pretty good late-life pastime. But you have to make do. And hey, you have to keep telling yourself you're one of the luckiest guys around. I would say I was naively optimistic about the international collaboration in space. The show that James Bluemel has put together, "Once Upon a Time in Space," in some ways it looks like a fairytale to me when I look back on it."

"Once Upon a Time in Space's" "The Russian Thing" episode aired on July 21, 2026, at 9:00 p.m. ET on PBS, PBS.org, and the PBS app, with the final two chapters coming on July 28 and Aug. 4.

On Episode 220 of This Week In Space, Rod Pyle and Tariq Malik are joined by Dr. Pascal Lee and astrobiologist Dr. Penny Boston to mark the 50th anniversary of Viking 1's landing on Mars.

This week, we cover how Starship Flight 13 finally prepares to launch amid a legal battle over SpaceX's proposed land swap at Starbase, plus a Chinese Long March 3B rocket gets struck by lightning during liftoff, yet still delivers its satellite safely.

Then, we revisit the Viking 1 mission's groundbreaking life-detection experiments and the decades-long controversy over what they actually found. The conversation traces Mars exploration from the earliest Mariner flybys through Viking's ambiguous, still-debated results — later explained by perchlorates in the Martian soil — and the fierce scientific rivalry the findings sparked. Join us!

Download or subscribe to this show at: https://twit.tv/shows/this-week-in-space.

Get episodes ad-free with Club TWiT at https://twit.tv/clubtwit

Space news of the week

• SpaceX will now try to launch critical Starship Flight 13 test today after delays. Here's what to expect.
• 'The court has to intervene now': Indigenous groups and conservationists condemn SpaceX's South Texas land swap
• Lightning strike on Chinese rocket captured in epic launch photo
• ‘Triumph of Mariner 4’
• Slice of History - 50 Years of Mariner 9 in Orbit
• Viking Lander
• Life on Mars detected ?... Viking 1...
• Viking lander biological experiments

Model Falcon 9!

Finally, did you know you can launch your own SpaceX rocket? Model rocket maker Estes' stunning scale model of a Falcon 9 rocket that you can pick up now. The launchable model is a detailed recreation of the Falcon 9 and retails for $149.99. You can save 10% by using the code IN-COLLECTSPACE at checkout, courtesy of our partners collectSPACE.com.

About This Week In Space

This Week in Space covers the new space age. Every Friday we take a deep dive into a fascinating topic. What's happening with the new race to the moon and other planets? When will SpaceX really send people to Mars?

Join Rod Pyle and Tariq Malik from Space.com as they tackle those questions and more each week on Friday afternoons. You can subscribe today on your favorite podcatcher.

Fixing a problem inside one of the world's most sophisticated scientific observatories might seem like the kind of challenge that demands a multimillion-dollar upgrade or revolutionary new technology.

But for scientists working on the Laser Interferometer Gravitational-Wave Observatory (LIGO), which listens for ripples in spacetime generated by cosmic collisions like merging black holes, the solution to a mild but persistent engineering challenge turns out to be as simple as an off-the-shelf camera.

By pairing commercially available thermal imaging cameras with computer models, a team led by Jonathan Richardson at the University of California, Riverside, has developed a technique that corrects tiny, heat-induced distortions in the observatory's mirrors — an elusive flaw that scientists say currently limits how far into deep space the facility can look.

"It doesn't require any new technology development, which is almost unheard of for solving a LIGO instrumentation problem," Richardson said in a statement.

Once incorporated into LIGO's upcoming upgrade, Richardson and his team estimate the fix would extend the observatory's reach by roughly 33 million light-years.

That gain might sound like a drop in the ocean against the unimaginably vast scale of the universe, but because space expands in three dimensions, pushing a detector's reach even slightly opens up an exponentially larger window of space. Being able to look further into the universe will allow astronomers to "hear" many more cosmic ripples, in turn increasing the potential for discovering the universe’s most violent collisions that lie beyond LIGO's reach today.

LIGO detects these cosmic ripples, known as gravitational waves, using twin L-shaped facilities in the U.S. — in the states of Washington and Louisiana. Inside each detector, a laser beam shoots down two 2.5-mile-long (4-kilometer-long) tunnels, bouncing off pristine mirrors at each end. When a gravitational wave passes through Earth, it subtly stretches one tunnel and squeezes the other. That microscopic shift alters the laser beams ever so slightly, producing a tiny flicker of light that alerts scientists to a distant cosmic event.

Because these cosmic signals are inconceivably small, preserving every single photon is crucial. To accomplish this, LIGO relies on mirrors polished to reflect 99.9999%t of the laser light that strikes them, ranking them among the purest optical components ever built.

Yet even these near-perfect mirrors have had one unavoidable flaw. The mirrors still absorb a tiny fraction of that intense laser light. That energy turns into heat, warping the mirror's surface by just a few nanometers, enough to distort the laser beam and reduce the observatory's overall sensitivity.

Physicists already knew they could counteract these distortions by applying targeted heat to the back of the mirrors. The difficult part was measuring the distortions accurately enough such that the correcting heat could be applied with exact precision.

The new technique uses infrared thermal images and existing computer models to reconstruct a map of distortions across the mirror's surface.

"You can think of it like taking an infrared picture of a car engine," Richardson said in the statement. "An engineer can look at the temperature pattern on the outside and infer what's happening inside the engine. We're doing the same thing with LIGO's mirrors."

And the technique isn't just a fix for LIGO. It is also expected to become part of the foundational design for Cosmic Explorer, a proposed next-generation U.S. gravitational-wave observatory targeted for the mid-2030s.

With 25-mile-long (40-km-long) arms — 10 times larger than LIGO's — Cosmic Explorer is already designed to detect gravitational wave events far beyond the reach of today's observatories. This new technique will only supercharge its ultimate reach.

"The goal for the next generation of gravitational-wave detectors is to achieve about 10 times the sensitivity of today's instruments," Richardson said in the statement. "One of the key obstacles to achieving that is reducing the fundamental quantum mechanical noise that limits the precision of the measurements."

The technique is described in a paper published July 16 in Classical and Quantum Gravity.

A U.S.-Russian crew returned to Earth from the International Space Station early Sunday morning (July 26), after 241 days in orbit.

A Soyuz spacecraft carrying NASA astronaut Chris Williams and Sergey Kud-Sverchkov and Sergei Mikaev of the Russian space agency Roscosmos undocked from the orbiting lab on Sunday at 3:03 a.m. EDT (0703 GMT).

The Soyuz, known as MS-28, landed on the steppe of Kazakhstan 3 hours and 24 minutes later, at 6:27 a.m. EDT (1027 GMT).

The crew's departure activities began on Saturday morning with a change-of-command ceremony aboard the International Space Station (ISS). Kud‑Sverchkov handed over the reins of the orbiting lab to NASA astronaut Jessica Meir, part of the transition from ISS Expedition 74 to Expedition 75 (which officially began when Soyuz MS‑28 undocked).

The crew then gave their farewells and closed the hatches between the ISS and Soyuz MS-28 on Saturday night.

Soyuz MS-28 launched to the ISS on Nov. 27, which was Thanksgiving Day. That liftoff kicked off the first space mission for Williams and Mikaev and the second for Kud‑Sverchkov, who now has logged 426 days and 9 minutes in space.

The MS-28 trio orbited Earth 3,856 times and traveled a total of more than 102 million miles (164 million kilometers).

Now back on Earth, the three spaceflyers were first flown by helicopter to Karaganda, Kazakhstan, where recovery teams were based. Williams then will return to NASA's Johnson Space Center in Houston, while Kud‑Sverchkov and Mikaev head back to their training base in Star City, Russia.

SpaceX launched the world's most powerful rocket on a critical 13th test flight late Friday, but there was no triskaidekaphobia on this mission.

The July 24 test launch, Space's Starship Flight 13 mission, sent a towering rocket the size of a 40-story skyscraper into space from South Texas, returned its massive Booster to Earth, and then — in a feat perhaps none saw coming — gently landed its Starship upper stage in the Indian Ocean, where it tipped over to float belly up on the sea.

"Starship is intact, floating in the ocean and transmitting telemetry!" SpaceX CEO Elon Musk wrote on X.

"That is a first," SpaceX spokesperson Dan Huot added in live commentary as a drone beamed stunning views of Starship bobbing in the waves. "That is the softest splashdown we have ever had with Starship in the Indian Ocean."

The splashdown capped what appeared to be a mostly successful test flight of SpaceX's biggest Starship ever. With a mighty roar, Starship Flight 13 lifted off from SpaceX's Starbase, Texas launch site at 6:51 p.m. EDT (2251 GMT) on a test flight that lasted just over one hour.

It was only the second flight of the company's new Starship Version 3 design, or V3, and SpaceX was hoping for a better outing than its first attempt in May. During that previous test, the Starship Flight 12 mission, the massive Super Heavy first-stage Booster suffered engine problems after stage separation and failed to make a water landing in the Gulf of Mexico. It crashed instead.

Lucky Flight 13

Friday's Starship Flight 13 mission fared a bit better.

SpaceX initially tried to launch Flight 13 on July 16, but the rocket aborted the try at the last second due to engine issues. SpaceX replaced some first-stage Raptor engines in time for a July 23 launch attempt, but waved off due to weather, setting the stage for Friday's successful liftoff.

Minutes into the flight, the Super Heavy Booster successfully separated from its Ship upper stage, aced a flip maneuver and returned to Earth. There was a problem during the landing burn. Only five engines appeared to fire when 13 were required to slow the Booster to landing speed. It hit the Gulf waters harder than planned, its camera views cutting out.

"It didn't look like we lit all 13 engines that we were planning for that initial landing burn," Huot said. "We were targeting a softer splashdown and, as you saw, it came in with quite a bit of velocity."

Starlink V3 makes a debut

Despite the Booster's rough landing, there were clear successes on Starship Flight 13.

While sailing on its suborbital trajectory, Flight 13's Ship upper stage deployed 20 next-generation Starlink Version 3 internet satellites — large, flat satellites equipped with laser communications links and expansive solar arrays that will replace SpaceX's current Starlink internet megaconstellation.

Starship is designed to launch 60 Starlink V3 satellites at a time, spitting them out through a slit-like payload bay door like a giant PEZ candy dispenser. All 20 Starlink V3 satellites deployed smoothly, with the last two switching on flashlights and looking back at their Ship carrier before floating off into orbital darkness. The satellites did not stay in space. They fell to Earth and burned up (by design) due to their suborbital flight path.

The Ship upper stage (which SpaceX also refers to as Starship) then reignited one of its six Raptor engines to test a critical engine relight capability that will allow future Starships to enter and leave orbit. The burn went off without a hitch — a milestone since SpaceX had not always performed the burn if a test didn't go smoothly.

Then it was time for reentry, with cameras beaming back stunning views of Starship wrapped in super-hot plasma as it fell back to Earth. The spacecraft executed a three-engine burn to flip over into a vertical landing position, but did shift down to two engines, then one before it toppled over to rest on the waves.

The sight of a floating Starship triggered a cacophony of cheers from SpaceX teams at Starbase and its Hawthorne, California rocket factory in the company's livestream. After all, Starships usually explode after they tip over.

"This is just the first time we've put a Starship into the water," SpaceX's Dan Huot said during live commentary. He called it SpaceX's "softest splashdown" ever. "This is a dream scenario for this team that's trying to get this heat shield data."

The heat shield isn't the only thing SpaceX's recovery team will be looking at.

Live views from Starship showed its six engines intact along with its flaps and other systems. Teams will be poring over what they can retrieve from the sea to help improve future Starship upgrades.

SpaceX is developing Starship to be a fully reusable launch system, a 407-foot-tall (124 meters) megarocket capable of taking Starlink fleets to orbit as easily as it lands NASA astronauts on the moon. That part is key.

NASA has tapped SpaceX's Starship to land its Artemis IV astronauts on the moon in 2028, but SpaceX has yet to ever complete an entire Earth orbit with Starship after 13 test flights and three years of launches. It's been a decade since Elon Musk first unveiled what SpaceX now calls Starship during a 2016 speech.

Over the next two years, SpaceX must not only send a Starship into orbit. The company also aims to return a Ship to Earth to catch it in the "chopsticks" of its Mechazilla launch pad at Starbase. (The company has already done so with its Super Heavy Booster stages.)

SpaceX also must successfully demonstrate in-space Starship refueling, complete an orbital tanker version of Starship, and finish a crewed lander version complete with a life support system that can keep astronauts alive on the moon. That's a lot on the Starship to-do list and NASA is watching.

"Congrats on getting Flight 13 underway," NASA Administrator Jared Isaacman wrote on X after the launch. "Excited for what will be learned from this mission. When Starship comes online, its capabilities will be game-changing, not least of which will be ensuring we never give up the Moon again!" In a lunar coincidence, Friday's launch coincided with the 57th anniversary of the Apollo 11 astronauts' return to Earth after their historic moon landing flight.

But for now, SpaceX is clearly celebrating.

"I'm a little over the moon right now," Huot said. "Wow. Lucky number 13. Hell of a great day for Starship."

Smart telescopes like the Seestar S30 Pro have changed astrophotography and, arguably, urban astronomy. The Seestar S30 Pro takes that concept further than most. Small enough to fit inside a camera backpack, it combines a refractor telescope, motorized mount, dual cameras and image-processing software into a compact unit controlled entirely from a smartphone. Within minutes of powering on, it can align itself to the night sky, slew to a specified target and begin stacking exposures to reveal galaxies, nebulas and star clusters — even from light-polluted locations.

It makes astrophotography — once a complex and expensive hobby — possible with a single, automated device, though what makes the Seestar S30 Pro particularly interesting is not just its simplicity, but how it changes the experience of observing. Instead of actively operating a telescope, users watch a digital image build in real time. Sure, your eyes don’t see the photons coming from distant galaxies, but that misses the point — urban astronomers can’t see much of those galaxies anyway when using an optical telescope.

Positioned as an upgrade to the original Seestar S30, it introduces higher-resolution 8.3MP imaging, equatorial tracking support and expanded imaging modes aimed at more advanced users.

Designed for beginners, urban astronomers and astrophotographers of any level who are looking for a portable rig, the Seestar S30 Pro is about convenience, capability and a different way to explore the night sky.

ZWO Seestar S30 Pro smart telescope review

ZWO Seestar S30 Pro: Design

• Lightweight design
• Dual-camera system
• Full smartphone control

At first glance, the Seestar S30 Pro barely resembles a telescope, being closer in size to a telephoto lens than a traditional optical instrument. That portability is one of its defining strengths — this is a telescope you can realistically take anywhere, whether into a backyard, onto a balcony or on a dark-sky trip. You could even take it as hand luggage on a trip to see a total solar eclipse in a distant land.

The design is deliberately minimal. Aside from a power button and USB-C slot, there are no physical controls. Everything — from slewing and focusing to image capture and processing — is handled through the Seestar app. Once connected to a phone via its own WiFi network, the system operates entirely offline, connecting directly to your phone without requiring an internet connection in the field.

A key feature of this new, improved model is its dual-camera system. The primary telephoto camera is dedicated to deep-sky imaging, using a Sony IMX585 sensor that’s capable of 8.3MP (4K) images, while the secondary wide-angle uses an equally capable Sony IMX586 sensor for sky alignment and wide-field imaging modes.

The included tabletop tripod is solid, if small, so users with backyards surrounded by buildings or trees will benefit from mounting the device on a full-size photographic tripod. It also comes with a handy, high-quality padded shoulder bag to store the telescope and all its accessories.

ZWO Seestar S30 Pro: Performance

• Automatic stacking with intelligent frame rejection
• EQ mode enables longer exposures
• Strong results under urban/suburban skies

Using the Seestar S30 Pro is less about operating equipment and more about using an app. After powering on and connecting via WiFi, the telescope automatically plate-solves the stars overhead, determines its position and slews to a selected target. Within minutes, it begins capturing short exposures — typically around 10 seconds — which are stacked in real time to reduce noise and improve detail. Crucially, the system automatically discards poor-quality frames caused by tracking errors, wind shake or star trailing.

The effect of the image stacking is gradual. As more data is collected, a faint patch of light slowly resolves into a nebula or distant galaxy. The longer the telescope runs, the clearer and more detailed the final image becomes, with nebulosity and spiral arms becoming visible. Stars remain sharp across the field of view — the Seestar S30 Pro’s optics may be small, but they are excellent quality. During our test, we produced some superb images of the Orion Nebula (M42), as well as Bode’s Galaxy (M81) and the Cigar Galaxy (M82), the Whirlpool Galaxy (M51) and the Great Globular Cluster in Hercules (M13).

Stacking images is a hugely effective way to do observational astronomy under light-polluted urban skies. By stacking multiple exposures and applying built-in filters (there are three), the Seestar S30 Pro can reveal objects that would otherwise be invisible through the eyepiece of a traditional optical telescope.

The all-new equatorial (EQ) mode extends performance further, though aligning the telescope with Earth’s rotation requires purchasing the add-on Seestar TH10 Fluid Tripod Head. This is easy to set up, thanks to an in-app setup process that perfectly positions the tripod and ball head. With Expert Mode engaged, exposures of up to 60 seconds are possible. We tried it on two faint targets — the Whirlpool Galaxy (M51) and the Great Globular Cluster in Hercules (M13) — and got much greater detail.

Planetary imaging is less impressive, with planets appearing small and lacking fine detail. That said, we did manage to image Jupiter and its moons. The telescope is clearly optimized for deep-sky imaging rather than solar system work — the exception being the moon, which looked fabulous through the Seestar S30 Pro.

ZWO Seestar S30 Pro: Functionality

• Intuitive smartphone app
• Automated imaging and Plan mode
• Built-in processing and FITS export

The Seestar app is central to the entire experience. It acts as both controller and processing platform, offering a planetarium-style sky atlas that displays objects visible from the user’s location. Selecting a target triggers automatic alignment, slewing and image capture. Once imaging begins, the app displays real-time progress, including exposure count and total integration time. Users can stop a session at any time or continue it for deeper results. The telescope can operate largely unattended, making it easy to leave running and check later.

If all of this is beginning to sound like the Seestar S30 Pro is ideal for lazy astronomers, it doesn’t end there. Cue the app’s Plan mode, which allows users to schedule multiple targets for imaging overnight. Orion Nebula not rising until 3 a.m.? No problem. Pre-sunrise comet? Stay in bed. Assuming you’ve checked for clear skies beforehand, the Seestar S30 Pro can observe while you sleep. However, Plan mode does come with limits: exposure time and gain cannot be fine-tuned per target, so users must rely on default settings. For most, that won’t deter.

For those interested in post-processing, the Seestar S30 Pro supports FITS file export, enabling images to be refined in external software such as Siril, PixInsight, DeepSkyStacker or Photoshop (though advanced users dealing in FITS files may find that the system’s 128GB internal storage needs frequent attention). Alternatively, the built-in Deep Sky Stack provides quick results with minimal effort, allowing frames to be discarded and the effective AI Denoise pipeline to be engaged — something that takes a little patience, but delivers excellent results.

How we tested the ZWO Seestar S30 Pro

Testing took place over multiple nights during late winter and early spring, under suburban Bortle 6 skies in cold but not freezing temperatures. It was also used in Bortle 2 skies in sub-zero temperatures, with no ill effects on the 6-hour battery life. The telescope was used to image a variety of deep-sky objects, with sessions ranging from short captures to integrations lasting several hours. Both standard alt-az mode and EQ mode were tested.

Should you buy the ZWO Seestar S30 Pro?

The Seestar S30 Pro is best understood not as a traditional telescope, but as an automated imaging system designed to make astrophotography accessible. It’s also an upgrade on the Seestar S30 that may or may not be worth the money, depending on your needs.

For beginners, it provides a clear pathway into astrophotography without the usual financial or technical barriers. For more advanced users, it’s an efficient grab-and-go system for casual or supplementary imaging.

If the ZWO Seestar S30 Pro isn't for you

If you’re looking for a more affordable entry point, the ZWO Seestar S30 offers similar ease of use, but with lower (2MP) resolution and fewer advanced features. For those who simply want basic, shareable images, it remains a strong alternative.

The DwarfLab Dwarf Mini is even smaller and more portable but it is limited to 2MP imaging. At the other end of the market, the Unistellar Odyssey is a premium smart telescope offering much larger apertures and access to citizen science campaigns, albeit at significantly higher prices.

For an overview of the top telescopes in this category, read our guide to the best smart telescopes.

Henry Alonso Myers and Akiva Goldsman are the primary ringleaders behind "Star Trek: Strange New Worlds", and they're about to unleash the next cluster of 10 Season 4 episodes for their spirited space show.

With an abundance of genre-crossing indulgences that are scary, surreal, and sometimes silly, the Paramount+ hit is operating at full warp speed in this penultimate outing, the debut episode of which just premiered on July 23, 2026.

We hitched a ride with the acclaimed executive producers to learn all about their vision for "Strange New Worlds'" fourth season and why they believe it will prove to be the finest one yet, taking cues from ‘90s-style time-travel odysseys, haunted starships, noir crime thrillers, puppet mishaps, and utopian fantasies.

"It’s hard to come up through the ‘90s and not feel affected by a lot of the films that came out in that era, some of which my partner is directly responsible for," Myers tells Space regarding the solid one-two punch of the first two episodes.

"I think part of the goal is to come out swinging when you do a premiere. It needs its own premise that stands on its own, and then you need to figure out how to set up everything else for the season through that.

"How do you tell an emotional story that expresses where the season is going to go? And also, we want something that we think is cool. The minute we started talking about doing dinosaurs [In "Valles Marineris"], we were like, 'Yeah, let’s figure out a way to do that.' Then it became a question of how do we fit all of this into the same box."

For the unsettling (and pretty gruesome) horror episode titled "The Griffin Incident," Myers admits that Goldsman is his true north for all the horror elements because the Oscar-winning screenwriter loves it so deeply.

"I always look to see his reaction if whether or not we feel like we've hit it. And every season we’ve tried to do one, and we’ve done some decent ones. But we haven’t quite done something like a ghost story. His reaction to that made it all worth doing."

Goldsman finds it interesting that he understands the rules of the horror genre, yet he actually doesn't watch that much horror anymore, short of the horror projects that he's somehow been involved with creatively.

"The older I get, the harder it is for me to watch," he reveals. "This particular convergence of the open-hearted optimism of 'Star Trek' and the kind of haunted nature of the world behind the world. There's a cadence to this, an almost Lovecraftian sense of there’s something out there that’s more than we know and maybe not so pleasant. I just think that is really interesting in 'Star Trek.' So we built it and shot it like a horror movie, and for me it worked. It’s nice and scary.”

In choosing some of their favorite moments of Season 4, Myers and Goldsman share observations on a few key crew members as they embark on their own inner voyages.

"There is stuff that Uhura goes through this season that really gets me," notes Myers. "She was the new recruit at the beginning of the show, and this is the part where she's suddenly a bit more in charge. She also manages to risk her life and save people in ways we haven't seen on screen. And it builds to something I love, which is she looks at who she's going to be, and looks back at who she was, and has some really great emotional stories around that. I love seeing her on that journey."

Picking his pair of intrepid Starfleet officers, Goldsman looks toward Sickbay.

"I think there's a set of relationship beats between M’Benga and Chapel in the back half of the season that really deepens both those characters and helps us understand where everybody's going that I think Jess and Babs did beautifully," he adds. "So I’m really looking forward to that."

"Star Trek: Strange New Worlds" Season 4 is now streaming on Paramount+.

Scientists have measured temperatures beneath the surface of Jupiter's volcanic moon Io, offering the first-ever glimpse of the hidden heat driving the most volcanically active world in the solar system.

During close flybys of Io in late 2023 and early 2024, NASA's Juno spacecraft turned its Microwave Radiometer (MWR) instrument toward the moon, probing roughly six to 20 feet (two to six meters) beneath its surface. Originally designed to peer through Jupiter's thick clouds, the instrument instead revealed a powerful new way to study how heat moves through planetary crusts, according to a statement from the space agency.

"The surprising discovery that we could see below a rocky moon's surface has important implications for studying Earth's volcanoes," Scott Bolton, coauthor of the study and Juno's principal investigator, said in the statement. "Juno has taught us that if we look with an MWR-type instrument near a volcano on Earth, we might see a similar signature in the subsurface temperature gradient, providing new information on how terrestrial volcanoes work."

Until now, researchers had relied almost entirely on infrared observations, which detect only the temperature of Io's surface. By probing several feet underground, Juno has revealed how heat moves through the moon's crust for the first time.

The measurements showed temperatures rising by more than 40 degrees Fahrenheit (22 degrees Celsius) just a few feet below the surface — far more than sunlight alone could explain. Juno's subsurface heat map also revealed localized regions of elevated heat, with temperatures measuring between 18 and 36 degrees F (10 to 20 degrees C) warmer than the surrounding terrain, according to the statement.

Juno's observations uncovered another surprise, too. Despite being known for its towering mountains and active volcanoes, much of Io's surface appears remarkably smooth and composed of unusually low-density material. Researchers think the moon is blanketed by porous layers of volcanic ash, sulfur frost and other eruptive debris that continually resurface Io, burying older terrain beneath fresh deposits.

Scientists think the heat detected beneath Io's surface could be rising steadily from the moon's molten interior through a conductive crust or coming from pockets of cooling lava flows trapped just below the surface. Either way, the data provide the clearest picture yet of how Io transports heat from its interior.

Unlike Earth, where volcanism is driven largely by heat from radioactive decay, Io is continuously stretched and squeezed by Jupiter's immense gravity as it orbits the giant planet. This constant tidal flexing generates enormous amounts of internal heat, fueling hundreds of active volcanoes and making Io the most volcanically active object in the solar system. By improving scientists' understanding of how heat and magma move beneath a planet's surface before eruptions, the same microwave techniques used by Juno could one day help researchers better monitor Earth's volcanoes and improve eruption forecasting.

"Io provides a unique window into learning how tidal heating works throughout the cosmos, a fundamental process that provides energy and heat to worlds that are far from their parent star," Bolton said in the statement. "This process can not only create the most volcanic body in the solar system, in the case of Io, but also fuels the subsurface oceans on the moons of giant planets, such as Europa and Ganymede. Up until this point we could only observe the heat escaping at the surface or through eruptions. Now we can characterize how the heat is moving from the interior toward the surface."

Because Io is an extreme example of volcanic activity, it serves as a natural laboratory for studying how heat moves through planetary crusts. Those insights could help scientists better understand ancient volcanism on Mars, Venus, and Earth's moon, whose landscapes were shaped by massive eruptions billions of years ago.

The technique could also aid the search for life elsewhere. While Io itself is far too hostile to support life, microwave instruments can also probe beneath icy surfaces. Juno has already used the same instrument to study Jupiter's moons Europa and Ganymede, where scientists believe vast oceans lie hidden beneath thick shells of ice. Understanding how heat moves through those crusts is key to determining whether they could harbor environments suitable for life as we know it.

Their findings were published July 22 in the Journal of Geophysical Research: Planets.

A planet-hunting spacecraft named Plato just passed a series of critical tests as it prepares for the challenges of outer space.

What is it?

Gleaming in the light of a laboratory, this box of electronics is actually the European Space Agency's Plato spacecraft sitting inside a special test chamber where it underwent critical tests ahead of its planned spaceflight.

The Plato (PLAnetary Transits and Oscillations of stars) probe is designed to study terrestrial exoplanets, or rocky planets outside of our solar system that are Earth-sized or smaller.

This chamber, called the Maxwell Test Chamber (which is located at the European Space Research and Technology Centre in the Netherlands), is an enclosure made of conductive metal that blocks electromagnetic fields. On top of the conductive metal are foam spikes. Combined, they block out and/or absorb all electrical signals and sounds to mimic some aspects of the environment of the vacuum of space.

In this enclosure, the team turned on Plato's electronics to make sure that signals from some of the probe's instruments don't interfere with other systems or electronics on the craft. With all other signals blocked out, scientists had a clear look into how it might perform in space.

Why is it incredible?

This test is critical as Plato will need to be able to collect data and run its instruments without interference from electronics or signals from elsewhere on the spacecraft. But it's pretty impossible to ensure that things would work as planned amidst the "noise" on planet Earth.

To get any spacecraft ready to operate in the void of space, researchers conduct all sorts of tests to make absolutely sure that they're up to the challenge. In addition to tests like this, spacecraft can be placed in extremely hot or cold temperature chambers or even shaken around to make sure that they can handle the violent conditions of a rocket launch. It's amazing how we can recreate different aspects of outer space here on Earth to prepare for these missions.

There is a particular moment every July when the night sky makes perfect sense to me. Every time I step outside at night, I instinctively look overhead for the Summer Triangle. Not because it's the most spectacular sight in the sky. In fact, the vast asterism is almost suspiciously simple: three bright stars, large enough to cut through twilight and light pollution without much effort.

Experienced stargazers quietly depend on the Summer Triangle more than we admit. People imagine astronomy involves memorizing the entire sky at once, knowing exactly where each star is and what it's called. Everyone navigates differently, but we all rely on familiar anchor points because the night sky changes quickly with the seasons.

The Summer Triangle is one of the best anchors because it appears exactly when the northern sky can otherwise feel vague and washed out during late twilight. Once those three stars appear, I immediately know where everything else is. The Milky Way becomes easier to trace. The darker regions of the sky reveal themselves. Constellations stop looking random. Suddenly, I know where the Perseids will emerge from later in the night and where to point binoculars to find summer's dense star fields without even thinking about it.

The Summer Triangle also teaches you how to see the night sky. To the untrained eye, the night sky appears as a flat backdrop of stars — hence the "blanket of stars" saying. Every time I hear that cliche, I wince. There is no blanket! The night sky has incredible depth, and there's nowhere better to learn how to appreciate that than when gazing at the Summer Triangle.

Take Altair, the lowest star. It's relatively nearby at about 17 light-years away. It shines brightly largely because it is close to us. Vega lies slightly farther away at roughly 25 light-years, but it is intrinsically far more luminous. It once served as Earth's North Star thousands of years ago and, thanks to our planet's slow axial wobble, will become the North Star again many millennia from now. So far, so local — we're in the sun's backyard with these two stars. The light from both of them began its journey to us this century.

Then there's Deneb. Deneb is so distant — roughly 2,600 light-years away — that the fact it appears this bright at all becomes genuinely difficult to process. Its light began traveling toward Earth while the Roman Empire was still in existence. The only reason it remains prominent in our sky is that Deneb is an enormously luminous supergiant radiating tens of thousands of times more energy than the sun.

Knowing this about Deneb transforms the Summer Triangle into a three-dimensional shape. Here are three stars that appear neatly connected overhead, but in reality, one is separated by an incomprehensible distance. So next time you look at the Summer Triangle, keep Altair and Vega at the front and push Deneb way, way back. It's not a triangle anymore — it's an arrow pointing far into the distance, thousands of light-years away into the starfields of the distant Milky Way.

What's happening and when to look

This week is the perfect time to reacquaint yourself with the Summer Triangle using just your naked eyes. Around 11 p.m. local time at mid-latitudes of the Northern Hemisphere, look high in the southeast. Vega is usually the first to appear, high and brilliant with a slightly blue-white color. To its lower left sits Deneb. Farther south is Altair. By midnight, the entire Summer Triangle stands high overhead and remains one of the defining features of the northern summer sky through October.

Stretching directly through it is our view into the Orion Arm of the Milky Way — the spiral arm of the galaxy containing the solar system itself — while farther south, the glowing river of starlight continues toward the galactic core near the constellations Sagittarius and Scorpius, low on the horizon. Under dark skies, the Milky Way visibly streams behind Deneb and through Altair like a river of stars.

How and when I'm watching it

Once I start slowly sweeping binoculars through the Summer Triangle, I usually lose all sense of structure and planning. Dense star clouds spill into view everywhere. Dark lanes slice through the Milky Way. Tiny clusters appear almost accidentally. The region between Deneb and Altair may be my favorite casual binocular territory in the entire sky.

Inside the Summer Triangle itself lies the Cygnus Star Cloud, one of the richest naked-eye sections of the Milky Way visible from northern latitudes. Nearby are the Ring Nebula and the Dumbbell Nebula. The beautiful double star Albireo — one bright yellow and the other a fainter blue — sits at the beak of Cygnus, the Swan.

I'll also look for a couple of smaller constellations within and around the Summer Triangle — Delphinus, the Dolphin, hovers to the left of Altair, while tiny Sagitta, the Arrow, hangs above Altair, looking improbably compact.

That's another thing the Summer Triangle taught me — astronomy improves dramatically once you stop hunting objects individually and start exploring regions instead. It's armchair travel of the grandest kind.

If you're looking for a telescope or binoculars to observe the night sky, our guides for the best binocular deals and the best telescope deals can help. Our best cameras for astrophotography and best lenses for astrophotography can help you get ready to capture the next stunning skywatching event.

Stargazer's corner: July 24-31, 2026

The moon will move beneath the Summer Triangle this week, appearing as an 81%-illuminated waxing gibbous moon as it shines close to supergiant star Antares in the constellation Scorpius, on Friday, July 24. By now, the moon is dominating the night sky, albeit low on the horizon, and on Wednesday, July 29 — the night before the full Buck Moon — the Summer Triangle will appear to point straight at it. Late July also marks the gradual strengthening of the Perseid meteor shower, with occasional early meteors now appearing after midnight. The Southern Delta Aquariids and Alpha Capricornids peak around Thursday-Friday, July 30-31, though the full moon will reduce visibility of fainter meteors considerably.

Constellation of the week: Sagitta

Sagitta, the Arrow, is one of the smallest constellations, but also one of the easiest to recognize once you've found it. It appears as a short line of five stars — all between 450-650 light-years distant — with an arrowhead, shaft and two stars as the fletchings. It's between Cygnus and Aquila.

It's not bright, but it's well-defined, and once you spot it, it becomes a reliable reference point. Learning these smaller constellations helps fill in the gaps between the more obvious patterns.

Lightning struck a Chinese rocket shortly after liftoff this week, as seen in incredible video and photographs.

A Long March-3B rocket lifted off from China's Xichang Satellite Launch Center on Thursday (July 23) carrying a communications relay satellite destined for geostationary orbit. Some 30 seconds into flight, lightning struck the rocket, leading to awestruck cries from crowds gathered nearby to watch the launch.

Despite the strike, the rocket delivered the satellite to its intended orbit as planned, according to the China Aerospace Science and Technology Corporation (CASC). The satellite will help relay communications to the nation's Tiangong Space Station and other crewed missions.

This isn't the first time lightning has struck a rocket shortly after liftoff. A lightning bolt famously struck the Saturn V rocket carrying NASA's Apollo 12 mission, the second to ever land astronauts on the moon. In fact, the rocket was struck twice.

According to a report NASA issued after the mission, some non-essential instruments and sensors experienced "permanent effects" from the strikes. Nevertheless, the mission put astronauts Charles "Pete" Conrad, Alan Bean and Richard "Dick" Gordon on the moon as planned.

More recently, lightning struck a Russian Soyuz rocket in 2019 shortly after it launched. Like in this most recent example, the vehicle was able to place its Glasnost communications satellite in orbit despite the strike.

But not all rockets struck by lightning fare so well. In 1987, a bolt struck the United Launch Alliance Atlas/Centaur-67 rocket, leading to a malfunction in one of the computers that guided the vehicle and "ultimately causing the breakup of the vehicle," NASA wrote in a report of the incident.

The incident led to NASA developing strict Lightning Launch Commit Criteria (LLCC) to lower the risk of strikes by further defining weather conditions that would delay launches. "Since Atlas/Centaur-67 and the rigorous implementation of the LLCC, no other launch vehicles have intercepted or triggered lightning on launch in the United States," NASA wrote in a technical paper outlining the criteria.

Hey, Space Fans! Every weekend here at Space.com, you may have noticed we highlight the latest episode of the podcast This Week In Space, a TWiT show co-hosted by yours truly and my friend and colleague Rod Pyle, a space historian and editor of the National Space Society magazine Ad Astra.

This Week In Space episodes usually drop each Saturday, but this week we're doing something a bit different. To mark the 50th anniversary of NASA's Viking landings (Viking 1 touched down on Mars on July 20, 1976), Rod and I will host a special live taping of the podcast to discuss all things Martian starting at 1:30 p.m. EDT (1730 GMT). It should last up to 90 minutes.

Joining us on the podcast will be:

• Dr. Pascal Lee, a planetary scientist, geologist and artist with the SETI Institute, Mars Institute and NASA Ames Research Center.
• Dr. Penny Boston, an astrobiologist and speleologist (the study of caves) with the New Mexico Institute of Mining and Technology.

During our discussion, we'll touch on the personal and scientific impacts of NASA's Viking Mars landings and look at where Mars exploration may go in the modern age. We might even discuss the best places for the hunt for signs of life: the surface or inside Martian caves?

So if you're a Mars fan or a casual space aficionado, join us today at 1:30 p.m. EDT to get a detailed look at NASA's Viking Mars landings and their lasting impact on Martian exploration.

Using NASA's long-serving Hubble Space Telescope, astronomers have discovered that a stellar explosion in the Milky Way is blasting out cosmic bullets travelling at 20 million miles per hour.

The cosmic explosion in question is V445 Puppis, which erupted in 2000 and is the only known "helium nova" in our galaxy. Though astronomers have been studying V445 Puppis for two decades, much of the phenomena associated with it were shrouded in mystery due to a vast cloud of dusty debris that surrounded this nova.

When this debris finally cleared, a team of researchers was able to peer into V445 Puppis using Hubble, NASA's exoplanet-hunting spacecraft TESS (Transiting Exoplanet Survey Satellite), and the Earth-based Very Large Telescope (VLT), along with an array of other instruments. This allowed them to discover not only the "bullets", clumps of potentially oxygen-rich gas it is firing, but also the true nature of this system. This revealed that V445 Puppis consists of a dead star hungrily feeding on a companion star that is, by itself, a rare find. Thus, this system offers scientists a rare chance to study one of the rarest types of binary systems and one of the rarest cosmic explosions.

"The origin of these 'bullets' is a mystery. We suspect that these originated post-outburst, but 'bullets' of this kind have not been observed in any other nova," team member John Mills, a researcher at the University of Warwick in the UK, said in a statement.

What is a helium nova?

Helium novas like V445 Puppis occur when a white dwarf dead star cannibalistically strips helium-rich but hydrogen-poor matter from a star that has already lost its outer layer of hydrogen, exposing inner layers of helium; forming a rare "helium star." By contrast, "ordinary" novas are explosions triggered by the buildup of stolen stellar matter rich in hydrogen, not helium.

As the material accumulates on the surface of the white dwarf (a type of stellar remnant left behind when stars around the mass of the sun die) it creates runaway pressures and temperatures that eventually trigger a thermonuclear explosion.

When V445 Puppis went nova back in late 2000, it launched vast, twin plumes of debris that resemble butterfly wings. Stretching out for more than a trillion miles, astronomers initially spotted this bipolar outflow in infrared. The nova also spawned a thick disc of dust that completely obscured the binary star system. That cloud persisted for over two decades, preventing astronomers who were investigating the expanding debris from determining what kind of stars the blast originated from.

Once the debris cleared, this team determined that the system contained a helium star, one of only a few thousand of these stripped stellar bodies to be discovered among the billions of stars that populate the Milky Way.

"The culprits behind this galactic eruption have been an enduring mystery over the past 25 years, which is why it is very exciting to confirm that this helium nova was the result of a helium star accreting onto a white dwarf," Mills said.

The findings also revealed cosmic "bullets" that are even more remarkable, as they have never been seen around any other novas. Intriguingly, the team also found that V445 Puppis may be about to go nova again, and this could lead to an entirely different type of cosmic explosion.

Is V445 Puppis about to blow its top again?

Mills found that the white dwarf in V445 Puppis has overcome its stellar indigestion and is once again feeding on its companion helium star.

This is the process that led to the initial helium nova, and could mean that another episode of this rare type of cosmic explosion is soon to occur.

That has implications for our understanding of another type of cosmic eruption, this time a type of supernova called a Type Ia supernova. These occur when white dwarfs overfeed on companions and are completely destroyed by the resultant explosion.

Scientists have long suspected that repeated helium nova eruptions could lead to final Type Ia supernovas.

A new Type Ia supernova would be exciting because these events are so regular in terms of their light emission that they can be used as so-called "standard candles" to measure cosmic distances and gauge the age of the universe.

This means that they can also be employed in the quest to understand how fast the universe's expansion is proceeding, and the influence of the mysterious force called dark energy on this process.

"I look forward to seeing how this result may help us uncover what powers other similar hydrogen-poor astronomical explosions, such as the famous Type Ia supernovas," Mills said.

The team's research was presented this week at the Royal Astronomical Society's National Astronomy Meeting in Birmingham, UK.

NASA is shaking things up for its next mission to research the sun.

The six satellites of NASA's Sun Radio Interferometer Space Experiment (SunRISE) mission are poised to launch to Earth orbit soon, to serve as an early warning system for incoming solar storms. They were originally slated to lift off on a United Launch Alliance (ULA) Vulcan Centaur rocket but have now been assigned a SpaceX Falcon Heavy, according to a NASA mission update.

SunRISE will fly to space as part of a rideshare mission sponsored by the U.S. Space Force's (USSF's) Space Systems Command (SSC). Though it's not stated specifically in the NASA release, that may be a hint as to why the mission's rocket was changed. On its most recent launch, USSF-87, Vulcan experienced an anomaly in one of its solid rocket boosters — the second such incident to occur during the rocket's four launches to date.

Vulcan succeeded in delivering the USSF-87 payload to its designated orbit on that launch, but the recurrence of the booster issue during ascent prompted the Space Force to pause national security launches on Vulcan until it could be addressed. Which mission SunRISE will be manifested on has not yet been released, but SSC has already shifted other launches between Vulcan and SpaceX's Falcon 9, so NASA's change in rockets for SunRISE could indicate either that the mission has been remanifested on a different SSC rideshare, or that another SSC mission has been shifted from Vulcan entirely.

SunRISE is a heliophysics study under the NASA Science Mission Directorate's "missions of opportunity" umbrella and is part of the Explorers Program run by Goddard Space Flight Center in Greenbelt, Maryland. It consists of six small satellites, each about the size of a mailbox. The mini-constellation's mission is led by scientists at the University of Michigan and will be managed out of NASA's Jet Propulsion Laboratory in Southern California.

The half-dozen smallsats will be delivered to an orbit about 22,000 miles (35,000 kilometers) above Earth — just above a geostationary parking altitude — and fly in a giant 10-mile (16-km) "X" formation, each extending its roughly 10-foot (2.5-meter) antenna booms to act as a single large radio telescope to track solar radio bursts. These kinds of bursts travel faster than the energetic particles from a solar storm, and precede their arrival when shot towards Earth.

Powerful solar storms, like the one that hit Earth in January, are capable of disrupting or disabling satellites by interfering with onboard electronics, sensitive instruments and communications systems. If a storm is severe enough, it can pose a radiation threat to astronauts in orbit and even airborne passengers flying near Earth's poles, where the planet's magnetic field is weaker.

SunRISE will help researchers better understand the behavior of incoming solar radio bursts, but the mission won't serve as an alert system by itself. Instead, scientists will use data collected by the spacecraft to improve prediction models for impending space weather, which in turn could lead to mitigation plans to better thwart the effects of such solar events on orbital infrastructure.

Falcon Heavy is SpaceX's heavy-lift launch vehicle, capable of launching up to 58,860 pounds (26,700 kg) to geostationary transfer orbit. It's a triple-booster rocket that consists of three modified Falcon 9 first stages, and has launched 12 times since it debuted in 2018. Four of those have delivered national security payloads to orbit, with the most recent of those, USSF-52, launching in December 2023. Falcon Heavy's most recent flight overall occurred this past April, when it sent the Viasat-3 F3 telecom satellite to orbit.

Falcon Heavy's next mission will lift off with NASA's Nancy Roman Space Telescope, currently set for no earlier than Aug. 30. SunRISE is scheduled to launch later this year, but a more specific launch window has not yet been announced.

2026 is the 60th anniversary of "Star Trek". To help celebrate the show that creator Gene Roddenberry described as "Wagon Train to the Stars,""Star Trek: Strange New Worlds" returns to Paramount+ for its penultimate season.

From teasers and trailers that first dropped last summer and fall, we’re anticipating a rollicking batch of dynamic episodes that draw on diverse subgenres, with everything from classic film noir crime stories and time travel to spooky ghost stories and sword-clashing swashbucklers.

But the end is nigh for this colorful modern interpretation of "Trek". Next year's truncated fifth season will be the crew's final mission, so let's revel in the time we have left and beam onto the Enterprise bridge for a promising round of missions. Here's our guide to everything you need to know about "Strange New Worlds" Season 4. Hit it!

When is the "Star Trek: Strange New Worlds" Season 4 release date?

"Strange New Worlds" season 4 premieres Thursday, July 23, 2026, exclusively on Paramount+ in the US, Canada, and the UK with the first of 10 weekly episodes.

Fans can catch up and binge on all three previous seasons on the streaming platform. There are 30 previous sci-fi excursions into the known and unknown corners of the vast universe.

Forthcoming episodes of "Strange New Worlds" will land each Thursday after that, with the season finale warping into your living rooms on Sept. 24, 2026. Not signed up yet? We’ve got you covered with links to help get you up and running!

How to watch "Strange New Worlds" Season 4

"Strange New Worlds" season 4 streams on Paramount+ in the US, UK, Canada, Latin America, Australia, Italy, France, Germany, Switzerland, Austria, and Japan.

The engaging sci-fi series will also be available on SkyShowtime in the Nordics, the Netherlands, Spain, Portugal, and Central and Eastern Europe, starting July 24, 2026.

If you want to check out "Star Trek: Strange New Worlds" or any of the other great shows on Paramount+ while you're abroad, you can also use a VPN to access your subscription from anywhere in the world. It doesn’t work so well in neighboring solar systems or in the proximity of supermassive black holes!

What is the plot of "Strange New Worlds" Season 4?

After the bittersweet season 3 goodbye to Captain Marie Batel, Captain Pike’s longstanding love interest, it's back to bold business seeking out new life and new civilizations in the galaxy.

"The crew of the U.S.S. Enterprise, led by Captain Christopher Pike, embarks on a series of thrilling and emotional adventures across the stars," states the official synopsis. "On their journey, they will battle inner demons and external threats, encounter colorful new characters, reunite with familiar faces, and confront terrifying aliens. Through it all, they strive to embrace a bright, hopeful future."

Check out the individual episode titles and their scheduled air dates:

• Episode 401: "Valles Marineris" — Jul. 23
• Episode 402: "The Griffin Incident" — Jul. 30
• Episode 403: "Human Best Friend" — Aug. 6
• Episode 404: "A Case of Chiaroscuro" — Aug. 13
• Episode 405: "Level Five Transporter Accident" — Aug. 20
• Episode 406: "Off-Hour" — Aug. 27
• Episode 407: "Like Chronitons Through the Hourglass" — Sept. 3
• Episode 408: "Orders of Magnitude" — Sept. 10
• Episode 409: "Once La'An a Time" — Sept. 17
• Episode 410: "Tomorrow's Enterprise" — Sept. 24

Are There Teasers and Trailers for "Star Trek: Strange New Worlds" season 4?

You bet your coveted dilithium crystals there are!

Paramount+ delivered the main full trailer for season 4 on June 15, 2026, and it’s packed with dinosaurs, cowboys, horses, space storms, dreams, nightmares, fire-breathing dragons, haunted spaceships, and hallucinatory pleasure planets. Strap in for another genre-hopping season that could be the series’ best yet as we honor the franchise's big 60th birthday!

On July 18, Paramount+ also offered up a fun 20-minute video presenting some of the most memorable moments of Season 3 and it’s definitely worth a watch… or two!

But the funniest surprise came last summer on July 25, 2025 during San Diego Comic-Con, with the hilarious teaser that featured Captain Pike in the center seat as a Muppet! Yep, a Muppet! And we guarantee that episode is destined for immortality.

Who Are The "Strange New Worlds" Season 4 Cast And Creators?

It’s going to be all hands on deck for this fourth and penultimate season of "Strange New Worlds," with the U.S.S. Enterprise exploring the final frontier with a full cast complement and its tireless executive producers and co-showrunners Akiva Goldsman and Henry Alonso Myers at the creative helm.

Returning to Paramount+'s adventurous space fantasy show are Anson Mount (Capt. Christopher Pike), Rebecca Romijn (Number One), Ethan Peck (Spock), Jess Bush (Christine Chapel), Christina Chong (La’An Noonien-Singh), Celia Rose Gooding (Nyota Uhura), Melissa Navia (Erica Ortegas), Babs Olusanmokun (Dr. Joseph M’Benga), and Martin Quinn (Montgomery Scott), and Adrian Holmes (Admiral April).

Recurring guest stars for "Strange New Worlds" season 4 include Carol Kane as the quirky long-lived Lanthanite engineer Commander Pelia and a charismatic Paul Wesley as a younger James T. Kirk.

Will there be a "Strange New Worlds" season 5?

Yes indeed, we will be getting one final season next year, shortened to just six episodes.

The series' swan song will introduce Thomas Jane portraying Leonard "Bones" McCoy and Kai Murakami playing Hikaru Sulu. The original gang's almost all here. Will we get an Original Series reboot/reimagining after this? Our money's on yes.

For several years now, astronomers who study the sun have faced a little mystery — our star seemed to hold too little silver. Whenever scientists examined the sun's outer layers, they've seen significantly less silver than they've expected to find.

Where, then, did the missing silver go?

As it turns out, this mystery may finally be solved. Newly published research suggests that the sun's missing silver may have been hiding in plain sight all along.

At first, the real mystery might seem to be why you'd seek silver in the sun at all. After all, 98.5% of the sun's mass is made from lightweight hydrogen and helium. Silver is just a tiny fraction of the remaining 1.5%, which also includes traces of other heavy elements like iron and copper.

These trace elements can illuminate the history of the cosmos. Silver is thought to form when dying stars violently explode in supernovas. When astronomers find silver in the sun and other stars, they can retrace the silver's origins and how stars have evolved over the eons.

"By studying the light of stars of different types and ages, we hope to understand where silver is formed in the universe, and how it has been distributed throughout the Milky Way over time," says Sema Caliskan, the lead author of the research and now a postdoc at the University of Liège in Belgium, in a statement.

Silver is particularly interesting because it's also found in utterly ancient meteorites called CI chondrites. These meteorites formed from the same primordial matter that created the sun, 4.6 billion years ago. As a result, when scientists break into CI chondrites that have fallen to Earth, they expect to find silver levels that match those they see in the sun.

Astronomers can measure the latter from afar by looking at sunlight's spectral lines. As light streams out from the sun's heart, it crashes into the atoms of our star's outer layers, which absorb the light at certain wavelengths. Look at a spectrum of sunlight, and you'll see dark lines where light has been absorbed. Atoms of different elements absorb different wavelengths, so each element leaves a distinct fingerprint.

Scientists can pore over these spectral fingerprints to reconstruct what elements created them and in what quantities. Therein lies the mystery: The sun seemed to contain much less silver than CI chondrites would indicate. This missing silver is a source for confusion in the sun's history.

Caliskan and her colleagues wondered if astronomers were missing something. They could not visit the sun in person, but they could still find where the silver might be hidden by simulating the sun's atoms on a computer. If they could create a high-silver model that still spawned the low-silver spectral lines, that model could be a good guess for the silver's whereabouts.

Other scientists had tried this before to limited success, but their simulations had been relatively simple. As light strikes an atom, the light has all sorts of intricate effects on the atom's innards. These effects can alter how the atom absorbs the light and, therefore, change how astronomers see that light.

Past models hadn't accounted for many of these tricky "non-equilibrium effects", because simulating them is far easier said than done. They're messy and complex and they vary a great deal from atom to atom.

In fact, no known scientists had ever tried to simulate a silver atom with non-equilibrium effects before Caliskan and her fellow investigators took on the challenge. They tried with their best guesses and the power of the Tetralith supercomputer in Linköping, Sweden.

Indeed, these non-equilibrium effects seem to explain the silver mystery. Based on their model, Caliskan and colleagues calculated that the sun holds 55% more silver than astronomers have measured.

This isn't a perfect match for the CI chondrites, but it's close enough that investigators can rule out any extraordinary cause. Instead, the missing silver may have been right there, in the sun all along, simply occluded from astronomers' view by tricks of physics. Next, Caliskan and colleagues plan to use this method to simulate other types of stars.

They published their work in the journal Astronomy & Astrophysics in July 2026.

In a rare first for me, I actually used autofocus for this entire astrophotography shoot. If I'm being honest? I prefer it when shooting astro with a mirrorless camera. Why? Because it is quicker and that means more time capturing the stars and less time setting up. I can get a star in sharp focus using autofocus in half the time that it would take me to do it manually and it's way easier to focus with the shutter or back button than play about with the focus ring, especially with cold fingers.

I only managed to get out under one clear sky to test the new R6 III but it was a wonderful session at my usual dark hill spot surrounded by a sea of stars and celestial shapes. After setting up my tripod, I was ready to start shooting, armed with the Canon 14mm f/1.4 and 45mm f/1.2 lenses.

If you are a seasoned astrophotographer, you will undoubtedly have started your craft by learning how to manually focus on stars to get them crisp and sharp in the frame. Everyone does. Whilst the manual focus (MF) versus autofocus (AF) debate continues within the community, the technology for low-light autofocusing capability has come a long way since mirrorless cameras were first introduced and the R6 III is physical proof of that.

The astrophotography

You only get the luxury of being able to do this if your camera is actually good at autofocusing in low light and for starry nightscapes. All three versions of the Canon EOS R6 feature a low-light autofocus range of -6.5 exposure value (EV), so they already have a strong baseline for shooting under dark skies. The Canon EOS R6 III features a higher resolution and advanced autofocus algorithms, so the AF system actually has more data to use and is better at using it.

I was able to capture bright objects easily and start shooting without having to spend ages using manual focus for each new shot. The autofocus was powerful enough to capture at least one star in each of my frames. I simply used autofocus on the brighter points of light in my composition, waited for the green box and then switched to manual to avoid any refocusing if I decided to recompose the shot.

Bright objects were the easiest to capture, with Jupiter, Pollux and Castor easily captured in the western sky. Light pollution washed out the contrast in this shot but it was the quickest autofocus because of the brightness of the objects.

The autofocus helped me capture a range of other constellations too. With the R6 III focusing on the bright star Arcturus, along with the rest of Boötes and Coma Berenices next to the Coma Star Cluster (Melotte 111).

The shape of Leo is recognisable and the autofocus captured the brightest star, Regulus, to bring the rest of the stars in the constellation into focus. You can even spot the Beehive Cluster (M44) in Cancer, to the right of the frame and it is fairly sharp in focus. Barring some minor star trailing from my lack of a star tracker, the stars are nicely in focus, including on minor objects like star clusters.

Using the 45mm lens, I got some close-ups of some quadrilateral shapes in the sky. Hercules' prominent trapezoidal keystone is visible and one of the corners, Zeta Herculis, was picked up by the autofocus. It is not exactly a bright star, with a magnitude of 2.88, but the R6 III picked it up easily and brought the rest of the corners into focus. Whilst barely a smudge along one of the sides of Hercules, I even managed to capture the Hercules globular cluster (M13) with the R6 III and the Canon RF 45mm wide open at f/1.2.

The polygonal head of the dragon in Draco was easily captured in the centre of the frame, with bright stars Eltanin (2.23), Rastaban (2.79) and even Iota Herculis (3.8) showing prominently. The autofocus capabilities of the EOS R6 III are maximised when used alongside a lens with a very fast aperture like f/1.4 and f/1.2. Without these types of lenses, you would be much less likely to be able to autofocus on such dim stars.

The upgrades

The big question when looking at the third iteration of a camera model is to figure out if the upgrades are actually worth it. First, you have to think about your budget and also what you are using the camera for. For astrophotography, there are a few upgrades in the EOS R6 III that can be considered to see whether they are worth it.

The most noticeable upgrade on the R6 III is the resolution, which has been upgraded from the R6 II's 24.2MP sensor to a 32.5 MP sensor. On top of improved resolution for general and astrophotography, the boosted number of pixels allows the Dual Pixel CMOS AF II to collect even more data points because there are more pixels. Dual Pixel architecture splits each pixel into two separate photodiodes and allows each photodiode to read the light from the star at two different positions and allows the lens motor to bring those points together into perfect focus.

The upgraded sensor resolution combined with upgraded tracking algorithms from the flagship Canon EOS R5 II make the R6 III better at locking onto low-light points and make autofocus for astrophotography much more reliable than in previous models.

I initially expected the higher resolution to translate into more image noise on photographs but this was not the case. The R6 III utilizes dual-gate gain architecture, which means that every pixel has a switchable path at the hardware level depending on the ISO level used and allows images with higher ISOs to have a heavily reduced base amount of noise and thus makes them less grainy.

Photos at lower ISOs on the R6 III have an incredibly high dynamic range (HDR) thanks to the low conversion gate (LCG) circuit. This allows the natural color of the stars to be preserved instead of coming across as indeterminate white blobs, as well as the subtle hues of the dark surrounding sky in the photograph.

Aside from the technical aspects of how the resolution improves the autofocus, the detail in images from the R6 III is noticeable and is great for picking up finer stellar structures such as star clusters and smaller stars. When paired with a distorted lens like the Canon RF 7-14mm f/2.8-3.5 fisheye lens, extra resolution really helps details pop. I didn't get to use the fisheye lens for astro but general daytime shooting delivered some high-quality photographs.

The final important upgrade on the R6 III is the inclusion of a CFexpress card slot, which allows faster writing and reading speeds both in camera and during media downloads. A UHS-II SD card has an average read speed of 300MB/s and an average write speed of 260MB/s.

This may seem fast but the most advanced CFexpress cards have a read and write speed of over 3000MB/s, which makes huge workloads so much easier to process. This may only be of benefit to professional photographers who shoot a lot of video or need to do a huge amount of burst photography in RAW format, but it does vastly improve the performance of this camera. Bear in mind that CFexpress cards are much more expensive than SD cards and require an additional CFexpress reader to transfer data to a computer.

Is it worth it?

The price difference between the R6 Mark II and the Mark III is just under $1000 and for that amount of money, justifying the move up to the latest model comes down to a few factors that you will have to consider. The power of the low-light autofocus is tempting but you should think about the camera as a whole to see whether it is worth making the investment.

If you are looking to boost resolution in your night-time scenes and have been shooting astrophotography for a long time, the R6 III could be worth the extra investment thanks to the 32.5MP sensor, which retains the powerful dual-gain architecture for getting high dynamic range images at lower ISOs and delivering high ISO images with significantly less grain.

If you have a heavy workflow, you are likely to be frustrated with the lack of a CFexpress card slot on the earlier R6 models and would benefit from the advanced functionality the new slot will give you, especially if you shoot a lot of RAW imagery and video.

Stick with an earlier model or a different mirrorless camera if you are a very casual astrophotographer who does most of your shooting in the daytime. I just can't justify the massive jump in price for basic shooting, where a beginner or intermediate photographer's money might be better spent on getting a fast f/1.4 lens for superior astro. I used the Canon RF 14mm f/1.4 lens for astrophotography testing and I don't think the images would have looked half as good if I had used a lens with a smaller aperture. If you already own the R6 II, the only reason you might upgrade is if you need to do more heavy cropping into your images or need better hybrid video functionality from a camera.

LOS ANGELES — Standing in the shadow of the space shuttle Endeavour, a group of retired NASA astronauts announced their plan to travel the country visiting colleges to try to inspire younger generations to get out and vote. This campaign comes as we lead up to the November midterm election.

This past year, a group of retired NASA astronauts teamed up for a single cause: to defend the U.S. constitution. They banded together as part of a non-profit, non-partisan activist organization called Astronauts for America. So far, they have been speaking out, using their astronaut expertise, platforms, cultural relevance and role model status to speak out in support of "science, evidence-based decision-making, public service and the rule of law," their website reads. Now, as the group announced at an event at the California Science Center's new air and space center — home to the shuttle Endeavour — they're hitting the road on a campaign tour of colleges called "Vote for Freedom."

"We have to do what we can to ensure that the country makes it through the challenges that we're dealing with here, and that is the message that we're going to be taking to colleges and universities," Apollo 9 astronaut Rusty Schweickart told Space.com. "And the agency that we have, the immediate agency, is to vote."

This tour will send astronauts from the group on a four-month jaunt across the country. Astronauts from the group's more than 100 members will visit state and community colleges, county fairs and even town halls, aiming to reach first-time voters and young people who might be new to voting.

"I'm really excited to look a bunch of younger Americans in the eye and make sure that they know that someone that they can trust said: ;Listen, you matter, because our country matters, and our country needs you,'" former NASA astronaut Cady Coleman told Space.com.

"It's with a uniquely American kind of freedom that we were able to go to the moon, and that same freedom launched the spaceship behind us 25 times into space. Now we see those freedoms under heavy threat," former NASA astronaut Steve Smith said during the event. "We're seeing chaos instead of community, violence instead of votes, lies instead of laws, and fear instead of fate. That's how democracy and freedom die."

"The mission is all that matters. Now, our country is the mission, and our message is simple: going to the polls is one small step for you, and one giant leap for our country," Smith added.

This campaign leads up to the U.S. midterm elections this November. Midterm elections happen halfway through every four-year presidency. This election allows voters to decide what Congress looks like, and which political party controls Congress. This can ultimately have a major impact on what laws and decisions are passed moving forward, and whether Congress will reject or change actions by the president moving forward. And this group of astronauts is serious about the importance of getting people out to exercise their right to vote.

"I'm a child of the segregated South; I grew up in Columbia, South Carolina," former astronaut and NASA Administrator Charlie Bolden, who also serves as a steering committee member for Astronauts for America, said at the event. "I graduated in 1964. Anybody know what happened in 1964? The Voting Rights Act. So, as a person growing up in my hometown, it wasn't a guarantee that my mom and dad were going to be able to go out and vote. I look at what's going on today about people trying to restrict the ability of people to cast their ballot. That's not who we are. That's not America."

The group of astronauts recently spoke out about voting access after the U.S. Supreme Court ruled in favor of protecting the right to absentee voting, in response to attempts by the Trump administration to place restrictions on the current voting process. Especially leading up to the November midterms, each vote carries significant weight. And while this nonpartisan group isn't telling you who to vote for, they do think that everyone who can should vote.

"As astronauts, we signed an oath to our nation, and we are mission-oriented people. And our nation is now the mission," Coleman added. "We need to recognize that everyone's voice is important, and one of the voices that we don't hear very much is the young people. And we want them to understand that, even though sometimes change can seem daunting, their perspective is really important, and, you know, their voice is important."

In satellite data captured over Antarctica, what appears to be a beautiful, colorful hummingbird emerges from the crest of a mountaintop.

What is it?

While there are no hummingbirds flying around Antarctica, we can see what looks like a small, purple bird in a new satellite image of an Antarctic mountain. The dark belly of this "bird" at the center of this image is actually the top of the mountain Nunatak Zaterjavshijsja in East Antarctica.

What looks like a bird's tail is a stream of ice flowing northeast all the way out to the ocean, and what appear to be feathers splaying outward from the mountaintop are actually crevasses down the mountain. These crevasses are formed by a glacier fracturing the mountain's surface as it flows in the icy current toward the ocean.

This view was captured by radar instruments onboard the satellite NISAR (NASA-ISRO Synthetic Aperture Radar) that launched as a collaboration between NASA and ISRO (Indian Space Research Organisation). The director of NASA's Earth Science Division called NISAR "the most sophisticated radar we've ever built" in a pre-launch briefing last year.

Why is it incredible?

At first glance, this image is puzzling. What could it possibly be? Its bold colors and sharp lines evoke almost alien qualities. But the strange beauty of the shapes and colors in this satellite image reveal important information about glacier movements on the mountain.

"First, it's a beautiful image, with rich details of features that provide insights to how the glacier is moving. Then, because radar can often see through snow and deep into the ice, NISAR can observe fundamentally different properties of Antarctic ice than can be seen in optical imagery," Seongsu Jeong, the signal analysis engineer who produced the image at NASA's Jet Propulsion Laboratory, said in a statement. "With NISAR we're seeing what's hidden beneath the surface."

And now anyone can explore NISAR's data. Earlier this week, on July 20, NISAR started making the data from its radar instruments public. Moving forward, mission teams will be rolling out this data so researchers everywhere can use it to study and protect our ever-changing planet.

If you're of a Martian persuasion, "Strange New Worlds"' season 4 opener couldn't have timed itself much better.

Not only does this week mark the 50th anniversary of Viking 1 touching down on the surface of the red planet, new research from University of Oxford scientists recently suggested that Mars once had an active, interconnected system of magma beneath its surface. If accurate, this discovery might have made our Solar System next-door neighbor more habitable in its distant past.

While life on Mars has long been an obsession of sci-fi creators — from HG Wells' "War of the Worlds" to "Doom" via John Carter and John Carpenter — "Star Trek"'s Martians have tended to be human expats. Indeed, by the 24th century of "The Next Generation", "Deep Space Nine" and "Voyager", it's home to the Utopia Planitia Fleet Yards that would later be destroyed by rogue synths ahead of "Star Trek: Picard"'s debut season.

SPOILERS AHEAD! ANYONE YET TO WATCH "VALLES MARINERIS" SHOULD PROCEED WITH CAUTION TO AVOID VIOLATING TEMPORAL PRIME DIRECTIVES.

Homegrown Martians had traditionally been in shorter supply, however, until "Valles Marineris" paid them a visit. The only catch? Captain Pike and his USS Enterprise crew have to travel a mere 65 million years back in time to say hi.

There's something undeniably delicious (though not, luckily, the crew) about Una Chin-Riley (Rebecca Romijn), La'an Noonien-Singh (Christina Chong) and Erica Ortegas (Melissa Navia) getting to visit the real Jurassic Park (technically Cretaceous Park) on an away mission to recover the iridium they need to repair an Enterprise stricken by its accidental trip through a quantum entangled spatial anomaly.

In the tradition of "Planet of the Apes", it turns out that this particular third rock from the sun was Earth all along. It also, according to star Rebecca Romijn, features an actual puppet from the original "Jurassic Park", and gives La'an that rare opportunity to punch a dinosaur in the face. That's definitely one to tell the grandkids — assuming, of course, you can avoid stepping on a bug, unleashing a butterfly effect, and preventing them (and the entire human race, for that matter) from ever being born.

But it's no coincidence that Pike has a copy of Edgar Rice Burroughs' "A Princess of Mars" on his bookshelf, because it's what happens in orbit that makes this episode such a pulpy sci-fi joy.

Although Battle Commander Cassell (Saffron Burrows) and her crew have the familiar, human-esque appearance of most "Star Trek" aliens, Martian evolution has got them there millions of years before Vulcans, Klingons, and the rest become top dogs in the galaxy. (Spock notes that Martian DNA is present in many modern-day species, though it's unclear how their family tree aligns with the "Progenitor" origin story of "TNG"'s "The Chase".)

These technologically advanced Martians are embroiled in a bloody ongoing war with a "Starship Troopers"-adjacent arachnid species known as the Dol'Drm, who call the fifth planet of the Sol System home. Science purists will note that this strange new world is not the famously gaseous Jupiter, but an extra, science textbook-rewriting ball of rock located roughly where the Asteroid Belt is now.

Unfortunately, once Cassell has sneaked a peek at a future where her "homeworld is a barren red wasteland", she's in no mood to listen to Federation lectures about finding diplomatic solutions. She subsequently steals some of the Enterprise's antimatter and fashions a makeshift weapon of mass destruction to eliminate the Dol'Drm once and for all. But the shockwaves of this cataclysmic blast will stretch far beyond the fifth planet.

Spock confirms that many of the fragments left behind by the obliteration of the Dol'Drm homeworld will form the Asteroid Belt, essentially a riff on the so-called "Disruption Hypothesis" of the belt's origins.

Originally postulated by German astronomer Heinrich Wilhelm Matthias Olbers in the early 19th century, the theory suggested that a rocky planet, roughly the size of our Moon, existed between the orbits of Mars and Jupiter.

It was the destruction of this world (by means unknown, though we doubt anyone suggested an antimatter explosion) that led to the formation of the belt. The hypothesis is now largely discredited — current scientific thinking suggests that the belt is the result of dust and rock coalescing due to gravity — but it's a fun revisionist spin on old scientific ideas.

And the Enterprise's involvement in the Solar System's origin story stretches even further. The gravimetric shift caused by the absence of the Dol'Drm planet shifts Mars' orbit, making it too cold to support life. It also launches arguably the most famous asteroid in history, the Chicxulub meteorite, on a collision course with Earth, wiping out the dinosaurs, kickstarting the Cenozoic Era, and sending the planet on an evolutionary journey that will eventually lead to, well, us.

When it comes to interfering with past events, the implications are rather larger than Scotty passing on the formula for yet-to-be-invented transparent aluminum in "Star Trek IV: The Voyage Home". Even the Borg meddling with a few centuries of history in "First Contact" is small fry next to killing off the dinosaurs.

The intriguing twist here, of course, is that humanity's existence is briefly on a knife-edge, as Pike makes the biggest decision of his (or, indeed, anyone's) life. Standard Starfleet protocol would usually dictate that the Enterprise intervene to prevent the Dol'Drm being destroyed by stolen Federation technology, but its commanding officer sees the bigger picture.

What if the Enterprise was always meant to be there? What if the human race only exists because the ship has gone back in time to answer its own 65-million-year-old Mayday? "In our future there is no fifth planet," he reasons, before allowing the Martians to deliver their deadly payload.

It's a wonderful "what if" that puts 65 million years of history in one man's hands. Indeed, you could tie yourself in knots with all that timey-wimey stuff, but the episode is so much pulpy fun that you barely notice the unbearable weight of those existential dilemmas. Dinosaurs, Martians and an origin story for the human race? What more could you want from a season opener?

New episodes of "Star Trek: Strange New Worlds" debut on Paramount+ on Thursdays.

The moon's south pole has long been the target of NASA's Artemis lunar landing missions, but one Artemis astronaut is questioning if that's still the best plan.

NASA's Victor Glover, who piloted the Artemis II mission around the moon this past April, proposed a different approach while speaking at the NASA Exploration Science Forum at the agency's Ames Research Center in California on July 21, according to a report published on Space News. "I think we need to be realistic and work our way to the south pole, and maybe not try to go there first," Glover said.

Instead, Glover suggested aiming closer to the moon's equator, where missions can land in areas not at risk of falling out of daylight, and in regions reachable by orbits that allow for quick transfers back to Earth in case of an emergency, according to Space News. That argument aligns with other recent Artemis program changes that NASA has introduced to gradually expand successive mission goals, but whether space agency officials will take his advice depends on what the top priority for Artemis moon landings is deemed to be.

NASA has long targeted the lunar south pole due to its abundance of water ice. Permanently shadowed areas inside craters in this region are believed to harbor large ice deposits, which scientists believe can be used as a resource in the production of several space-travel essentials, like potable water, radiation shielding and rocket fuel. That goes a long way toward achieving the Artemis program's ultimate goal of creating a sustainable, long-term base on the surface of the moon, and using the lessons learned in building that outpost to enable the eventual occupation of Mars.

There is, however, a secondary motivation behind NASA's ramped-up urgency to see its Artemis missions succeed in a timely manner. China has also set its sights on the lunar surface, stoking fears in some U.S. officials about the implications of Chinese astronauts staking some sort of claim at the moon's south pole before American astronauts are able to get there.

During a Senate Commerce Committee hearing last year, several space industry experts, including former NASA Administrator Jim Bridenstine, urged lawmakers not to let that happen. Mike Gold, president of civil and international space at Redwire, told senators that China beating the U.S. back to the moon would mean "a global realignment that will impact our economy, our tax base, our ability to innovate and our national security."

If not just getting back to the moon first, but being the first with boots on the ground at the south pole, is the priority, Glover's suggested approach may not get NASA there in time. China is making fast progress with its lunar program; it has already demonstrated robotic landings and sample returns on both the moon's near and far side and begun developing hardware for a crewed landing by 2030.

NASA's next Artemis mission, Artemis III, is scheduled for next year. It will launch four astronauts aboard the Orion space capsule for rendezvous and docking tests with the program's two commercial lunar lander vehicles, SpaceX's Starship and Blue Origin's Blue Moon. If all goes according to plan on that mission, NASA is targeting late 2028 for the program's first moon landing on Artemis IV. To pull that off, one of the two landers has to be up to the task, and both have faced significant delays that have raised questions about their readiness on NASA's timeline.

To facilitate south pole landings, NASA previously laid out a lunar near-rectilinear halo orbit (NRHO) — a high-altitude, elliptical polar orbit — where Orion would dock with the lunar Gateway space station, and then crews would transfer to and undock aboard one of the Artemis landers to descend to the surface. Gateway is no longer part of the picture, however; the agency has sidelined that outpost to push ahead with a surface base.

But NRHO on its own also introduces some complications that SpaceX and Blue Origin have raised while developing their lunar landers, as well as safety concerns for astronauts facing a potential emergency situation on the moon's surface. Because of its highly elliptical shape and long orbital period, opportunities to launch from the moon's south pole to rendezvous with Orion in NRHO open up just once a week.

To highlight the potential risks imposed by relying on an NRHO, Glover brought up a hypothetical situation — an astronaut health issue that requires a medical evacuation just after landing at a lunar south pole moon base.

"You’re stuck for a week," Glover said. "That’s a big deal to me, and I don’t like that plan … The equator gives me opportunity to save that person."

If the point of Artemis' returning astronauts to the moon as soon as possible is landing there at all, then there's no need for the first of those missions to aim for the south pole, Glover argued. "If you want to go fast, go familiar … If we want to land soon, familiar, daylight, equator."

"I think we need to be realistic and work our way to the south pole, and maybe not try to go there first," he added.

SpaceX is also eyeing an equatorial orbit when Starship flies on the Artemis IV mission, and NASA may already be quietly shifting the mission's landing site to a higher latitude. During a June 9 event that revealed the Artemis III, SpaceX Customer Operations and Integration Vice President Jessica Jensen outlined an Artemis IV mission plan with Starship that didn't involve NRHO.

"We have an updated plan with NASA that includes docking Starship with Orion in Earth orbit instead of NRHO, and then we use Starship to actually do the translunar injection with Orion attached," Jensen said, stressing the same benefits that Glover expressed during the July 21 forum.

"The crew can also abort off the lunar surface nearly any time, versus waiting up to days from NRHO," she said. "In addition to improving crew safety, these new Artemis IV orbits also significantly lower the amount of propellant Starship needs to aggregate in space, since we now just have a more direct route to the moon, and this lower schedule risk overall."

Paleontologists now know that many of the dinosaurs didn't disappear but instead evolved into modern birds, and new research suggests that "cosmic dinosaurs" observed by the James Webb Space Telescope (JWST) didn't go extinct either. Rather, they may have evolved into familiar sights in the modern universe: vast conglomerations of densely packed stars called "globular clusters."

Little Red Dots became quite the puzzle for astronomers in 2022, when the JWST began to routinely spot them in abundance around 600 million years after the Big Bang. That is because these objects seemingly disappear before the cosmos gets to around 2 billion years old.

Astronomers have proposed many different explanations for Little Red Dots, including the suggestion that they could be "black hole stars," or black holes wrapped in vast shrouds of dense gas and dust. This team theorizes that a forming globular cluster with a supermassive star, a hypothetical short-lived stellar body with between 1,000 and 10,000 times the mass of the sun, would also look a lot like a Little Red Dot at its heart.

"These may not be just a strange new JWST population with no connection to the universe around us today," team leader John Chisholm of the University of Texas Austin said in a statement. "Instead, Little Red Dots may persist past the early universe, evolving into something relatively familiar.

"Little Red Dots could be galaxies, they could involve black holes, or they could be something even more unexpected. Our work shows that forming globular clusters with supermassive stars should be part of that conversation."

An unfamiliar side to a familar sight

Globular clusters are generally seen in large galaxies and are densely packed with up to many millions of ancient stars. Our galaxy, the Milky Way, is host to at least 150 globular clusters, and though familiar, astronomers still aren't quite sure how they form.

"We usually see them [globular clusters] after billions of years of evolution, at a time when their massive stars are gone, their gas has been cleared out, and dynamical processes have changed their masses and structures," team member Danielle Berg of UT Austin said in the statement. "That makes it very hard to reconstruct the original conditions they formed in."

It is thought that the stars in globular clusters all formed at the same time in the early universe. However, at this time the cosmos should only have had hydrogen, helium and a smattering of heavier elements (which astronomers call "metals") available for star construction. Yet, many stars in globular clusters are strangely abundant in helium and metals like nitrogen, sodium and aluminum, while lacking the expected levels of carbon, oxygen and magnesium.

"This specific pattern indicates nuclear fusion at very high temperatures, much higher than in the cores of even massive normal stars," team member Mike Boylan-Kolchin of UT Austin said in the statement. "A supermassive star is precisely the kind of environment that could produce this combination."

Supermassive stars capable of generating this kind of heat would form in the dense environments of early globular clusters in which stellar collisions and mergers would be expected to occur over and over again. The resultant supermassive stars would be short-lived, lasting just around 1 million years (remember the sun is middle-aged at 4.6 billion years old) — but this would be sufficient time to forge the elements needed to explain the peculiar chemistry of globular clusters.

When these supermassive stars die in supernova explosions, the elements they forged would be blasted out to become the building blocks of the next generation of stars. This would provide the stars of modern globular clusters with their unusual chemical fingerprints.

"In our model, the supermassive star that helps make the object look like a Little Red Dot would live for only a short time," Chisholm continued. "Once that star dies, the object may no longer look like a Little Red Dot, even if the cluster itself survives billions of years."

Strange chemistry isn't the only thing linking early globular clusters with Little Red Dots, however. Not only does the team propose that the distribution of Little Red Dots in the early universe matches the distribution of modern globular clusters, but they also say models of Little Red Dot evolution show that their estimated masses could easily lead to the masses of globular clusters seen in the recent universe.

There is also the issue of timing. Little Red Dots appear around 600 million years after the Big Bang, and that is also the time that scientists estimate that globular clusters would have begun to form.

"There's no single smoking gun at this point that says Little Red Dots are globular clusters, but it would explain a lot of diverse and surprising observations," said Boylan-Kolchin.

This study is currently available to view as a pre-print on the paper repository arXiv.

The world's most powerful solid-fuel rocket just aced its third-ever mission.

Gravity-1, a distinctively squat and stubby rocket, launched Tuesday night (July 21) from the deck of a ship stationed off the coast of Shanghai.

Liftoff occurred at 10:54 p.m. EDT (0254 GMT and 10:54 a.m. Beijing time on July 22), according to the state-run Chinese outlet Xinhua, which further reported that all nine satellites reached "their designated orbits." Details about those satellites were not provided.

Gravity-1 is operated by Orienspace, a company based in the eastern Chinese province of Shandong. The rocket stands about 100 feet (30 meters) tall — less than half the height of SpaceX's workhorse Falcon 9 vehicle.

Gravity-1 consists of three core stages and four strap-on boosters, all of which feature solid rocket motors. The launcher can haul up to 14,300 pounds (6,500 kilograms) of payload to low Earth orbit (LEO), making it the most powerful solid rocket in the world. (For comparison: The liquid-fueled Falcon 9 can deliver a maximum of 50,265 pounds, or 22,800 kg, to LEO.)

The Chinese vehicle now has three flights under its belt, all of which launched from ships at sea and achieved full mission success. Gravity-1's first two flights occurred in January 2024 and October 2025.

There won't be such a long gap before Gravity-1 flies again, if all goes to plan. The rocket is expected to launch a batch of Chinese internet satellites in the next few months, according to the state-run outlet CGTN.

And Orienspace's ambitions don't end with Gravity-1. The company is also developing Gravity-2 and Gravity-3, larger, more powerful rockets that will feature liquid-fueled core stages and solid rocket boosters.

Gravity-2 could be ready to fly by the end of the year, CGTN reported. And that vehicle will likely lift off from an ocean-based pad as well.

"Sea launch of solid-propellant rockets paves the way for future launch of liquid rockets at sea," said Gravity-1 chief designer Xu Guoguang, according to CGTN. "We are also considering other methods, such as launching from drilling platforms."

The latest "Dune: Part 3" trailer arrived back on July 8, and it was a sumptuous banquet of startling set pieces, intergalactic political unrest, close-quarter combat, and a whole lot of sand and ash. A fine follow-up to the initial March teaser, to be sure.

After letting it marinate in our minds for a while, let’s break down five items of particular interest in this newest preview of the Denis Villeneuve-directed conclusion to his trilogy of far-future sci-fi epics adapted from author Frank Herbert’s novels, "Dune" and "Dune: Messiah."

Set 17 years after Paul Atreides (Timothée Chalamet) has ascended to the Emperor’s throne, "Dune: Part 3" explores the corrupting side of political power as his holy war against the Imperium’s Great Houses advances towards a destructive destiny.

Right out of the gate, Chani (Zendaya) is certainly not shy about displaying her displeasure with his ultimate betrayal, which was first fleshed out at the end of 2024’s Dune: Part 2. It’s also pretty cool to see Duncan Idaho (Jason Momoa) back as a cloned “ghola” and Paul’s powerful sister, Alia, portrayed by Anya Taylor-Joy.

So behold, our five takeaways from this brand new look at Villeneuve’s "Dune: Part 3".

1. The chilling gaze of Scytale

We already knew that a platinum-haired Robert Pattinson plays Scytale, one of the film’s main villains.

Some might have scoffed at the concept of Pattinson as an intimidating foe, but from these extra snippets in the new trailer, his shapeshifting Tleilaxu Face Dancer seems up to the task of carrying out a careful plan to remove the ruthless Paul Atreides from the throne.

Pattinson has the acting chops to pull off an intimidated foe, so he might just steal the show. And come on, folks, Pattinson was The Dark Knight!! Have a little faith.

2. Alia’s bloody scream

Alia Atreides, played by Anya Taylor-Joy, is Paul’s sister. The Bene Gesserit Revered Mother Mohiam called her an "abomination" due to the Water of Life that Lady Jessica drank while she was in the womb.

A blood-covered Alia is perhaps unleashing her god-like power on a captive Mohiam in response to a conversation we’re not privy to here, which could be not exactly a scream of peril, but a stern command.

She’s definitely not someone to cross thanks to her otherworldly paranormal skills.

3. Where did Paul’s eyes go?

Towards the end of the 3-minute trailer, we catch a shot of Paul in the aftermath of a nasty Stone Burner radiation bomb detonated by conspirators in the Arrakis capital, Arrakeen, as Paul and his personal Fedaykin guard accompany him outside the palace.

We can see his eyes are severely damaged after the intense detonation flash strikes him square in the face, causing blindness and eventual exile into the deep desert per the Fremen way.

This will open up his prescient sight abilities in new and extraordinary ways as we’ll soon see for ourselves in this third "Dune" installment.

4. Attack of the Clone

Jason Momoa’s master swordsman Duncan Idaho returns here with more sneak peek screen time.

He's shown resplendent in his crisp white uniform, heavily criticizing Paul for the thousands of worlds he’s destroyed during the terror campaign inflicted by his brutal Jihad.

But, as fans of the books will know, this is not technically the same person as his former mentor. He has been resurrected as a Ghola clone named Hayt as a ‘gift’ from the Bene Tleilaxu, and unbeknownst to Paul, he plans to assassinate the crazed ruler who is deemed beyond redemption.

5. Flight of the Navigator

One of the major grumbles coming from fans, myself included, is the lack of the Spacing Guild and its bizarre Guild Navigators in Villeneuve’s "Dune" films, but all that’s seemingly about to change.

In this trailer, we see a hovering coffin tank that no doubt contains one of the mutated human creatures warped by the spice Melange, enabling them to fold space. This former Spacing Guild member is named Edric and is a pivotal player in the plot to overthrow Paul and House Atreides.

Also seen is Edric’s sinister pod sliding silently into one of the gigantic Guild Heighliner starships.

Warner Bros.' "Dune: Part 3" lands on Dec. 18, 2026.

A near-Earth object that astronomers believed was an asteroid for nearly three decades has been unmasked as a faint, active comet, revealing a case of cosmic mistaken identity that could help improve planetary defense.

The object, known since its discovery in 1998 as 1998 SH2, appeared to be an ordinary asteroid. It follows a 4.5-year orbit around the sun and showed no obvious signs of cometary activity, such as the glowing coma or tail produced when sunlight vaporizes surface ice.

However, during a close pass about 2 million miles (3 million kilometers) from Earth in August 2025, researchers using NASA's Deep Space Network planetary radar system noticed something unexpected: The object wasn't where orbital predictions said it should be, according to a statement from the space agency. That discrepancy prompted scientists to take a closer look, and what they found surprised them.

Using decades of precision optical astrometry — measurements of the object's position against background stars — researchers found that gravity alone couldn't explain its irregular motion. Instead, they detected tiny nongravitational forces consistent with jets of gas escaping from the object's surface as hidden ice warmed in sunlight.

"After we measured the nongravitational perturbations affecting the motion of 1998 SH2 and recognized they weren't compatible with the object being an asteroid, we suspected the object could be an active comet," Davide Farnocchia, lead author of the study and navigation engineer with NASA's Center for Near-Earth Object Studies at the Jet Propulsion Laboratory, said in the statement.

To test the idea, the team observed the object with the European Southern Observatory's Very Large Telescope in Chile and the Canada-France-Hawaii Telescope atop Mauna Kea. The observations revealed a faint but unmistakable comet tail, confirming the object's true identity.

The discovery earned 1998 SH2 a second designation: P/1998 SH2, officially recognizing it as a comet. Beyond solving the mystery, the finding has important implications for planetary defense.

Unlike rocky asteroids, comets can subtly change course as gas escaping from their surfaces acts like tiny thrusters. Identifying those nongravitational forces allows scientists to more accurately predict an object's future orbit and assess any potential impact risk.

"This work shows the importance of continuously tracking near-Earth objects," Farnocchia said in the statement. "Because of outgassing, the motion of comets is more significantly perturbed than that of asteroids.

"Detecting these perturbations can be an important diagnostic tool for planetary defense that will help understand which objects may be comets rather than asteroids, how their orbits evolve, and how that influences their Earth impact risks."

The study also suggests that 1998 SH2 may not be unique. The researchers noted that analyzing the motions of near-Earth objects with increasingly precise astrometry could reveal more hidden comets that have long been classified as asteroids because they lack obvious tails or glowing comas.

As astronomers continue to monitor the growing population of near-Earth objects, subtle orbital changes may prove just as revealing as spectacular comet tails, uncovering more examples of cosmic mistaken identity while helping scientists better understand which objects pose potential threats to Earth.

Their findings were published July 10 in the journal Nature Astronomy.

The launch of NASA's next super telescope, the Nancy Grace Roman Space Telescope (Roman), may mean there is nowhere left for violent black holes to hide.

In fact, these cosmic cannibals may not even be able to hide from Roman at "cosmic noon," a period of the universe's history that occurred around 11 billion to 12 billion years ago. The study of these gory stellar events so early in the history of the universe could help reveal how supermassive black holes grew so big, so rapidly.

Occurrences of black holes ripping apart stars are called tidal disruption events (TDEs), and they happen when an unfortunate star's orbit brings it too close to the immense gravitational influence of a supermassive black hole. This simultaneously squashes and squeezes the star in a process called "spaghettification," with plasma pasta wrapping around the black hole and being fed gradually to it.

Because supermassive black holes are wrapped in a one-way, light-trapping boundary called an event horizon, the only way to study them is when they are actively consuming surrounding matter. Such matter swirls around them in what are known as accretion disks.

However, lighter supermassive black holes aren't ravenous feeders, making them harder to investigate. That is, until a star gets too close and is shredded in an incredibly bright TDE that can outshine the combined light of every star in the supermassive black hole's host galaxy. TDEs are more common to supermassive black holes with masses of about 100,000 to 100 million suns, because supermassive black holes with masses over 1 billion solar masses tend to immediately swallow their stellar snacks.

Previous research has suggested TDEs wouldn't be common in the early universe, because the first supermassive black holes wouldn't even have a mass of 100,000 times that of the sun and thus wouldn't shred stars. However, a new study has reassessed the frequency of TDEs around 1 billion to 2 billion years after the Big Bang, finding they could be more common than previously estimated. Especially during the crowded conditions found during cosmic noon.

Set to launch on Aug. 30, 2026, scientists are hoping Roman's High-Latitude Time-Domain Survey, which will repeatedly revisit a region of the sky equivalent to 90 full moons, will be a powerful tool in the hunt for TDEs in the early universe and their subsequent study. This team estimated that Rubin will detect thousands to tens of thousands of TDEs each year, with 100s dating back to cosmic noon.

"The Roman Space Telescope is going to be transformative for transient science [transients are astronomical events that light up the sky then fade away]," research team leader Mitchell Karmen of the Johns Hopkins University said in a statement. "Thanks to Roman's high sensitivity, we can find multiple tidal disruption events out to greater distances and earlier cosmic times than ever before."

This means Roman is ideally poised to solve a puzzle that has developed since its predecessor, the James Webb Space Telescope (JWST), began beaming data back to Earth in July 2022.

How could early TDEs solve the puzzle of black hole growth

Supermassive black holes with masses equivalent to millions or even billions of suns are found at the hearts of all large galaxies. When they are seen in the relatively local universe, that isn't so problematic; they have had plenty of time to grow via mergers and feeding.

However, the JWST has been routinely spotting supermassive black holes prior to the universe being even 1 billion years old. That is troubling because these early black holes should have had to undergo at least 1 billion years of mergers and gluttonous feeding to reach supermassive status. Scientists have two prevailing theories as to how this growth may have happened.

The first suggests supermassive black holes grow from "light seeds," beginning with black holes with masses just a few hundred times that of the sun that are born from the death and collapse of massive stars.

Such black holes might weigh up to a few hundred times the mass of the sun. These black holes would then merge over time, as well as consume surrounding gas at an incredible rate that facilitates rapid growth. For this theory to be the right one, every young galaxy would have to harbor a massive black hole at its center.

The second theory suggests early supermassive black holes grew from "heavy seeds" created directly from the collapse of vast clouds of primordial gas and dust. This would allow rapid growth because black holes could begin the whole merger and feeding process before the first stars lived and died.

Should this be the correct pathway, however, the fact that collapse events would be rare would make massive black holes at the heart of cosmic noon galaxies less common.

Because TDEs are common to less massive supermassive black holes, counting their occurrence at cosmic noon could give an indication of the masses of black holes during that epoch — the key to determining between heavy seeds and light seeds.

"Tidal disruption events help us probe the population of light supermassive black holes, which can help us discriminate between these models," Karmen said.

"Just by counting the number of TDEs as a function of redshift [a measure of cosmic distance], you can put meaningful constraints on the population of million-solar-mass black holes. Roman will be transformative in that it can probe tidal disruption events out to greater distances, so you can look at how the rate of TDEs evolves over time," team member Suvi Gezari, an associate professor of astronomy at the University of Maryland, said. “Just like the JWST has transformed our understanding of distant, high-redshift [very distant] galaxies, Roman is poised to transform our understanding of high-redshift transients."

The team's research was published on July 14 in The Astrophysical Journal.