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Army officials have shared new details about plans to launch extremely long-range drones from the service’s forthcoming ME-11B High Accuracy Detection and Exploitation System (HADES) surveillance and reconnaissance planes. With ranges of around 620 miles (1,000 kilometers) or more, the uncrewed aerial systems will help keep the Bombardier Global 6500 bizjet-based ME-11Bs as far away from enemy air defenses as possible. In this way, the Army expects to gain a penetrating aerial intelligence-gathering capability without the need for a very stealthy or otherwise highly exquisite and costly aircraft.

“There will be nothing in the world that we can’t touch with a combined range of HADES and what we can launch off of this thing,” Andrew Evans, Director of Strategy and Transformation with the Office of the Deputy Chief of Staff of the Army, or G-2, told TWZ and other outlets today. “I don’t think anybody’s safe in the future from a sensing perspective.”

Evans comments came at a roundtable with several Army officials about HADES on the sidelines of the Army Aviation Association of America’s (AAAA) 2026 Warfighting Summit.

To take a step back quickly, the Army selected the Bombardier Global 6500-based bid from the Sierra Nevada Corporation (SNC) as the winner of the HADES competition in 2024. Flight testing of the first ME-11B prototype is now slated to kick off this summer. The service is expecting to take formal delivery of that aircraft from SNC before the end of the year. Two other prototypes are currently in various stages of conversion.

Each HADES aircraft will have a built-in suite of sensors, as well as a robust array of communications systems to pass the data it collects along to other nodes in near-real-time. The Army says it is following an incremental approach to integrating systems with the initial trio of prototypes. The service is also using a modular open-systems approach to make it easier to add new and improved capabilities down the line.

Details about what sensors the baseline HADES configuration will have are limited, but we do know it will include a version of the Advanced Synthetic Aperture Radar System-2B (ASARS-2B), something TWZ was first to report back in 2024. ASARS-2B was originally developed for the U.S. Air Force’s U-2 Dragon Lady spy planes, and it features synthetic aperture radar (SAR) imaging and ground moving target indicator (GMTI) modes, as you can read more about here.

For more than a year now, the Army has also been talking about launching very long-range so-called “launched effects” from the HADES aircraft. This term is a catch-all used to describe drones configured designed to perform a wide variety of missions that can be deployed from aircraft (fixed wing and rotary; crewed and uncrewed) in flight, as well as platforms on the ground or at sea. The process of converting Global 6500s into ME-11Bs includes integrating four underwing pylons, which the aircraft will be able to use to launch drones and carry podded sensor systems.

At the roundtable today, Evans, the Director of Strategy and Transformation, offered a detailed explanation of how the Army arrived at this plan and what it expects to gain from the blend of capabilities in response to a question from our Jamie Hunter.

“So, someone’s going to eventually ask about survivability. It’s going to tie it all together in here,” Evan said. “We did the research. I’ll save you time on doing the research.”

“In 70 or 80 years, there would be 0.1% of the time when you wouldn’t be able to fly ISR [intelligence, surveillance, and reconnaissance missions] because you would be afraid of the threat, potentially, or the threat would be too high to fly,” he added. “That means that 99.9% of the time of a life of the system, it is a useful system for deterrence, for building pattern of life, target development, and so on and so forth. So we’re building a system that can be used for 99.9% of the useful life of the system.”

“So we’re, I think, wise in the approach, saying, all right, if there’s still that 0.1% of the time where you need to be resilient enough to survive in a situation, how do you do that? Well, how do you combine the best of both? Because there’s no one perfect solution, right?” he continued. “What’s really, really good for conflict is not very good for the 99% of the time you need it for campaigning [routine operations], and vice versa. So what we’ve determined strategically is that there’s a way to combine both of these things.”

This is where Evans says the air-launched drone capability comes in.

“We can have a useful asset for campaigning 99.9% of the time, but we can pair with it launch effects [for] when we aren’t going to put that capital system in harm’s way,” he said. “We’ve already engineered hard points into HADES to be able to receive these launch effects in the future. So once we mature the capabilities and determine which way forward we want – what type of launch effects, what type of performance we need out of these things – and we marry those two things up, now we have the best of both. We have something that’s supremely capable in campaigning and probably the best joint asset in the world at being able to do penetrative launch effects. And now you have a bit of a utopia.”

Furthermore, “we believe that in the role of HADES, there’s also an opportunity to be a bit of a quarterback of an ecosystem of sorts. So you can imagine how that might look,” Evans also noted. “That isn’t going to quarterback everybody’s assets, but the ones that have the most strategic importance and match that type of mission profile. There’s certainly a space for it to do that.”

In terms of the range of drones launched from HADES, the Army has put forward the 620-mile (1,000-kilometer) figure in the past. Speaking today, Evans alluded to even greater potential reach.

There are questions about the scale and scope of coverage that a single ME-11B will be able to achieve using “launched effects” type drones designed to be lower cost, and that will likely have a limited sensor payload. The concepts of operations the Army is putting forward for HADES point to a need for expendable designs, as well. These are drones that, in turn, are most effective when employed in large networked swarms to cover broad areas cooperatively. The ME-11B, at least as it is being presented now with its four underwing pylons, does not seem set to carry very large numbers of uncrewed aerial systems.

“This is important breakthrough technology. so I’m not going to reveal too much about what we’re discovering in this space,” Evans said. “But know that it’s going to change the game. It takes us from a sensing platform to a sensing and platform, and the ‘and,’ I’ll just let you use your imagination.”

Evans’ deliberately vague comments here might point to a broader airborne drone controller role in HADES future. ME-11B crews could potentially oversee larger and more capable drones, including Collaborative Combat Aircraft (CCA) types now in development. CCAs or other heavier types would be able to carry bigger sensor suites and otherwise bring additional capabilities to the table, including the ability to provide close-in defense for HADES itself during missions.

Survivability has certainly been a hot topic of discussion around HADES since the Army first announced its intention to acquire a new fleet of business jet-based ISR aircraft. The service had highlighted growing concerns about the vulnerability of its now-retired fleets of turboprop ISR planes, which had provided key intelligence-gathering capacity globally for decades, tracing back to the Cold War. TWZ and others have repeatedly noted that these concerns are very real, especially in the context of a future high-end fight in the Pacific against China, but also apply to non-stealthy jets like the Global 6500.

For routine operations, the ME-11B does a major leap in capability over the turboprop ISR aircraft the Army previously operated, both in terms of its mission systems and its general performance. HADES can fly higher, faster, and farther, and do so while carrying a bigger sensor payload. Higher altitudes also offer greater fields of view for the aircraft’s sensors. The improved performance also translates to being able to get to and from operating areas more rapidly and the ability to remain on station longer. The underwing pylons will offer additional flexibility beyond the drone launch capability.

“The deployability of this platform, being able to fly 6,000 miles at 0.87 Mach, and go globally without the world will require the ability to rapidly change sensors,” Army Col. Joe Minor, the Capability Program Executive for Aviation within the office of the Program Acquisition Executive for Maneuver Air, also said at today’s roundtable at the AAAA conference. “With those hard points and cleared envelopes for pods, it gives us that ability to rapidly configure and update even more quickly than we could internally or within the canoe [fairing under the fuselage]. So those hard points being built in from the beginning is part of that [sic] building the right platform and air vehicle from the start, with the ability to integrate and evolve very quickly as you move forward.”

Using the Global 6500 as the underlying aircraft offers maintenance and other logistical benefits. This is an in-production aircraft with a significant global user base. This includes the U.S. Air Force, which operates a fleet of E-11A Battlefield Airborne Communications Node (BACN) aircraft based on this platform.

The Army says it has already been seeing an important boost in ISR capability with contractor-owned and operated ISR-configured business jets, including Global 6500-based types. The service has been utilizing those aircraft for eight years now as a transitional ‘bridge’ force to lead into the fielding of HADES.

Many of “our previous platforms were centered around the COIN [counterinsurgency] fight,” Army Col. Matt McGraw, head of the 116th Military Intelligence Brigade, the Army’s main aerial ISR unit, who was also at the roundtable today, said. “If you’re flying a platform operating full motion video [cameras], you’re tracking maybe one or two targets at most. A platform today, on these bridge aircraft with MTI and SAR, you’re tracking a couple 100 targets at the same time.”

There do continue to be significant questions about the true extent of what the Army’s ME-11Bs will be able to offer, in any context, given the expected size of the fleet. The Army currently plans to buy just six production HADES jets on top of the three prototypes. The service previously operated dozens of turboprop ISR aircraft.

“We work for the United States Army, on behalf of the United States Army. And so if the Army’s given direction to cap a fleet size based on budget pressure, and of the other things that we have to balance as an army – like, if the Army only built ISR [aircraft], we build 1,000 of these things,” Evans said at the roundtable today. “But we don’t. We build a lot of things. And ISR is an enabler to [the] ground lethality that we deliver.”

“The Army’s got a tremendous amount of budget pressure. The Army has a top line that’s not keeping pace with inflation,” he added. “And so until our top line increases to support the world’s premier land force, then we’re going to be capped inside programs like HADES.”

As it stands now, the Army certainly looks to be hoping that even the small fleet of HADES will be able to punch well above its weight, thanks in no small part to the ability to launch very long-range drones from relative safety deep in hostile territory.

Jamie Hunter contributed to this story.

Contact the author: joe@twz.com

April 11 (UPI) — French authorities arrested a man and his partner after discovering the man’s nine-year-old son in a van, which he’d been forced to live in since 2024.

Police said the boy was found in the vehicle amid a pile of trash, naked and lying in the fetal position when they opened the van doors after a neighbor said they heard “the sounds of a child” from inside it, The Guardian and Fox News reported.

A prosecutor, Nicolas Heitz, told reporters that police were called to a French village called Hagenbach, located near the borders of Switzerland and Germany, and that the boy was malnourished and could not walk because he’d been forced to stay seated for at least a year-and-a-half.

His 43-year-old father, whose name has not been released, told police that he’d locked the boy in the van to prevent his partner from placing the nine-year-old in a psychiatric treatment facility.

The man and his 37-year-old partner lived in an apartment in the village with the nine-year-old, as well as the boy’s 12-year-old sister and 10-year-old half-sister.

The boy told police that his father brought him food twice a day, as well as bottles of water, but he had not showered since November 2024 when his father decided to hide him in the van.

He also told police that he would urinate in the plastic bottles and defecate in garbage bags.

The boy reportedly had no record of psychiatric conditions, although teachers were told he had transferred schools and neighbors were under the impression he had been sent to a psychiatric facility.

The father has been arrested and charged for detaining the child in the van and for depriving him of food and medical care, while his partner was charged with not helping the mistreated child but was released on bail after their arrest.

All three of the children have been placed in temporary care.

Seoul says Pyongyang has not been supplying Iran with weapons in the hopes of being able to reopen diplomatic dialogue with the US.

North Korea appears to be distancing itself from longtime partner Iran in the hopes of forming a new relationship with the United States, South Korean intelligence believes.

Seoul’s National Intelligence Service (NIS) sees no signs that North Korea has sent weapons or supplies to Tehran since the US-Israel war on Iran began at the end of February, lawmaker Park Sun-won, who attended a closed-door briefing held by the NIS, said on Sunday.

While Iran’s other allies China and Russia have frequently issued statements on the US-Israel war on Iran, North Korea’s Foreign Ministry has only issued two toned-down statements so far, said the NIS.

While Pyongyang did condemn the US and Israeli attacks on Iran as illegal, it did not issue public condolences after Supreme Leader Ayatollah Ali Khamenei’s death or send a congratulatory message when Khamenei’s son, Mojtaba Khamenei, succeeded him.

The spy agency said Pyongyang is likely adopting this cautious approach to position it for a new diplomatic chapter with the US once the Middle East conflict subsides, said Park.

The NIS also told lawmakers that it now believes Supreme Leader Kim Jong Un is grooming his teenage daughter as his successor, citing a recent public display of her driving a tank.

The NIS said the imagery was intended to highlight the supposed military aptitude of the youngster, who is believed to be around 13 and named Ju Ae.

Such scenes are intended to pay “homage” to Kim’s own public military appearances during the early 2010s, when he was being prepared to succeed his father, Park said.

Kim’s powerful sister, Kim Yo Jong, was earlier thought to be a leading candidate to succeed her brother.

On Monday, she was in North Korean headlines as she welcomed an apology issued by South Korean President Lee Jae Myung on Sunday over a January drone incursion.

“The ROK [Republic of Korea] president personally expressed regret and talked about a measure for preventing recurrence. Our government appreciated it as very fortunate and wise behaviour for its own sake,” Kim Yo Jong said in a statement carried by the official Korean Central News Agency.

Seoul initially denied any official role in the January drone incursion, with authorities suggesting it was the work of civilians, but Lee said a probe had revealed government officials had been involved.

“We express regret to the North over the unnecessary military tensions caused by the irresponsible and reckless actions of some individuals,” Lee said.

Lee has sought to repair ties with North Korea since taking office last year, criticising his predecessor for allegedly sending drones to scatter propaganda over Pyongyang.

His repeated overtures, however, have gone unanswered by the North until now.

Lee’s expression of regret follows Kim’s labelling of Seoul as the “most hostile state” in a policy address in March in which he vowed to “thoroughly reject and disregard it”.

I am blindfolded and seated in a vintage armchair set in the center of a darkened, red-lit room with Gothic accents. An actor is performing nearby. I hear their voice, but cannot, of course, see them. I suddenly spring upward in my seat, alarmed at the touch of some sort of cloth — or perhaps a feather? — across my ankles.

I’ll never be entirely sure. For wearing the small veil across my eyes was a requirement to participate in “Poe: Pulse & Pendulum,” the debut offering from new troupe Theatre Obscura L.A. The company’s initial performance contains two one-act plays, modern interpretations of Edgar Allan Poe’s “The Pit and the Pendulum” and “The Tell-Tale Heart.”

While the stories are familiar to many, Theatre Obscura increases the levels of discomfort. In this room, I am at times unsettled, at once tracking the movements of the actors while attempting to remain hyper aware of any sudden touch or scent. “The Pit and the Pendulum,” the first half of the program, translates especially well to this setting, its dark sense of demented confinement keeping my nerves on high alert.

Conjuring such a state of anxiety was the point.

“If you take the visual away, it’s going to make you feel uneasy,” says Paul Millet, who devised the concept.

There are jump scares. Downtown event space the Count’s Den has been outfitted with about 50 speakers for the Obscura shows, which run through April 12. Some are visible before one puts on the blindfold. Many, though, are hidden under seats or couches, as the audio will trail the actors around the room, or perhaps a sudden crash or door opening will have me jolting my attention elsewhere.

“The Pit and the Pendulum” is a story of torture, and as the narrator, here played by Melissa Lugo, desperately speaks of a blade swinging above, actors will fan us, timing their waves with each swoosh of the audio. I was prepared for that one, as a fellow theatergoer nearby let out a soft yelp when the unseen gestures first arrived above their head.

For many, sight is the most coveted sense. “If you take that away, you’re already naturally uncomfortable,” Millet says. “So we lean into that. We know you’re going to be uncomfortable. We know this is not the norm. But get on that ride with us. Be willing to be uncomfortable. Discomfort, I think, helps to heighten the experience, and ideally allow it to trigger the emotional reactions that the story does.”

“Poe: Pulse & Pendulum” is two one-act, audio-focused performances of Edgar Allan Poe stories.

(Joe Camareno / Theatre Obscura)

Still, touch is limited in the show. Occasionally a rattling of a chair, but little more. The fluttering I felt near my ankles was to mimic the sensation of a running critter. The troupe will ask for audience consent, and participants can opt out. While I went in wondering if “Poe: Pulse & Pendulum” would seek to recall more extreme haunt experiences with lengthy waivers, Millet wanted to keep it light — an audio play, primarily, with just a few in-the-flesh signals.

“We want people to feel unease, but I don’t want anyone taken out of the story because a boundary or line was crossed,” Millet says.

Scent, too, is used with restraint. There are moments when guests will get a whiff of a fragrance that pairs with the storyline. Millet considers the first run of Theatre Obscure to be an experiment in how much touch and scent audiences may want to endure. Smell, he says, is tricky, as the aroma may linger and become a distraction.

Millet has been honing the concept since 2023. Previously, he was part of the team behind Wicked Lit, which ended in 2019 after running for a number of years at unique locations such as Altadena’s Mountain View Mausoleum. Those immersive performances would feature casts and guests walking the venue. Theatre Obscura, however, is fully seated.

“Poe: Pulse & Pendulum” focuses on the fear that something may happen to us when stripped of sight.

(Joe Camareno / Theatre Obscura)

And while the stories of Poe lend themselves to the Halloween season, spooky events increasingly occur year round. Long-running production “The Willows” is set to wrap in early April, and “Monster Party,” a period piece that takes guests to a devilishly extravagant cocktail party, is re-launching in mid-April. Millet, a longtime theater producer who has a day job in television editing, is hoping to stand out by avoiding “the glut” of horror events that occur each September and October.

Theatre Obscura may face challenges, namely persuading potential guests that “The Pit and the Pendulum” is more than simply a live reading with audio effects.

“You can feel the movement of the characters around you,” Millet says. “You’re in the environment with the story as it unfolds. You can experience it on a more visceral level.”

Blindfolded, I felt Theatre Obscura was mostly playing off our fears rather than giving in to them, largely keying in on our anticipation that something may happen to us when stripped of sight. Lugo in much of “The Pit and the Pendulum” circles guests, who are seated sporadically around the room, allowing each of us to imagine how close or far we may be from the hole we are told is at its center. Each show deals with claustrophobia in some way, either of a space, or of a mind.

“The Tell-Tale Heart” is louder, more crowded. The sounds of crashing glass and creaky floorboards had my head working overtime to draw a floorplan, only to then have it distorted when actors would unexpectedly whisper in both of my ears to bring forth the protagonist’s nightmares. While I expected Theatre Obscura to be slightly more aggressive in its uses of touch and scent, it’s a show that asks us to live in our heads, and to sit in our own feeling of trepidation.

“I was intrigued,” Millet says, “with really trying to engage the audience’s imagination.”

Before becoming a global phenomenon in the 2000s thanks to artists like Aventura, Monchy y Alexandra and Prince Royce, and before being declared an “intangible cultural heritage of humanity” by UNESCO in 2019, bachata was — and continues to be — the soundtrack of the Dominican Republic.

The importance of the genre to the people of the Caribbean nation is at the heart of “Agridulce,” a music documentary that had its world premiere at this month’s South by Southwest Film Festival in Austin, Texas. Filmed over the course of five years, the feature follows four young students at Academia de Bachata, a music conservatory in the beachside resort town of Cabarete. It’s the only school of its kind in the world.

Academia de Bachata was founded in 2013 by music producer Benjamin De Menil. After traveling to the Dominican Republic to record for nearly three decades, De Menil says he wanted to create something that would ensure that the next generation continues the traditions of bachata.

“One of the things I loved about the bachata musicians I was working with early on is that they were such natural musicians. There was never any sheet music, so whenever we were going to record I would say, ‘Let’s do this song and it goes like this,’ and they would listen to it for a little bit before they figured it out and they were playing it,” he said. “I thought that we could somehow harness that energy in a more organized and educational format and make a school where we’re helping young children become professional musicians within this genre that has a lot of opportunity.”

De Menil partnered with DREAM Project, a nonprofit organization that did work in Cabarete, and launched Academia de Bachata in 2013. Since then, the school has provided hundreds of children with a free musical education.

“There were a lot of things we were trying to figure out along the way about what the best way to teach this music was because this wasn’t your typical conservatory. We were focusing on the traditions passed on rather than some style of music that there are already textbooks for.”

To make “Agridulce,” De Menil, who produced the film, reached out to Frank Pavich, director of the 2013 “Jodorowsky’s Dune,” the cult classic documentary about avant-garde filmmaker Alejandro Jodorowsky’s quixotic and failed attempt to adapt Frank Herbert’s 1965 sci-fi novel “Dune.” It didn’t take much to bring him on onboard.

“Ben contacted me and told me about the project. I responded with what’s Bachata?,” the Croatian American director said. “I had never even heard of the musical genre. And then he sent me some music. He sent me footage that he had shot of [Cabarete] and of the school. And it was unlike anything I’d ever seen. It was so colorful and so incredible that I just wanted to jump on right away. I was like, ‘Great, when can we go down there and start shooting? It was really that fast.”

Pavich says now he hears bachata everywhere.

“I live between Switzerland and Croatia and now that I know how to pick it up, I hear it in cars passing by a cafe in Geneva and in Croatia,” he said. “It’s everywhere, it’s infiltrated everything in the best way possible.”

“Agridulce” is an ethnomusicological documentary — it captures the music of a specific place and people and shows how the tradition is kept alive — that also doubles as a coming of age story. The film follows students of varying ages — Edickson, Frandy, Orianny and Yerian — out of the classroom, showing us moments of intimacy with their families and friends while also giving us a slice of quotidian life in Cabarete.

As such, “Agridulce” doesn’t shy away from the political tensions of the beachside resort. Much like in the U.S., immigration is a contentious topic in the Dominican Republic — the country shares the island of Hispaniola with Haiti, which has seen an exodus of its people over the decade.

De Menil and Pavich said that nearly a third of Academia de Bachata’s student body is of Haitian descent, and that they would have had to go out of their way to not include one of them in the film.

This tension plays out in the storyline of Frendy, a magnetic student of Haitian descent who uses bachata to fit in.

“Many young people are in that position of being made to feel they don’t belong at that time in life when a person most wants to find their place,” De Menil said. “We see that music can help kids, particularly immigrant kids, find belonging.”

“The film ultimately speaks to the way that culture and shared history contribute to the development of authentic, lived creativity,” said South by Southwest consulting programmer Jim Kolmar. “It’s something innate and inevitable, and ‘Agridulce’ really explores that beautifully. Obviously it’s full of incredible music, but the deeper cultural context is essential, and seeing it through the perspective of the students at Academia de Bachata helps us connect the dots.”