project

NEW YORK — A federal judge has ordered the Trump administration to restore funding to a new rail tunnel between New York and New Jersey, ruling just as construction was set to shut down and amid reports that President Trump was withholding the money unless Democratic Senate leader Chuck Schumer saw to it that Penn Station and Washington Dulles International Airport were renamed in the president’s honor.

The administration had sought to pressure Schumer (D-N.Y.) to help get the facilities renamed for Trump in exchange for releasing the money to fund the massive infrastructure project, according to the New York Times, citing top administration officials.

The judge’s decision Friday came months after the administration announced it was halting $16 billion in support for the project, citing the then-government shutdown and what a top federal budget official said were concerns about unconstitutional spending around diversity, equity and inclusion principles.

U.S. District Judge Jeannette A. Vargas in Manhattan approved a request by New York and New Jersey for a temporary restraining order barring the administration from withholding the funds while the states seek a preliminary injunction that would keep the money flowing while their lawsuit plays out in court.

“The Court is also persuaded that Plaintiffs would suffer irreparable harm in the absence of an injunction,” the judge wrote. “Plaintiffs have adequately shown that the public interest would be harmed by a delay in a critical infrastructure project.”

The White House and the Department of Transportation did not immediately respond to emails seeking comment Friday night.

New York Atty. Gen. Letitia James called the ruling “a critical victory for workers and commuters in New York and New Jersey.”

“I am grateful the court acted quickly to block this senseless funding freeze, which threatened to derail a project our entire region depends on,” James said in a statement. “The Hudson Tunnel Project is one of the most important infrastructure projects in the nation, and we will keep fighting to ensure construction can continue without unnecessary federal interference.”

The panel overseeing the project, the Gateway Development Commission, had said work would stop late Friday afternoon because of the federal funding freeze, resulting in the immediate loss of about 1,000 jobs as well as thousands of additional jobs in the future.

It was not immediately clear when work would resume. In a nighttime statement, the commission said: “As soon as funds are released, we will work quickly to restart site operations and get our workers back on the job.”

The new tunnel is meant to ease strain on an existing one that is more than 110 years old and connects New York and New Jersey for Amtrak and commuter trains, where delays can lead to backups up and down the East Coast.

New York and New Jersey sued over the funding pause this week, as did the Gateway Development Commission, moving to restore the Trump administration’s support.

The suspension was seen as a way for the Trump administration to put pressure on Schumer, whom the White House was blaming for a government shutdown last year. The shutdown was resolved a few weeks later.

Speaking to the media on Air Force One, Trump was asked about reports that he would unfreeze funding for the tunnel project if Schumer would agree to a plan to rename Penn Station in New York and Dulles International Airport in Virginia after the president.

“Chuck Schumer suggested that to me, about changing the name of Penn Station to Trump Station. Dulles airport is really separate,” Trump responded.

Schumer responded on social media: “Absolute lie. He knows it. Everyone knows it. Only one man can restart the project and he can restart it with the snap of his fingers.”

At a hearing in the states’ lawsuit earlier in Manhattan, Shankar Duraiswamy of the New Jersey attorney general’s office told the judge that the states need “urgent relief” because of the harm and costs that will occur if the project is stopped.

“There is literally a massive hole in the earth in North Bergen,” he said, referring to the New Jersey city and claiming that abandoning the sites, even temporarily, “would pose a substantial safety and public health threat.”

Duraiswamy said the problem with shutting down now is that even a short stoppage would cause longer delays because workers would be laid off and go off to other jobs and it would be hard to quickly remobilize if funding becomes available. And, he added, “any long-term suspension of funding could torpedo the project.”

Tara Schwartz, an assistant U.S. attorney arguing for the government, disagreed with the “parade of horribles” described by attorneys for the states.

She said that the states had not even made clear how long the sites could be maintained by the Gateway Development Commission. So the judge asked Duraiswamy, and he said they could maintain the sites for a few weeks and possibly a few months, but that the states would continue to suffer irreparable harm because trains would continue to run late because they rely on an outdated tunnel.

Izaguirre and Collins write for the Associated Press and reported from New York and Hartford, Conn.

Saudi Arabia has launched a project to issue passports for camels, in a move seen as a “qualitative step” to regulate the sector and strengthen the kingdom’s credibility in local and international markets, the government said on Wednesday, Anadolu reports.

A statement by the Saudi Ministry of Environment, Water and Agriculture said Deputy Minister Mansour bin Hilal Al-Mushaiti inaugurated the camel passport project Tuesday evening.

The initiative is designed to organize the camel sector, document identity and improve service efficiency while enhancing market trust domestically and internationally, the ministry said.

The project seeks to record camels’ data, ownership and breeds and link them to verified health and regulatory information, making the passport an officially recognized reference that supports more efficient services, the statement added.

READ: Saudi minister denies claims of refusal to receive UAE’s deputy ruler

The camel passport serves as a comprehensive identification document, containing a microchip number, passport number, the camel’s name, date of birth, breed, sex, color, place of birth, and date and place of issuance, as well as photographs of the animal from both sides to ensure accurate identification, the ministry said.

It also includes a dedicated vaccination table that clearly documents veterinary immunization records, certified by the name, signature and stamp of the veterinarian, according to the statement.

The ministry said the passport will help regulate sales and trading by tightening controls over camel sales, transport and official documentation.

In a census released in June 2025, the ministry said the total number of camels in the kingdom reached 2,235,297 heads.

Saudi Arabia ranks among the world’s top camel-owning countries, with an estimated 80,000 owners, according to unofficial figures.

READ: Saudi Arabia: Citizens can invite Muslim friends abroad for Umrah on new visa

Feb. 2 (UPI) — President Donald Trump plans to launch a $12 billion stockpile of rare earth minerals to curb U.S. dependence on China.

The project is called Project Vault and it will be funded by a $10 billion loan from the U.S. Export-Import Bank and about $1.67 billion in private capital.

Trump’s plan seeks to procure and store rare-earth minerals that are critical to the automotive, defense, and tech industries. Minerals would be stored for use by U.S. manufacturers.

Some critical minerals that are of interest to tech companies and electric vehicle manufacturers include cobalt, lithium, titanium, silicon, nickel and graphite.

Rare earth minerals have been a focus of Trump’s during his second term. The White House said the United States was reliant on imports of minerals in 2024. Trump has since used mineral acquisition as a key point of international negotiations.

The president has also eyed Greenland for its mineral deposits. He recently alluded to invading Greenland and raising tariffs but walked back that rhetoric at the World Economic Forum last month.

Some companies that are expected to be involved in the Project Vault stockpile include General Motors, Stellantis, Boeing and Google.

As it turns out, ‘80s pop star Kate Bush and fictional girl group Huntr/x from “KPop Demon Hunters” have a lot in common.

Over the last several years, Netflix has positioned itself as one of the few video streaming services focused on making an impact in the music industry.

From the surprise revival of older songs like Bush’s “Running Up That Hill” and Metallica’s “Master of Puppets” in shows like “Stranger Things,” to streaming the most originally produced music documentaries, there’s no doubt Netflix’s audience is musically in tune.

Last summer Netflix hit another level with the overwhelming success of “KPop Demon Hunters.” The animated movie, featuring fictional K-pop idols who fight the forces of evil, has become the most streamed Netflix movie with more than 480 million views since its release in June. But its success wasn’t limited to the viewership.

The soundtrack, full of punchy K-pop melodies and inescapable earworms, is the first to top the Billboard charts since 2022, when Disney’s “Encanto” created a similar frenzy. Huntr/x is also up for five Grammys at the awards ceremony Sunday.

The breakout single, “Golden,” which spent eight weeks at No. 1 on the Billboard Hot 100, is nominated for song of the year, the first time a Netflix production has been nominated in one of the Grammys’ big four categories.

Music and movies always have enjoyed a symbiotic relationship. Think of classic tunes like “Over the Rainbow” in “The Wizard of Oz” and “My Heart Will Go On” in “Titanic” that became generational hits.

Now, Netflix and other global streaming platforms have taken the synergy to another level, creating new opportunities for recording artists to showcase their music.

“All of a sudden, people are discovering music they didn’t know before,” said Ian Eisendrath, the “KPop Demon Hunters” music supervisor. “I think that people got hooked on the film, which hooked them on the soundtrack, which led to the discovery of other music.”

Eisendrath said the movie, produced by Culver City-based Sony Pictures Animation, was not expected to be “a slam dunk commercial success. It was a risk.”

Though geared toward children, the movie drew a vast audience of all ages.

“It hit all kinds of angles, the music, the story, the characters, the visuals — [Netflix] was very interested in a film that would have wide-ranging appeal to all the quadrants of movie watchers,” Eisendrath said.

In the streaming era, music supervisors like Eisendrath play an increasingly important role in the success of projects like “KPop Demon Hunters,” said Robert Fink, the chair of music industry programs at UCLA’s Herb Alpert School of Music.

He said over the last 10 years, the role has become about more than just finding a song to match a scene.

“They nurture artists in the way that record labels used to do,” Fink said. “They have artists that nobody knows about, or can get some people to write songs for [the project], which might then become a way that those artists and those songs become successful in the industry.”

The singing voices behind Huntr/x aren’t those of the lead actors. They belong to rising musicians Ejae, Audrey Nuna and Rei Ami. Ejae has written songs for major K-pop groups like Twice, Le Sserafim and Red Velvet, while Nuna and Ami have experience as solo artists.

Though they weren’t a group before the film, they have since performed together on the “The Tonight Show Starring Jimmy Fallon,” “Saturday Night Live” and in the Macy’s Thanksgiving Day Parade.

The soundtrack earned global appeal, with more than two thirds of its streams originating from outside the U.S., according to data from entertainment industry analytics firm Luminate. “Golden” scored a record 20 weeks at No. 1 on the Billboard Global charts. The popularity of the movie and its music helped boost music consumption on a global scale.

“KPop Demon Hunters” already is faring well this awards season: It won two Golden Globes and received two Oscar nominations for best animated feature and original song.

Justin Kamps, the music supervisor on “Bridgerton,” noticed a similar trend when new seasons of the Regency-era romance series drop. The period piece is famous for playing quaint orchestral covers of contemporary pop artists such as Billie Eilish, Pitbull and BTS. Its latest season is set to feature covers of Third Eye Blind, Coldplay and Usher.

According to Spotify, both the Vitamin String Quartet, the group behind the covers, and the original artists’ songs, like Eilish’s “Happier Than Ever” and BTS’ “Dynamite,” experienced spikes in listening after the show’s release.

“Music and streaming has grown together. It’s great for artists, because the moment that a song is featured in a project, it could be an incredible boost to their streaming numbers and get them discovered,” Kamps said.

Perhaps one of the most memorable examples of this dynamic happened in 2022, when “Stranger Things” featured Bush’s “Running Up That Hill.” Overnight, everything changed for both Bush and Netflix.

Nora Felder, the show’s music supervisor, called the moment “the perfect storm.”

“It exploded through the stratosphere. We didn’t expect that. We were focused on looking for something that told the narrative. It felt like it had been bigger than ever before,” Felder said.

“Running Up That Hill” received roughly 22,000 daily streams on average before it was featured in the show, according to Luminate. Following its star turn, the song it peaked at 5.1 million streams in a single day — nearly 40 years after its release. It entered the Billboard Hot 100 for the first time and hit 1 billion streams in 2022. The track then spawned viral trends on TikTok and pulled the ‘80s star into contemporary pop culture.

Throughout its five-season rollout, “Stranger Things” continued to influence what viewers were listening to. Felder said the draw of its soundtrack is a mix of nostalgia for older viewers who might have grown up in the ‘80s (the era in which the show is set) and an introduction to a new sonic world for younger listeners. According to Luminate, 28% of Gen Z discovers music through series that are exclusive to streaming.

When Felder works with other studios, she said music can feel like a “last consideration” or like “there wasn’t enough money being put in the music budget.” But with Netflix, music seems to be a priority, as she’s been able to license tracks from David Bowie and Fleetwood Mac and two Prince songs (which played in the “Stranger Things” series finale).

“Netflix is very careful, and for some projects, music is more of a main character than others,” Felder said. “I do feel like Netflix especially has been very careful to try and apply the budget accordingly and take a look at projects and [realize] that music could really be an added force.”

Netflix’s musicality will be put to the test during Sunday’s Grammys broadcast, as the girls of Huntr/x face off with Lady Gaga, Sabrina Carpenter, Kendrick Lamar and SZA, as well as Bad Bunny, Bruno Mars and Rosé. The Grammys will air live from the Crypto.com Arena on CBS and Paramount+.

Eva Longoria, John Leguizamo and Xochitl Gomez are among the 100-plus Latino actors, artists and creatives who have signed an open letter calling for accountability in Hollywood — citing longtime discrimination in casting and storytelling.

The public statement follows the controversy surrounding Odessa A’zion, who dropped her role as a Latina character in Sean Durkin’s “Deep Cuts,” following online backlash over the actor herself not being Latina.

“Recent casting decisions around the character Zoe Gutierrez in A24’s ‘Deep Cuts’ have exposed a troubling pattern,” the letter states. “We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen?”

Earlier this week, the Wrap revealed that the “I Love L.A.” and “Marty Supreme” breakout star was cast as Zoe Gutierrez in the A24 film adaptation of Holly Brickley’s music-filled coming-of-age novel. The character’s identity plays an important role in the book, as she is written as a half-Mexican and half-Jewish lesbian.

Though the 25-year-old announced Wednesday night that she had dropped the role — admitting through her Instagram stories that she had not yet read the book, nor learned of all the character’s traits — the incident has unearthed questions about Latino representation in Hollywood.

“This isn’t about Odessa,” said Xochitl Gomez to The Times on Friday. “It’s about the executives, the producers and the whole system at the top. They thought it was OK to not even audition Latinas for the role in the first place. Latinas were pitched, including me, but we were told that there was an actress with an exclusive offer. This role never showed up on the casting grid because it was already gone.”

Xochitl Gomez attends “REBBECA” LA Premiere on November 30, 2025 in Los Angeles, California. (Photo by JC Olivera/Getty Images for State of the Art)

(JC Olivera / Getty Images for State of the Art)

According to UCLA’s 2025 Hollywood Diversity Report, Latinos were cast in only 1% of the leading roles in the top 104 English-language films released theatrically in 2024, despite constituting roughly 20% of the total U.S. population.

In TV, representation is just as stark. Latinos are cast in only 6% of all roles across the top U.S. broadcast series, as per a recent study by ¡Pa’lante! — a Latino representation initiative from the USC Norman Lear Center — which also found that 1 in 4 Latino characters are depicted as career criminals.

“The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture,” the letter continues. “This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.”

The signatories request that Latino actors be hired for a diverse range of roles, including non-stereotypical leads. There is also a demand for more Latino executives to be involved in green-lighting projects and the inclusion of Latino consultants, writers and producers from the earliest stages of development. Finally, there is a call on Hollywood to create mentorship, scholarships and opportunities that expand access on all levels of the ecosystem.

This plea by marginalized creatives is not the first pushback — nor likely the last — against a stagnant Hollywood machine.

As early as the 1920s, the portrayal of Latinos was so negative that the Mexican government, and even Woodrow Wilson reportedly told Hollywood producers to “please be a little kinder to the Mexicans.”

In 1999, the National Hispanic Media Coalition (NHMC) and the National Assn. for the Advancement of Colored People (NAACP) called for the boycott of broadcast networks’ 26 new fall series because they did not feature a non-white lead, sparking dialogue over the diversity of Hollywood at the time.

Comedian Chris Rock blasted the industry in a 2014 essay for its omission of Mexicans in Los Angeles, where nearly half of the population is Latino: “You’re in L.A., you’ve got to try not to hire Mexicans.”

Rep. Joaquin Castro (D-Texas) — who in recent years has nominated several Latino-focused films to the Library of Congress National Film Registry — also penned a 2020 column in Variety, underscoring the dearth representation of Latinos in entertainment and the consequences of omission. “Prejudice has existed in the United States for generations, but the image of our community created by film and television has done little to counter bigoted views, and too often has amplified them.”

Another letter published in October 2020 with over 270 showrunners, creators, television and film writers signatures — including Lin-Manuel Miranda and “One Day at a Time” co-creator Gloria Calderón Kellett — called for systemic change in the industry. “We are tired,” they wrote.

The pushback continued in 2022, when actor Leguizamo penned an open letter in The Times about the history of Latino representation and the co-option of Latino stories — including that of Mexican revolutionary Emiliano Zapata, who was portrayed by a brownface Marlon Brando in the 1952 film “Viva Zapata!,” and Al Pacino, who played the fictional Cuban character Tony Montana in the 1983 film “Scarface.”

Wrote Leguizamo, “There’s a fix for this: Cast more Latinos!”

Read the full open letter below.

Dear Casting Directors, Creative Executives, Writers, Producers, and Hollywood Leaders,

We write to you with urgency, because storytelling is humanity’s compass and Hollywood wields all the power. The stories you choose to tell, and how you tell them, shape public perception, cultural understanding, and who gets to see themselves reflected on screen. In these challenging moments that power comes with real responsibility.

Recent casting decisions around the character Zoe Gutierrez in A 24’s Deep Cuts have exposed a troubling pattern. We acknowledge and commend Odessa A’zion for listening, reflecting and deciding to exit the project and become an ally. Yet how did this happen? The absence of Latina audition opportunities, and the choice to replace a clearly Latina character with a non-Latina actress, signals a broader, ongoing erasure of our community from the stories that define our culture. This is not about any one actor or project. It is about a system that repeatedly overlooks qualified Latino talent even as our identities, histories, and experiences fuel the most enduring stories.

Latino communities are already underrepresented and misrepresented in ways that distort reality and harm real people. Casting decisions carry real weight: they influence who is seen as worthy of authentic storytelling and who gets to tell those stories with care, nuance, and authority.

We are calling for accountability, intentionality, and equity in casting and storytelling. Authentic representation means more than casting a performer who looks like the character; it means involving the communities being portrayed not just in front of the camera, but in the decisions that shape these stories from their inception. Our stories deserve to be shaped with the input, guidance, and leadership of Latino creators, consultants, writers, and performers at every stage.

We implore you to join us in concrete action:

• Audition and hire more Latino actors for a diverse range of roles, including non-stereotypical leads
• Hire Latino executives in your greenlighting rooms
• Include Latino voices as consultants, writers, and producers from the earliest stages of development
• Create and support pipelines: mentoring, scholarships, and opportunities that expand access all levels of the ecosystem

The world is watching.

Aaron Dominguez

Aitch Alberto

Alex Lora

Alma Martinez

Amanda Diaz

Ana Navarro Cardenas

Andrea Chignoli

Angel Manuel Soto

Angelique Cabral

Anna Terrazas

Annie Gonzalez

Antonio Negret

Becky G

Benjamin Odell

Brandon Guzman

Brandon Perea

Bricia Lopez

Camila Baquero

Carla Gutierrez

Carla Hool

Carlo Siliotto

Carlos Eric Lopez

Carlos Gutierrez

Carlos Lopez Estrada

Chrissie Fit

Christian Serratos

Cierra Ramirez

Cristina Rodlo

Cyria Fiallo

Daniella Pineda

Danny Ramirez

David Castenada

Desi Perkins

Diego Boneta

Edgar Ramirez

Edher Campos

Eiza Gonzalez

Elisa Capai

Elsa Collins

Emilie Lesclaux

Ennio Torresan

Enrique Melendez

Eva Longoria

Fabrizio Guido

Felipe Vargas

Fernando Garcia

Flavia Amon

Flavia De Sousa

Francia Raisa

Gabriela Maire

Gina Rodriguez

Gloria Calderon Kellett

Gregory Diaz IV

Ilda Santiago

Isabella Gomez

Isabela Merced

Isabella Ferria

Isis Mussenden

Ismael Cruz Cordova

Ivette Rodriguez

Jacob Scipio

Javier Munoz

Jazmin Aguilar

Jesse Garcia

Jessica Alba

Jesus Pimental-Melo

Jillian Mercado

John Leguizamo

Jose Velazquez

Juan Pa Zurita

Julio Macias

Justina Machado

Karrie Martin Lachney

Kate Del Castillo

Klaudia Reynicke

Kylie Cantrall

Leo Gonzalez

Lisette Olivera

Lorenza Munoz

Luca Castellani

Lucila Moctezuma

Lucy Barreto

Lynette Coll

Maia Reficco

Marcel Ruiz

Maria Legarda

Mariana Oliva

Mariem Perez Riera

Marvin Lemus

Mauro Mueller

Mayan Lopez

Melissa Barrera

Melissa Fumero

Melissa Martinez

Michael Cimino

Michael Pena

Miguel Mora

Mishel Prada

Monica Villarreal

Natalia Boneta

Natalie Chaidez

Natalie Morales

Nava Mau

Naz Perez

Nezza (Vanessa Hernandez)

Neysa Bove

Nicolas Celis

Nicole Betancur

Orlando Pineda

Patricia Cardosa

Patricia Riggen

Patty Rodriguez

Paulina Garcia

Petra Costa

Rafael Agustin

Rafael Cebrian

Ramon Rodriguez

Rene G. Boscio

Robin De Jesus

Rodrigo Teixeira

Rudy Mancuso

Ruy Garcia

Sierra Ornellas

Stephanie Beatriz

Tonatiuh Elizarrarz

Tony Revolori

Victoria Alonso

Xochitl Gomez

Xolo Mariduena

Yareli Arizmendri

ST. PAUL, Minn., Jan. 30 (UPI) — One of the longest-running searches for extraterrestrial life is coming to end this year as U.S. scientists wrap up a popular program that enlisted millions of home computer users to analyze radio signals received from space.

After years poring through immense amounts of generated data, the program’s co-founders at the University of California at Berkeley told UPI this week they are probing 100 detected signals deemed to be the best candidates for messages from “ET” before the effort is wrapped up for good, 27 years after it was launched.

But even though the “SETI@home” project has so far failed to record a “first contact” from an alien civilization, its leaders say valuable lessons have been learned that can be applied to the continuing hunt for beyond Earth.

SETI@home, short for Search for Extraterrestrial Intelligence, was launched in 1999 by scientists at UC Berkeley who over the course of two-plus decades enlisted more than 5 million “crowdsourced” volunteers willing to donate their home computers’ processing capacity to analyze data generated by momentary energy blips picked up by the Arecibo Observatory in Puerto Rico.

It was one of the pioneering efforts at distributed computing in an era before supercomputers and high-speed Internet connections. Under the project, home users downloaded and installed free software that could pick out signals deemed to be “ET” candidates from raw data supplied by the 1,000-foot radio telescope at Arecibo, which collapsed in 2020

The observatory was damaged by Hurricane Maria in 2017 and rebuilt, but it met its end a little more than three years later because filled spelter sockets that anchored the massive support cables had been undergoing long-term chemical and mechanical degradation.

The data was collected over a period of 14 years and covered almost the entire sky visible to the telescope as its operators performed other tasks, such as mapping solar system bodies and discovering pulsars.

From its data, the home computer users ultimately produced 12 billion detections. The vast majority turned out to be radio frequency interference from man-made sources, such as satellites and earthbound radio and television broadcasts, but researchers for years continued to doggedly plow through the possibilities.

Billions of “candidate” radio signals narrowed to final 100

Project co-founder David Anderson of UC Berkeley’s Space Sciences Laboratory said he and his team spent a decade narrowing down that massive list to 1 million candidates and then to a final 100, which are now being investigated using China’s 500-meter Aperture Spherical Telescope, also known as FAST, in hopes of finding them again.

And after that’s completed, the long-running program will officially be a wrap, in part because it has now reached point of diminishing scientific returns.

“The output of the first two phases of SETI@home were millions of what we call signal candidates, which are basically collections of momentary bursts of energy from the same place in the sky at about the same frequency, but possibly spread over many years,” Anderson told UPI.

“And of course, there was a lot of work involved in removing the man-made interference from from these things and ranking them, because at some point we had to go through them and manually inspect the signal candidates to get rid of the ones that are obviously interference.

“A lot of that we could do by using computer algorithms we developed, but in the end, we had to look at these signals ourselves.”

To guide the development of those algorithms, Anderson and his team used artificial candidates, or “birdies,” that modeled persistent ET signals within a range of power and bandwidth parameters. The birdies were introduced blindly, allowing the team to gauge how sensitive their detection system was.

The only reason they were able to generate the initial billions of candidate signals was due to the small processors provided the home-based volunteers, whose response at the start of effort in the late ’90s was overwhelming, Anderson said.

“Whether there is extraterrestrial life is kind of the most important unanswered scientific question at this point, and so I think we knew that we’d get some users,” he said. “We banked on, I think, 50,000 people initially, which we thought we’d need to keep up with the stream of data from Arecibo.

“We got a lot of national media coverage at right at the beginning, and within the first year we had close to 1 million participants. We actually had to scramble to figure out ways to use that surplus of computing power effectively.”

UC Berkeley research astronomer Eric Korpela, another co-founder of the program, said he felt a keen “sense of accomplishment” with SETI@home, both in the sense of technical achievements — such as in vastly increasing the sensitivity of signal detection over existing spectroscopic methods — and in how it demonstrated the intensity of worldwide public interest in the search for ET.

“We encountered a lot of resistance from the SETI community when we first started started this,” he told UPI. “Whenever you start a project with a large public-facing component, there’s always the fear in a lot of peoples’ minds that you are going to do something wrong and you’re going to turn people off the entire field.

“But, of course, I think that wasn’t the case. Instead, this really engaged the public imagination, and I don’t think that we’re necessarily done with that. Someone could again tap into that sense of fascination that people have about the search for extraterrestrial life.”

Many people still want to have a connection to this sort of science, Korpela said, adding, “I think that is really a large part of our legacy.”

Others praise, assess impact of SETI@home

Other researchers and organizations deeply involved in the search for extraterrestrial life also praised the accomplishments and legacy of SETI@home as it wraps up its mission.

One of them is the National Science Foundation National Radio Astronomy Observatory and Green Bank Observatory in West Virginia, trailblazers in radio astronomy and operators of Breakthrough Listen, described as the largest ever scientific research program aimed at finding evidence of civilizations beyond Earth.

Observatory public information officer Jill Malusky noted that her organization and UC Berkeley’s SETI Research Center worked together on SETI@home, and that its winding down won’t sever that relationship.

“The NSF NRAO/GBO are big supporters of citizen science projects, and we’re excited about the impact of SETI@home’s legacy through the tireless work of its volunteers, and for the public recognition SETI can bring to efforts like these,” she told UPI.

“The search for techno-signatures and extraterrestrial life is a very exciting part of the scientific research that the NSF NRAO’s telescopes can do — and it’s one of the accessible areas for the public to understand.”

Most staffers who work at the West Virginia observatories were drawn there “by the same curiosity we all have when we look up at the universe — are we the only ones here? Is anyone else out there?” she said.

“While what we find with our telescopes may not be as dramatic as we hope, like a sci-fi movie, it’s still exciting to have our work overlap with the search.”

Similarly, prominent astrobiologist and SETI researcher Douglas Vakoch said SETI@home revolutionized the search for life in the universe by solving one of the greatest challenges of looking for intelligence in space, and that by doing so “directly inspired a new generation of researchers who are attempting first contact by sending powerful radio messages to the stars.”

Vakoch is president of METI International, a nonprofit research and educational organization dedicated to messaging extraterrestrial intelligence, and editor of many academic works in several fields.

He told UPI that SETI@home was a breakthrough in that it was able to combine “mainstream astronomy” with the search for extraterrestrials, which researchers must “constantly struggle to justify” as they seek precious telescope time.

“With SETI@home, scientists did both,” Vakoch said. “As astronomers pointed the Arecibo radio telescope at targets of their choice, SETI@home also analyzed the incoming data, but this time for signals that can’t be created by nature. SETI@home was designed so scientists could conduct mainstream astronomy and simultaneously determine whether we’re alone in the universe.”

in that way, instead of becoming an obstacle to astronomers seeking time on the world’s largest radio telescope, SETI@home “helped foster public support and recognition for space science.”

Its greatest legacy, he said, is that it is now “guiding the next generation of interstellar communication,” including Vakoch’s own METI project, which rather than listening for radio signals from space as SETI does, reverses the process by sending powerful radio signals to nearby stars in the hope of eliciting a response from an advanced civilization.

Despite thus far coming away empty-handed in the search for ET, the SETI@home project nonetheless provided many valuable insights, Anderson said.

“It was a ‘whole sky’ project that covered the everything visible from Arecibo, and there’s there’s a lot of technical things that we did, some of which were right and others we would do differently if we had to go back,” he said.

“So we learned a lot of lessons about how to do radio astronomy, and we published two papers last year describing them.”

He added that the powerful distributed computing system established for SETI@home can be used in the future for research in related areas such as cosmology and pulsars, or even for medical research.

When Melania Trump showed up on movie screens in 2001, it was a joke.

The former fashion model and her spouse, Donald Trump, then only a real estate mogul, played themselves in the Ben Stiller comedy “Zoolander,” about a dimwitted male supermodel. She silently looked on as her husband gushed at an awards show red carpet: “Without Derek Zoolander, male modeling would not be where it is today.”

The cameo offers a glimpse of the couple, who in 2017 would enter the White House as president and first lady. As they move past the first anniversary of their second stint in Washington, D.C., Melania has largely stayed away from the spotlight.

But this week the first lady is preparing for her close-up. She is center stage as star and executive producer in the documentary “Melania” hitting theaters Friday. Positioned as a companion to her best-selling memoir, “Melania” has been shadowed by controversy since its announcement several months ago. The project marks a comeback attempt by Hollywood filmmaker Brett Ratner, the director of the documentary, who was exiled from Hollywood in 2017 following charges of sexual misconduct by multiple women, including actor Olivia Munn. He continues to deny the accusations.

Amazon MGM Studios paid $40 million to license the project, and sources said it is spending around $35 million for marketing and promotion. Melania is skipping the traditional TV talk show circuit, opting for an appearance on Fox News, which featured an exclusive interview with her on Tuesday — her first since returning to the White House. The following day, she rang the opening bell at the New York Stock Exchange.

Trailers for the film have popped up on several networks including CNN, a frequent target of President Trump’s ire, and outdoor advertising has been installed in several major cities, including Los Angeles.

The project, which is slated to stream on Prime Video after a brief theatrical run, arrives as the president confronts sinking approval ratings and the most turbulent phase to date of his second term, which includes controversies over his handling of the economy, international relations, the demolition of the White House’s East Wing for a planned ballroom, and the long-delayed release of the Epstein files.

More pointedly, the lead-up to the official premiere, slated for Thursday at the Kennedy Center in Washington, has collided with an unexpected juggernaut: national outrage over the deadly shootings of two Minneapolis residents by federal officers carrying out his aggressive anti-immigration campaign.

The continuing protests over the deaths of Renee Good and Alex Pretti, as well as the backlash after Secretary of Homeland Security Kristi Noem and Deputy White House Chief of Staff Stephen Miller labeled them as domestic terrorists, has placed even more uncertainty over how “Melania” will fare with moviegoers.

Industry forecasters were divided on whether the film will be a hit or a bomb. Firms specializing in box office projections estimate the opening weekend will fall within the $5 million range.

“It’s very hard to predict whether people will show up, given the unique nature of the film and the marketplace,” said one veteran box office analyst who asked not to be identified.

On Wednesday, the film was pulled from theaters in South Africa, where it was slated to open on Friday, after the distributor announced it would no longer release the title, citing “recent developments,” according to a New York Times report.

Domestically, “Melania” is competing in a crowded movie weekend against the highly anticipated survival thriller “Send Help” from veteran filmmaker Sam Raimi (“Drag Me to Hell”), the horror film “Iron Lung” from popular YouTuber Markiplier (Mark Edward Fischbach), and “Shelter,” with action star Jason Statham.

President Trump kisses his wife, First Lady Melania Trump, during the presidential inauguration in 2025. The documentary will highlight the lead-up to the event.

(Julia Demaree Nikhinson / Associated Press)

Adding to the uncertainty on the film’s performance, the analyst said, is whether fans of Ratner, whose resume features several blockbusters including the “Rush Hour” trilogy, will show up for a documentary about the first lady. According to press notes, “Melania” follows the first lady in the 20 days leading up to the 2025 presidential inauguration as she orchestrates plans for the event and the family’s move back to the White House. The film’s trailer, released last month, does not offer much more insight.

During both of Trump’s terms in the White House, his wife has been described as mysterious and sphinx-like. Some Washington watchers have praised her for what they call her independence and individualism, while others say her accomplishments fall short of previous first ladies such as Michelle Obama, Hillary Clinton and Nancy Reagan.

Anita B. McBride, director of the First Ladies Initiative at American University, said that the position of first lady has been defined in distinct ways by every woman who has served in that capacity.

She said in an interview that the current first lady has exhibited a confident persona “that has never been defined by expectations. She now has the benefit of experience after operating during her first term in a very hostile environment. She is sure-footed with a staff that supports her, and she has made it clear that she is in control.”

The White House on Saturday hosted a VIP black-tie preview of “Melania,” with a guest list that included Amazon CEO Andy Jassy, former boxer Mike Tyson and Apple CEO Tim Cook, who this week criticized the shootings of Good and Pretti, calling for de-escalation in Minneapolis.

Rep. Alexandria Ocasio-Cortez of New York was among the politicians blasting the event, which took place hours after Pretti was killed.

“Today DHS assassinated a VA nurse in the street, [Atty. Gen.] Bondi is attempting to extort voter files, and half the country is bracing on the eve of a potentially crippling ice storm with FEMA gutted,” she wrote in a post on X. “So what is the President up to? Having a movie night at the White House. He’s unfit.”

In the interview on Fox News a few days later to promote the film, the first lady was asked about the controversy in Minneapolis.

“I’m against the violence, so please if you protest, protest in peace,” she said. “We need to unify in these times.”

Appledore is a beautiful village in north Devon. It is hoping to showcase all it has to offer to even more visitors when its Clean Maritime Innovation Centre opens later this year

A small coastal village steeped in history and a rich shipbuilding heritage, with a vibrant seafood scene and colourful cottages, is hoping a futuristic, million-pound project will put it firmly on the map.

The tiny village of Appledore isn’t one of the most well-known places in Devon, but can certainly be characterised among the most beautiful, with narrow, winding lanes, a bustling quayside to explore, and pastel-coloured houses and coastal views. Its estuary shore is suitable for beachcombing and exploring rock pools.

Located in north Devon at the meeting of the Rivers Torridge and Taw, the village is built on the centuries-old traditions of shipbuilding and fishing.

Renowned for its maritime heritage and vibrant seafood scene, Appledore is also celebrated for its art and creativity, hosting regular arts festivals and resident craftspeople showcasing ceramics, photography, jewellery and more in independent shops and markets.

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But while the village has a multitude of offerings for those already in the know, Appledore is hoping to boost its popularity among people outside the local area with the opening of its Clean Maritime Innovation Centre later this year.

The global innovation centre has received £15.6million in government funding and aims to support research in clean propulsion, autonomous vessels and marine sustainability.

Due to open in late 2026, the centre will also provide a base for floating offshore wind activity in northern Devon, with the electricity generated able to power approximately three million homes and create 3,000 jobs.

The maritime sector has played such a significant role in Appledore’s history and this project will be a real opportunity for the village to move into a national maritime future. The project is being delivered with funding support from the UK government through the Levelling Up Fund, the Community Regeneration Partnership, and the Devon and Torbay devolution deal. Devon County Council is overseeing the financial management.

Initial construction involves enhancements to the wall along New Quay Street, with full-scale building work set to start in the autumn. Preliminary works began in April, including the creation of a new quay to improve estuary access.

Councillor Ken James, leader of Torridge District Council, said: “This is a very exciting step in the journey of this project, not just for Appledore, but for the wider district. We hope that the delivery of this centre will put Appledore and Torridge at the forefront of innovation and investment in clean maritime energy. By getting as many local tradespeople involved in the build as possible, we hope that this will be just the start of future job creation and investment in the area.”

Reviews of Appledore praise the villages colourful look and picturesque charm.

One reviewer wrote: “Appledore is a lovely place with lots of interesting nooks and crannies with brightly-coloured houses. It’s a lot less busy and touristy than some of its bier neighbours.”

Another said: “Appledore is great – very pretty with small craft shops, cafes, restaurants and is incredibly dog-friendly. Would definitely visit again.”