Space

June 5 (UPI) — NASA briefly moved five of the seven crew members aboard the International Space Station to the docked SpaceX Crew Dragon “Freedom” while Russian cosmonauts planned to repair leaks in a transfer tunnel in the Russian module.

The Russian crew members decided to only perform measurements Friday, so Mission Control told the crew members it was OK to exit the safe haven configuration.

“Roscosmos has paused Friday’s structural repair efforts … as more measurements and data is assessed. Given this development, NASA has instructed the crew members inside the Dragon spacecraft to end the safe haven procedures and return to planned operations aboard the International Space Station. We look forward to working with Roscosmos on a collaborative approach to address the leaks,” NASA Spokesperson Bethany Stevens posted on X.

The cracks have created a small air leak on and off for about six years and is a safety risk.

“The Zvezda service module transfer tunnel, known as PrK, has suffered from cracks and leaks for some time, and has been mitigated by Roscosmos as much as possible to date. The cracks have always been a concern that NASA watches very closely. NASA and Roscosmos have been working to determine the root cause of the cracks, and Roscosmos manages the issue through operational mitigation measures and periodic partial-repair efforts,” Steven wrote in another post.

The NASA Crew-12 members on the ISS include: Jessica Meir, Jack Hathaway, Sophie Adenot and Andrew Fedyaev. Astronaut Chris Williams went to the Dragon spacecraft, Stevens said.

Roscosmos noticed a slow pressure drop in the tunnel last month after a Russian cargo ship arrived, CBS News reported. NASA and Roscosmos have been working on “operational mitigation measures and periodic partial-repair efforts.”

Cape Fear,” premiering Friday on Apple TV, is a 10-episode limited series remake of a 1991 Martin Scorsese remake of a 1962 film adapted from John D. MacDonald’s 1957 novel “The Executioners,” and as in a game of telephone each subsequent version adds new material and moves a little farther from the original. (The credits to the series, created by Nick Antosca, note all previous sources and screenwriters.) Thirty-four years having passed since the last go-round, we are treated to such modern advances as catfishing, drones, deep fakes, social media and pushy true-crime podcasters.

In each iteration, a family is menaced by a recently released ex-con who blames one or more of them for his incarceration. Antosca fills his extra-long take on the material with complications and inventions; though the series is also chock full of borrowings from and allusions to its predecessors — you can hardly call them Easter eggs, lying there as they do in plain sight. (And sound: Bernard Herrmann and Elmer Bernstein‘s earlier scores share space with Jeff Russo’s new one.)

In every version, the antagonist is a now-charming, now-menacing psychopath named Max Cady (Javier Bardem), memorably played by Robert Mitchum in 1962 and Robert De Niro in 1991. In the novel and movies, Cady was serving time for rape; here it’s for the murder of his wife and unborn child, when new evidence suddenly springs him from prison after 17 years. We are invited to suspect this evidence from the very beginning, though this suspicion will itself become suspect. “Or is it?” is a question you’ll be prompted to ask through the series.

The objects of Cady’s slow-boiling vengeance — seemingly — are married lawyers Tom (Patrick Wilson) and Anna Bowden (Amy Adams), sharing the position previously represented solely by Gregory Peck and Nick Nolte in turn. Anna, who had unsuccessfully represented Cady, ironically works for an Innocence Project-type nonprofit, whose chief, Noa Toussaint (CCH Pounder), is only too delighted to fundraise on the back of Cady’s celebrity. Cady, claiming no hard feelings, insinuates himself into their world, apparently friendly, apparently helpful, so that it’s not always clear what’s sincere and what’s strategy. Is he a wolf in sheep’s clothing, or just a creepy, sometimes violent sheep? (“Killed his wife, didn’t kill his wife,” a minor character will volunteer, “he’s an arrogant bastard either way.”)

There are now two Bowden children in the picture, doubling earlier versions. Natalie (Lily Collias), Anna’s daughter from a previous relationship, is a good girl looking to go just a little bad, who feels unseen by her busy parents. Sad, sullen younger half-brother Zach (Joe Anders), unrecovered from a social media misstep, is acting more strangely than teenage boys usually do.

This is a cat and mouse — or cats and mice — melodrama, with customized stock characters given dark secrets and backstory traumas less as explanation than complication. (Good, bad, whatever, everyone’s got issues.) Cady, who has a prison-acquired brain injury — cue flashback, in black and white, naturally — suffers from headaches and hallucinations, reacting painfully to flashbulbs (a Chekov gun, I wondered?), seeing visions of his dead wife and son, whom he pictures grown. (He is sad about it, whether or not it’s his fault.) And is that masked woman in green he keeps seeing real or imagined?

On a nuts and bolts level, it’s all screwed together tight, even the pieces that stick out at weird angles. (Is there a reason to make Cady an apparently talented chef, other than to demonstrate his knife skills?) The actors fill their parts with feeling. Bardem gets the most, and most extreme attitudes, to play, whether cozying up individually to the Bowdens, threatening a groupie, undergoing a religious conversion, acting normal or being weird. Adams is low-key forceful as his primary opponent. (Tom’s comparatively weak character is underscored by his secret habit of microdosing LSD and a nothingburger flirtation with a colleague.) Collias is impressively real. The dialogue is well-crafted, the Southern atmosphere (Atlanta doubling Savannah, with Savannah here and there standing for itself) suitably oppressive.

Nevertheless, it’s fair to ask whether this story, even with its yards of extra material, could be told in under nine hours? The answer, most assuredly, is yes. And might it be better shorter? It might.

Not that I’ve ever been a fly on the walls of the executive conference or dining or washrooms where such deals are made, but I suspect the length has less to do with artistic necessity than A) the obscure economics of streaming and B) the not unrelated habits of viewers, who, to judge by questions I get asked, abhor a vacuum. A 10-episode series will put off the moment when they have “nothing to watch,” while the streamer gets to keep them in the ecosystem longer. “Cape Fear” is hardly the only series to which this applies. As I imagine the series will do well — mystery with a smattering of horror seems very much what the people want — more may be just the ticket for some people. Still, there’s a sense that the story has expanded to fill the space, with plotlines for all and crazy side trips (snakes! drugs!) in escalating levels of nuttiness.

That might be more feature than bug, but I can’t say I felt much of anything for the characters, or was concerned whether the Bowdens would emerge from their ordeals a stronger family. (Whatever the outcome, I’d say they have work to do.) Having been given only eight of 10 episodes to review, I’m interested, in a disinterested way, how this all will shake out, when the story finally moves to the Cape Fear River, and whatever final twists — that there will be twists, I am certain — an inevitably Action Packed Finale has in store.

Elon Musk’s rocket company SpaceX is targeting a valuation of nearly $1.77 trillion in its blockbuster initial public offering (IPO), paving the way for the largest stock market debut in history.

In a filing with the US Securities and Exchange Commission on Wednesday, SpaceX said that it plans to sell 555.6 million shares at $135 apiece, raising approximately $75bn.

The eye-popping valuation would make SpaceX the world’s seventh-largest company by market capitalisation, ahead of Musk’s electric vehicle maker Tesla and social media giant Meta, and just behind Taiwanese chipmaker TSMC.

It would also eclipse energy giant Saudi Aramco’s 2019 debut, which raised $26bn at a valuation of $1.7 trillion.

Musk, who holds a roughly 42 percent stake in SpaceX, is poised to become the world’s first trillionaire upon the company’s debut on the New York-based Nasdaq stock exchange on June 12.

Despite the public listing, Musk will retain effective control of SpaceX with more than 82 percent of voting rights, the result of a dual-class stock structure that grants certain shares 10 votes instead of one.

The Texas-based firm’s decision to set a specific share price ahead of its IPO marks a break from usual practice.

Companies preparing for a public listing usually announce a preliminary price range that can be adjusted based on investor interest.

“The genuine surprise is that SpaceX fixed a price before the investor roadshow began,” Fabien Yip, a market analyst at online trading and investment company IG Group, told Al Jazeera.

“To me, this reflects Musk’s control over the deal terms and his confidence that the book will fill.”

Founded by Musk in 2002, SpaceX is best known for designing and launching rockets, spacecraft and reusable launch vehicles on behalf of NASA and private companies.

The company also provides internet services and artificial intelligence models through its Starlink and xAI divisions.

Musk has outlined lofty ambitions for SpaceX, including to establish a “self-sustaining” city on Mars, “make life multiplanetary,” and “extend the light of consciousness to the stars”.

SpaceX’s listing will be a test of investors’ confidence in Musk’s vision, which has yet to translate into profits at the company.

SpaceX reported a net loss of $4.9bn on revenue of 18.7bn in 2025, followed by a $4.3bn loss in the first quarter of this year.

Jay R Ritter, an emeritus professor at the University of Florida who specialises in IPOs, said the SpaceX IPO differs from Saudi Aramco’s blockbuster listing as the state-owned oil company had a track record of generating large revenues and profits.

“SpaceX, in contrast, has trailing annual revenue of less than $20bn, and is not profitable,” Ritter told Al Jazeera.

“So, one company’s valuation was – and is – based on its demonstrated profitability, while the other company’s valuation is based on potential.”

“With SpaceX, there is a risk that cash flows will be used to send hundreds of thousands of people to Mars, at a loss,” Ritter added.

Despite SpaceX’s lack of profitability, market sentiment is strong, said IG’s Yip, noting that buyers of investment products linked to the listing are pricing the company’s end-of-first-day market capitalisation at $2.2 trillion.

“The Tesla parallel is perhaps worth drawing: It debuted in 2010 as a loss-making company and largely tracked the S&P 500 for years, only breaking away decisively once it turned profitable for the first time in Q1 2013,” Yip said, referring to the benchmark stock index on Wall Street.

“SpaceX investors are making a similar bet on future growth, with the added complexity that SpaceX’s addressable market – rockets, satellite internet, AI – is considerably broader than Tesla’s was at listing.”

June 3 (UPI) — Almost six months after NASA lost contact with the spacecraft, the agency has declared the Mars Atmosphere and Volatile Environment satellite unrecoverable and its mission concluded.

NASA’s Deep Space Network (radio antennas that connect Earth with spacecraft) last received a transmission from the MAVEN satellite on Dec. 6, just before its orbit passed behind Mars. When it emerged, communications did not resume, NASA said. The cause of this lapse was under investigation, but the agency said the satellite was rotating at an usually high rate, leading to drained batteries.

The MAVEN mission was the first successful one dedicated to observing Mars’ atmosphere and its evolution. It orbited the planet for more than 11 years, far longer than its planned one-year lifespan.

NASA hosted a media teleconference Wednesday about the end of the mission and issued a statement.

“The MAVEN mission has truly advanced our understanding of the Martian atmosphere and evolution,” said Shannon Curry, MAVEN principal investigator and a professor at the Laboratory for Atmospheric and Space Physics at the University of Colorado Boulder. “This dataset has had a tremendous impact onthe field. Our science team is exceptionally proud of all of these amazing discoveries.”

The mission launched in November 2013 on an Atlas V rocket from Cape Canaveral, Fla., and arrived in Mars orbit 10 months later, Space.com reported.

During its mission, MAVEN provided information about Mars’ atmosphere and how it became the planet it is today, changing from a planet with a more Earth-like atmosphere that could host liquid water on the surface. It discovered new types of auroras across the planet and studied Mars’ dust storms.

MAVEN also played a key role as a communications link to the Curiosity and Persistence rovers on Mars. The Mars Odyssey and Mars Reconnaissance Orbiter spacecraft remain in operation to play that role.

“The science MAVEN has given us is key to informing what kind of radiation protection and safety measures we must take before sending humans to Mars,” said Louise Prockter, director of the planetary science division at NASA. “The data collected from MAVEN will continue to provide valuable insight into Mars for decades to come.”

May 30 (UPI) — A meteor exploded just off the coast of Massachusetts, causing a loud boom, Saturday afternoon.

Locals reported on social media that they heard a loud blast at about 2 p.m. EDT, and meteorologists have said it was likely a meteor.

Officials at the National Weather Service told WBUR that it was up to NASA to confirm that it was a meteor, but it may require finding pieces of debris to confirm it, 1 Degree Outside meteorologist Danielle Noyes told the station.

The U.S. Geological Survey did not detect an earthquake, Noyes added.

Meteorologist Nick Stewart posted on X, showing images from the National Oceanic and Atmospheric Administration: “The flash density product really shows this anomalous ‘flash,’ which is pretty distinctive of a bolide/meteor reentry. East of Boston. This is the likely source of the loud boom/explosion.”

A NOAA data map shows the flash over the bay.

WBZTV in Boston posted on its Instagram account that meteors cause a sonic boom because, “They enter Earth’s atmosphere at anywhere from 25,000 to 160,000 miles per hour, and larger space rocks can travel deep enough to create pressure waves.”

The station’s meteorologist Eric Fisher posted about the blast on his Instagram account. “CONFIRMED: Meteor exploding on entry caused that big boom across the Boston area Saturday afternoon!”

Local residents told Boston 25 News what the blast was like.

“Yes, I did, thought it may have been an explosion from the power plant next door. It vibrated my apartment. Though it lasted about 3 to 4 seconds … longer than most explosions. Did not sound like thunder,” one viewer said.

Another said there were two explosions.

“I was outside in Framingham with my dog. Heard and felt two huge blasts. Felt the shockwave. Definitely not thunder. Was from the east/southeast from where I was standing. Scared the crap out of us,” another viewer told the TV station.

We visited Houston in Texas where a rodeo, baseball, space and delicious food were on the jam-packed agenda. Here’s why you need to get planning your trip to the Lone Star State…

I’ve always wanted to visit Texas and what better time than rodeo season? Rodeo is a year-round pastime for Texans, but Houston holds the largest event in the US in March, with even more cowboy boots and hats descending upon the city than usual, a buzz of excitement and yee-haw in the air. Add in a Space Center visit and a baseball game and this trip to the Lone Star State isn’t one that I’ll forget in a hurry.

RIP-ROARING RODEO

The Houston Livestock Show and Rodeo runs across 21 days, with a carnival atmosphere, shows, music, energy and excitement. Inside the NRG Stadium, rodeo competitions – bull riding, barrel racing, saddle-bronc riding and roping – take place, while outside there’s livestock shows, exhibitions and loads more fun.

The fried food creations on offer are endless – think funnel cakes, jumbo corn dogs and deep-fried Oreos. “When in Texas,” we thought, as we ordered (and surprisingly enjoyed) a deep-fried cheesecake.

The rodeo is a jam-packed day and each night a musical superstar takes to the stage in the stadium. We got to see Texas native Kelly Clarkson putting on an impressive show as she bounced energetically around the rotating stage and reminding the 70,000-strong crowd just how many hits she has – naturally she finished her set with Since U Been Gone.

COWBOY COOL

To take in the atmosphere like a local, we wanted to be properly kitted out, so we visited the Republic Boot Co. I’ve never seen so many tempting rows of cowboy boots – and it’s not just a tourist trap, either. Drake is among the clientele of this cool spot.

As well as footwear, there’s a dedicated Hat Bar, where you can choose from a range of styles and colours, customising your hat however you like. My plan for a simple, understated look quickly changed when I saw the leather trims, feathers, charms and badges on offer. I walked out with my initials branded on and a playing card tucked behind a giant feather.

BASEBALL & BEERS

Go Astros! We headed to Daikin Park, the baseball stadium which is home to the Houston Astros, to watch a quarter-final of the World Baseball Classic where the US took on – and beat – Canada. It was my first time at a game, but you don’t need to be an expert to be caught up in the thrill – it’s relentless. Soon

I was willing a home run so I could see the Home Run Train chuff round the track in celebration. We didn’t need to be told twice to order the stadium’s signature Crawford Dog and settled happily into our seats with giant beers, feeling like we were at the movies.

OUT OF THIS WORLD

Houston is known as Space City, so I couldn’t miss a visit to Space Center Houston, the official visitor centre of NASA, where astronauts train and Mission Control keeps everything on track. So soon after Artemis II’s moon mission, the place is still feeling the thrill of the historic exploration, and this is where you can really immerse yourself in all things astronautical.

The highlight was the tram tour to see the Astronaut Training Facility and Rocket Park, packed with actual rocket parts so you can see the incredible scale. It’s impossible not to get caught up in the excitement.

TASTE OF TEXAS

Texas is foodie heaven. Battling jet lag on our first night, we grabbed dinner at Agnes and Sherman, a short walk from our hotel, kicking things off on a real high. The cheeseburger fried rice has to be tasted to be believed.

For a great breakfast or brunch, head to Dandelion Cafe, where the generous-sized chicken waffles have been voted “best breakfast in the US” by Good Morning America. We were also told that Viet-Cajun crawfish was a must try, so we pulled on our bibs and gloves with enthusiasm at Crawfish & Noodles in Chinatown.

A little out of town in the seaside resort of Galveston, we discovered Gaido’s Seafood Restaurant, which has served seafood to hungry locals since 1911. We dined on delicious stuffed shrimp and gumbo, followed by the famous pecan pie, before a stroll on the waterfront.

But the most magical meal of our trip was at intimate indigenous restaurant Ishtia. Choctaw chef David Skinner is inspired by his heritage and ancestors and tells the story of each dish and its ingredients as they are served.

WHERE TO STAY

We stayed in Hotel Daphne, a stylish luxury boutique hotel in historic Houston Heights. The relaxed atmosphere was just our vibe, as was the bright, quirky decor and striped purple and blue bathrobes. Around this pretty neighbourhood we discovered cool shops and grand houses on tree-lined streets, but you don’t have to venture far for a cocktail. The hotel’s restaurant and bar, Hypsi, with a sun-filled courtyard that’s perfect for catching rays, is always there to welcome you at the end of a day of adventures.

HOW TO BOOK

BA and United Airlines offer direct flights to Houston from London Heathrow. Rooms at Hotel Daphne cost from £272 per night, see hyatt.com. Plan your trip with visithouston.com

The incident is the latest setback for Jeff Bezos’s space venture as it seeks to narrow the gap with Elon Musk’s SpaceX.

Blue Origin’s New Glenn rocket has exploded on the launchpad during a test in the US state of Florida.

The incident on Thursday evening is the latest setback for Jeff Bezos’s space venture as it seeks to narrow the gap with Elon Musk’s SpaceX.

Footage of the incident shows smoke emerging from underneath the rocket before it erupts into a massive fireball that billows skyward, sending a towering plume of flames and smoke into the air.

Emergency crews remained at the scene more than an hour later, but officials said there was no threat from fumes or other potential hazards.

No injuries have been reported.

“We experienced an anomaly during today’s hotfire test,” Blue Origin said in a brief statement posted on X, adding that “all personnel have been accounted for”.

A hot-fire test is where a rocket engine is fired up while anchored to the ground.

In a separate X post, Bezos said it was “too early to know the root cause” of the incident.

“Very rough day, but we’ll rebuild whatever needs rebuilding and get back to flying. It’s worth it,” Bezos added.

US House Representative Mike Haridopolos, whose Florida district includes the launch site at Cape Canaveral, said in a statement on X that he has been in contact with NASA Administrator Jared Isaacman regarding the explosion.

“I am grateful there were no reported injuries and thankful for the first responders, engineers, and launch crews who acted quickly,” Haridopolos said.

Blue Origin is preparing the New Glenn rocket to launch 48 Amazon Leo satellites into low-Earth orbit, part of efforts to build a broadband constellation to rival Musk’s Starlink network.

Musk responded on X to a video of the New Glenn explosion, saying: “Most unfortunate. Rockets are hard.”

Last month, the New Glenn rocket failed a mission to deliver a communications satellite into the correct orbit, prompting an investigation.

After Arsenal‘s first league title for more than two decades was confirmed, tens of thousands of supporters rushed to Emirates Stadium to celebrate.

“I knew we were a sleeping giant that we needed to awaken in some way.” Kroenke said.

“We haven’t had a team, a squad like this in the social media age. Social media evolved and the Twittersphere and everything else around it.

“The instantaneous information, the ‘Banter Era’ – I’m aware of all this. I turned 46 last week.

“I’ve grown up around this and I’ve seen it all from my own perspective. I think that’s what I’m so proud to see. There was almost a time when you were a closeted Arsenal fan.”

But this success does not mean the end of the journey for Kroenke and his vision for the club, with the Gunners playing Paris-St Germain in the Champions League final on Saturday.

“I think I can think back and say that our stated goal was winning the Premier League, because if you can put yourself in contention for the Premier League, you’re in contention for everything else.” Kroenke said.

“Should we get a great result on Saturday, it’s not going to change or affect who we are. When you win something, the sun’s still going to come up the next day.

“You’ve got to get back to work and there are many teams trying to gain on you, including some historically great ones around the Premier League.

“So, we’re going to look to strengthen because we know that teams around us are going to get better. If you’re not trying to continually evolve and improve, you’re standing still.”

Green orbs, discs and fireballs. The Trump administration has released a second batch of previously classified files on alleged UFO sightings. The Pentagon says the material is linked to 209 sightings, in various locations, of what are officially known as “unidentified anomalous phenomena” (UAP).

May 22 (UPI) — SpaceX successfully launched an updated version of its Starship on Friday evening, meeting all goals the company said it was aiming for.

The launch was the first of the company’s V3 version of both the booster rocket and “Ship” upper stage, which is a key part of NASA’s Artemis series of missions to the moon and, potentially, to Mars.

SpaceX commentators said during the company’s official broadcast that the updated Starship, which delivered 22 simulator Starlink satellites into orbit and converted flight adjustments it will need when it lands instead splashing down in water, “delivered.”

The company had scrubbed the first attempted launch of the megarocket, the largest ever built, on Thursday because of an engineering issue that could not be fixed in time to make the scheduled launch window.

The mission for the 408-foot-tall Super Heavy rocket, which is powered by 33 newly redesigned Raptor engines, the same as Starship, was to successfully launch, ascend, separate from the second stage — Starship — and then perform boost back and landing burns before splashing down in the Gulf of Mexico.

After separation, Starship’s goals were to light its engines, enter a sub-orbital path and release a series of dummy Starlink satellites before performing a series of maneuvers and testing its newly designed heat shield.

When Starship splashed down in the Indian Ocean after its tests, SpaceX commentators said during the broadcast that the fireball when it hit the Indian Ocean was the goal, “as weird as that sounds.”

This version of Starship is not the final one, but rather is a prototype of one of several that are planned for NASA’s return of Americans to the moon.

NASA’s planned Artemis III mission in 2028 is expected to test connecting the Orion crew capsule — which was tested on its first crew mission earlier this year — to both Starship and Blue Origin‘s Blue Moon space vessel, which has yet to take its first flight.

Talk to the passionate team behind KidSTREAM, a new children’s museum in Ventura County, and they’ll tell you about the many lofty goals they have for the 21,000-square-foot space which opened to the public Thursday.

They’ll describe how the museum is the first of its kind in Ventura County and how they hope to make it accessible to as many local children as possible through outreach, discounts and free programming.

They’ll explain how the immersive exhibits highlight the county’s unique industry and geography, including an agriculture area where young visitors can pick pretend fruits and sell them at a farmers market and an ocean exhibit where miniature replicas of the Channel Islands emerge from the bouncy blue “Pacific Ocean.”

A drone view of the museum’s Pacific Ocean and Channel Islands-themed play area.

Avery Hanchar, right, and her brothers Oliver and Carter, test their climbing and balancing skills.

They’ll share that the STREAM in KidSTREAM is an acronym for Science, Technology, Reading, Engineering, Arts and Math, and talk about the activity carts and art projects that will enhance and support learning for young visitors.

But they are also well aware that for some families, the still-evolving space will serve a less highfalutin, if just as important, goal.

“Parents are looking for a good nap on the way home,” said KidSTREAM founder Kristie Akl. “And we can give them that too.”

Akl, along with KidSTREAM board chairman Bryan Yee and guest experience director Dani Hildreth, were giddy with excitement as they took me on a tour of the museum in the days before it opened.

This moment had been a long time coming, they said.

A high-energy former high school biology teacher with a make-it-happen spirit, Akl first began dreaming about a children’s museum in Ventura County in 2013 after taking her three daughters to KidSpace, a children’s museum in Pasadena founded by members of the Caltech community in 1979.

Akl loved Kidspace, but it was a full hour from the family’s house in Camarillo and she longed for something similar closer to home. For two years, she tried convincing others to create a children’s museum in Ventura County. When that failed, she formed a fledgling board in 2015 and incorporated as a 501(c)(3) nonprofit in 2017.

A young guest chases a cloth blown out of the tubes at the museum’s Amazing Airways exhibit.

“I was always optimistic,” she said. “You have to be to do something like this.”

The original plan was to open the museum in 2020, but fundraising efforts were hampered by the 2017 Thomas fire, which destroyed hundreds of homes in the area. A few years later came COVID shutdowns. The delays were discouraging, but Akl and a growing community of motivated believers used the time to build out their proof of concept by bringing science projects to local schools, neighborhoods and community events, creating online workshops and giving farm workers free science kits to help their kids get exploring.

“It was a herculean task and a huge community effort,” Akl said. “Everyone leaned in.”

Today she estimates that the KidSTREAM Children’s Museum touched the lives of 70,000 children in the Ventura area before ever opening its doors.

Luke Delossantos, right, and his son Grayson play pretend.

“They prototyped a lot of ideas,” said Yee, a father of three who took over from Akl as chairman of the board of KidSTREAM in 2022. “That showed us what works and what doesn’t work and what we should do next.”

In 2022, the city of Camarillo donated the building that housed the former public library to the museum and in 2024, the team raised enough money to bring children’s museum specialist Hildreth on board. Construction began in 2025.

In addition to the agriculture and Pacific Ocean areas outside, visitors will find a camping exhibit with an obstacle course, gratitude tree and a series of different shaped tents where kids can play. There’s also a sand pit where children can dig up replicas of pygmy mammoth bones. (The pygmy mammoth is a dwarf species of mammoth that was native to the Channel Islands.) A nature area includes a sensory path designed with the unique needs of neurologically divergent children in mind.

“There are 200,000 kids in Ventura County from a huge range of backgrounds including a lot of farm worker families,” Hildreth said. “The space is designed for all of them, newborn to 10 years old.”

In addition to the outdoor play areas, visitors will find an indoor “makerspace” with a white Lego wall where children can create vertical designs, four tables for art projects and a super-sized Lite-Brite.

Visitors walk through a greenhouse at the museum’s agriculture area.

“When you are 3 feet tall, it’s your whole field of vision,” Hildreth said.

Admission to KidSTREAM is $16 for adults and children over the age of 1, $13 for seniors and military, and $3 for families with EBT, SNAP or WIC cards. Membership options are also available.

Yee said market research suggests the new museum will reach as many as 150,000 people, and there is still room for expansion.

“We’re 21,000 square feet now with room for growth,” he said. “We’re not stopping, but we’re so excited to open our doors.”

May 21 (UPI) — SpaceX on Thursday scrubbed the planned first test flight for its redesigned Super Heavy megarocket, the largest rocket ever built, from its new Texas launch pad.

Following several delays of the countdown at 40 seconds remaining, SpaceX spokesman Dan Huot announced the launch would be delayed due to engineering issues which could not be immediately remedied.

“We are expecting to be able to make another flight attempt tomorrow, but obviously stay tuned to our social media,” he said.

In addition to trying out the redesigned Super Heavy propulsion system, the launch is meant to assess upgraded systems on Starship, including the deployment of 22 Starlink satellite simulators, intentionally stressing its new flight control flaps and attempting the “dynamic banking maneuver” that it eventually will use to land back on its pad.

When it takes off, the uncrewed mission will be the 12th flight for Starship as SpaceX develops what is expected to be a primary vehicle for NASA’s Artemis missions to the moon.

“The flight test’s primary goal will be to demonstrate each of these new pieces in the flight environment for the first time, with each element of the Starship architecture featuring significant redesigns to enable full and rapid reuse that incorporate learnings from years of development and testing,” SpaceX said on its website.

The V3, which is 408 feet tall and more powerful than previous Super Heavy rockets, includes 33 redesigned Raptor engines — Starship has six of its own — will take off from South Texas for a round of primary tests similar to previous launches.

The rocket, SpaceX said, is hoped to successfully launch, ascend, separate from the second stage — Starship — and then perform boostback and landing burns in the Gulf of Mexico.

“As this is the first flight test of a significantly redesigned vehicle, the booster will not attempt a return to the launch site for catch,” the company said.

During the hot-stage separation, Starship will light its engines to enter a sub-orbital path, performing tests and then splashing down in the Indian Ocean.

Tests of the space vessel are important as NASA’s Artemis III mission in 2028 is expected to test connecting the Orion crew capsule to both Starship and Blue Origin‘s Blue Moon, although Blue Moon has yet to be launched for its first test flight.

Starship also is expected to be the ship that delivers Americans back to the moon in the next several years.

When Meow Wolf’s Los Angeles location opens later this year, one of its biggest residents will be a 20-foot-tall, 1,000-pound amoeba-like creature named WoWoW.

Created by the L.A.-based multimedia collective Everything Is Terrible, WoWoW is alternately described as a “cosmic entity” and a “cartoony, root vegetable floating alien god.” The multi-eyed organism will serve as the centerpiece of “the N.E.S.T.,” an EIT-designed section of Meow Wolf’s new 26,000-square-foot immersive exhibition space.

In-progress detail of Everything Is Terrible’s WoWoW sculpture for the forthcoming Meow Wolf Los Angeles, shown with multi-color eye lighting.

(Photo by Allyson Lupovich / Meow Wolf)

That acronym has yet to be explained, and is cloaked in Meow Wolf’s intentionally mysterious messaging about its latest incarnation, which is set in an old Cinemark movie theater in West L.A. and will tackle the ephemeral joys and hardships of Hollywood’s dream factory. The L.A. location will be the Santa Fe, N.M.-based immersive art and entertainment company’s fifth outpost after Denver, Las Vegas, Houston and the Dallas suburbs.

The L.A. space boasts 45 local collaborating artists including Gabriela Ruiz, David Altmejd and more. Each is building their own unique installation featuring a variety of sculptures, dioramas and new media.

Everything Is Terrible is one of Meow Wolf’s most prolific partners, creating a variety of psychedelic characters for various installations over the years. The collective dreamed up the N.E.S.T. about two years ago as a way of paying tribute to maximalist roadside attractions like Wisconsin’s House on the Rock or New Mexico’s Tinkertown Museum. It also tells the story of the Noothies, a made-up community of former below-the-line film workers who stumbled upon a god — and a hidden truth about the nature of reality.

The installation presents a paradox by being a Hollywood idea that is completely un-Hollywood. It may wink at the industry’s unseen heroes, but who can afford to make art for art’s sake in the entertainment industry anymore? That seeming contradiction makes it a very Everything Is Terrible idea.

Founded nearly 20 years ago by a group of friends who met at Ohio University, Everything Is Terrible was launched as a found-footage website that created wild and singular art pieces using thrifted VHS tapes. It found viral success with videos about cat massage, and a dancing dinosaur who warns kids about the dangers of pedophilia, as well as its lauded quest to amass as many VHS copies of “Jerry Maguire” as humanly possible. (The group has about 45,000 at the moment, all stuffed in boxes and waiting to be unleashed on the world — perhaps as a pyramid in the desert or maybe featured in some sort of coffee table book.)

“I think our outlook on life has become, ‘look at the worlds that these people created,’” says EIT co-founder Dimitri Simakis. “No one asked them to do this. Someone just wanted to do a kids puppet show in some garage in North Carolina and now they’ve created a simulacra.”

That’s also what the collective is doing with its Meow Wolf exhibit, adds Nic Maier, another EIT member. “It’s what we’ve done for the last 20 years, really. We’re just a bunch of kooks who got together to obsessively make things in celebration of life and in appreciation of each other’s time.”

The marriage of Everything Is Terrible and Meow Wolf is a match made in heaven. The groups first met in 2009, bonded by a shared commitment to interactive art experiences that twist reality using an ornate handmade aesthetic.

A few years later, Maier was hired to work on what would become Meow Wolf’s first large-scale installation, Santa Fe’s “House of Eternal Return.” As he spent hours sculpting large, foam trees for the group, he says he fell in love.

A mystical, neon-colored forest in Meow Wolf’s Santa Fe, N.M., exhibition, “The House of Eternal Return.”

(Meow Wolf)

“We always joke that ever since then, EIT has been a barnacle on the side of the Meow Wolf ship, just hanging on but also occasionally hopping in to contribute,” Maier says.

When Meow Wolf announced it was opening two new spaces, in Las Vegas and Denver, it called on EIT for ideas. Simakis and Maier threw out a few pitches for Denver and one landed: a McDonald’s-like retro freak-out known as Pizza Pals Play Zone, which went on to become one of the attraction’s most talked about, photographed and beloved spaces.

“Pizza Pals Play Zone is super character dense,” says Han Sayles, Meow Wolf’s director of artist collaboration. “It’s just one of those spaces that feels like Meow Wolf. There’s hundreds of different pieces of media framed all around, featuring all of these different characters they created. They even made a bible … that had the narrative backstory of every single character and every deliverable they wanted for that room.”

Pizza Pals Playzone, created by Everything Is Terrible, at Meow Wolf’s Convergence Station in Denver.

(Jess Gallo / Meow Wolf)

When Meow Wolf’s Los Angeles project became a possibility, Sayles says Everything Is Terrible was one of the first groups she pitched as a potential contributor. EIT ended up being offered a custom project, in which the group used Meow Wolf’s extensive production facilities and resources to create their vision for the space, weighing in on everything from the shape of their room to the merch it might inspire in the Meow Wolf gift shop.

“We had a super trusting relationship with them,” Sayles says. “We recruited them as partners and negotiated a deal without knowing what they were going to put in the room. Both Nic and Dimitri have such a beautiful, strong sense of the exact genre of whimsy that we go for and they always deliver super deeply, so we knew it would be amazing.”

Sayles says she also thought the group’s experience of Los Angeles would lend itself well to the overall theme of the venue. Shakti Howeth, a creative director at Meow Wolf, agrees, saying that while Meow Wolf attractions are typically pretty otherworldly, they’re always built around an overarching story.

At Meow Wolf’s “Omega Mart,” in Las Vegas, guests first enter a satiric take on a grocery store, where portals lead to otherworldly art exhibitions.

(Christopher DeVargas / Meow Wolf)

The N.E.S.T., Howeth teases, will relate to some of the L.A. attraction’s character groups and themes, as well as its overall story. How audiences first encounter WoWoW and the N.E.S.T. will depend on which door they use to enter the room. From there, the points of visual interest will compound upon each other.

“We’re just incorporating all the things we love,” says Maier, noting that includes roadside attractions, folk art and anything “outsider.”

“It involves everything from the importance of dirt and worms to video games to experimental film to worker uprisings to entering literal other dimensions where you can meet what might be God, all within a [553]-square-foot space,” Simakis adds. “There have been times when we’ve been in the N.E.S.T. and thought we crammed in too much … but then you realize it has to be like that, because we’re trying to tell the whole story of the universe in just that room.”

For example, Maier spent much of the last two years building 45 beautifully weird costumes for the attraction, only two of which will be physically in the N.E.S.T. The other 43, he explains, are there for “world-building” and to make the story feel lived in. Everything in the space will have been created by Everything Is Terrible and Meow Wolf, including what seems like real found footage.

Simakis calls the group’s vision for the space “unrelenting joy mixed with benevolent chaos,” as well as “a beautiful folk art museum that’s also a space rave.” He likens what the group is doing to “building a puzzle out of thousands of other puzzles, gluing it together to make a new thing.”

“It’s like we’re making a movie that’s not a movie,” Simakis adds. “It’s a video game. It’s a living space. It’s all of these things, but you get to walk around in it.”

If that’s confusing, it’s because it’s meant to be — at least a little. How each visitor absorbs or receives the space will be entirely up to them. And while that could be a bit terrifying for some artists, to pour everything into a piece only to have the public possibly misinterpret or even ignore it, Maier and Simakis say they’re open to whatever comes.

“Millions of people are going to potentially walk through our space, so it has to be really special,” Simakis says. “We’ve also thought about all the different ways people could enjoy it, whether they’re a baby or a stoner or someone who’s just really into immersive entertainment or escape rooms. Even if you just go to take selfies, great. We’re pro-that. But also, if you want to keep going back or you want to spend hours there, I promise we’ve made it worth your while.”

Meow Wolf L.A. opens later this year. You can catch both Meow Wolf and Everything Is Terrible in the Los Angeles County Museum of Art’s Art Parade on June 20, marching in some of Maier’s 45 costumes from the N.E.S.T.

It could cost nearly $1.2 trillion to develop, field, and operate a new missile defense shield like the one the Trump administration proposes to establish under its Golden Dome initiative, according to a new estimate. Deploying and sustaining a constellation of 7,800 space-based anti-missile interceptors accounts for more than 60 percent of that projected price tag. This puts a particular spotlight on the potential costs of what is arguably viewed as the most critical and controversial aspect of the Golden Dome plan. At the same time, even with this grand investment, the ability of the space-based interceptor layer would only be able to engage 10 targets simultaneously, according to the Congressional Budget Office (CBO).

CBO released a detailed cost estimate of what it described as a notional “National Missile Defense System” yesterday. CBO’s $1.191 trillion figure covers various expenses over a 20-year timeframe. This is more than double the projected price tag that CBO had put forward last year. President Trump first announced plans for a new national missile defense architecture in January 2025. The initiative was originally dubbed Iron Dome before being renamed Golden Dome.

“The analysis is based on the objectives laid out in the President’s executive order titled ‘The Iron Dome for America.’ The Department of Defense’s (DoD’s) implementation of that order – an initiative now called the Golden Dome for America (GDA) – is in the early stages,” CBO’s latest estimate explains up front. “Although documents from DoD’s budget request for the 2027 fiscal year provide five-year projections of funding plans for GDA, details about what and how many systems will be deployed – the ‘objective architecture’ – have not been released, making it impossible to estimate the long-term cost of the GDA system being contemplated by DoD. In the absence of specific plans for GDA’s objective architecture, CBO has estimated the cost of a notional NMD architecture based on the defensive systems and capabilities that are called for in the executive order.”

“DoD’s stated cost appears to cover a shorter time frame than CBO’s analysis and may reflect a different scope of activities and budget categories. Even so, that stated cost is far lower than CBO’s estimate for a notional NMD architecture consistent with the ‘Iron Dome” executive order,” CBO’s assessment adds. “That difference suggests either that GDA’s objective architecture is more limited than CBO’s notional NMD system or that DoD expects significant funding from other accounts to contribute to GDA (or both). For example, procurement of interceptors might be funded directly through the services’ missile procurement accounts instead of the GDA fund.”

For its part, the Trump administration has most recently pegged the price tag for Golden Dome’s “objective architecture” at approximately $185 billion. Last year, President Trump himself had put forward a $175 billion figure, which he said would include systems to be fielded “in less than three years.” TWZ has noted on several occasions now that the administration’s estimates may just cover a portion of the planned Golden Dome architecture, which could easily cost hundreds of billions in total to field and operate.

CBO’s analysis is broken into six main elements – the space-based interceptor constellation, upper wide-area surface sites, lower wide-area surface sites, regional sectors, self-defense for four existing surface sites, and a space satellite constellation for tracking targets – as well as a collection of miscellaneous ancillary costs. The surface site and regional sector categories primarily consist of costs associated with expanding on existing land and sea-based anti-missile interceptor and sensor capabilities, such as Aegis Ashore, the Terminal High Altitude Area Defense (THAAD) system, and the Next Generation Interceptor (NGI).

An all-new constellation of 7,800 space-based interceptors is, by far, the largest single component of CBO’s projection. This capability is estimated to cost $723 billion to acquire, and then another $1 billion annually to operate and maintain ($20 billion over 20 years), for a total of $743 billion. This is 60 percent of the total estimated $1.191 trillion price tag, and 70 percent of the projected acquisition costs.

CBO provides a detailed breakdown of how it arrived at these figures.

“The average cost per SBI [space-based interceptor] satellite would be $22 million. That average is for the initial 7,800 SBIs as well as the nearly 1,600 SBIs that would be needed each year thereafter because of the satellites’ short five-year service life. The need to periodically replace SBIs means that the acquisition costs would be spread over the life of the system,” according to the cost assessment. “The total is based on a cost of $500 per kilogram to launch the SBIs into orbit. Although that launch cost is lower than typical launch costs today, it is thought to be achievable using the new generation of heavy-lift rockets, such as the Space-X [sic] Starship, that are being developed. Even lower launch costs may be realized in the future, but that could have only a limited effect on total costs for the SBI layer because, even at $500 per kilogram, launch costs account for less than 5 percent of the total.”

“Both the very large number of SBIs needed to engage just 10 targets simultaneously and the SBIs’ short service life are the result of how the satellites move in orbit. To be close enough to reach their targets within the three to five minutes available in the boost phase, SBIs must be in LEO at altitudes of roughly 300 to 500 kilometers,” it continues. “However, the characteristics of satellite motion in LEO affect the size of constellations meant to provide continuous coverage over specific locations on Earth. (For boost-phase SBIs, “coverage” is relative to an ICBM’s [intercontinental ballistic missile] launch location, not the location of the ICBM’s target.)”

“Satellites in LEO cannot be fixed over specific points on Earth; they orbit in a band centered on the equator and bounded equally north and south by their orbital inclination (usually measured in degrees of latitude). Therefore, constellations of many SBIs are needed to ensure that a sufficient number (20, for example, if two shots are needed against 10 ICBMs) are always close enough to potential launch locations to reach targets during the boost phase,” the assessment adds. “The total number of satellites in a constellation depends mainly on the speed of the interceptors, how quickly they can be launched, the number of simultaneous targets the system needs to handle, and the latitudes to be covered.”

“Because atmospheric drag at the altitudes at which SBIs would orbit causes their orbits to decay over time, each satellite would need to be replaced roughly every 5 years. (By contrast, the service life of surface-based interceptors can be 20 years or more, and surface-based interceptors can be maintained and upgraded during that time.),” CBO also says. “For CBO’s notional constellation, roughly 30,000 satellites would be needed to keep 7,800 in orbit for 20 years.”

All this being said, CBO’s notional space-based interceptor architecture is still predicated only on defeating a relatively limited strike (a single wave of 10 ICBMs) from “a regional adversary,” a term typically used to describe countries like North Korea and Iran. The Trump administration has indicated in the past that Golden Dome is intended to defend against a much broader array of threats, including from peer adversaries like Russia and China.

Furthermore, CBO points out that its cost estimate does not include additional space-based interceptors designed to engage missiles during the mid-course portion of their flight, which are also being explored now as part of the Golden Dome plan.

“Although the notional NMD system analyzed by CBO would be far more capable than defenses the United States fields today, it would not be an impenetrable shield or be able to fully counter a large attack of the sort that Russia or China might be able to launch,” the latest cost estimate also stresses. “As a result, the strategic consequences of deploying an NMD system with the capacity considered here are unclear because they hinge on an adversary’s perception of the defense’s capability and how that adversary chose [sic] to respond.”

“Such a deployment could prompt regional adversaries to increase their inventories of long-range missiles (nuclear or conventional) or to pursue more effective countermeasures to improve their chances of penetrating the NMD system,” the assessment notes. “Peer or near-peer adversaries could overwhelm CBO’s notional NMD system with salvoes of many missiles in a large-scale attack with their current nuclear forces, although they still might choose to increase their arsenals of long-range missiles (both nuclear and conventional) to ensure they maintain that capability.”

With this in mind, “DoD could opt to build a national missile defense system that was smaller or larger than (or altogether different from) CBO’s notional system. A larger system designed to handle a full-scale Russian ICBM attack, for example, could include more space-based interceptors or more NGIs at the three upper wide-area surface layer sites,” it also cautions. “It could also include more interceptors at lower levels. A smaller system, by contrast, might be able to engage fewer missiles or protect fewer areas. The total number of regional sectors in CBO’s notional system is based on providing some terminal coverage to the entire country as suggested by the language in the ‘Iron Dome’ executive order.”

As mentioned, putting interceptors in space has been one of, if not the highest profile aspect of the stated Iron Dome/Golden Dome plan from the very start. Space-based weapons were also a central element of the Reagan-era Strategic Defense Initiative (SDI), which was directly referenced in the original executive order outlining the new missile defense initiative. Infamously dubbed “Star Wars” by its critics, SDI never came close to achieving its ambitious goals. Its planned anti-missile capabilities in orbit were especially hampered by technical challenges and high costs.

The U.S. Space Force is already leading a new SBI program, with a stated goal of demonstrating a relevant capability integrated into the larger Golden Dome architecture by 2028. Space Force has already awarded deals with a combined value of $3.2 billion to 12 companies for SBI-related work. Several firms, including Lockheed Martin, Northrop Grumman, and Anduril, have already announced work on prototype interceptor designs.

The Northrop Grumman video below includes a computer-generated clip depicting a space-based interceptor engaging a target outside the Earth’s atmosphere, starting at 0:13 in the runtime.

Northrop Grumman Third Quarter 2025 Highlights

Over the past year and a half or so, U.S. military officials have voiced particular support for the space-based component of Golden Dome, saying that advances in relevant technologies in the decades since SDI make it a more viable concept today. They have also downplayed the costs, as well as the geopolitical ramifications of further weaponizing space, as necessary to defend Americans against growing missile threats.

“I think there’s a lot of technical challenges,” Chief of Space Operations Gen. Chance Saltzman said during a live interview as part of Defense One‘s State of Defense 2025: Air Force and Space Force virtual conference last year. “I am so impressed by the innovative spirit of the American space industry. I’m pretty convinced that we will be able to technically solve those challenges.”

“Depends on where you sit, right, you know? But to say that it’s the responsibility for the U.S. government to protect its citizens from emerging threats makes perfect sense to me,” he added at that time when asked about the potentially destabilizing impacts of Golden Dome. “And we clearly see a country like the PRC [People’s Republic of China] investing heavily in these kinds of threats, whether it’s hypersonic [weapons], whether it’s threats from space. And so now it’s time for the U.S. government to step up to the responsibilities to protect American citizens from those threats.”

“We’re basically responding to a warfighting domain where our adversaries have already put interceptors in space, and we want to make sure that we rebalance that in terms of deterrence,” Saltzman said more recently in response to a question from our Howard Altman at a roundtable on the sidelines of the Air & Space Forces Association’s (AFA) annual Warfare Symposium in February.

“Interceptors by definition refer to a handful of well-acknowledged capabilities that other countries have, like ground and air-launched anti-satellite missiles or capabilities like the SJ-21, which has a grappling arm,” a Space Force spokesperson later clarified to TWZ when asked for further details about the “interceptors in space” Saltzman had mentioned.

This all highlights the very real prospect of actual fighting in space during future conflicts, something the U.S. military is increasingly preparing for, as you can read about more here. What would be necessary to protect 7,800 anti-missile interceptors in orbit, as well as critical associated space-based sensors and communications constellations, could easily add to Golden Dome’s total cost.

As CBO makes clear in its latest assessment, much is still unknown publicly about the actual scale and scope of Golden Dome, and what it might therefore cost in the end. At the same time, space-based interceptors are a very real part of the planned architecture, with work underway now to develop those capabilities.

The concept that CBO has outlined already involves an extreme expenditure of money and resources, all for a capability it still assesses to be useful only against relatively limited barrages from rogue states. Those are threats that could well be addressed using far less expensive surface-based systems, though not ones that can intercept targets in their boost phase.

As underscored now by CBO’s latest cost projection, a relevant constellation of interceptors in space remains likely to be the most costly and complex aspect of Golden Dome, if it comes to fruition at all.

Contact the author: joe@twz.com

IF you’re an over-packer who constantly battles to zip your suitcase shut, this Amazon find is a game-changer.

Shoppers are rushing to buy these compression packing cubes that do far more than just organise your holiday outfits – they actively squeeze your clothes down into compact bundles, too.

While regular packing cubes can save you around 15% luggage space, compression cubes can save you up to 50% – effectively giving you another half a suitcase to fill.

Travel Compression Packing Cubes, £19.99 (was £29.99)

The cubes are slashed to nearly half-price on Amazon, where you can snap them up for just £19.99 – 33% down from the usual £29.99.

These compression cubes come in handy for all sorts of holidays, whether you’re heading off backpacking or want to pack as many Ibiza party outfits as possible.

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They even have a waterproof compartment to separate any dry and damp clothes from after your travels.

One pleased shopper said “These travel compression packing cubes were a game changer when I was travelling around Thailand with just a backpack.

“The sizes are really well thought out, making it easy to separate clothes, keep everything organised, and maximise space”.

Another shopper said “Really good packing cubes for the price I paid.

“Makes packing much easier and more organised. I wish I had bought them years ago!”

Travel Compression Packing Cubes, £19.99 (was £29.99)

These packing cubes have rip-resistant double stitching and zip smoothly, even when you’ve stuffed them full.

Plus you’re even doing your bit for the environment by picking these cubes, as they’re made from recycled plastic bottles.

The compression packing cubes come in six different colours: grey, beige, blue, black, green and red.

As well as condensing down your clothing into tightly-packed bundles, packing cubes can be a great organising tool.

You can pick an item to bundle into each section – t-shirts, trousers, dresses, socks, toiletries – then pick a cube to pop each of them into.

That way when you need to grab something on holiday, you won’t be rummaging around in your suitcase – you’ll know exactly where to find it.

Travel Compression Packing Cubes, £19.99 (was £29.99)

Prices correct at time of publication.

Brace yourself, Coronado. The hospitality maven who brought San Diego its most over-the-top maximalist hotel — the Lafayette in North Park — is back with another glitzy project, this time in the wealthy island city known for its traditional bent.

Opening Thursday, Baby Grand includes a 35-foot faux rock wall, a 20-foot waterfall, a Mediterranean restaurant that feels like a Greek ruin being consumed by a jungle and a hidden oyster bar full of crystal and mirrors. All of this, including the Spanish statuary, Moroccan fixtures and Murano glass, is squeezed onto an Orange Avenue lot that once held a 1950s motel. If Liberace had run away with an art historian, they might have landed here.

The idea was “to create this little mirage within the mirage that is Coronado,” said Arsalun Tafazoli, founder of CH Projects, the group behind a multitude of design-intensive establishments across San Diego including the speakeasy Raised by Wolves, the hi-fi listening bar Part Time Lover and the Middle Eastern restaurant Leila.

The Baby Grand hotel and its restaurant Night Hawk stands along Orange Avenue about a block from the Hotel del Coronado.

The patio dining area of Coronado’s new Night Hawk includes seating for about 150.

Baby Grand’s high-density, high-gloss environment, which cost about $17 million and took about five years to complete, will come as no surprise to those who have followed Tafazoli’s earlier ventures.

Asked about the design philosophy behind the 2023 renovation of the Lafayette — the company’s first hotel — Tafazoli had a simple answer: “More is more.”

The Baby Grand project, put together in collaboration with design studio Post Company, is cut from the same cloth, describing itself as a “polychromatic pastiche” on its website. The goal, Tafazoli said, is to enrich Coronado’s culture and give people a respite in an anxiety-ridden time. But “it is different,” he said. “I don’t know if it is going to be embraced.”

Getting the necessary city permissions “was definitely a struggle,” Tafazoli said. “Had I known how difficult this was going to be, I don’t know …”

In the days before the hotel’s opening, Tafazoli, 44, led a tour of the site. The entrepreneur, whose heritage is Persian, wore his hair in braids and a button-down Supreme shirt featuring Barack Obama.

The Baby Grand hotel’s guest rooms feature separate tub and shower.

“I have a very one-dimensional existence. I’m single. I have no kids. This is what I do,” said Tafazoli, who grew up in San Diego and studied at UC San Diego. He lives now in downtown San Diego’s East Village, where his company is based and where his first CH venture, Neighborhood, opened in 2007.

Though his company started with eating and drinking establishments, Tafazoli said, his goals were always to create and run hotels, “the pinnacle of hospitality.” As a child of divorce, he said, he may have a heightened awareness of when the energy feels right in a room and when it doesn’t. Creating social environments, he said, gives him some control over that. Moreover, he added later, “beauty is important to me, because it conveys care.”

To make the most of Baby Grand’s compact location (2/3 of an acre), the CH team has exported parking. Instead of leaving their cars on site, guests will hand keys to valets who will deposit vehicles in a Bank of America parking structure a block away. That move freed up space for not only palm trees, torches, tables, booths and 21 pieces of statuary from Spain, but also a little faux beach with a 4-foot-deep wading pool that can hold a handful of people.

“I can’t tell you how many iterations of sand were brought in and taken out,” Tafazoli said. “Sand is its own universe. You want local sand. But local sand was not conducive to that feeling.” So the sand is from Turkey.

1

2

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1. Guest shower in an en suite bathroom. 2. Hotel design touches include guest bathroom door handles. 3. Fiberglass clamshells serve as headboard in guest rooms.

The property’s main restaurant, Night Hawk, is Mediterranean, with cooking by open fire, a Greek ruins vibe and seating for about 150. The second restaurant lurks behind the lobby — a hidden oyster-and-Champagne bar that holds about 35 people, reservation only. The space, called Fallen Empire, features red mohair booths, built-in Champagne buckets, mirrored walls and chandeliers, sconces and lamps from the Italian glass-blowing island of Murano. The floor is a custom mosaic of sea creatures.

There are 31 guest rooms, beginning at $350 per night. Each is dominated by a custom-made clamshell headboard (fiberglass). Beds are surrounded by animal-print seating, parquet oak flooring, marble tables, mirrored cabinets and custom wallpaper. The rooms measure roughly 300 square feet each, nearly half of that space taken up by their elaborate bathrooms, each with separate tub and shower, sinks from Morocco.

Now picture all of that placed in the heart of Coronado (population 20,192), which sits next to Naval Air Station North Island and is known for attracting well-heeled retirees. The median home value is $2.5 million.

Up the block from the Baby Grand is the grand dame of San Diego County tourism, the Hotel del Coronado, which went up in 1888, completed a $550-million renovation last year and starts its rates north of $600. Another option is the Bower Coronado, also a dramatically upgraded motel that reopened in 2025 with prices similar to Baby Grand’s but a much more buttoned-down style.

This view from above at the Night Hawk restaurant space shows a stone booth, elaborately patterned cushion and table top.

All of those properties stand close to Coronado’s wide, sandy beaches — which means they all face challenges as waters are often fouled by the northward flow of untreated sewage from greater Tijuana. The longstanding problem has worsened in recent years, and Coronado’s Central Beach was closed to bathers on 129 days in 2025 because of unsafe bacteria levels. The U.S. and Mexican government say they have sewage-treatment projects in progress, with improvements expected by the end of 2027.

“We are, unfortunately, not marine scientists just a group of deeply overcaffeinated hoteliers with strong opinions about lighting, linen textures, and good design. So please check local water conditions before swimming,” Tafazoli wrote in a statement.

Asked his target market for the new hotel, Tafazoli said he was looking close to home.

“I see this as a staycation for locals” from San Diego County, Tafazoli said. “The big risk is that we don’t get locals and it doesn’t resonate with tourists who like the status quo.”

That said, Baby Grand and Coronado might be a better match than some imagine. Christine Stokes, executive director of the Coronado Historical Assn. and Museum, sees at least a few parallels to Baby Grand in local history, beginning with the historical association’s own building. From the 1950s into the 1990s, Stokes noted in an email, Marco’s Restaurant operated in the space, with a “Roman Room” bar — “a dark and immersive hidden gem where bartenders performed sleight-of-hand magic tricks.”

Guest rooms, including No. 103, are labeled with inscribed brass clamshells.

Then there was the Hotel del Coronado’s Circus Room restaurant, open from the 1930s into the 1960s. That was “an immersive environment, using specialized murals and striped tents on the walls,” Stokes wrote. It’s also where, in 1950, the manager of an L.A. TV station spotted a promising young piano player and decided to give him a chance on screen. The pianist’s name was Liberace.

However people respond to the particulars of the new hotel, Tafazoli said, he knows that the larger setting of Coronado is a special place.

From his office in San Diego’s East Village, “it’s a six-minute drive,” he said. “I come off that bridge, and I feel like I’m in a different place.” It’s amazing, he said, “to be so close and feel so far away.”

The Wende Museum of the Cold War announced on Saturday that it plans to build a $16-million expansion in Hawthorne.

The Culver City museum has purchased a historically significant midcentury modern building in Hawthorne, which it plans to transform into a research institute and interactive storage facility for its collections — a “living archive,” as it’s calling the facility.

The Wende plans to debut the space in spring 2028.

“In the museum world, there’s typically public space and storage space — meaning dead storage,” Wende founder and Executive Director Justin Jampol said in an interview. “And this living archive is a hybrid that combines both. It houses the collections and makes them accessible for discovery.”

The 24,000-square-foot building was erected in 1965 by shopping mall pioneer and developer Ernest Hahn to serve as his corporate headquarters. It was designed by movie theater architect George Nowak, who also designed the Writers Guild Theater.

The Wende plans to renovate the building, adding a 7,000-square-foot extension, with flexibility to further expand in the future. The facility will include state-of-the-art, climate-controlled storage for the museum’s more than 250,000-object collection of paintings, sculptures, photographs, tapestries and Cold War-era ephemera from the Soviet Union, East Bloc, China and other countries.

Interactivity, however, is the goal: so there will be spaces for “respite and inspiration,” Jampol said, such as a “scholar’s garden,” reading rooms and a library with a community learning lab and free coffee for visitors.

“The idea is to make it as engaging and comfortable as possible,” Jampol said. “Most archives are places that are very uncomfortable and uninspiring — think fluorescent lights blinking in a basement. The idea here is to open this up in a way that makes people want to be here. And focus on the content and not the space itself. We’re trying to create an experience that makes visitors want to go on an adventure.”

The Glorya Kaufman Community Center at the Wende Museum debuted this past fall.

(Stella Kalinina / For The Times)

The Wende’s Collections Department will be headquartered in the new building. The facility will also house a conservation center for endangered objects and paper archives, and will feature a digitization and imaging lab that will make the collections available online, free of charge.

It will also include reading rooms and research offices for up to 100 visiting scholars or artist fellows annually.

“The collections, instead of being hidden in a box, will be on full view,” Jampol said. “When you walk through, you won’t see boxes. You’ll see vases, tapestries, ceramics and more.”

Construction on the building, at 2311 W. El Segundo Blvd., starts May 15. Funds for the project came from the Arcadia Fund, the Kaufman Foundation and the Ralph M. Parsons Foundation, among other capital supporters.

The Wende Museum in Culver City opened its doors in 2017 inside a former 1949 atomic bomb shelter. It now draws about 25,000 visitors annually, who come to take in four exhibitions and more than 60 public programs. Admission is free.

Rapid expansion has been a hallmark of the Wende of late.

In September, it debuted a $17-million culture and wellness center offering free yoga, meditation, sound baths and therapy. The 7,500-square-foot facility was made possible with funding from the late philanthropist Glorya Kaufman who died a month before the building opened to the public. It’s called the Glorya Kaufman Community Center.

The Wende’s Glorya Kaufman Community Center includes a century old A-frame theater, an old MGM prop house, for free culture and wellness events.

(Stella Kalinina / For The Times)

In February, the Wende bought a three-bedroom house built in the 1940s adjacent to the museum’s campus that will be used as a live-work space for photographers in residence. It will include a community space for photography workshops and a post-production studio. The Nikita Foundation and the Victor Family Foundation provided funding.

It debuted a tiny home on its campus last fall, nicknamed “The Stevie” after donor Steve Markoff. It’s used for cross-disciplinary artist residencies.

A facility for interactive museum storage and research is not a new concept in Los Angeles.

The Autry Museum of the American West — after merging with the Southwest Museum of the American Indian in 2003 and since stewarding its collection of Indigenous art and artifacts — debuted a $32-million, 100,000-square-foot facility in Burbank in October 2022.

The so-called “Resources Center” was built to house, conserve and care for both museums’ collections in a state-of-the-art, climate-controlled and fire-safe environment. It also serves as a research destination for scholars, artists, tribal representatives and others to study the collections.

Jampol said that the project will enable the Wende to serve a wider swath of visitors, from specialists to the general public, and to venture outside of Culver City to engage other communities.

“It’s about making the collections both safe and accessible,” he said. “We looked to the Autry for inspiration alongside the V&A East in London — they both invite people in from the community, alongside scholars, to explore the collections. It’s the democratization of art — I love the ethos and spirit of that.”

In the fragmented mysteries of the great Argentine filmmaker Lucretia Martel, her explorations always start with sensory flashes: faces, spaces, objects, sounds in transfixing procession. The language is its own, resulting in disorienting but undiluted depictions of the worlds of modern elites (“La Ciénega,” “The Headless Woman”) and 18th century colonists (“Zama”) alike.

But now, with her first feature documentary, “Our Land (Nuestra Tierra),” Martel unravels a political crime and the larger offenses behind it with a vital clarity. The film is centered on the 2009 murder of Javier Chocobar, an Indigenous Chuchagasta man from Argentina’s northwestern Tucumán province, who was shot while defending his ancestral homeland from a thuggish incursion. The weight of the issue at hand — stolen land, territorial rights and the overdue recognition of a colonized country’s original peoples — brings out a tantalizing lucidity from the typically elusive Martel on a serious subject that requires discipline.

In one sense, she’s dealing with a rights issue too painful to be aggressively aestheticized, but she’s also exploring a blood-soaked injustice that can’t be treated conventionally. She begins, in fact, with rolling satellite images from space — as if to say: This appropriation of nature is the world’s problem, not just Argentina’s.

What follows, toggling between a courtroom and vast, contested land (filmed with dreamlike urgency by cinematographer Ernest de Carvalho), is a righteous, visually arresting swirl of fact and feeling, past and present. It’s also anchored by the stories of a community desperate to claim territory they’ve cultivated for centuries. “Our Land” is as honorable a documentary as you’re likely to encounter this year about what fighting looks like in today’s era of grab-what-you-can thievery.

First, we hear from the defendants, captured by Martel’s cameras at their 2018 trial in Buenos Aires (an unconscionable nine years after the shooting). The three accused men — a businessman and two ex-cops — flounder at positioning themselves as the true victims when their own handheld video of the incident shows otherwise: The confrontation with the Chuchagastas only escalated because they brought a gun. Their lawyers obnoxiously push a narrative of ownership versus trespassers, backed by reams of documents and tossed-around historical dates.

But as Martel patiently unfolds the Chuchagastas’ perspective — personal narratives that come to life in intimate photos, atmospheric sound design and warm home footage — we begin to understand that documents and files are a bogus battleground given their hundreds of years of careful tending. One community member distrusts dialogue to begin with, calling it a means to “give up something.”

“Our Land” is the work of a director whose attention is rigorous, whose care is genuine, but who is also conscious of her outsider’s perspective. It’s an ally’s respect. There’s no better proof of that than in her drone shots of this embattled community’s sun-soaked valley: elegant, purposeful, even awkward (a bird hits one) visitations from the air. They’re a reminder that she’s the filmmaker, surveying a story that belongs to others. Documentaries don’t get much more honest than that.

Candles flickered on long wooden tables beneath a sprawling mulberry tree as Matt French stepped in front of the doorway of his sleek Pioneertown home, holding a drink aloft. Dressed in fitted jeans and a dark western shirt, he welcomed the roughly 60 guests who had assembled in his front yard for the kickoff event of the High Desert Art Fair that would take over the 19-room Pioneertown Motel he owns with his brother Mike.

“We’re super honored to be hosting this event and hosting tonight,” said Matt, addressing a crowd that included local artists, musicians and well-heeled art world types from L.A. “This is the exact kind of event that we want to have in the desert.”

Although the French brothers were not directly involved in the art fair itself, the evening’s itinerary had their fingerprints all over it. Dinner was held in front of the expansive compound they share, and the food — perfectly grilled tri-tip with chimichurri, sourdough bread with cultured butter, flatbread pizzas — was prepared by the owners of the Old Town Public Market, a yet-to-open organic deli and wine bar that would soon occupy another building the brothers own in nearby Yucca Valley. After dessert, the ringing of an old-fashioned triangle bell alerted guests that it was time to cross the road to the Red Dog Saloon, another French brothers business, where Shepard Fairey was already DJing to a packed crowd that spilled onto the rustic porch, the cacophony of laughter, bass and cigarette smoke wafting down the town’s main drag.

It was just another dreamy, highly curated night in the high desert of Matt and Mike French’s making.

Vintage design details abound at the French brothers’ properties, including the Pioneertown Motel.

Few people have had more influence on the modern aesthetic of the sun-drenched desert near Joshua Tree National Park than the two brothers from Portland whose properties regularly pop up in travel publications, Instagram reels and “best of the desert” lists. Since buying the Pioneertown Motel in 2014, Matt, 42, and Mike, 37, have built a portfolio of businesses that tap into the mythology of the California desert — part cowboy, part Rat Pack, part cosmic traveler. Across historic restoration projects like the motel where Gene Autry once played cards all night, the Red Dog Saloon where 1940s film crews unwound after long days of shooting and the Copper Room, a restaurant and bar at the Yucca Valley airport that was a favorite of Gram Parsons, their properties give tourists and locals alike a taste of the desert’s history and glamour all while making it feel like patrons have just stumbled upon these magical spots themselves.

Now, the brothers, along with Eric Cheong, a designer and the third partner in their company Life & Times, are expanding their unique vision to other parts of the desert with two new projects. In late 2026, they will open Lord Fletcher Inn, a 1960s-era steak house in Rancho Mirage where Frank Sinatra occasionally stepped behind the bar. Miracle Hill, the brothers’ colorful take on a geothermal bath house in Desert Hot Springs, is slated to open at the end of 2027.

The French brothers purchased the 1960s-era restaurant Lord Fletcher’s in Rancho Mirage, where Frank Sinatra occasionally tended bar.

Designer Eric Cheong, left, on the porch of the Red Dog Saloon, with Matt and Mike French.

With these two new businesses, as well as an ambitious expansion of the Pioneertown Motel, including an extension of the Western facade of Mane Street that was approved in December, the brothers say they feel a renewed commitment to the desert community where they have lived and worked for more than a decade. Although they toyed with the idea of doing projects in other parts of the country, they ultimately decided that the world they have created in this dry desert landscape is too valuable to leave.

“The lady at the post office has treats for my dog and knows my dog’s name,” Mike said. “You can’t buy your way into community like that. You have to earn it.”

The French brothers’ story may sound like a desert fairy tale, but they insist it wasn’t always that way.

Although they’d been traveling to Palm Springs for family vacations since they were kids, it wasn’t until 2009 that Matt first drove up the rocky mountain pass to Pioneertown and fell in love with the funky desert community originally built in the 1940s as a working film set. After learning that the rundown motel across the street from Pioneertown’s iconic roadhouse and concert venue Pappy & Harriet’s was for sale, Matt, who was working for a boutique hotel company at the time, convinced Mike to join forces with him and buy it. It took five years of starts, stops, heartbreak and nearly giving up before the deal finally went through in 2014.

“Matt was really the driving force,” Mike said. “I was like, this is nuts, but I’m in.”

Those early days were challenging. One of their first orders of business was to evict the previous owner’s weed dealer who had been living in one of the rooms rent-free. The manager at the time was known to yell people off the property. Skilled workers were hard to find, and the desert’s popularity as a tourist destination had not yet ballooned.

Mike and Matt French are setting the stage for their next venture, Miracle Hill, a geothermal bath house in Desert Hot Springs.

“In retrospect it can look very obvious and very, like, ‘Oh, of course, the hotel’s cool and it’s right next to Pappy’s,’” said Matt. “But that is not what it felt like back then.”

The brothers also had to contend with a notoriously fierce local community that was deeply suspicious of the lanky millennials from out of town.

“We had our claws out and our guns cocked,” said David Miller, 81, a longtime local and the president of Friends of Pioneertown. “But it turned out that they are model citizens.”

For two years, the brothers ran the motel remotely while continuing to work other jobs — Matt for a real estate company that did large-scale development in Portland and Mike for a ticketing and events start-up in L.A. In 2017, they decided they needed a home base in town and bought a rundown house with an even more rundown barn a 10-minute walk from the motel. They have since renovated it into two homes just yards from each other with a shared backyard that includes a pool, sauna, cold plunge, hot tub and custom-built hammock that can hold up to 20 people. In 2018, they moved in full time.

A Pioneertown Motel pick-up truck, spotted outside the kitchen window of Matt French’s home.

Two years later, in August 2020, they opened the Red Dog Saloon, a full-scale renovation of the historic bar of the same name that originally opened in 1946. The brothers say they weren’t necessarily looking to open a new business — they just really wanted another place to eat and drink in town besides Pappy & Harriet’s. Their original plan was to create a 16-seat whiskey bar in a small building across from Pioneertown’s picturesque Post Office, but their partners, restaurateurs Adam Weisblatt of Last Word Hospitality who operates Hermon’s and Found Oyster and Eric Alperin from the Varnish, suggested they look at the much larger Red Dog Saloon instead.

“They were like, ‘You can actually make money that way,’” Mike said about the restaurant and bar that can serve as many 1,000 people a day. “And we were like, ‘Yes, that’s a great point.’”

The same team came together again to open the Copper Room, a higher-end, full-service restaurant at the Yucca Valley Airport that opened in 2022 on the site of a dive bar they used to frequent called Wine & Roses.

In 2020, the brothers opened the Red Dog Saloon, a full-scale renovation of the historic bar of the same name that originally opened in 1946.

“At the time we really weren’t sure if Yucca Valley could support that kind of dining experience,” Mike said. “Now we have a $200 tomahawk steak served tableside on the menu and they sell out. There is no way we could imagine that happening when we opened.”

As they did with the motel and the Red Dog, the brothers and Cheong leaned into the history of the space when designing the Copper Room. They kept the curved bar where Gram Parsons drank his last margarita intact but went with a 1950s vibe in the main dining room, with heavy brocade banquets and floral wallpaper, nodding to the restaurant’s opening in 1957.

Cheong said that across each project, he and the French brothers leaned heavily on the space’s unique history for design inspiration.

The vintage-style entrance into Red Dog Saloon.

“We really base it around story and lore,” Cheong said. “The spaces merge together because there is a similar strategy, but it’s not a style. It’s not a color palate. It’s like a feeling of respect and honor, but it’s also our twist on it.”

The brothers’ three businesses were thriving, but in 2023, they found themselves in a lull. “We were having trouble figuring out what to do next,” Matt said. “ We have a very specific criteria of what we want to do and we were like, maybe we look outside of the desert. Maybe things here are plateauing.”

The brothers already had one property outside of the desert — Captain Whidbey, a historic lodge and resort on Whidbey Island in Washington that was named one of the best hotels in the world by Travel + Leisure in 2020 — but ultimately they concluded that the price of leaving Pioneertown to start over somewhere new was too high to pay. They had invested years into building relationships with the high desert’s eclectic community. Somewhere along the way they had also come to feel like chosen family.

The French brothers and Eric Cheong leaned into the history of the space when designing the Copper Room.

“So many things were pulling us in different directions, but life is more personal than business,” Mike said. “So we committed to the desert, which was not just committing to doing business in the desert, but was really committing to living in the desert.”

Since then, more opportunities have opened up. The brothers purchased Lord Fletcher’s in 2025 after a real estate agent happened to mention a 1966-era steak house in Rancho Mirage was for sale. Miracle Hill came about in part because the town of Desert Hot Springs is eager to grow its reputation as a destination for geothermal bathing and offered to help them find a suitable location. For the brothers, it represents the first time they are creating a space from the ground up. Construction has yet to begin, but they have already crafted a story for the space that builds off the community’s early 20th century history and mystical geology.

“The core narrative is that it feels like an eccentric, gregarious host’s home that you are going into,” Mike said. “And the mountain alignment, the sun, the wind, the faults and the geothermal water are the five forces that create a vortex-type energetic field deal. So we’re kind of leaning into that.”

At the same time, Mike revived the community’s historic Pioneertown Gazette, which he originally started printing as an in-room publication but has since expanded to a weekly newsletter that enthusiastically highlights the growing calendar of events happening at several venues across the high desert. And in the next few years, the brothers plan to begin construction on the next phase of the Pioneertown Motel, which will include a swimming pool, restaurant and 47 new rooms.

A game of horseshoes at Pioneertown Motel.

Signage pointing to the Red Dog Saloon.

Pioneertown’s history buffs, and there are many of them, will tell you that the picturesque community has a long history of newcomers showing up with dollar signs in their eyes, hoping to make it big in the desert. But few, if any, have been as successful as the French brothers at making those businesses come to life. It helps that they have a good sense of design and an intuitive understanding of what people want. It also helps that they’ve attracted like-minded people like Jeffrey Baker, the warm and personable general manager at the Copper Room and future general manager of Lord Fletcher’s who excels at management (a self-described weak point for Matt and Mike) and makes everyone he meets feel like an instant friend.

But their true secret sauce might be that aside from the motel, their businesses are designed to cater to the local community at least as much as to tourists.

“People here love these restaurants,” Matt said. “They love the Red Dog, they love the Copper Room, they love the Gazette. So we felt that vibe shift of people being supportive and excited about what we’re doing.”

It also helps that over the last few years, some bad actors have demonstrated what the alternative might look like, with new management at Pappy’s that alienated locals from their longtime watering hole and a wannabe developer who floated much-maligned plans to build a concert venue and a massive glamping complex in Pioneertown. (Both parties have since left the area.)

“I think that has given some people some perspective that having locals do it right, and seeing that we are committed, has really made a difference,” Matt said.

Mike and Matt French walk down Pioneertown’s Mane Street.

It’s been a winning business formula, but if you believe the brothers, there’s more to it than that. Creating spaces where everyone from foreign tourists to drunken bachelorettes to crusty locals to families with young kids feels comfortable and welcomed is all part of the desert ideal they’ve been curating for more than a decade.

Mike said that there’s nothing like seeing Pioneertown old-timers drinking with their buddies at the Red Dog.

“It’s so good,” he said. “And then you find other people who get lit up by the same silly thing, and it’s like, maybe it’s not so silly. Maybe it’s the whole point.”

Gray skies didn’t prevent L.A.’s arts community from getting fancy in support of the Hammer Museum’s annual Gala in the Garden. Adorned in fur coats, colorful sunglasses and patterned ties, artists and celebrities including Owen Wilson, Rufus Wainwright, Lauren Halsey and Catherine Opie joined to celebrate gala honorees Betye Saar and television writer and producer Darren Star.

The event highlighted how the Westwood-based museum inspires creatives and harnesses community for the city’s artists. Under pink and yellow lights, guests enjoyed cocktails while admiring the museum’s galleries. Guests, including Los Angles County Museum of Art Director and Chief Executive Michael Govan and the Hammer’s Director Emerita Ann Philbin, reunited with old friends and colleagues, making the event feel like a family affair.

All were unified in their admiration of the night’s guests of honor.

At 99, Saar is among L.A.’s most esteemed and accomplished living artists. Her career has spanned more than seven decades, with an early focus on rejecting white feminism and reclaiming the Black female body. Civil rights activist Angela Davis traced the start of the Black women’s movement to the creation of Saar’s 1972 assemblage piece, “The Liberation of Aunt Jemima.”

During onstage comments at the gala, Getty Research Institute presidential scholar Sandra Jackson-Dumont discussed the massive impact Saar has had on the art world.

“It measures in the artist who found their voice because you insisted that your voice mattered. It’s in the institutions that shifted because you demanded that they see us,” Jackson-Dumont said while introducing Saar to the stage. “You take what the world cast aside and breathe spirit into it, insisting that the overlooked can speak, that the discarded can testify, that the everyday can dream.”

Ann Philbin, from left, director emerita, Hammer Museum, Kohshin Finley and Lauren Halsey attend the Hammer Museum’s 2026 Gala in the Garden.

(Stefanie Keenan / Getty Images for Hammer Museum)

The event also served as an early celebration for Saar’s 100th birthday in July, with Jackson-Dumont calling her birthday “100 years of vision. 100 years of courage.”

“[It’s] not 100 years of working, of making art, but 100 years of living with eyes wide open, heart attuned, spirit unbound, we stand in awe,” Jackson-Dumont said.

Saar took to the stage amid a resounding standing ovation, and when she spoke, the crowd’s gaze remained intently on her. While Saar kept her remarks short, she talked about the importance of art in everyday life.

“So many people do not realize how important art is, how it affects everything we do. Even bad things, because you can take art and make it good,” Saar said. “I want to thank you for coming to this event because by you being here, it encourages a lot of other people who are not here to love art and to use art and to know how important art is in this foreign life.”

Netflix co-Chief Executive Ted Sarandos introduced Star, who created groundbreaking series including “Beverly Hills, 90210,” “Sex and the City,” “Younger” and “Emily in Paris,” which defined pop culture references for generations of television viewers.

Sarandos called it a “privilege” to work with Star, explaining that his work has an “enduring staying power” and that “there has never been a storyline that is too bats— crazy for Darren.”

“Darren is simply one of the most talented showrunners of his generation, with his finger on the pulse of pop culture for more than three decades,” Sarandos said. “He influences the clothes we wear, the way we cut our hair, the music we listen to and the dreams we dream.”

Star, who has long served on the Hammer’s board of directors, celebrated his honor by explaining what he loves about the museum, including its Alice Waters’ restaurant Lulu, and the environment the space provides for Los Angeles creatives.

The view from above the courtyard at the Hammer Museum’s 2026 Gala in the Garden, which honored artist Beye Saar and television writer and producer Darren Star.

(Charley Gallay / Getty Images for Hammer Museum)

“The Hammer creates a wonderful community. We come together because we all love art, love Los Angeles and love this museum,” Star said. “I’m grateful to be part of this family and the city’s extraordinary artistic life.”

The gala was the second under the leadership of Hammer Museum Director Zoë Ryan, who succeeded longtime director Ann Philbin in January 2025. Former Los Angeles City Council President Joel Wachs called Ryan a “true scholar, open-minded, unflappable.”

“I believe she is exactly the kind of strong leader this institution needs in these really difficult, complicated and turbulent times,” Wachs said during his opening remarks. “And if anyone can be counted upon, I believe it’s her that will vigorously defend against the grave dangers and vicious attacks on freedom of expression that both museums and universities currently face.”

During her speech Ryan said the Hammer is “cherished” by the Los Angeles community, and that she intends to keep providing a space for creatives in the city.

“At the heart of the Hammer is a deep commitment to giving space to artists, bold and experimental ideas, and supporting audiences as a catalyst for change through dialogue and exchange — all much needed in this country right now.”