Space

A piece of a SpaceX rocket which has been floating in space since last year was believed to have crashed into the moon at high speed on Wednesday.

The event, not visible to the naked eye, is expected to be confirmed by experts monitoring it with a telescope.

This event posed no danger to Earth but was also expected to create a new lunar crater, experts said.

Here’s what we know so far.

Has the rocket hit the moon yet?

It is believed to have hit the moon already, but this has not yet been confirmed as it takes time for signals to return from the moon to the Earth. The rocket segment was expected to hit the moon around 2:35am ET (06:35 GMT) on Wednesday, crashing into the surface at 5,400mph (8,690km/h).

The ⁠rocket piece is believed to have hit Einstein Crater on the moon’s western limb, which is often difficult to see from Earth.

Weighing 4 metric tonnes (4,000kg), it was expected to kick up a plume of lunar dust that would likely be illuminated by sunlight but would be difficult to spot with the naked eye from Earth.

The crash landing is unintentional, SpaceX has said.

Which rocket did this piece of space debris come from?

It comes from a SpaceX Falcon 9, which is a reusable model and has been used for several space missions.

It is made of two parts: upper and lower. The lower part can detach from the upper part and return to Earth. It is the upper part of the rocket which likely crashed into the moon.

Is this dangerous for the Earth?

“There is no danger to Earth,” NASA spokesperson Jimi Russell said in a statement on Tuesday.

“NASA will continue to track the booster for training purposes, as well as later observe the impact site for scientific purposes.”

What was the Falcon 9 doing near the moon?

The Falcon 9 rocket took off last January from Florida, United States, carrying two lunar landers. The booster returned to Earth, but the upper segment remained in space to push the landers onwards.

After pushing the lunar landers onwards, the upper segment of the rocket typically falls back into Earth’s atmosphere and burns up or plunges into the ocean.

But, because the January lunar lander mission required more thrust than missions closer to Earth, the rocket’s second stage remained in space, floating aimlessly among thousands of other pieces of space junk that active satellites have to steer clear of as a matter of course.

According to the United Kingdom’s Natural History Museum, humans have launched thousands of objects into space since the 1950s. “When these spacecraft, rockets, and satellites stop working or break apart, they stay in orbit instead of falling back down right away,” it says.

Why was this rocket section heading to the moon?

It was not until earlier this year that astronomers determined that the rocket section, which had dumped its remaining fuel and could no longer be controlled, was on an orbital trajectory which would end at the moon.

Generally, for such “high-energy missions”, SpaceX performs a manoeuvre to make sure the second stage “is safe per the appropriate rules and regulations”, said Julianna Scheiman, director of NASA science missions at SpaceX, at a Monday news conference.

“We did that,” she continued, but “what has happened is essentially a mixture of solar activity and gravity forces have put it on a path towards the moon”.

Does it matter if part of a rocket crashes into the moon?

This collision raises concerns about human-made debris in space generally. The rocket section was just one of many pieces of “space junk” already orbiting Earth.

There are more than 46,000 pieces of space debris weighing a total of 17,000 tonnes currently in orbit, the European Space Agency reported in late July.

“The environmental impacts that we’re most concerned about include climate and the ozone hole,” Eloise Marais, atmospheric chemist in the geography department at University College London, told Al Jazeera last year.

“Depletion of the protective ozone layer results from chemicals released by rockets during launch that can undergo reactions that deplete ozone,” Marais added, explaining that air pollutants such as particles of soot, which can absorb sunlight and warm the atmosphere, are released during rocket launches.

NASA and SpaceX are discussing ways to prevent future lunar impacts, NASA’s Scheiman said. The US space agency plans to build a lunar base and send routine astronaut missions to the lunar surface beginning later this decade under its multibillion-dollar Artemis programme. It would not want errant pieces of space junk impacting those assets.

How common is it for space objects to crash into the moon?

Not very. The moon routinely weathers impacts from space debris, including meteoroids. Collisions with artificial objects are less common.

A Chinese rocket segment crashed into the moon in March 2022 after completing a lunar test mission.

In 2009, NASA intentionally crashed a rocket segment into the moon to study the plume of lunar material kicked up by the impact.

In the 1970s, NASA also intentionally crashed stages ⁠from its Saturn V moon rocket into the moon to study the impact’s seismic effects.

Several spacecraft intending to land softly on the moon in recent years have crashed instead.

• Russia’s nuclear-powered Luna-25 mission spun out of control and crashed ⁠in 2023. Its small power source of plutonium-238 likely remains harmlessly on the lunar surface.
• India’s Chandrayaan-2 lander mission crashed in 2019.
• Israel’s Beresheet lander crashed that same year. Among the Israeli lander’s payloads were tiny tardigrades, microscopic animals known for surviving radiation and other harsh environments and which may still be on the surface.

What are observers expecting to see?

Like many scientists, Scheiman said, “I also am very excited to see the observation.”

“This may be of some – probably minor – scientific interest, and we may learn some things from it,” said Bill Gray, creator of widely used astronomy software who published a report on the stage’s impact in April.

“It doesn’t present any danger to anyone, though it does highlight a certain carelessness about how leftover space hardware [junk] is disposed of.”

NASA hopes to soon establish a sustained human presence on the Moon, making it critical to better understand space debris in lunar orbit.

Revenue was up more than 90 percent from the same period a year ago, beating analyst expectations.

SpaceX reported a loss of more than half a billion dollars in its first quarterly statement as a public company, but the loss was less than Wall Street expected and revenue soared.

On Tuesday, the company run by Elon Musk reported a loss of $541m, or 9 cents per share, in the three months through June, less than half what financial analysts had expected.

Revenue jumped to $7.8bn, up more than 90 percent from the year-earlier period, beating analyst expectations. LSEG had forecast revenue growth of more than $6.9bn, and Bloomberg analysts had forecast $6.8bn.

The Starbase, Texas-based giant ended the second quarter with $100bn in cash, according to United States Securities and Exchange Commission filings.

The company touted several achievements in the quarter, including $6bn in new US government contracts for Starshield, its national security-centric satellite system, and two successful launches of its Starship V3 in the last 90 days.

Starlink and SpaceX’s broader connectivity operations remain the company’s primary financial engine, underpinning Musk’s push to build an AI-first business that extends beyond renting compute capacity to developing frontier models, consumer and enterprise software, and, eventually, data centres in space.

The company’s satellite-internet unit has continued to expand its global subscriber base, aided by launches of additional satellites and a growing range of consumer, enterprise, aviation, maritime and government services.

Investors are watching whether SpaceX can maintain growth while improving the economics of its network, particularly as it spends heavily to expand coverage, increase capacity and develop direct-to-device mobile services.

The company said it spent $18.37bn on Starlink and Starship expansion efforts, in addition to building out its AI infrastructure. Musk said the company expects its “Starmind” AI satellites to be launched next year.

In its AI business, the tech giant had an operating loss of $1.2bn, as the company also released its most powerful Grok model yet. This comes as the company faces lawsuits around the globe for Grok being used to generate sexualised images of people without their consent.

Separately, SpaceX said it had partnered with Nvidia to use its chips in the Starmind AI1 orbital compute satellites.

When SpaceX debuted on public markets earlier this year, it was the largest stock market debut in history, cementing Musk as the world’s first trillionaire. However, it was a short-lived title because of a sell-off in the broader AI sector and on investor worries that Musk had oversold them on the company’s future prospects for space travel and colonisation, among other issues.

The company’s stock has tumbled 8 percent since its IPO.

SpaceX surged on Tuesday trading. It finished the day up 9.4 percent, but has since tumbled in after-hours trading and was down 7.2 percent since the market close.

Europe is rearming for a new era of conflict. European Commissioner for Defence and Space Andrius Kubilius calls for a “big bang” increase in defence spending, warning the continent must be ready for a potential Russian attack by 2030. He explains how Ukraine is reshaping modern warfare, why drones, satellites and space capabilities are now as vital as tanks and troops and why Europe must achieve greater defence independence. For Kubilius, only strength can preserve peace.

AN AWARD-WINNING visitor attraction in the UK is at risk of closing.

The Jodrell Bank Observatory in Cheshire – home to the UK’s largest telescope and several attractions for the last 70 years – could soon close.

According to the BBC, the attraction has lost its funding, which could mean that the attraction is forced to close, which scientists describe as “heartbreaking”.

The UNESCO World Heritage Site observatory features a number of telescopes that have been used to study galaxies and to train astronomers.

There are four pavilions in total to explore, including one that features a science exhibition.

Outside, visitors can then also venture around 35 acres of gardens including an arboretum, as well as picnic areas, ponds and a playground.

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The attraction has a number of cafes and a gift shop too.

General tickets cost £15 per adult and £10.50 per child.

In addition to this, there are a number of events that run at the observatory including shows such as The Great Solar System Adventure, where young space explorers can see the journey and life of stars.

Most shows cost from nothing to around £5 per person to watch.

And the site isn’t just used for science – it has also made an appearance in Hitchhiker’s Guide to the Galaxy as well as Doctor Who.

Unless funding can be found for the attraction, all scientific investigations are expected to stop at the observatory on April 1, 2028.

The observatory was first launched in 1945 and played a key role in the Cold War to monitor Soviet missiles.

The BBC added that the UK Research and Innovation (UKRI) agency is expected to make a statement regarding the loss of the observatory’s annual £2.8million budget.

One recent visitor said: “We had a really lovely experience at Jodrell Bank Centre for Engagement. It’s a fantastic place to visit with children.

“There is an indoor museum, activity room as well as playgrounds, so it works well even if the weather isn’t great.

“The Dome cinema was a real highlight — the film was excellent and very engaging.”

President Donald Trump has paused attacks on Iran for the second night in a row to give diplomacy more time, the US ambassador to the UN said.

Speaking to Fox News on Sunday, ambassador Mike Waltz said the president was “giving talks some space, he’s giving it a little bit of room”.

An Iranian army spokesperson said on Sunday that Tehran had halted “retaliatory” attacks in the region in response.

The pause follows nearly two weeks of daily US strikes and tit-for-tat attacks, effectively unravelling the ceasefire struck in June.

Asked whether Trump had decided against escalation for now, Waltz told NBC: “I wouldn’t go that far at all. The president is keeping all options on the table.”

Waltz also rejected reports in the New York Times, external that administration officials had warned expanding hostilities could dangerously drain a diminished stockpile of air defence munitions.

“The US military… has everything that it needs to conduct this campaign as effectively as it needs to be,” he said.

As of Sunday evening, Trump had not spoken publicly on the latest developments, but earlier posted computer-generated images on his Truth Social account that depicted US military planes bombing Iranian ships and Kharg island.

Meanwhile, Iran and Oman held several rounds of technical talks in Tehran on Friday and Saturday to discuss management of the Strait of Hormuz, according to Iranian foreign ministry spokesman Esmail Baghaei.

Disputes over control of the strait reignited US-Iran tensions earlier this month and it remains a major block to permanently ending the war.

Iran and the US signed a memorandum of understanding in June to halt military operations and reopen the strait, as well as to reach an agreement to end the war over the following 60 days.

But after Iranian forces attacked tankers in the Strait of Hormuz on 13 July, the US resumed airstrikes on the country and reinstated its naval blockade on Iranian ports.

Iran retaliated with attacks on US military facilities and bases across the Middle East, killing four American soldiers. The US strikes have since killed dozens of people, according to Iran’s health ministry.

In the UK, new Defence Secretary Wes Streeting said he would meet his US counterpart Pete Hegseth in the coming week to discuss the strait, which is one of the world’s key transport routes for oil, liquid natural gas and other essential commodities.

“When it comes to securing maritime freedom and free commercial shipping in the Strait of Hormuz, that’s where we are absolutely aligned,” Streeting told the BBC.

Earlier this week, oil prices hit $100 a barrel for the first time since May, as the renewed fighting stoked fears over global energy supplies.

As the war nears its fifth month, it remains largely unpopular in the US, with a new poll from CBS/YouGov suggesting 57% of Americans are frustrated about the conflict and only 19% optimistic.

Thousands of people have been killed across the Middle East since the US-Israeli war with Iran began in February, official figures show, with the vast majority coming from Iran and Lebanon.

President Trump is set to meet Israeli Prime Minister Benjamin Netanyahu in the White House on Tuesday.

A couple have shared the game-changing hack they used to guarantee they get a full row to themselves on a plane – but there’s one big catch that means it doesn’t always work

A savvy booking trick could see you snapping up an entire plane row for yourself. Let’s be honest – flying is rarely a comfortable experience, particularly when you’re wedged next to strangers for hours on end in a cramped seat with minimal legroom and precious little room to breathe.

However, if you’re travelling with a companion, there’s a nifty hack worth trying that could leave you both with the whole row to yourselves. One woman and her partner recently put the trick to the test on social media, and ended up with considerably more space than they’d ordinarily have had.

In a TikTok video, Lucy-Emma revealed that she and her partner had each booked the window seat and the aisle seat in the same row, deliberately leaving the middle seat vacant. They were banking on no one else claiming that middle spot, effectively bagging an extra seat without spending a penny extra – and it came off brilliantly.

She said: “We decided to do the thing where you book the aisle and the window seat and hope that no one sits here [in the middle seat]. Especially because I dislocated my toe this morning, and I want somewhere to put my feet up.”

Lucy-Emma later captured herself and her partner on film once all passengers had boarded, confirming that the middle seat remained unoccupied. This meant she could use it to rest her injured foot, while also taking advantage of the tray table to give herself extra room to watch her favourite show on her laptop.

Viewers of the video were left gobsmacked, with many having no idea that booking two seats and leaving the middle one empty was even an option. Others, however, admitted they were petty enough to deliberately book the middle seat just to scupper couples attempting to use this trick to their advantage.

One person said: “I didn’t know you could do this!”

Another added: “Wow, so lucky!”

But one argued: “And I’m the a**hole who sits in the middle seat and refuses an offer to swap seats. S*** goes both ways.”

A fourth also shared: “I’m that person who purposely books the middle seat just to miff people off.”

Numerous other commenters were quick to flag that this method is far from foolproof. Certain airlines may not permit you to leave the middle seat vacant, while on fully booked flights, the seat could simply be assigned to another passenger.

One person pointed out: “Doesn’t this only work if the flight isn’t full? If the flight is full, the booking system will automatically put someone there who hasn’t booked a seat.”

As such, this isn’t a reliable method of securing extra space on board, as you could find yourself with a complete stranger wedged between you and your travel companion – and they may well refuse to budge so the pair of you can sit together.

If you’re looking to guarantee more room on a flight, the only surefire solution is to book the middle seat yourself, which some airlines may offer at a reduced rate compared to your actual seat.

July 24 (UPI) — SpaceX on Friday had a successful 13th flight test of Starship, the space vessel and rocket duo that is expected to help NASA return humans to the moon.

Starship lifted off from SpaceX’s Starbase in Texas around 6:45 p.m. on a suborbital trajectory — just barely getting to space while performing a number of key maneuvers — before a soft splashdown in the Indian Ocean.

Both SpaceX and its owner, Elon Musk, said in posts on X that the test was a success, most notably because of the significant improvement in performance for the ship’s heat shield during reentry.

They also said it was notable that after mimicking the way Starship will eventually land upright, the vessel did not explode upon landing in the Indian Ocean and was still transmitting telemetry data and video.

The test of Starship’s third iteration had been pushed back several times because of weather concerns, which would have interfered in parts of the SpaceX team’s test goals.

The flight was the second for the third version of Starship and its Super Heavy V3 booster, and accomplished — with updated systems — a similar set of test objectives as the 12th flight, SpaceX said.

“A key objective for the flight test is to get clear imagery from the ground of Starship’s heatshield as it flies at a higher dynamic pressure during ascent, which won’t be possible with today’s weather conditions,” SpaceX said in an update on X after scrubbing Thursday’s launch attempt.

“Visibility is forecast to be ideal for a Friday attempt,” the company said.

SpaceX said that upgrades to Starship for the 13th flight test have included changes to the vessel’s startup sequence and adjustments to Raptor engines on both its booster section and the ship itself.

The upgrades were meant to address issues with a small number of engines during boost back and relighting in space during the 12th flight test.

Starship also will be carrying 20 Starlink V3 satellites into space during the test flight, which SpaceX said “aim to greatly expand the network’s capacity and user speeds.”

PM Narendra Modi says successful launch will ‘encourage countless youngsters to dream bigger and innovate fearlessly’.

India has successfully tested its first private-sector orbital rocket, marking a milestone in New Delhi’s ambition to become a major player in the global space economy.

The three-stage 22-metre Vikram-1 was launched from the Satish Dhawan Space Centre in Sriharikota and deployed customer payloads into a 450km (280-mile) low-Earth orbit, making India the third country to achieve orbital launch capability through private enterprise.

Vikram-1 can carry a payload of up to 350kg (772lb) and is equipped with robotic arms that can clear space debris.

It also carried experimental equipment, a lab-grown diamond and a miniature 18-carat gold sculpture commemorating India’s national space programme.

India Prime Minister Narendra Modi hailed the achievement, saying that it will “encourage countless youngsters to dream bigger and innovate fearlessly”.

The test validated the rocket’s propulsion, avionics, telemetry, guidance, navigation and control systems during flight, according to manufacturer Skyroot Aerospace.

Founded in 2018, Skyroot is among a new generation of Indian space startups that have attracted backing from global investors following the sector’s liberalisation.

It became the first space-sector company in the ⁠country to hit a $1bn valuation earlier this year.

Skyroot celebrated the successful mission with a post on X stating: “Hello space, we have arrived!”

Vikram-1 improves upon Skyroot’s Vikram-S mission in 2022. That suborbital flight reached space but did not place payloads into orbit.

The company plans further test flights before starting routine commercial missions. It is another milestone for India’s burgeoning private and public space programmes.

India’s national space programme previously launched 104 satellites into orbit on one rocket in 2017, setting a record at the time.

Six years later, India became the fourth country in the world to complete a lunar landing when Chandrayaan-3 landed near the moon’s south pole.

The greatest geopolitical and economic challenge facing the United States today is the proliferation of international Sovereign Wealth Funds (SWFs.) While the United States has the “sweet geopolitical spot in the world’s geography and topographic landmass,” its economic dominance is being challenged by the proliferation of international SWFs. It is true, at present, that the United States has the largest reserve of oil and mineral wealth in the world, yet with SWFs gaining traction in the world economy, the oil reserves and mineral wealth may not matter.

Those countries that have initiated SWFs as part of their economic and geopolitical life are on an upward trajectory. The United States, on the other hand, is on a downward path by not marshalling its vast mineral wealth in a comprehensive and dynamic SWF. If things continue on their present course, those countries utilizing their mineral wealth and excess cash surplus will eventually catch up and overtake the size of the US economy. This is an evolving threat to the national security of the United States and to its very polity.

The most immediate threat to the United States is the race to develop mining facilities on the Moon to harvest and transport the critical element of Helium-3 (He-3.)    He-3 is a critical element for the increasing economic demands of a modern world economy. Whoever can establish mining dominance for this critical element will become the world’s leading economic power in the world, regardless of that nation’s mineral wealth on Earth.

However, with its present economic and political strength, the United States has the means to reverse that trend if its two major political organizations can compromise on the very nature of the framework that establishes a United States SWF; this challenge is not easily dealt with.

This article discusses the legislative gridlock surrounding the creation of a United States SWF and the accelerating international competition that challenges the current United States dominance in space technology.

Commonwealth Fusion Systems (CFS) is currently constructing the SPARC at Devens, Massachusetts. CFS is constructing the SPARC to demonstrate to the world that it has solved the fusion problem. Despite some technological setbacks, CFS is on schedule to make the SPARC operational by the end of 2026, or early 2027. At the same time, CFS is currently constructing a fusion reactor (called a tokamak) in Virginia, which is scheduled to go online in the early 2030s. Critical to the ARC’s development is a shortage of the element He-3. He-3 is ignited by radio frequency and is the sparkplug that begins the plasma process, which is fusion energy, in the ARC tokamak.

The Commercial Landscape: U.S. Private Frontrunners

Terrestrial Helium-3 supply—derived primarily from nuclear stockpile maintenance—is severely capped at 22,000 to 30,000 liters annually. With surging demand for ultra-low-term quantum computer cooling, private aerospace firms are leading the transition to lunar harvesting:

• Interlune: Founded by former Blue Origin executives, the company unveiled a full-scale prototype harvester developed with Vermeer to process one hundred metric tons of regolith per hour. Backed by a $6.9 million NASA contract for its Prospect Moon payload, Interlune secured a historic $300M+ supply agreement with Finnish quantum firm Bluefors. Its first mapping payload is scheduled for an upcoming commercial lunar launch.
• Lunar Helium-3 Mining (LH3M): This firm holds five U.S. patents on a non-invasive, gas-separation architecture designed to extract solar wind volatile gases while bypassing traditional, high-wear mechanical regolith excavation.

The U.S. Sovereign Wealth Fund Gridlock

While Helium-3 is valued at roughly $20 million per kilogram, the asset cannot currently be utilized to seed an American Sovereign Wealth Fund due to severe political domestic gridlock:

• The Legislative Catch-22: The U.S. Commercial Space Launch Competitiveness Act explicitly protects private enterprise, granting corporations exclusive ownership over extracted space resources. To capture this value, Congress would need to enact “space-severance taxes” or equity-for-infrastructure deals—both of which face massive ideological pushbacks in a deeply divided legislature.  It should be noted that American taxpayers have invested some $1.9 trillion (adjusted for inflation) in technology developed by NASA. Since the American people invested this money, they should be entitled to a return on investment.
• The Deficit vs. Surplus Dilemma: Traditional SWFs rely on state-managed resource surpluses (e.g., Norway’s oil). The U.S. operates at a massive structural deficit. Republicans propose seeding a fund via tariffs or fossil-fuel extraction, while Democrats demand funding via corporate wealth taxes or clean-energy equity. These disputes, combined with immediate 2026 midterm election priorities, have stalled the SWF framework completely.

Global Geopolitical Competitors: State-Driven Alternatives

While the U.S. model depends heavily on the private market, international adversaries are leveraging unified state power to establish dominance over lunar resources:

• China (CNSA): China’s Chang’e lunar exploration program is systematically mapping Helium-3 concentrations. Unlike the U.S. focus on near-term quantum cooling, Beijing explicitly views lunar He-3 as a long-term strategic energy priority to fuel Earth-based Deuterium-Helium-3 nuclear fusion reactors.
• The China-Russia Coalition: Beijing and Moscow have formalized a binding industrial partnership to construct an automated nuclear reactor on the Moon’s South Pole by 2035–2036. This autonomous reactor is designed to resolve the “Lunar Night” problem, providing continuous power to massive, automated mining rovers and scientific labs under the International Lunar Research Station (ILRS) framework.
• Japan (ispace): In the allied sector, Japanese lunar robotics firm ispace has partnered with European mining tech developers to pioneer its own automated, energy-efficient recovery models for lunar Helium-3.

·        Conclusion

·        The race for Helium-3 represents a critical shift from symbolic space exploration to deep-space industrial supply chains. While U.S. commercial tech is moving quickly, domestic policy gridlock risks ceding permanent, state-backed infrastructure dominance to the China-Russia ILRS coalition.

·        While the concept of using outer space resources to build national wealth is actively discussed by think tanks, Congress has separate, targeted pieces of legislation addressing artificial intelligence revenue, foreign transparency, and space resource exploration rules.

·         

·        The primary draft bills and legislative vehicles currently stalled in committee reveal how Congress is attempting to navigate these frameworks:

The American A.I. Sovereign Wealth Fund Act (S. 4825)

Introduced in June 2026 by Senate Finance Committee member Bernie Sanders (I-VT), this is the most direct legislative attempt to create a federal wealth fund.

• The Mechanism: The bill proposes imposing a specialized excise tax on systemically critical artificial intelligence models and automation infrastructure. The revenue would seed a citizen-owned national wealth fund.
• Why It’s Stalled: It is currently deadlocked in the Senate Finance Committee. The bill faces severe pushback from lawmakers who argue that taxing emerging domestic tech sectors will cause the U.S. to lose the AI race to China, preferring instead to seed a potential fund via tariffs or natural resources.

2. The Sovereign Wealth Fund Transparency Act (S. 1488)

Introduced by Senator Richard Blumenthal (D-CT), this bill tackles the national security and foreign policy side of state-owned investment vehicles.

• The Mechanism: Rather than creating a U.S. fund, this bill forces heavy disclosure requirements, financial auditing, and security screening on foreign sovereign wealth funds operating within U.S. critical infrastructure, high-tech, and aerospace sectors.

Why It’s Stalled: Referred to the Senate Committee on Foreign Relations, it has remained stagnant due to concerns that over-regulating allied sovereign wealth funds (such as those from Gulf state allies or Singapore) could chill necessary foreign direct investment into U.S. tech startups.

3. Space Resource Extraction & Regulatory Frameworks (CRS / Commerce Committee Review)

There is currently no singular active bill trying to place federal royalties on lunar Helium-3 mining. Instead, the debate is gridlocked during budget reconciliation and agency authorizations within the House and Senate Commerce, Science, and Transportation Committees.

• The Conflict: Congressional research reports on space resource extraction outline a widening gap in regulatory authority. NASA’s Artemis framework pushes heavily for in-situ resource utilization (ISRU) via public-private partnerships. However, some factions in Congress are pushing for strict government-owned procurement models to prevent private monopolies over lunar sites, effectively freezing long-term policy development
• Midterm Postponements: Broad commercial space bills have been repeatedly delayed because committee attention is entirely consumed by urgent federal budget reconciliation battles and defense appropriations.development.

Summary of Bill Statuses

Conclusion

Until the two major political organizations can begin to compromise for the good of the American people, the United States will eventually revert to a second-class power.

July 16 (UPI) — SpaceX on Thursday scrubbed the planned 13th test light of its massive Starship megarocket just seconds before it was set to lift off from the company’s Texas Starbase.

The launch was abruptly canceled just before the “Super Heavy” booster was about to ignite its multiple engines.

“Standing down from today’s flight test attempt,” launch commanders posted on X, without immediately offering a further explanation.

It remained unclear when another launch would be scheduled.

In the build-up to the planned launch, the company says it is aiming to fine-tune the performance of third version of the most powerful rocket ever built with Thursday’s mission — specifically the Super Heavy booster.

During the 12th test flight May 22 it encountered several hiccups, including slight differences in engine startup at separation stage causing the directional flip of the booster to be off by approximately 90 degrees.

The booster was supposed to perform a sustained burn to a controlled landing in the gulf, but the engine failure meant it fell back to Earth instead in a “hard splashdown,” SpaceX said in its launch report.

The Federal Aviation Administration said there were no reports of public injury or damage to public property from the mishap.

In response, SpaceX said in a blog post that “the startup sequence has been modified to be more robust to timing variability and more reliably flip in the desired direction, which is done to increase overall performance.”

Also during Flight 12, the Super Heavy booster encountered problems when attempting its boostback burn in which five of its 33 engines malfunctioned when attempting to re-light. This caused the boostback burn to end early.

“The Super Heavy on this upcoming flight has hardware modifications to improve re-light reliability along with updates to engine alarms and aborts to match the conditions seen in the multi-engine flight environment,” Space X said.

The Starship system has two parts: the Super Heavy booster and the spacecraft itself, also called Starship, or sometimes just “Ship.”

Flight 12 was the first launch of the third version of the system, which is the first capable of deep-space flight. Plans call for Starship to carry Artemis 4 astronauts to the surface of the moon in a mission set for late 2028.

In another notable element of Thursday’s Flight 13, Starship for the first time will carry V3 Starlink satellites to space as the company aims to “greatly expand” its communications network’s capacity and user speeds.

As part of this initial test, Starship is set to deploy 20 satellites which will extend solar arrays and antennas in a bid to connect with the larger Starlink constellation via high-capacity lasers as they will be on the same suborbital trajectory as Starship.

Those satellites are designed to burn up on reentry into the Earth’s atmosphere approximately 20 minutes after deployment.

JUMP into river swimming, bear-watching and space simulators on a family road trip to Belgium, says Acting Senior Designer Sasha Cunningham.

Sunlight bursts through the tree canopy as enormous furry paws pad silently across the forest floor.

Elevated safely on a viewing platform, my family and I quietly watch as two Eurasian brown bears climb trees, paddle in the stream and stalk through the lush landscape.

We’re at Forestia in Theux, Belgium, which has 44 hectares dedicated to the conservation of animals originally found wild in the area.

Later the kids get to hand-feed deer, too.

Tickets cost from £22 for adults, and £16 for children (Forestia.be).

WAIL OF A TIME

I drove Irish Route 66 with deserted golden beaches and pirate-like islands

TEMPTED?

Tiny ‘Bali of Europe’ town with stunning beaches, €3 cocktails and £20 flights

Lush Lodgings

This is just one of the highlights we find in our week spent in the wilds of Belgium’s Ardennes region.

We’re staying about four hours from Calais – a drive that takes us along winding roads and through luscious pine forests – kipping in a stylish six-person self-catering lodge at Landal Hillview Resort Grandvoir, near the town of Neufchâteau.

Nestled among wildflower meadows teaming with butterflies, our lodge feels super-private, with just the sound of the birds and the occasional cricket for company.

It’s decked out with hygge decor in earthy shades, plus has its own cosy infrared sauna.

My sons Oscar, eight, and Ben, five, splash around in the ankle-deep stream running alongside our pad, and there’s plenty of wildlife to spot.

Wild boar, deer, raccoons and beavers all frequent the site, and I’m excited to spy a badger scampering across the field as husband Grant and I settle down on our large deck for a sundowner.

Later, we try a game of boules by the resort’s Bois Des Bois restaurant, which serves up regional dishes for dinner and a buffet of delicious pastries, yoghurts, eggs, meats and cheeses if you’re feeling lazy one morning.

Breakfast costs £19 for adults, £16.50 for children.

There’s also a playground, on-site shop and bike hire, plus a boutique hotel if you want to splash out.

Water Find

Just 25 minutes’ drive away is L’Antrogne, a wild swimming spot popular with locals.

The river La Semois glistens in the sun, and after a pebble-skimming contest we paddle in the crystal-clear shallows, baby trout weaving around our legs.

The boys also delight in floating down the gentle rapids as dragonflies hover around them.

Another day, we hire top-of-the-range Bosch ebikes, £32 each per day, plus £13 for a kids’ trailer, to tackle the hilly terrain to Lake Neufchâteau.

Whizzing through the quaint village of Grandvoir and beautiful tree-lined tunnels is great fun, and we make it to the man-made reservoir in 40 minutes to find both a lido and sandy beach.

We jump into the water to cool off, as the boys eye up kayaks and pedal boats, from £7 for 30 minutes’ hire, before we picnic on cheese-filled croissants by the water’s edge.

Meanwhile, a worthy detour on our way back from bear-watching at Forestia proves to be Cascades de Coo, the highest natural waterfall in Belgium.

With a 15-metre drop down to the Amblève River, the thundering rapids are a must-see – but without doubt the kids’ favourite bit is Brasserie Au Vieux Moulin’s chocolate crêpes served with Nutella and fresh cream, £8.25, which we devour with a glorious view of the falls from the terrace (@Brasserieauvieuxmoulin).

Blast off

On our last day, a 25-minute drive transports us from our tranquil forest camp to the surface of Mars and the fascinating astronaut training camp at Euro Space Center.

We don orange spacesuits and test our minds and agility to see if we have what it takes to be astronauts.

As we are taken through computer logic tests, physical balance trials and even try on space pants to check whether we’d be able to correctly use a spaceship toilet, our family competitiveness is properly revealed.

Tickets cost from £30 for adults, £26 for children (Eurospacecenter.be).

We also get to wander through the Mars village to operate our very own rover, but the best bit is finding out what it feels like to walk on the moon and experiencing take-off in the space shuttle simulator.

The G force of the space rotor leaves our legs feeling pretty wobbly and, if I’m honest, I’m not sure any of us would cut it as real astronauts.

Still, the kids certainly think our trip across the channel was an out-of-this-world adventure.

Veurne rules

The medieval town of Veurne makes for an excellent pit stop when driving back to the UK, with its Flemish language and Dutch-style architecture reminiscent of Amsterdam.

Nestled between St Walburga and St Nicholas churches is De Soetasse Brasserie, where you can tuck into rich croque monsieurs, £8, and croûte aux champignons with a curry twist, £10.50 (@Desoetasse).

A three-armed spacecraft rockets into orbit to rescue a NASA telescope that’s in danger of crashing back to Earth.

NASA has launched a robotic mission to try to prevent one of its ageing telescopes from burning up in the atmosphere in a complicated operation expected to last several months.

Northrop Grumman launched the Link spacecraft – built by United States-based Katalyst Space Technologies – from the Marshall Islands in the Pacific Ocean on Friday.

A Pegasus rocket blasted off from the belly of a modified aircraft putting Link on course to reach and capture NASA’s Swift Observatory in about a month.

Initially scheduled for Tuesday, the robot’s launch was postponed due to weather, then technical issues. Blast-off happened on Friday at 0836 GMT from an atoll in the Pacific Ocean.

The unprecedented $30m effort involves sending a robot to rescue the Swift space telescope that is falling towards Earth. If successful, the mission could pave the way for giving other satellites a second life.

Launched in 2004, Swift is sinking faster than ever because of recent solar storms. The $250m telescope studies gamma-ray bursts, the most powerful explosions in the universe.

Once it reaches an orbit close to Swift’s, the robot will deploy its solar panels and perform a series of checks.

It will then have to locate the Swift telescope in the vastness of space, circle around it and dock using three robotic arms – manoeuvres expected to take several weeks.

Finally, it will attempt to propel the satellite approximately 300km (186 miles) higher above the Earth, roughly to its initial orbital position. That operation is expected to last at least a month.

“This is a lot of firsts stacked on top of each other,” Shawn Domagal-Goldman, director of NASA’s astrophysics division, told reporters on Tuesday. “I’m just deeply thankful that we’re even giving this a go.”

South Korea aims to establish a low-Earth orbit satellite communications network composed of hundreds of satellites by 2035 and accelerate the country’s first lunar landing to 2030, the state-run space agency said Friday.

The Korea AeroSpace Administration (KASA) unveiled the plan during a public briefing on advanced industry development held in the southeastern city of Jinju. The strategy was approved earlier in the day by the National Space Council, chaired by President Lee Jae Myung.

KASA said building the network will help strengthen South Korea’s domestic satellite and launch vehicle development and manufacturing ecosystem as the country pushes to build its own version of SpaceX‘s Starlink network.

“Leading space nations are making all-out efforts to build low-Earth orbit satellite communications networks, which are critical infrastructure for safeguarding national security and communications sovereignty, as well as a strategic foundation for the 6G era,” KASA Administrator Oh Tae-seok said.

The agency said it plans to launch between 128 and 512 satellites, which cost at least 4 trillion won (US$2.62 billion) and up to 13.2 trillion won every five years.

The government also said it plans to set up a special purpose company (SPC) along with private firms for the sale of information amassed through satellites.

The SPC, to be more than 70 percent owned by private firms, is expected to generate over $1.7 billion in sales by 2034, the agency said.

KASA also aims to bring forward South Korea’s first lunar landing to 2030, two years ahead of schedule.

Instead of waiting for the next-generation launch vehicle, which is scheduled to debut in 2032, the government plans to send a privately developed small lunar lander aboard the three-stage Nuri rocket in 2030.

Oh also said South Korea plans to launch a lunar communications orbiter in 2029 and an Earth-moon scientific exploration probe in 2031 to lay the groundwork for an expanded lunar exploration program.

Copyright (c) Yonhap News Agency prohibits its content from being redistributed or reprinted without consent, and forbids the content from being learned and used by artificial intelligence systems.

The historic 1920s tower that once housed the beloved Ace Hotel is entering a new era just in time for the summer.

Two years after opening in the iconic Spanish Gothic building on South Broadway, Stile Downtown Los Angeles has unveiled its multimillion-dollar renovation and its expansion from a limited-service hotel to a full “creative hub.” The makeover adds a 24/7 membership-based creative lab with state-of-the-art music studios, co-working lounges, an updated rooftop bar called Somewhere Special, a restored theater and a curated retail shop for the community.

“We don’t really want to call it just a hotel — it’s more of a hub,” says Jaisun Ihm, CEO of AJU Continuum, the investment company that purchased the historic space.

Throughout the space are throwback touches — for instance, hotel guests can borrow a Walkman and browse the curated cassette library with titles like Sade’s “Promise,” Paula Abdul’s “Forever Your Girl” and the Isley Brothers’ “Between the Sheets.”

Behind the massive overhaul is South Korea-based AJU Continuum, which purchased the property in 2019 but didn’t change the name until 2024. The project marks the investment company’s first U.S. expansion.

“We don’t really want to call it just a hotel — it’s more of a hub,” says Jaisun Ihm, CEO of AJU Continuum, which is best known for its culture-forward Ryse Hotel in Seoul. With Stile, Ihm says their mission was to “connect L.A. to Seoul.”

Ryse, Ihm says, encapsulates today’s eclectic lifestyle hotel: “It’s grounded in street culture. We say it’s iconoclastic. It’s youthful in nature.”

AJU Continuum teamed up with L.A. architecture and interior design studio Design, Bitches — the group behind the chic Checker Hall in Highland Park and Verve Coffee Roasters in the Arts District. Ihm didn’t care that it was Design, Bitches’ first hotel venture. After working with several firms over the years, he was tired of seeing the same aesthetic everywhere and wanted to work with a team that would bring a “bold” perspective, he says.

When the creatives at Design, Bitches got the invitation, they were all in. “I’ve always wanted to do a hotel,” says RA Rudolph, the studio’s co-founder. “I love hotels and I have opinions,” she adds laughing.

For Angelenos who frequented the Ace Hotel, a maverick venue that helped revitalize downtown L.A. for a decade beginning in 2014, walking through Stile will feel both familiar and new. While the building’s bones remain intact — a requirement of its historic-cultural monument designation — the space has an industrial-modern twist inspired by L.A.’s creative spirit.

For example, the United Theater on Broadway, which was once the 1927 flagship movie palace for the influential United Artists collective (Mary Pickford, Charlie Chaplin, Douglas Fairbanks and D.W. Griffith), now features fresh carpet, modernized sound and stage equipment and roughly 125 new light fixtures inspired by the lobby’s original Spanish Revival-style chandelier. As a nod to the building’s legacy, where Hollywood’s earliest icons broke away from major studios to control their own work, AJU Continuum has launched its own in-house booking team for the live entertainment venue. Also, the giant neon “Jesus Saves” sign that has sat atop the building since its days as a church is still there — and the owners have no plans to remove it.

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1. A clawfoot tub inside the Loft King Suite. 2. Lounge chairs inside the Loft King Suite. 3. Hotel guests lounge in the rooftop pool. 4. Adriana Castellanos and friends hanging out in the lobby bar. 5. Photos taken in the photo booth at the Somewhere Special rooftop bar.

Some of the most significant changes can be found in the hotel lobby, which features a curated convenience store called the Goodie Shop, which is adorned with throwback boomboxes. Located next to the front desk, which was significantly condensed, the store is filled with a selection of California-sourced snacks and beverages, lifestyle goods, Stile-branded merch and travel essentials (phone chargers, toothpaste, hair care, etc.).

On the opposite side of the lobby is SparkHouse, a private members club and creative hub for up-and-coming musicians and creatives. The two-story space features professional recording studios, podcast and video suites, co-working lounges and meeting spaces, which are slated to open by early next year once permits are approved, Ihm says. SparkHouse’s cafe and bar is open to the public and sells tea, coffee (try the honey matcha latte), wine, beer cocktails and small bites. Ihm says programming at SparkHouse will include listening sessions, live showcases and even a mentorship program for rising artists.

“I’ve always wanted to do a hotel,” says RA Rudolph, the co-founder of Design, Bitches.

The rooftop bar, which offers stunning skyline views of the city and a pool, is now called Somewhere Special. The design team removed about 90% of the plants that used to pack the area to maximize space for dancing and mingling. Also, the pool area, now painted in a playful shade called Carrot Orange, has more seating and a photo booth nearby.

All 182 guest rooms were given a fresh coat of dusty rose paint, new custom carpet, furniture and upgraded bathrooms. In each room, you’ll find Korean amenities like face masks, a custom robe by a local brand called Room Service Los Angeles and books from the former Los Angeles University Cathedral that occupied the space from 1991 to 2011. With the hotel motto being “stay by your own rules,” Rudolph says it was important for them to make the rooms adaptable to each guest’s needs and to prioritize comfort. The result is uncommon room layouts like the tri-suite king room equipped with two twin-sized beds and a king bed split by a privacy divider that doubles as a playful art installation. Rudolph, who used to travel often with her now-adult children, says that’s the type of room she always wished had existed.

Stile’s arrival comes at a precarious moment for downtown L.A. In recent years, the neighborhood’s once buzzy hospitality and nightlife scene has experienced dwindling foot traffic, slow pandemic recovery and increased vacancies. Some business owners say crime and neglect are driving away customers. Nearly 1,000 businesses left downtown in 2024. Launching a high-concept lifestyle hotel is a bold gamble.

The Goodie Shop, a new curated convenience store, is filled with a selection of California-sourced snacks and beverages, lifestyle goods and travel essentials.

But Ihm says he hopes that Stile will help rejuvenate the area and create an ecosystem that will support neighboring businesses as well. Rudolph says she’s already starting to see that change.

“It’s been nice to see that in the last year that I’ve been coming here to work on the project, it’s livened back up again,” she says. “Especially this block, it feels better.”

Footage shows two NASA astronauts stepping outside the International Space Station to replace a malfunctioning wrist joint on a robotic arm. The joint failed during normal operations and did not move as expected. It took 7 hours and 20 minutes.

June 30 (Asia Today) — South Korea is seeking to connect the growth of its commercial space industry with stronger national security capabilities as emerging technologies blur the boundaries between the private and public sectors.

The expansion of security concerns into space, drones and artificial intelligence has increased the importance of the Korea AeroSpace Administration, which is responsible for developing the country’s aerospace industry.

The agency is working with the National Intelligence Service and other government organizations on satellite cybersecurity and broader aerospace security policies.

Hyunjoon Kwon, director general for aerospace policy at the agency, told Asia Today in an interview Friday that space is no longer solely a scientific field.

“Space has moved beyond science to become a domain that can affect both security and industry,” Kwon said. “We need a mutually reinforcing relationship between the market and the public sector.”

Asked how the global space security environment is changing, Kwon said competition is no longer limited to the number of satellites a country possesses.

“The key question is how reliably a country can use and protect satellite communications and satellite imagery,” he said.

Space-based services have been used directly in military operations and critical national infrastructure since the start of the Russia-Ukraine war, Kwon said.

Countries also face increasingly complex threats, including GPS jamming and spoofing, disruptions to satellite communications, cyberattacks and the collision or uncontrolled reentry of objects in space.

Kwon said the agency is developing a national space situational awareness system to strengthen South Korea’s ability to monitor and predict space-related risks.

It is also preparing a cybersecurity response framework to protect space-based services used by the private sector, government and military.

South Korea has rapidly accumulated capabilities in launch vehicles, satellite development and satellite data applications, Kwon said. Its military space capabilities have also expanded.

However, the country still needs to strengthen its domestic production of critical materials, components and software, he said.

Other areas requiring improvement include space situational awareness, satellite cybersecurity and the creation of a sustainable commercial market for space services.

“That is why the growth of private space companies and greater independence in core technologies are becoming even more important,” Kwon said.

Cooperation among the private sector, government and military has entered a stage of institutional development since the establishment of the Korea AeroSpace Administration, he said.

The cooperative channels include a future defense science and technology policy council with the Defense Ministry, an aerospace project memorandum with the Defense Acquisition Program Administration and a satellite cybersecurity consultative body with the National Intelligence Service.

Kwon said the cooperation now extends beyond individual projects to include policy, technology and security.

The agency is seeking to create a structure in which private-sector technology is connected to government and national security requirements, while public and defense demand supports the growth of commercial companies.

Kwon also discussed the government’s recently announced strategy to foster innovative companies in emerging security industries.

“Aerospace is a strategic field that influences both security and industry, extending beyond the boundaries of science and technology,” he said.

Satellite communications, satellite data, unmanned aircraft and space materials and components have significant commercial growth potential while also meeting direct security needs, Kwon said.

The agency plans to focus on establishing a cycle in which the creation of new industries strengthens national security capabilities and security demand encourages further technological innovation.

The plans include developing core technologies for a space data center under the K-Moonshot initiative and building a national platform that will make satellite information available for broader use.

The agency also plans to develop artificial intelligence-powered unmanned aircraft and electric or hybrid vertical takeoff and landing aircraft.

— Reported by Asia Today; translated by UPI

© Asia Today. Unauthorized reproduction or redistribution prohibited.

Original Korean report: https://www.asiatoday.co.kr/kn/view.php?key=20260629010010198

The California Science Center (CSC) in Los Angeles gave a sneak peek today of its long-awaited, much anticipated attraction — the towering Space Shuttle Endeavour in its ‘full stack’ configuration. The spacecraft was the last of five orbiters ever built and the most advanced. After a long wait, the public will soon be able to view it in all its glory inside its purpose-built permanent display building.

Endeavour is the centerpiece of The Samuel Oschin Air and Space Center. It is a 200,000-square-foot expansion of the museum and will be “the only place in the world to see a complete, authentic space shuttle system, displayed in a 20-story launch position,” CSC said in a media release on Wednesday.

The exhibit is set to open on Nov. 13, 2026.

Endeavor was born out of the tragic loss of Challenger on January 28, 1986.  NASA had to figure out how to replace the doomed orbiter. It looked at several options.

Feb. 1, 2003: Space shuttle Columbia disaster

The first shuttle, Enterprise, was built as a developmental test vehicle and made its first independent flight from the back of the converted 747 Shuttle Carrier Aircraft (SCA) on Aug. 12, 1977. Enterprise was also used for fit checks on the launch pad and many other engineering and testing activities, but it was not built to fly into space. Although it was available for modification and could feasibly be altered for full duty, NASA decided converting it for orbital work was not the best move. Instead, the all new orbiter that would be named Endeavor was authorized for construction in 1987.

Endeavour lifted off on its maiden voyage on May 7, 1992, and flew 25 times, with its final flight coming in May 2011. As the last of its breed, it incorporated new features and upgrades, including being the first shuttle to carry a Station-Shuttle Power Transfer System (SSPTS), according to Space.com. Endeavour also had “the first fully activated Advanced Health Management System to watch over the shuttle’s three main engines during launch, as well as a three-string global positioning system (GPS) for pinpoint navigation during landings,” the publication added. In addition, the last of the orbiters was built with the most advanced avionics, with glass displays, when it entered service.

Space Shuttle Enterprise – Free flight Test – ABC News – 8/12/1977

During its time in space, Endeavour performed a variety of tasks, including helping to construct and sustain the International Space Station. Throughout its career, it spent 299 days in space, orbiting the Earth nearly 4,700 times and logging close to 123 million miles, according to NASA.

“Among Endeavour’s missions was the first to include four spacewalks, and then the first to include five,” the space agency added. “Its STS-67 mission set a length record almost two full days longer than any shuttle mission before it. Its airlock is the only one to have seen three spacewalkers exit through it for a single spacewalk. And in its cargo bay, the first two pieces of the International Space Station were joined together.”

It also flew the first mission to service the Hubble Space Telescope.

During an 11-day mission in 2000, the astronauts “used the radar instruments in Endeavour’s payload bay to obtain elevation data on a near global scale,” NASA noted about the mission with a military connection. “The data produced the most complete, high-resolution digital elevation model of the Earth. The SRTM comprised a cooperative effort among NASA with the Jet Propulsion Laboratory (JPL) in Pasadena, California, managing the project, the Department of Defense’s National Imagery and Mapping Agency [now the National Geospatial Intelligence Agency], the German space agency, and the Italian space agency. Prior to SRTM, scientists had a more detailed topographic map of Venus than of the Earth, thanks to the Magellan radar mapping mission.”

Endeavour, like the rest of the orbiters, always captured the public’s imagination. In December 2008 the spacecraft made its voyage back to Kennedy Space Center in Florida after landing at Edwards AFB. A photo of that trip, taken from an F/A-18B Hornet flying overhead, was once described by TWZ as “Arguably The Most Spectacular Photo Of NASA’s Shuttle Carrier Aircraft Ever.” You can read more about that picture and the flight in our story from the time here.

On September 21^st, 2012, NASA delivered Endeavour to Los Angeles, noted AmericaSpace.com. “Over the course of four days in October, the orbiter gradually crept her way through the city’s narrow streets.” The move captured a huge amount of attention.

While plans had been in the works for a while to house Endeavour in a purpose-built exhibit, a major issue developed.

“An earthquake-resistant building large enough to house a 184-foot-tall Shuttle stack had a staggering cost estimate of $400 million,” AmericaSpace.com explained. “The California Science Center was unable to raise enough money to build the facility prior to Endeavour’s arrival. The museum still needed to protect the orbiter from the elements, so it built a metal hangar to temporarily house the spacecraft. The more aspirational exhibit would be conducted at a later date.”

That later date will be in November, as we noted earlier. 

Space shuttle Endeavour’s trek across LA: Timelapse

The CSC is one of four locations where the surviving shuttle fleet is being displayed.

Shuttle Atlantis is located at the Kennedy Space Center Visitor Complex; Discovery at the Steven F. Udvar-Hazy Center and Enterprise at the Intrepid Sea, Air & Space Museum. While each display is unique, and Kennedy Space Center’s is very dramatic, showing the orbiter as it would look in orbit, nothing compares to how CSC is displaying the full Shuttle Launch System (SLS) with its boosters and fuel tank in the vertical orientation, looking like it’s about to blast off one more time.

Contact the author: howard@twz.com

The Space Shuttle Endeavour is approaching its final mission. But this time, it won’t be blasting into a different atmosphere.

The California Science Center on Wednesday announced its Samuel Oschin Air and Space Center will open to the public on Nov. 13. The $450-million, 200,000-square-foot addition will permanently house the Korean Air Aviation Gallery and the Kent Kresa Space Gallery. But its centerpiece will be the Samuel Oschin Shuttle Gallery, where the Space Shuttle Endeavour will be on permanent display in its vertical “ready-to-launch” position.

When it debuts, the gallery will be the only place in the world with a complete shuttle stack, including orbiter, solid rocket boosters and an external tank.

“I’ve been here a long time. We’ve done a lot of great stuff, but this just keeps getting better. Everybody on our team was so proud of it,” said Jeffrey Rudolph, the Science Center’s president and chief executive. “We are incredibly excited, and we actually think people are gonna come from all over the world to see this thing.”

The Samuel Oschin Air and Space Center will open to the public on Nov. 13. The $450-million, 200,000-square-foot space includes the Samuel Oschin Shuttle Gallery, where the Space Shuttle Endeavour will be on permanent display in launch position.

(Allen J. Schaben / Los Angeles Times)

The Air and Space Center opening will mark the completion of the master plan adapted by the Science Center in 1993. One of three surviving space shuttles, the Endeavour made 25 successful missions into space between 1992 and 2011. In 2012, the shuttle arrived at LAX atop a modified Boeing 747 before being taken on a procession through the streets of Los Angeles to reach Exposition Park. Construction on the Samuel Oschin Air and Space Center, a sleek, 20-story building designed by ZGF Architects, finished in April.

“This shuttle really represents everything that my husband loved,” said Lynda Oschin, the widow of Samuel Oschin. “He was very involved in relativity, exploration, inspiration, children, math, science.”

Dennis R. Jenkins, project director at the California Science Center, estimated that at the height of construction, the team averaged about 400 construction workers a day. For Jenkins, who spent 30 years of his career as a NASA contractor working on space shuttles, seeing the Endeavour in its vertical position is “particularly special.”

“I walk in there 50 times a day, and 50 times a day it takes my breath away,” Jenkins said. “Especially when we have the theatrical lights on instead of the work lights, it is just so stunning to me. I’ve been around space shuttles for exactly 50 years now, and it still takes my breath away.”

Retired astronaut Barbara Morgan, who flew aboard Endeavour in 2007, said the shuttle will inspire space enthusiasts.

“This takes me back! I am right there again, strapped in, excited to launch,” Morgan said in a statement. “But this is even better, because here now is Endeavour for our future generations. She will launch big dreams.”

Jeff Rudolph, president and CEO of the California Science Center, gets a close-up view of the aft section and main engines of the Space Shuttle Endeavour, displayed in a vertical, launch-ready configuration at the new Samuel Oschin Air and Space Center at the California Science Center.

(Allen J. Schaben / Los Angeles Times)

The gallery will open with a video of the shuttle’s history, produced by J.J. Abrams’ company, Bad Robot. The video ends with a simulated launch of the shuttle — complete with fog machines — before the walls retract, letting visitors take in the Endeavour in all its massive glory.

The Endeavour is visible from several angles. Visitors walking around the bend of the center’s second-floor gallery can peek inside the payload bay, which was used to transport cargo like satellites into space. Step downstairs, and viewers can walk underneath the shuttle’s massive engines. To catch a bird’s-eye perspective of the Endeavour, guests can take a glass elevator to the 20th story to look at the shuttle through a glass floor.

“You go up slowly, [the elevator] stops at different levels. You see inside where the payload is, and at every stop you see something else, and when you get to the top and you look down,” Oschin said, the view is just unbelievable. It’s breathtaking. I don’t know what other word I could use.”

Despite the grandeur of the Endeavour, the Science Center didn’t want to glorify it either. Rudolph explained that the tiles on the shuttle’s wings, which were part of its thermal protection system, show the damage on each launch. The shuttle reflects the physical toll space took on the vessel.

“This thing went 25 missions into space, and you can see,” Rudolph said. “When we first got [the Endeavour] at LAX and had it in the United hangar a couple of weeks before we moved it through the street, the United guy said, ‘Do you want us to paint it?’ and we said ‘No! We wouldn’t think of it.’”

Jeff Rudolph, president and CEO of the California Science Center, walks through a doorway toward the Space Shuttle Endeavour during a tour and preview of the new Samuel Oschin Air and Space Center at the California Science Center.

(Allen J. Schaben / Los Angeles Times)

The center’s goal is to present the shuttle as close to mission-ready as possible. Rudolph explained that the exhibit’s hardware, including its bolts and nuts, are unique and extremely specialized. Since the space shuttle program concluded in 2011, many of Endeavour’s missing pieces are no longer produced. Jenkins spent years sourcing pieces of equipment.

However, the largest artifact of the exhibit was the most challenging to source. ET-94 — the exhibit’s ginormous, bright orange external fuel tank— was particularly difficult to get a hold of because it shouldn’t still exist.

“External tanks were only used once. … We jettisoned them on the way to orbit, and it burned up in the atmosphere before it hit Earth,” Jenkins said.

Jenkins explained that the ET-94 was built for a future Columbia Space Shuttle mission, but after the Columbia was destroyed, the fuel tank was used for research. To complete the Endeavour’s full shuttle stack, Jenkins persuaded NASA to donate the $65 million to the Science Center.

The Endeavour will not be alone in the gallery. Plans are in the works for a variety of unique, ancillary creations including a 15-second slide that mimics the path of reentry as a space shuttle descends back into Earth’s atmosphere. Visitors will start inside a dark slide that gives way to an orange glow followed by a double sonic boom. The slide finishes with an S turn, which the Endeavour executed to burn energy.

For Rudolph, the effort represents a giant leap toward the Science Center’s goal of making space exciting for “the next generation of scientists, engineers and explorers.”

“I just can’t wait to stand there and watch people come in, and kids especially. There are going to be a lot of tears looking at this, that I can tell you, happy tears,” Oschin said. “It’s something for children. Children are our future and our hopes for the future. This is going to be very inspiring for them and extremely exciting for them to see.”

At the beginning of Mary H.K. Choi’s wildly entertaining presentation for her new novel “Pool House’” at Skylight Books, she reveals she won’t be reading.

“Readings are boring,” she says, tapping her Prada loafers. “It’s like you’re watching someone else play video games.”

Instead, she and Yasi Salek, host of the hit podcast “Bandsplain,” spend the evening riffing on literature, coolness, autism diagnoses and a literary perennial: unrelenting pain.

“How is your mother wound?” Salek asks in her signature vocal fry most often heard ad-libbing about the band Weezer. Salek reveals she is in Jungian therapy, adding, “What Carl says, goes.”

Throughout the discussion, Choi describes her novel as a challenging read — calling it a “gross, decaying meat soup.” She jokes that her career as an author feels like a “Make-A-Wish Foundation wish,” bewildered by any attention her work has garnered. Yet dozens of eager readers have packed into the independent bookstore, spilling into the aisles with copies of the novel balanced on their laps.

“Publishing is so slow, it’s like giving birth to a lawn chair,” Choi remarks. Later, she professes tedium with the resurgence of an alt-lit scene.

“Don’t you find that everyone has to be cool right now? Why is everyone so cool?” Choi asks Salek.

Let’s be clear: Salek and Choi are very cool. Salek sits cross-legged, dressed in all black, with a heart tattoo on her forearm that reads “books.” Before “Pool House,” Choi authored three New York Times bestselling novels. Salek recounts dropping out of her MFA program at Bennington College in 2020 to start what would become a cult-classic podcast.

Book-themed sugar cookies sold at a past Little Literary Fair at Hauser & Wirth.

(Francine Orr / Los Angeles Times)

“I love that you started a podcast instead of getting an MFA,” Choi replies.

Like Skylight Books, independent bookstores across Los Angeles have become gathering places for readers and writers alike. Authors ranging from household names to debut novelists regularly draw enthusiastic crowds. Increasingly, bookstores are functioning not only as retail spaces but as community hubs.

A few blocks from Echo Park Lake, local favorite A Good Used Book has transformed Sunday mornings into one of the neighborhood’s liveliest recurring gatherings. Visitors browse used books while enjoying charcoal portraits, handmade jewelry and Hawaiian shaved ice. Buy a book and you might even end up on the store’s coveted Instagram Story — the hottest plug in town.

“It feels like in a city as big as Los Angeles, books are still underrepresented. So there’s a lot of room to grow, and that’s exciting,” says Chris Capizzi, who founded the bookstore in 2017.

Earlier this month, the Los Angeles Review of Books hosted its annual Little Literary Fair at SCI-Arc, drawing hundreds to literary panels and workshops on zine-making, publishing and finding an agent. Vendors from across California filled the space, representing independent presses, bookstores and literary magazines.

“I find writers based [in the L.A. area] to be socially incisive in equal measure as being experimental, innovative and just fun,” says Emily VanKoughnett, the events director at the Los Angeles Review of Books. “I love the L.A. lit scene because it invites people to explore pockets of the city and connect over writing.”

This summer, literary events across Los Angeles are continuing to draw readers into bookstores, community spaces and alternative venues alike. The city’s literary scene remains as weird, profane and sentimental as ever.

The Westside subway extension has long been L.A’s most stubborn urban fantasy: an infrastructural mirage chugging toward the sea, and then, with less sex appeal, Westwood. Stalled since the ‘80s, the first western leap of the elusive project is now real. And in the month or so since the Metro D Line pushed beyond Wilshire/Western to three new stations — Wilshire/La Brea, Wilshire/Fairfax, and Wilshire/La Cienega — multiple rides have made the benefits, and shortcomings, clear.

Suddenly the city feels different. Not transformed, exactly. But more connected. The fracturing grip of the city’s incomprehensible expanses, clogged arteries, and stagnant governance — all intimidating barriers to healthy civic life — feels a little looser. The dense belt tying the city together more complete, a critical mass of movement, still expanding, where there used to be a vestigial nub.

The stations, too, feel more connected, with art, architecture and infrastructure blending seamlessly into a cohesive experience, a tribute to Metro’s sharpened design approach and its ever-evolving commitment to public art. But above ground, it’s a tale of two (transit) cities. Outdoor plazas lack the kind of textured civic presence that’s been created below. Metro, which has become the most dominant regional force for urban transformation, is still less ambitious once it leaves the station box.

Passengers wait to board the first train to arrive at the Metro D Line at the Wilshire/Fairfax station in Los Angeles in early May.

(Genaro Molina / Los Angeles Times)

Before descending into the new stations, you might want to take a moment to appreciate that they exist at all, surviving, among other trials, a massive methane explosion, federal and local bans, major delays, and a battalion of lawsuits. Then notice how their myriad components work together. Art, for instance, is not simply attached to walls, but forms them, its patterns tracing your descent through space. Lighting doesn’t just illuminate surfaces, but becomes an artful complement to what’s around it. Escalators are not just conveyances, but reflective surfaces forming a utilitarian palette for art and light. The line between each piece becomes blurred, creating a sense that all is working together — a layered place that is intuitively easy to use.

This fluent incorporation of art builds on the long-running L.A. Metro Art program (formerly Metro Art in Transit), which since the early ‘80s has commissioned and installed over 200 artworks across the sprawling system, from mosaics and photography to multi-story murals. In fact, it’s quietly hummed along as one of the most successful public art programs in the country.

Artist Fran Siegel’s artwork at the Wilshire/La Brea Metro station is part of one of the most successful public art programs in the country.

(Carlin Stiehl / For The Times)

In many of its earlier iterations, art and architecture were conceived together to create strange, jaw-dropping, one-of-a kind spaces, like Peter Millar and Ellerbe Becket’s Santa Monica/Vermont station. Opened in 1999, this Red line stop featured among other things, a goliath stainless steel wing canopy topping a 42-foot-tall, raw concrete-clad escalator cavern, lit by massive skylights, etched with row after row of enigmatic questions.

Another personal favorite is Stephen Antonakos’ “Neons for Pershing Square,” a postmodern wonderland of suspended neon sculptures in the depths of downtown’s Pershing Square station that creates a kind of 3-D sculpture playing off the ‘80s gridded ceilings and Miami Vice white columns.

Wild creativity aside, these 20th century stations are marked by inconsistency in quality, comfort, and maintenance — and the lack of predictability can be confusing. (Wait, where do I go now?) This includes Metro’s inaugural A line, in which art-driven architecture, though fun, often feels like a quixotic gesture, unable to compete with loud, uncomfortable, concrete-dominated settings.

A man waits for a train on a platform at the Wilshire/Vermont station, which is along Metro’s B Line, formerly the Red Line.

(Brian van der Brug / Los Angeles Times)

Lines opened in the 2010s had their own issues. The Expo line (now the E line), barely 14 years old, features rather tentative wavy canopies and surface wraps and comparatively small spaces for artworks. With the new extension, Metro has found a balance between completely foregrounding art and relegating it to background. The new designs are guided by a “kit of parts,” a shared language of materials, lighting, signage, and wall systems that was developed first by local architects Johnson Fain and later by the global architectural firm Gensler, which served as the D Line’s systemwide station designer.

Yes, I miss the epic scale and immersive feeling of those older stations. But the tradeoff is a cleaner, brighter, more legible and human-scaled version, lending long-needed coherence to both the stations themselves and the system at large. And by the way, the art is still fantastic.

At the descending entryway of Wilshire/La Brea, for instance, the cosmic, angled lines of Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” which are embedded into porcelain enamel, channel not only the geometric forms of Wilshire’s Art Deco Buildings, but the visceral one-point perspective of a train speeding into a tunnel, and even the angled geometries of adjacent escalators.

Artist Eamon Ore-Giron’s “Infinite Landscape: Los Angeles Para Siempre,” at the Wilshire/La Brea Metro station.

(Carlin Stiehl / For The Times)

Heading down allows you to ponder its shifting mysteries. Circular abstractions might suggest headlights zooming along Wilshire, or perhaps a train’s fast-approaching lights? Its artfulness expands outward. Frosted glass panels wrapping the entry portal are clad with a similarly mystical language, accentuated by neon strips of light, with the lightweight canopy above reflecting the colorful lines. Art and architecture are working together, each feeding off the other.

A particularly fertile locale for drama at each station are the wide bands of art topping the tunnels themselves: beacon-like destinations for your eyes, not to mention invitations to occupy more of the platform. In the same station, Mark Dean Veca’s “Miracle of La Brea” takes its cues from the curvy ornament and stepped motifs of the nearby Wilshire Tower’s Art Deco façade. Look closer, and those crisp patterns dissolve into swirling, viscous forms that evoke the La Brea Tar Pits, flowing oil, and even barley-shaped references to the area’s agricultural past. The mural’s repeating forms also mirror the station’s rigorous order, its clean, syncopated forms and linear perspectives.

Another hallmark of the new stations is how they subtly make infrastructure itself into art. Celebrating — whether intentionally or not — the improbable engineering feat of carving a subway under one of the most dense, congested, and geologically and politically complicated parts of Los Angeles. Jogging white lines along concourse floors, meant as tactical guides for the vision impaired, rhythmically and playfully lead you forward. Glinting stainless steel railings, gridded perforated metal ceilings, and thin bands of suspended light bouncing off polished terrazzo floors, pull you forward on stairs and platforms, tracing the speed and linear movement of trains. Corduroy concrete walls, etched with endless vertical grooves, give tunnels a tightly rhythmic texture while still exposing their hefty bones.

The Wilshire/La Brea Metro station is part of the D Line extension and features evenly lit spaces, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses.

(Carlin Stiehl / For The Times)

The quality of surfaces and experiences has been upgraded too. Unlike most older Metro stations, where low light and heavy surfaces can feel tired and oppressive, spaces are more evenly lit, with porous surfaces and long sight lines to improve navigation and safety. Glass fare gate doors organize entry without turning the stations into fortresses. Glass elevators and large cuts between levels create a sense of connected, kinetic openness.

Sometimes this palette feels too uniform and predictable. The heroic scale and quirkiness of older stations can be more exciting; more unique to their place. A surprise or two never hurt anyone. But overall it’s a good balance of unity, utility and identity, allowing the art to sing, but as part of a chorus, not a soloist.

The tune, however, shifts dramatically above ground. Station plazas wrap handsome modern architecture—clean, controlled, well-detailed portals of beveled stainless steel, frosted glass, and art peeking above entryways and on peripheral panels. But the hard plazas themselves are barren; lacking enough shade, art, greenery and invitation. Benches, where they exist, are tiny and defensive.

Pedestrians walk past the Metro D Line at Wilshire and LaBrea, which features a barren plaza lacking the beauty and design of the art-filled stations below.

(Kayla Bartkowski / Los Angeles Times)

These places seem scared to let people linger — clearly trying to avoid some of the city’s intransigent challenges, like homeless encampments, disorder, maintenance burdens, and controversy. This is understandable, but in avoiding those risks, the areas also avoid the purpose of public space: to create a place for everyone, not just a zone for people passing through.

Yet life appears anyway. At Wilshire/Fairfax, a dance class from a nearby studio recently gathered in a thin sliver of shade around the station. It was beautiful, and improvised, but also indicative of the underlying problem. Civic life was there, but the space had failed to make enough room for it. Imagine if that plaza had real shade, generous seating, creative sculpture, plantings, water, and edges that encouraged people to stay.

Another unresolved question is service. On multiple visits trains were not crowded. They also didn’t come often enough. Ten or 12 minutes of stagnant wait time does not feel like freedom if you are trying to lure Angelenos out of cars.

The last-mile problem doesn’t help. There is no easy parking near stations for those who don’t live close, no seamless transfer or final step. The bikes that Metro provides still have share docks, meaning you’ll need to find another dock on the far end (good luck). This remains, as it should, a system for people who already need transit. But for an institution struggling to add ridership, you wonder if it can become a system for people who have choices.

The Wilshire/La Cienega Metro station is part of L.A.’s new D Line extension. The outdoor plazas are not conducive to community or gatherings.

(Carlin Stiehl / For The Times)

Still, we should not understate what has happened. Los Angeles finally has subway stops that serve some of its densest, most public destinations, and Metro is still growing. The D Line makes the Miracle Mile feel less like a traffic corridor and more like a metropolitan spine. It suggests a Los Angeles in which neighborhoods, jobs, cultural destinations, and sidewalks begin to connect physically and with surprising immediacy. (Twenty minutes from LACMA to downtown feels like light speed!) It makes the city feel more like a city.

It also reveals the imbalance of power and imagination in Los Angeles. Metro, for all its flaws, has the ability to marshal money, planning, engineering and art at a scale the city itself generally cannot. All the more reason to branch more boldly beyond its tracks and stations.

The question remains: Can the agency coordinate with government, developers, cultural institutions, and neighborhoods to make these stations into places rather than portals?

The new stops prove that Los Angeles can design infrastructure artfully below ground. Above ground, however, it too often retreats into caution. The subway has arrived. The city around it still has to catch up.