Space

The United States has acknowledged deploying space weapons in orbit of the Earth.

US Air Force Secretary Troy Meink confirmed on Monday that the so-called “space control weapons” would be used to defend US forces on the planet, marking a significant new chapter in the militarisation of space – or at least the transparency of it.

The announcement, which Meink framed as a message to US rivals China and Russia, could turn Earth’s orbit into an increasingly contested military domain, experts warn. Warfare could include countries targeting each other’s satellites, which provide critical services such as GPS, communications and intelligence to military forces on the ground, as well as civilian infrastructure.

“Space Force doctrine describes ‘space control’ as having the outcome of space superiority, which they define as the ability to operate at the time and place of their choosing, while denying the same to an adversary,” Victoria Samson, chief director of Space Security and Stability for Secure World Foundation, a private non-profit focused on military space and security issues, told Al Jazeera.

So, what do we know about the US-deployed weapons in space? And do some countries already have them?

What do we know about these space weapons?

Not a lot. Air Force Secretary Meink said the US has stationed “weapons” in Earth’s orbit, but did not specify when they were placed there, how many there are, or what they are designed to do.

“Today, we continue to ensure we remain ready to meet the challenges of evolving threats wherever they exist,” Meink said at the Air, Space and Cyber Conference. “This is why the United States now has on-orbit space control weapons capable of defending the Joint Force against hostile adversary action.”

However, he did not give any details about what sort of weapons these may be, where they are positioned or what they are designed to do.

Samson said the keyword from Meink’s announcement is “weapons” in the context of “space control”. “Space control encapsulates the mission areas required to contest and control the space domain – employing kinetic and non-kinetic means to affect adversary capabilities,” Meink said, adding that “these capabilities can be employed for offensive and defensive purposes”.

“That’s the first time any official has acknowledged an actually designed weapon has been placed in space,” Samson told Al Jazeera. “It’s always been ‘systems with capabilities’ prior.”

Experts say these weapons are likely to be space-based communications jammers rather than kinetic ones that launch strikes. Kinetic weapons – for instance, a suicide satellite designed to ram into an adversary’s satellite – would likely cause fast-moving debris to be launched dangerously into space.

Bleddyn Bowen, an associate professor in astropolitics at Durham University in the United Kingdom, told the BBC’s Radio 4 Today programme: “We don’t know exactly what the mechanism of the weapon is. I would expect there to be some kind of electronic warfare or radio-jamming platform. This would be a non-destructive kind of anti-satellite weapon, and these variants already exist on Earth.

“Less likely would be a kinetic kill vehicle of some sort, so a vehicle that would release a projectile of some sort that would ram into a satellite and destroy it.”

What is the US Space Force?

The US Space Force is the newest branch of the US military, created in December 2019 under President Donald Trump’s first term, responsible for organising and conducting US military operations in and through space.

Unlike NASA, which focuses on civilian space exploration, Space Force is part of the US Air Force and comes under US Space Command, which is headquartered at the Pentagon in Arlington, Virginia.

Its responsibilities include operating and protecting military satellites, providing satellite communications and positioning services, monitoring objects and potential threats in space, and supporting US forces on Earth.

“China and Russia are developing new space systems to enhance military effectiveness and end any reliance on US space services,” the Space Force’s website says. “China and Russia are also testing and fielding sophisticated counterspace capabilities with the intent to disrupt and degrade US space-enabled capabilities.”

Aren’t there treaties limiting weapons deployments in space?

Yes, but they do not amount to a blanket ban on weapons in space.

The key agreement is the 1967 Outer Space Treaty, which prohibits countries from placing nuclear weapons or other weapons of mass destruction in orbit or stationing them in outer space. It also bans military bases and weapons testing on the moon and other celestial bodies.

However, the treaty does not expressly prohibit conventional weapons from being placed in Earth’s orbit. That means systems such as conventional anti-satellite weapons, electronic-warfare systems, or other counterspace capabilities are not automatically prohibited.

Such gaps leave room for interpretation and are at the heart of current international efforts to enhance military activities in space.

How have Russia and China reacted to the US announcement?

China’s Foreign Ministry opposed the move, warning against the “weaponisation of outer space, turning it into a battlefield, as well as an arms race there”.

“We urge the US side to stop expanding its military capabilities and preparing for war in outer space,” ministry spokesman Guo Jiakun told a news briefing.

Russia called for space to be kept “free of any weapons”.

“We are counting on broad international consolidation to continue working towards the complete demilitarisation of space,” said Kremlin spokesman Dmitry Peskov.

Are Russia and China developing space weapons too?

Independent reports from research groups and think tanks note that both China and Russia are developing a broad range of counterspace capabilities designed to interfere with, disable, or potentially destroy satellites and other space systems.

The Center for Strategic and International Studies (CSIS), a foreign policy think tank based in Washington, DC, identified both countries as possessing or developing kinetic and non-kinetic counterspace weapons.

A 2025 CSIS report notes that both Moscow and Beijing have direct-ascent anti-satellite (ASAT) weapons, as well as capabilities involving jamming, spoofing, and cyber operations.

Samson of the Secure World Foundation (SWF) told Al Jazeera that her team has highlighted in their reports that “China and Russia have space-based jammers”. Therefore, she told Al Jazeera, “I always thought it would be strange that the US didn’t have them too.”

Bowen told the BBC: “In the last 10 years, Russia and China have been doing a lot more manoeuvres in space – rendezvous and proximity operations, as we call them – so, flying up really close to Western satellites, inspecting them, taking pictures. And on another occasion, the Chinese have demonstrated a ‘space tug’ capability. So, a vehicle that goes up to a satellite can grapple it and then move it into a different orbit.”

China has executed such a manoeuvre only with one of its own old satellites, which needed to be moved away from its location, he added.

What about other countries?

The emerging space-weapons race is not limited to the US, Russia and China: India has also demonstrated an ASAT capability and is developing technologies that could allow spacecraft to operate alongside other satellites.

France is also reported to be developing co-orbital capabilities, while the UK has conducted on-orbit cooperative operations with the US.

A 2026 report by SWF also notes how Iran, for instance, illustrates the less visible side of space warfare, relying increasingly on jamming and spoofing satellite-based services. Israel, meanwhile, has developed significant military space and electronic-warfare capabilities, although there is no public record of it conducting a debris-generating ASAT test.

Countries like North Korea and South Korea are also racing to develop more sophisticated space-based tech.

Is space the next frontier of war?

Samson told Al Jazeera that the US announcement of deploying weapons in Earth’s orbit is not essentially disruptive in the context of space technology. “What this does is normalise weaponising space,” she said.

“Space has always been a domain with the potential of being a flashpoint for conflict; this just turns up the heat there,” Samson added.

A US Space Force spokesperson told ABC News that the US “capabilities can be employed for offensive and defensive purposes at the direction of combatant commands”. The spokesperson noted that Washington “has warned about Russian and Chinese weapons testing and operationalisation since 2007”.

“Due to their actions, it is no longer a question that space is a warfighting domain,” the spokesperson said. “Open communication strengthens deterrence, prevents adversary miscalculation, and normalises space operations alongside the other services.”

Samson further noted that Meink’s statement “crosses a line”, and would “either encourage China and Russia to also declare weapons in space, or will make US allies and partners want to also place weapons in space”.

“Counterspace capabilities have been proliferating already – this speeds up that trend,” she said, adding that this “is incredibly destabilising and will work against US national security goals”.

“By opening the door to weaponising space, the US loses the most,” Samson noted. “Every person on this planet uses space-based data and services in some way. Any interference with access to or use of space will affect everyone, not just space powers.”

At age 14, Glen Walsh started surfing because of a crush. He was a boogie boarder until the object of his adoration told him, “What are you riding that for? You should be surfing. Get a surfboard.” So, he did. “I was terrible at it, but I kept going. I was super persistent.”

That resilience proved useful. As a gay teenager in Santa Monica, Walsh was often called slurs on the Venice Pier. “You think you’re like a unicorn — a weirdo,” he says. He felt at odds with the local surf community. To Walsh, surfing was “super straight, very hypermasculine, very intimidating.” Yet his love of the ocean — and sure, crush-worthy surfers — kept him returning to the water. “I wanted to be around them, and surf with them,” he says.

When Instagram launched in 2010, Walsh began posting one of his early loves — only this time, it was morning surf conditions. Every morning, before surfers paddled out, the longtime Venice resident described swells, winds and surf conditions to his followers, becoming for some the town’s trusted surf chronicler.

A “Surf Swim” sign greets beachgoers at Venice Beach — a stretch of coast where daily surf reports and grassroots organizing have helped break down traditional surf stereotypes.

(Christina House / Los Angeles Times)

His videos combined informative dispatches with the laid-back vibe of surfer ASMR. “Light offshore wind. Clean, glassy barrels,” he declares softly to the camera as gray waves break behind him. “Lumpy close-out with hollow barrels with low tide, fam.”

At first, the account functioned like a group chat for local surfers. “Friends were asking me how the waves were, and I was texting them. I figured I’d jump on Instagram and start doing it for them,” says Walsh, who has been a Venice resident for 15 years.

What began as a practical update for a handful of friends eventually attracted followers in London, Berlin and Tokyo — people who checked in daily to see whether the surf was firing in Venice Beach. The account has amassed over 10,000 followers, inspiring imitator accounts. “Now it’s just for everybody,” says Walsh. “I built a community around the surf reports. It really blew me away. I didn’t realize that people were so interested.”

His surf reports have made him an unofficial mayor of Venice surf culture, getting recognized at the beach town’s local hangouts like Hinano Cafe and the Cow’s End. “People stop me and tell me they love my surf reports. They don’t even surf, but they see it every day,” says Walsh. “I always tell people I’m very popular between Washington Boulevard, Lincoln Boulevard and Rose Avenue.” His nickname around town is Glenice Venice.

However, the real triumph wasn’t becoming recognizable around Venice — it was finding other queer surfers, something that felt elusive in Walsh’s youth in Southern California. “I had met a lot of other surfers from all over the world and built a queer community of surfers here in L.A.,” says Walsh. “It was pretty awesome.”

Walsh saw an opportunity to use his surf report to not only report on the condition of the ocean — which is especially unpredictable during our current El Niño cycles — but to also create a burgeoning queer space in the Venice surf scene. “I could set up a community-based surf report for everybody, and the fact that I happen to be queer made it a little more unique,” he says. He began to connect with gay surfers, organizing trips with them and building lasting friendships. “It was just a lot of fun, building a little team.”

Later, Walsh became a co-producer and music supervisor of a movie about homophobia in surfing titled “Out in the Line-Up” that premiered at film festivals across the world in cities such as New York, San Francisco and Sydney, Australia. “The movie kind of spoke for itself. It was a worldwide issue — homophobia in surfing.” Since then, Walsh has served on panels about queer people in the surf world. Last June, the film had a 10th anniversary screening in Venice, hosted by the Venice Surfing Assn. “At some point, I brought some diversity to this culture. I put my name on it,” he says.

In recent years, others have joined Walsh’s efforts to create a burgeoning queer surf scene at Venice Beach. In 2020, Shelly Guidera relocated to Venice and noticed that there wasn’t a strong queer presence in surfing. “My friend and I were maybe the only queer people some of these surfers had ever seen,” she says. Shortly after, Guidera started Dream Team Surf, a collective for queer surfers to meet up and build camaraderie.

Its mission is simple. “It’s all of us looking out for each other,” Guidera says. “ Having a team of people makes the experience that much more enriching and safe.”

Surfers ride the waves near the Venice Pier, where Glen Walsh does his daily surf reports.

(Eric Thayer / Los Angeles Times)

Early on, Guidera was inspired by Walsh’s uplifting presence in the Venice surf scene. “This person is respected in the community for what he brings, which is knowledge and insight and fun and flair,” says Guidera. In turn, Walsh has championed Dream Team Surf.

In January 2025, Dream Team Surf hosted a Pride beach party with a banner that read: “Trans bodies belong on the beach.” In some San Diego area beaches, Guidera says, queer representation can still feel like an anomaly. “It’s so funny because it’s like these people have maybe never seen a woman in a bathing suit with hairy legs,” she says. “I’m like, ‘Oh my God, it’s not that deep.’”

Guidera is certified in surf therapy, taking courses through Groundswell Community Project, a surf therapy program that uses surf to promote holistic healing. The mental health benefits of surfing are lifelong, Guidera explains. “Growing up as a swimmer, surfing was a form of play and wellness,” she says. “It eased the brakes on competition and the structure within competitive swimming.”

Group photo of Dream Team Surf, which hosted a Pride beach party.

(Sara Werner)

Even if you don’t shred waves, being in the ocean can promote healing. “To give people access to the ocean that is in and of itself a form of wellness,” she says. “There’s a level of surrender and humility that comes with surfing and that comes with being in nature. … You have to be so present in such a way that makes you a stronger person.”

Like Guidera, Walsh also works as a surf instructor with a similar goal to instill confidence in his students. “I was teaching a lot of people to surf, mostly women who didn’t want a straight man to teach them how to surf because it feels vulnerable enough,” says Walsh. “I try to break down the stereotypes and have a little fun with them and let them become a kid again.”

When done correctly, he argues, surfing can invite expansiveness. “I love seeing people out there. Feel the fear and do it anyway,” says Walsh. “And creating a lifestyle around it — going to different beaches — and meeting friends.”

There’s a cross on the roof, stained glass in the windows and a choir loft upstairs, but this whitewashed three-level building near Sunset Boulevard in Silver Lake is no longer a house of worship.

It’s the Hotel Lucile, a 25-room boutique lodging that opens Sept. 14 with a restaurant and bar in the high-ceilinged sanctuary where churchgoers once gathered. This opening follows more than a decade of controversy and transformation, including a community debate, bankruptcy and the arrival of a new hotelier in 2020.

It also brings further energy to the Sunset Junction area, Silver Lake’s main, walkable hub, which is already home to stylish spots including the Silver Lake Farmers Market, Taiwanese restaurant Pine & Crane, sports bar 33 Taps and the Photobooth Museum.

Dining room in Sous Sous restaurant.

The new hotelier is Los Angeles-based Casetta Group, which specializes in adapting older structures and has six properties in California and New Mexico, including the Surfrider Hotel in Malibu and Casa Cody in Palm Springs.

When guests arrive at Hotel Lucile, they will find many reminders that the building was constructed as Bethany Presbyterian Church in 1931. But those guests will also see plenty of updates, including 25 guest rooms in the space that once held a church school; a small pool (about 15 feet square); and a rotating display of more than 100 contemporary artworks (many for sale). The organ loft is now a meeting space. The choir loft is retooled as a zone for coffee and drinks. The rooftop is a lounge with downtown views.

After serving as a church for most of the 20th century under varying names, the building was informally adapted for multiple uses, including spells as an antique shop, filming location and the backdrop for interactive horror theater experience “Delusion.”

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1. Bathroom inside a suite. 2. Desk inside a premium king room. 3. Sitting area inside a suite. (Myung J. Chun / Los Angeles Times)

“The building has lived several lives,” Hotel Lucile general manager Anthony Gutierrez said in an email. “It has always been a place for people to gather.”

The establishment fell idle as developer Dana Hollister took over the lease and sought city permits to convert it into a hotel with alcohol and dancing. Despite opposition from many neighboring homeowners and businesses alarmed by possible traffic impacts, those permits were approved in 2014.

But Hollister declared bankruptcy in 2018 and sold her interest in the property in 2020. That’s when the Casetta Group took over Hollister’s long-term lease from the Presbytery of the Pacific, which owns the property.

This church-to-commerce transition isn’t entirely unique. Across the city and the country, declining attendance has idled many religious buildings, often leading to conversions. In DTLA, the restaurant and event space known as Redbird + Vibiana was previously St. Vibiana’s Cathedral, deconsecrated by the Catholic Church after suffering damages in the 1994 Northridge earthquake. In Beachwood Canyon, the Monastery of the Angels was built as a private mansion and rebuilt by the Catholic Church in 1948 as a monastery. In early 2026, Homeboy Industries bought it from the church and began remaking it into Home of the Angels, a “recovery campus” for people impacted by trauma, substance use disorders and involvement in the justice system.

More church conversions may follow, thanks to California law SB4, passed in 2023 to allow faith-based groups and nonprofit colleges to avoid some local restrictions when converting buildings into affordable housing.

Meanwhile, the Hotel Lucile begins a new chapter, retaining interior arches, masonry, woodwork details and a rooftop cross that the hotel will keep alight at night. (The old church bell, however, will remain silent.)

Because the hotel has no on-site parking, it will rely upon valets and street parking (already tight in the neighborhood) to accommodate the cars of overnight guests and restaurant diners.

The rates begin at $441 nightly, plus a $50 amenity fee. To start, management is offering a “locals rate” of 15% off for guests who can show a California state ID.

“We did preserve as much as we could of the original beams and stained glass,” said Laney Langenstein, who oversees strategy and marketing for Casetta. Though guest rooms have minibars (curated by Erewhon and other partners), Langenstein noted that hotel staffers will also push a martini cart that will “go through the hallways and see if anybody thinks it’s cocktail hour.”

The dinner-only restaurant, Sous Sous, will draw upon cooking traditions of southern France and the American South, seating up to about 120, with occasional live music on the room’s stage. A hotel cafe will be open to guests for breakfast and lunch.

The new look of the hotel was produced by Casetta Hotels and design firm Electric Bowery. Children are permitted at the hotel, but not encouraged by the layout. (Of 25 rooms, 24 have a single king bed and one has two queens. Most rooms have showers, not tubs. There is one suite, which has its own courtyard patio and fountain.)

With an eye to potential expansion later, hotel management has also bought up one of the three immediately neighboring properties.

Meanwhile, now that the hotel is about to open, feelings among neighbors are mixed.

A booth at Sous Sous restaurant.

“When they tried to get a permit for the hotel, we all went to speak against it. But they got the permit,” said Jin Chang, longtime owner of nearby Big Mac’s Liquor on Sunset. Now, Chang said, he’s neutral about the hotel opening and relieved that his mini-mall has its own parking lot.

“What’s the definition of progress?” asked VJ Kesh, a longtime neighborhood resident. “Is this hotel a reflection of Silver Lake? Hell, yes. So I’m in favor.”

I wasn’t born in Los Angeles, but it’s the city that raised me. I moved here fresh out of college with a doe-eyed dream of stepping into the kind of art scene I’d read about in history books. Instead, it quickly became clear that I wasn’t going to be able to just waltz in with my Southern charm and big smile; there would need to be some sort of hack into the art world — a place rife with unspoken roles and gatekeeping — if I wanted to get anywhere as a non-nepo artist.

After years of blister-inducing heels-on-the-ground gallery hopping and late-night schmoozing, I found myself falling in love with this city and slowly realizing that the best parts of L.A. were rarely found in mainstream spaces. There’s an inventiveness here that comes from the sprawl of the city — artists like myself who are constantly improvising, building their own ecosystems because nothing is handed to them. I fell in love with how “never-ending” the artist’s practice can feel in Los Angeles, how a studio visit can veer into an hours-long conversation about life. It made the city feel less like a scene to fit into and more like a living, breathing network you have to contribute to before receiving anything back.

In 2014, Alex Benzer and I decided to put our hard-earned knowledge to work by creating Curate LA: a community-driven platform designed to pull back the curtain on the Los Angeles art world by mapping under-the-radar exhibitions and adventurous artist-run spaces, and connecting our audiences directly with artists, curators, galleries and collectors through candid interviews, weekly guides and real-time event recommendations. Because despite appearances, an art scene isn’t held up by pristine white walls; it’s built by the artists sharing a cig and an idea outside on the sidewalk, the gallerists stocking the free booze and championing new voices, and the person you meet sitting at the front desk who tells you about the cute spot around the corner with affordable bites.

For me, an ideal L.A. weekend is a little bit of all of that: a great studio visit that turns into an unexpected conversation, stumbling onto an unconventional exhibition of an artist I’ve never heard of, eating something delicious with friends who I ran into at a show opening, and ending the night at a bar where half of the room just spilled out from the gallery down the street. What I’ve made for you is my personal, slightly circuitous, weekend guide to Los Angeles’ sprawling creative landscape. These are my snapshots of the places and people that I return to, the ones that have fed me, surprised me, taught me something or made a long day of circling the block to find parking impossible to forget.

FRIDAY: Downtown → MacArthur Park → Koreatown

Greg Ito with “Personal Effects,” 2026, “The Spectrum Within,” 2025 and “Love is a Vessel,” 2026.

1. My first stop is visiting Greg Ito at his DTLA studio. I love the way his work draws me into a layered dreamscape and rearranges my sense of time and space. Greg is also a great storyteller. Pulling from archival family photos and childhood memories as a fourth-generation Angeleno in West L.A., his work weaves together a certain kind of nostalgia that always makes for a heartfelt studio visit. DM @gregitooo for availability and address.

   

   Eduardo Medrano at John Doe Gallery.

2. From there, I head over to John Doe Gallery, which is run by two artists, Eduardo Medrano Jr. and Alfonso Gonzalez Jr. They show some of the best up-and-coming artists in Los Angeles, and their openings are always a good time. It’s the kind of place where I’m just as likely to run into someone I know as I am to discover someone I don’t, which in my opinion is exactly what a good art space should do. 107 E. 11th St., Los Angeles. DM @johndoegallery for open hours.

   

   Vita Kari in front of “My Girlfriend Named Herself After a Water Bottle,” 2024, at their DTLA studio. Kari wears Barrio Drive.

3. You might recognize Vita Kari as “The craziest thing about being creative” personality from IG, but what you might not know is that they completed their MFA with a thesis on “Virality as Form,” wherein lies the proof in the pudding, a.k.a. their art. Vita uses textiles, performance and video to speak about internet culture, along with stunning visuals that incorporate their family’s Middle Eastern diaspora and history. DM @vitakari for availability and address.

   

   Samala Meza in her DTLA studio with works in progress.

4. I make my way over to Samala Meza, who creates soft, sexy paintings that look like she literally breathed a secret into them. Her studio is situated at Princess Castle, an artist-run studio space, so you can pop over to some other great artists while you’re there. DM @samalameza for availability and address.

   

   Devin Troy Strother on the roof of his studio overlooking DTLA.

5. Devin Troy Strother is an L.A.-born and -based artist and co-founder of Coloured Publishing, a printing press making books, zines, T-shirts and other editioned works, all by artists of color. Nestled among the produce district, there’s never a dull moment in Devin’s studio. Often working all hours of the night, there’s usually a cast of characters coming in and out, similar to the subjects you’ll see throughout his paintings. DM @devintroy for availability and address.

   

   Commonwealth and Council Team (L to R clockwise): Isabel Einaudi, Audrey Bui, Brenda Reyes-Chavez, Oliver Sweet and Young Chung.

6. What began as an artist-run exhibition space in Young Chung’s apartment 15 years ago has grown to be one of L.A.’s most championed emerging artist safe havens, Commonwealth and Council. I’ll always make time for this space if I’m in the neighborhood. 3006 W. 7th St., Suite 220, Los Angeles, door code: 01220 (please note that this space is not wheelchair–accessible). Thursday to Saturday, 10 a.m. to 5 p.m., @commonwealthandcouncil

   

   Holcomb in front of the Prince. Styled by Jocelyn Corona, wearing AYANEGUI, TANAMACHI and Vacr.

7. To round out the day, I recommend decompressing at the Prince in K-Town, a place where you can spot celebrities and L.A. artists under one roof. Many galleries have had their after-parties here, where you can catch up on the night’s gossip in a dimly lit booth over a kimchi pancake. 3198 1/2 W 7th St., Los Angeles. Call before your visit to confirm hours and dining details (this space is also not wheelchair–accessible). princektown.com

SATURDAY: Beverly Hills → Hollywood → Eastside

Jerson Hondall in the library of Gagosian Gallery, Beverly Hills.

8. I start the day by visiting one of my favorite people in the L.A. art scene, Jerson Hondall. Jerson worked for Curate LA back in the day, but now you can find him working as an artist liaison at Gagosian Gallery and serving on the board of LACE. He is a literal art encyclopedia, which you can see through his Instagram series #dosisdiariadearte, and he is one of the loveliest people you will find, so don’t be afraid to approach him if you see him out and about. DM @jersonhondall for availability.

   

   Jonny Negron in his Los Feliz studio featuring works in progress “virtue signal” and “tellurian lube.”

9. Next, I head east to Los Feliz to visit Jonny Negron at his home studio. His paintings make you feel like you’re sitting across the bar from some of the coolest people in the room. You might recognize his work, which was commissioned for Rosalía’s single “Dolerme.” There’s something about seeing his works in the exact place where they were made that makes the paintings feel even more alive. DM @jonnynegron777 for availability and address.

   

   LAST Projects exterior in Lincoln Heights with co-founder Ilona Berger and pup.

10. I then make my way to Lincoln Heights and visit LAST Projects, an alternative space and gem. This gallery has given many artists in L.A. their first shows in their early careers (myself included). It’s one of those places where I know I’m going to see something that makes me pause, even if I have no idea what I’m walking into beforehand. 206 S. Ave. 20, Los Angeles. Open Thursday, 1 to 5 p.m. and Sunday, 1 to 6 p.m. @last_projects

    

11. Next I visit Drex, owned and curated by Vivian Hicks, a vintage homeware store tucked into Cypress Park. With a knowledge of designers that is truly unmatched, Vivian scours the internet and estate sales to hand-select some of the most desired American Modern, Italian and French design collectibles ranging from the early 20th century to the early 2000s. DM @drex.drex.drex for an appointment and address.

    

    Huevos a la Mexicana breakfast burrito at Lupita’s Restaurant in Cypress Park.

12. I skipped breakfast, so Vivian recommends I go around the corner to Lupita’s Restaurant, and they do not disappoint with their huevos a la Mexicana breakfast burrito. Simple but effective. 2634 Idell St., Los Angeles. Open daily 7 a.m. to 2 p.m.

    

    Ever Velasquez outside of Charlie James Gallery on Chunk King Road, Chinatown.

13. Satiated, I hop over to Chinatown to visit curator Ever Velasquez at Charlie James Gallery. While her name might not be on the door, Ever is the star of the show, putting together show after show of L.A.’s hottest rising artists. 969 Chung King Road, Los Angeles. Open Tuesday to Saturday, 11 a.m. to 5 p.m. and by appointment. @charliejamesgallery @ever.a.k.a.thegirlabouttown

    

    Human Resources exterior in Chinatown.

14. A few blocks away, there is Human Resources. An L.A. staple, HRLA has been around for 16 years now and continues to showcase some of the most experimental works coming out of the city. This space is truly a breeding ground for pure creativity and expression. Make sure to check the calendar on their website to see what’s happening. 410 Cottage Home St., Los Angeles. @humanresourcesla

    

    Drinks at El Prado in Echo Park.

15. Finally, I end the day at El Prado, a local artist watering hole. Nick Fisher, the owner, used to bartend his personal bar called FISHTANK at gallery openings and come up with the craziest drink concoctions and home-brewed beers on theme with whatever exhibition was opening that evening. With names like the Loudspeaker cocktail and a Blood and Fire Smoked Lager, they were sure to get you litty. You can still sample his creations at the bar, albeit they might not be as experimental as they once were. 1805 Sunset Blvd., Los Angeles. Open Monday to Friday, 5 p.m. to 2 a.m., Saturday to Sunday, 2 p.m. to 2 a.m. @ficknish, @elpradobar

SUNDAY: South L.A. → Mid-City → Pico

Aleza Zheng in her South L.A. studio featuring “The Unbearable Lightness of Being,” 2026, “Of Providence,” 2026 and “All That Is In Heaven,” 2026.

16. I start Sunday with Aleza Zheng at the artist-run Tlaloc Studios. Much like her artwork, she is quite the whimsical, spontaneous person. The first time we met, I was deep in the trenches of L.A. Art Week, starving at my probably fifth art event of the day. I was ready to call it quits when Aleza popped out of her car, dressed to the nines, with multiple bags of In-N-Out. She’s been feeding me ever since. DM @alezazheng for availability and address.

    

    Dominique Clayton at Harun Coffee in Leimert Park.

17. From there I spend some time with Dominique Clayton in the heart of Leimert Park, where she was born and raised. Dominique is an L.A. native, curator and woman about town. She’s currently organizing Mom’s Night Out at Harun Coffee, a bimonthly meetup of mothers looking to connect with other creatives and artist moms. I love the way Dominique thinks about community — not as some abstract art world buzzword, but something you have to actually cultivate IRL. DM @lookatdominique to connect.

    

    Jamal Hasef in front of his mural “Sky is the Limit,” 2026 on 11th & Vernon in Leimert Park.

18. I make my way to see Jamal Hasef, who uses paint to move between the personal and the political, digging into the complex and sublime afterlives of the African diaspora in his canvases and portraits. You can check out his mural on the corner of 11th and Vernon or visit him at his studio in nearby Baldwin Hills. @_hasef_ DM for availability and address.

    

    Holcomb in front of Watts Towers in Watts, wearing Desigual and styled by Jocelyn Corona.

19. If you haven’t heard of or visited the fairy-tale world of Simon Rodia’s Watts Towers, you’re in for a treat. Next door to the famous landmark is the Watts Towers Arts Center, a historical site of political activism and assemblage art, most notably by L.A. legendary artist Noah Purifoy, who once ran the gallery. I love bringing people here because it reminds me of why I’m so enamored with the city: It’s weird, completely handmade and unlike anything else. 1727 E. 107th St., Los Angeles. Gallery hours are Wednesday to Saturday, 10 a.m. to 4 p.m., but you can check out the towers from the street any day of the week. wattstowers.org

    

    Books purchased from Reparations Club in Mid City (L to R): “Assata: An Autobiography,” “Love Poems’ by Nikki Giovanni, “Directed by Desire: The Collection of Poems” by June Jordan and “Communion: The Female Search for Love” by bell hooks.

20. By now I’m ready for some retail therapy, so I head to Reparations Club in Mid-City, my absolute favorite bookstore in Los Angeles. I could buy the entire store if my wallet and storage would allow, but on this particular trip my haul was “Assata: An Autobiography” by Assata Shakur, “Love Poems” by Nikki Giovanni, “Communion: The Female Search for Love” by bell hooks and “Directed by Desire: The Collected Poems of June Jordan.” Considering the state of literacy we are facing in this AI-driven world, I’d say we all could benefit from frequent visits here. 3054 S. Victoria Ave., Los Angeles. Open Monday to Saturday, 11 a.m. to 7 p.m., Sunday 11 a.m. to 5 p.m. @reparations.club

    

21. And finally, I end the weekend with pure sustenance. My last stop is Merkato, an Ethiopian cafe where the walls are filled with eclectic knickknacks and the plates are eat-with-your-hands style, packed with flavorful goodness; it’s the kind of meal that makes you want to linger. If you have the time, don’t skip out on the traditional Ethiopian coffee. 1036 1/2 S. Fairfax Ave., Los Angeles. Open daily 11 a.m. to 11 p.m.

Shelley Holcomb is an artist, curator, writer and cultural leader, whose work spans painting, installation, storytelling, advocacy and making art more accessible.

Kyiv, Ukraine – Russian Aerospace Forces (RAF) chief Aleksandr Chayko barely survived a blast that killed his son-in-law.

Chayko, who turned 55 in the last week of July, was reportedly having a belated birthday party on August 1 at a high-end Italian restaurant in central Moscow.

But the celebration was cut short, as an ‌unidentified woman carrying a homemade bomb tried to enter the restaurant. She was stopped by a security ‌guard, according to Russia. The explosive in her bag detonated, killing at least five people.

The Kremlin did not confirm the casualties, but blamed the attack on the “bloody tentacles” of Ukrainian President Volodymyr Zelenskyy’s government.

Kyiv has not commented on the attack.

Russia’s space programme in the firing line

Chayko helped lead Russia’s intervention in Syria and commanded Russian forces north of Kyiv in early 2022.

Ukraine has accused him of war crimes.

In May, President Vladimir Putin appointed him commander-in-chief of the RAF that controls the military component of Russia’s space programme.

The RAF’s satellites and ground-space facilities have been used for gathering intelligence, navigation, and supporting the coordination of ground troops and drone and missile attacks.

These facilities are located mostly in western Russia, and new Ukrainian long-range drones and missiles are capable of striking them.

“Key factories are few, and they all are within the reach of Ukrainian missiles,” Nikolay Mitrokhin, a researcher with Germany’s University of Bremen, told Al Jazeera.

“These attacks may result – and certainly will – in the problems with all of Russia’s space programme, including specifically civilian and international programmes,” he said.

‘Long-range sanctions’

In late June, Ukrainian drones hit the giant space communications centre in the leafy, tranquil town of Dubna outside Moscow that managed reconnaissance satellites and processed military data.

The strike damaged a 32-metre (105-foot) satellite antenna, hardware modular complexes, central control consoles and technical buildings.

“Our long-range sanctions against Russia for this war once again reached the Dubna space communications centre,” Zelenskyy said on June 30.

Russian authorities said an unspecified building in Dubna was damaged and a six-month-old baby died.

Ukrainian drones also struck three smaller space communication centres in western Russia and annexed Crimea.

“These centres are very expensive, very labour-consuming from the viewpoint of construction,” Anatoly Zak, a United States-based author and one of the foremost experts on the Russian space programme, told Al Jazeera. “It’s very difficult to transfer their functions to another infrastructure” because they manage geostationary satellites “tied” to a certain location.

So far, there have been no signs that the satellites lost orbit or became unmanageable, but “behind the scenes there are for sure serious communication problems”, Zak said.

Ukraine attacks ‘when there’s a fully-fuelled rocket on the launchpad’

On August 23, swarms of Ukrainian drones flew more than 1,800km (1,120 miles) to reach Russia’s northwestern Arkhangelsk region.

Some 40 drones were downed, regional authorities claimed, but at least two reached the area near Plesetsk, Russia’s military cosmodrome, or spaceport, and launchpad for intercontinental ballistic missiles and rockets carrying military satellites.

No harm was done. A day later, Roscosmos, the state-run space corporation, reported the successful launch of a rocket with unnamed “military satellites”.

The timing of the Ukrainian attack – along with two more strikes earlier this year – was calculated to strike a booster rocket that had just been fuelled and lifted for takeoff.

“There have been three attempts to air-raid Plesetsk, and not just air-raid, but air-raid at the moment when there’s a fully-fuelled rocket on the launchpad that is about to start,” Zak said.

The attempts were serious enough to be publicly reported to Putin.

“Our [Ukrainian] ‘friends’ did everything to make this launch not happen,” Dmitry Bakanov, head of the Kremlin-run Roscosmos space agency, told Putin in April.

At least a dozen drones are necessary to damage Plesetsk’s launch table or rocket assembly shop, according to Pavel Luzin, an analyst with the Jamestown Foundation, a think tank in Washington, DC.

The military satellites launched from Plesetsk are part of the Rassvet (Dawn) satellite fleet designed to rival and replace Starlink satellite modems by Elon Musk’s SpaceX company, Moscow claimed.

The world’s most launched spaceship

Sputnik 1, the Earth’s first artificial satellite, was the size of a fitness ball, and had nothing but a radio transmitter and three silver-zinc batteries inside.

The “Sputnik moment” was the US’s realisation, after the Soviet Union launched the first satellite in 1957, that the USSR had taken the lead in space technology and science.

But Sputnik 1 was launched on a modified R-7 – the world’s first intercontinental ballistic missile, designed to carry a hydrogen bomb across continents. The same rocket technology that could deliver a nuclear warhead into the US had been repurposed to put a satellite into orbit.

The R-7 became a prototype of the Soyuz booster rockets, the world’s most launched spaceships that made Soviet and then Russian launches routine and precise, unlike US launches of space shuttles.

“Rain or shine or sleet or snow don’t matter,” Mark Bowman, deputy director of NASA’s human spaceflight programme, told this reporter in 2007 at the Baikonur spaceport, the world’s oldest in southern Kazakhstan that Russia leases.

The only place where the Soyuz rockets are produced is the Progress Rocket and Space Centre in the Volga River city of Samara – and Ukrainian missiles struck it on August 15. The attack ignited a fire and slightly damaged one of the facilities.

“So far, we see that the damage in Samara wasn’t critical,” Luzin said.

If it becomes critical, Russia would be unable to manufacture the Soyuz rockets, but the existing stash of rockets would still last a year, he said.

Communist Moscow never advertised the military component of its space programme, emphasising its “peaceful exploration of space”.

The USSR was first to send a dog, a man and a woman into space, and to launch the world’s first space station. In 1988, its Buran space shuttle became the first to complete an unmanned orbital flight and land automatically.

Its unmanned probes soft-landed on Venus and Mars and took the first photos of the moon’s dark side.

Some key figures of the Soviet space programmes were born in what is now Ukraine, and a string of crucial design bureaus and manufacturing facilities kept working there after the 1991 Soviet collapse.

Following Russia’s 2014 annexation of Crimea and the subsequent breakdown in Russian-Ukrainian relations, Ukrainian aerospace facilities severed their longstanding ties with Moscow, disrupting decades-old supplies of booster rockets, guidance systems, electronics and other components.

Russia’s invasion of Ukraine also deepened the international isolation of its civilian space programme, with Western governments and space agencies suspending or abandoning several planned missions and partnerships.

After the war began in 2022, the European Space Agency terminated its cooperation with Roscosmos on ExoMars, removing the Russian-built Kazachok landing platform from the mission designed to search for signs of past life on Mars.

The same year, Berlin switched off its X-ray telescope on Spektr-RG, a Russia-German space observatory that maps clusters of galaxies and surveys the universe for black holes.

For the sake of seizing insignificant areas in eastern Ukraine, “Putin will waste the Russian space programme the way he wasted the rest of the Soviet legacy”, analyst Mitrokhin believes.

Yet Russia has not been completely cut off from international space cooperation.

Despite the collapse of some partnerships, NASA and Roscosmos have continued to work together on board the International Space Station, while Moscow has turned to China and other non-Western partners for new projects.

Meow Wolf is getting closer to unveiling its Los Angeles locale. When doors open — the company is targeting late 2026 — anticipate a walk-around, floor-to-ceiling experience that pays homage to the art of cinema with a sci-fi, psychedelic-like bent.

And to bring that vision to life, the Santa Fe, N.M.-based experiential art collective will be working with nearly 40 L.A. artists across multiple mediums. Expect more than a dozen sculptural and diorama artists to contribute, along with those who specialize in mixed media for interactive and video content. Local artists will also create a number of murals for the space, and a handful of artists have been chosen to curate their own life-size rooms in the venue at West L.A.’s Howard Hughes entertainment complex.

Artist Gabriela Ruiz will be contributing a major piece to Meow Wolf L.A.

(Jason Armond / Los Angeles Times)

While the bulk of a Meow Wolf exhibition is envisioned and designed by a core in-house team in Santa Fe, the company partners with dozens of local artists in each city to ensure a local flavor. Here in Los Angeles, the task of curating L.A. artists fell heavily to Han Santana-Sayles. As a SoCal native from a Mexican American family, Santana-Sayles has told me, “I would be dishonored” if the exhibit failed in its mission to capture the breadth of the L.A. population.

“It’s really important to make that intentional,” Santana-Sayles said. “I’m not just going out and saying, ‘They have art I like. I’m going to bring them in.’ It’s a combination. Yes, they’re an amazing artist, and they have a really important story for this region.”

Santana-Sayles worked closely with art curator AJ Girard as Meow Wolf’s local art liaison. Girard has spoken of being inspired by everything from L.A.’s emphasis on social media to commercialism to graffiti art.

“Social media and social capital is so relevant in our city,” Girard said. “How do we make fun of it in an avant-garde, punk, radical way? How do we poke holes at it?”

Artists tapped to create full-scale rooms at Meow Wolf L.A. include Gabriela Ruiz, who crafted an adorably vibrant, multicolored insect that will serve as a periscope, and collective Everything Is Terrible, who described their space as featuring a “cartoony, root vegetable floating alien god.”

Also look for contributions from Compton’s Charles E. Dickson, a renowned self-taught sculpture artist, whose public works can be found throughout the region, including at Metro’s Mariposa Station and outside the California African American Museum, and Jen Stark, whose geometric kaleidoscope art flirts with the natural and the synthetic. Stark’s “Chromatic Cascade” is a staple of downtown’s Art’s District.

Lauren YS (a.k.a Squidlicker) is also tapped to have a room at Meow Wolf L.A., known for hyper-vivid colors and surrealist mythology. The artist currently has a piece in “Mythical Creatures: The Stories We Carry” at the USC Pacific Asia Museum.

Downtown L.A. street artist S.C. Mero will be contributing a sculpture piece to Meow Wolf L.A.

(Kayla Bartkowski / Los Angeles Times)

Others with exhibiting rooms include Wayne White, album artist, surrealist and puppeteer, perhaps best known for his work as the main puppet-maker for the children’s show “Pee-wee’s Playhouse; Seth Bogart, known best as a local musician (Hunx and his Punx); upcycled fashion specialist Corinne Loperfido; cartooney psychedelic artist Killer Acid; and longtime Meow Wolf contributor Nick Toll.

Meow Wolf L.A. lists seven artists as contributing either video installations and games to the space, including artist/musician Vinyl Williams and musician/animator Hugo Shiboski with director/media artist Will Wharton. Animators Réka Bucsi, Agnus Oakes and Cadmiumcoffee, as well as digitial artist Blake Kathryn will also contribute. It was previously announced that local animation house Titmouse would be supplying media for Meow Wolf L.A.

Six artists are slated to paint murals for Meow Wolf L.A. Look for work from Bunnie Reiss, Ozzie Juarez, Greg Ito, Harlen Hue, Evelyn Tan and Devin Reynolds.

Finally, more than a dozen L.A. artists are listed as contributing either sculptures or dioramas to the exhibition. Those artists range from downtown L.A. street artist S.C. Mero to multidisciplinary artist Ruben Ulises to former Coachella Valley Music & Arts Festival contributor Sofia Enriquez.

Rounding out the list will be David Altmejd, Sharif Farrag, Joe Holliday, Nemo Gould, Alake Shilling, Elrod, Brooke Weston, Shrine, Hana Ward, Roberto Benavidez, Estevan Oriol, Wizard of Barge, Mike Chattem and Karla Ekaterine Canseco.

Meow Wolf helped define the modern immersive space. Since 2016, when the once-scrappy Meow Wolf opened Santa Fe’s “House of Eternal Return” exhibition, the company has welcomed about 10 million visitors across its four venues in locales such as Las Vegas, Denver, Houston and the Dallas suburbs.

The glowing bar is decorated like a DJ lives there with shelves of classic records, ghetto blasters, plush couches, upscale food and craft cocktails. It feels like seeing a comedy show in the living room of a friend with taste. Comics who’ve come to the stage include Donnell Rawlings, Iliza Shlesinger, Morgan Jay, Josh Johnson and Kam Patterson. Unlike most club shows that are quick to kick you out, the promoters encourage people to hang out for what feels like an after-party worth sticking around for. Though the show is seasonal and runs until Sept. 22, the promoters plan to come back in December.

When: 8 p.m. Tuesdays
Tickets: Varies

Aug. 30 (UPI) — NASA used SpaceX‘s Falcon Heavy rocket to launch the Nancy Grace Roman Space Telescope into space Sunday for a 1 million-mile journey to study some of the universe’s deepest secrets.

The rocket launched at 7:26 a.m. EDT from Launch Complex 39A at the Kennedy Space Center in Florida. The Falcon Heavy rocket separated 31 minutes into the flight and returned back to the launch site for later reuse.

There had been a 60% chance of favorable weather for the launch.

NASA Administrator Jared Isaacman called the launch of the telescope “exactly the kind of success story we want to see across NASA.”

“Delivered ahead of schedule and on budget, this mission reflects more than a decade of dedication from the NASA workforce and our industry partners. Now, Roman will give us a new atlas of the universe, push the boundaries of discovery, and demonstrate what is possible when America’s space program pairs bold ambition with disciplined execution.”

NASA said the telescope deployed its solar panels and lower instrument sun shade 1 hour and 23 minutes after launch. In the coming days, it will also deploy its high-gain antenna and a visor-like deployable aperture cover, perform two course corrections, and power on the Coronagraph Instrument.

In a few weeks, the telescope’s Wide Field Instrument — an infrared camera considered to be its primary instrument — will activate.

The Roman Space Telescope will travel 1 million miles in three months to reach its final orbit, a location called the second Sun-Earth Lagrange point. There, it’s expected to rapidly scan the sky and survey the universe about 1,000 times faster than the Hubble Space Telescope.

NASA said it expects to release its first images from the Roman Space Telescope in early 2027.

Aug. 28 (UPI) — President Donald Trump Friday signed an executive order to create the U.S. Space Academy to train and educate potential aerospace workers and service members.

“That’s a big deal. So, you think of West Point, and you think of Annapolis, and you think of the Air Force Academy, and you think of the Coast Guard Academy — great — they’re all great, but we’re going to have now a space force,” Trump said at NASA’s Johnson Space Center in Houston. “We’re going to have an academy for what the people in this room love the most.”

The action said the mandate for the academy is to “strengthen the Nation’s space workforce by expanding opportunities to educate and develop the next generation of leaders across the space domain.”

Trump also awarded the Congressional Space Medal of Honor to the crew of the Artemis II.

He also signed a directive to begin the process of creating the new academy by creating a commission chaired by NASA Administrator Jared Isaacman. The commission will report to the president within 120 days on key details to establish the school.

The White House said the academy will be a “NASA-led federal academy dedicated to combining rigorous technical education with leadership development, discipline and a durable commitment to public service. The Space Academy will develop a professional corps of civically grounded leaders prepared to advance American interests within the space domain.”

The location hasn’t yet been named, but Trump said in his remarks that Sen. Ted Cruz, R-Texas, has been pushing for it to be in Texas.

Trump created the U.S. Space Force in 2019 during his first term in office.

Aug. 25 (UPI) — In its 100th Falcon 9 launch of the year, SpaceX marked a record-setting 37 missions for the rocket’s first-stage booster, a reuse milestone.

The rocket launched early Tuesday from Cape Canaveral in Florida, carrying 29 Starlink internet satellites. There are already more than 11,000 Starlink satellites in orbit, making it the largest satellite constellation so far.

Falcon 9 rockets include extensive reuse of boosters, with nine of the company’s boosters making at least 30 flights. The one used Tuesday, B1067, entered service in June 2021. About 8.5 minutes after liftoff, the booster landed on a droneship in the Atlantic Ocean as the upper stage continued on to low Earth orbit.

Falcon 9 rockets flew 165 missions — all of them successful — in 2025. The reuse of the boosters makes the rockets cheaper and more efficient to use. While competitors have been working toward the same concept, SpaceX is so far the only one to manage it.

The next step for the company is the “megarocket” Starship, which is designed to be completely reusable multiple times a day. Only the Falcon 9 boosters are reusable.

Tuesday’s launch is expected to be the final one for Falcon 9 rockets in Florida. Kiko Dontchev, SpaceX vice president of launch operations, confirmed this in a social media post Tuesday.

“From here on, Starlink missions out of Florida will fly on Starship,” Dontchev wrote. “The West Coast team will continue regularly launching Starlink from Vandenberg.” This refers to Vandenberg Base in California.

SpaceX has not yet tested Starship in orbit. The next launch is expected in mid-September from Texas. If that one goes well, the next Starship launch will be from Florida.

“Once Starship is flying reliably several times a week, it makes sense to shift … production resources to Starship to get launch rate to several times per day,” SpaceX CEO Elon Musk said in a social media post Saturday.

Falcon 9 rockets launched for the first time in 2010. There have been nearly 700 launches since.

Aug. 23 (UPI) — China’s space agency on Sunday postponed the launch of an ambitious mission to search the south pole of the moon for ice due to poor weather.

The robotic lunar probe Chang’e-7 had been slated to take off on Sunday night but failed to meet launch conditions, the China Manned Space Agency said.

The agency added an “assessment was conducted following the principle of prudence, reliability and absolute mission success,” Xinhua reported.

The main reason for the delay was poor weather due to Tropical Depression Narra in the Gulf of Tonkin, Space.com reported.

Officials had at first pushed the launch back by a day, the news outlet reported. Now, it is unclear when the launch will happen.

The Chang’e-7 mission would have been the first in history to probe ice on the moon’s south pole.

“It looks like an incredibly capable and ambitious mission with multiple scientific components on the orbiter, lander, rover and hopper,” Katherine Joy, a professor at the University of Manchester, told SpaceNews. “There is a potential for a huge science return if the mission can successfully land at its intended landing site close to Shackleton crater.”

Joy, who studies lunar and planetary science, added the mission would represent “a really important step for understanding the future human exploration potential of the south pole of the moon, and for investigating the origins of lunar volatiles.”

China is set to launch its Chang’e-7 unmanned, robotic space mission, possibly as early as Monday morning, to look for ice water in the permanently shadowed craters of the moon’s south pole.

This marks China’s seventh and most ambitious moon mission so far. Here is what we know about it.

What do we know about Chang’e-7?

The Chang’e‑7 launch window runs from Monday, August 24 to Monday, August 31, according to launch observers. That means the mission could lift off on any day in that period.

The Chang’e-7 comprises an orbiter, a lander, a rover and a hopper.

• The orbiter is the main spacecraft which will remain in the moon’s orbit, mapping the surface and taking images while the mission is under way. It will also relay data and communications between the other Chang’e‑7 components and Earth.
• The lander is the vessel that will touch down on the lunar surface, loaded with the necessary scientific instruments for lunar exploration, near the edge of the Shackleton Crater, a 21km-wide (13-mile-wide) pit close to the moon’s south pole. Lunar missions before this have never come this close to the pole.
• The rover is a small robotic vehicle which can drive around the landing site and which carries equipment to analyse the local environment, including rocks and soil.
• The hopper is a small robotic craft powered by solar energy, designed to “hop” – or fly – short distances from the surface of the moon and land again. It will be used to explore the Shackleton Crater.

How do we know there is water on the moon?

Over the past two decades, several space missions have established that there is water on the moon.

Since the 1960s, even before the first Apollo landing in 1969, scientists speculated that water could exist on the moon. However, when Apollo crews returned samples for testing in the late 1960s and early 1970s, they appeared to be dry.

Finally, in 2009, NASA deliberately crashed a rocket segment and its probe into a shadowed lunar crater to analyse the dust plume it kicked up. This provided one of the clearest direct confirmations that significant ice water does exist on the moon, building on earlier detections of water and hydrogen by probes.

In October 2020, NASA scientists announced that water on the moon is more widespread than previously known. They said water molecules had been found to be encapsulated within mineral grains on the lunar surface and speculated that more water is hidden in ice patches which are in permanent shadows.

NASA describes these permanent shadows as dark areas inside deep craters near the north and south poles of the moon where sunlight has not reached for millions or even billions of years. In 2018, prior to confirming it in 2020, NASA had detected water ice in shadowed parts of the moon through mapping.

Why is it important to find out more about the water on the moon?

Expanding knowledge about water on the moon is vital because ancient polar ice may have preserved a record of lunar volcanic activity and of water delivered by comets and asteroids to the Earth-moon system, offering clues to how our own oceans originally formed.

Additionally, if there is enough water on the moon that is realistically accessible, it could serve as a source of drinking water for crewed lunar missions, and could also help to keep equipment cool.

Hydrogen could also be extracted from moon water to provide fuel, while oxygen could be extracted to breathe, supporting onward missions to Mars or lunar mining.

Could anyone ‘own’ the water on the moon?

The 1967 United Nations Outer Space Treaty bans any nation from claiming sovereignty over the moon or owning it as territory. It does not explicitly prohibit commercial operations, but it requires private activities in space to be authorised and supervised by states and leaves key questions about resource ownership unresolved.

Which recent space missions have searched for frozen water on the moon?

In 2023, Russia’s lunar spacecraft, Luna-25, was launched to look for frozen water in the moon’s south pole. However, the Luna-25 spun out of control and crashed. The crash prevented any scientific data collection or water discovery.

Racing against the Luna-25 mission was India’s Chandrayaan-3, which also aimed to expand knowledge of lunar water ice. Chandrayaan-3 successfully landed in August 2023 and found critical new evidence of water on the surface of the moon’s south pole through soil temperature readings.

Why is exploring the moon’s south pole a challenge?

Attempted landings at the moon’s south pole have failed before because of its challenging terrain, which is full of craters and deep trenches.

The south pole is far from the equatorial region targeted by previous missions, including the crewed Apollo landings.

What is different about the Chang’e-7 mission?

The upcoming Chang’e-7 is aiming to expand knowledge about where, exactly, water is located in the craters of the moon, how deep it is, what form it is in and whether it is indeed possible to access it.

The Chang’e-7’s six-legged hopper has been designed to jump into and out of the deep, shadowed craters near the south pole that are hard for traditional rovers to reach, to look for water ice and other resources.

No previous space mission has used a dedicated hopper to jump in and out of lunar craters in this way.

Aug. 20 (UPI) — NASA and Katalyst Space have announced that the mission to boost the altitude of a Swift Observatory space telescope has failed.

The announcement came down on Wednesday after an attempt to use the LINK spacecraft ran into altitude control issues, NASA and Katalyst Space said in a press release. The spacecraft was meant to raise NASA’s Neil Gehrels Swift Observatory to a higher altitude.

LINK is still set to attempt rendezvous and proximity operations with the Swift Observatory.

“NASA should be willing to move quickly and take smart risks when the potential return is worth it, and that is exactly what we did with this mission,” Jared Isaacman, NASA administrator, said in a statement. “This is not the outcome we were working toward, but it does not change why this mission was worth attempting.”

If the mission was successful, LINK would have allowed the Swift Observatory to extend its mission, the press release says. NASA expects Swift to re-enter Earth’s atmosphere this year.

The Swift mission launched in 2004. The observatory has been used to study gamma-ray bursts. While planned originally as a two-year prime mission, it has remained in operation in low Earth orbit for 21 years.

Increased solar activity has caused what NASA describes as a rapid “decay” of Swift’s low Earth Orbit.

The LINK spacecraft was launched on a Northrop Grumman Pegasus XL rocket from Kawjalein Atoll, Republic of the Marshall Islands, in the South Pacific Ocean, on July 3.

Katalyst designed and manufactured LINK in less than a year after being awarded a $30 million Swift Boost contract from NASA in 2025.

“We knew this was a high-risk, high-reward mission — a first-of-its kind attempt, developed on an unprecedented timeline driven by the Sun’s activity,” Shawn Domagal-Goldman, director of NASA’s Astrophysics Division, said in a statement. “We were all hoping for more science from Swift. But we knew the takeaways from this mission would be worthwhile either way, and we have gained so much through the series of accomplishments up to this point.”

Earlier today, Chinese firm LandSpace achieved the country’s first successful recovery of a reusable space launch rocket booster on land. This follows China’s first-ever recovery of a reusable space launch rocket booster last month, which state-owned China Aerospace Science and Technology Corporation (CASC) conducted at sea using a specially configured ship. Reusable boosters can lower costs and increase the tempo of launches dramatically, which would be extremely beneficial for China’s already massively expanding military and national security space enterprise. It could also go a long way to closing the gap on commercial launch costs with the U.S.

“On August 19, 2026, at 07:35 (UTC+8), the ZhuQue-3 (ZQ-3) Y2 reusable launch vehicle lifted off from the Dongfeng Commercial Space Innovation Pilot Zone. Approximately 137 seconds after lift-off, the first and second stages separated. The second stage continued its flight and successfully delivered the Honghu 03 satellite, independently developed by Hongqing Technology, into its designated orbit,” according to a post from LandSpace’s official account on X. “At approximately 07:41, the first stage performed a successful soft touchdown at the LandSpace Landing Site#1 in Minqin County, Gansu Province, following the planned trajectory – marking the full success of the flight test mission.”

ZhuQue-3 first landing

“This mission marks China’s first-ever successful recovery attempt of the first stage of an orbital-class launch vehicle using landing legs, and China’s first successful booster recovery on land,” the company wrote in another post on X. “It is a pivotal flight test for ZhuQue-3 as it transitions from the technological demonstration and verification phase toward the engineering application phase of reusability. This mission further verified the design correctness and reliability of the ZhuQue-3 reusable launch vehicle system, validated its first-stage recovery capability and engineering maturity.”

This is only the second-ever launch involving the two-stage ZQ-3. The first launch came last December, and the upper stage successfully reached low Earth orbit (LEO). However, the attempted recovery of the first stage booster failed and it exploded on the pad. “Abnormal combustion occurred during the process, preventing a soft landing on the recovery site,” according to a machine translation of a subsequent report from Chinese state-run media outlet Xinhua.

A complete ZQ-3 space launch rocket is around 216.5 feet (66 meters) long and close to 15 feet in diameter (4.5 meters). It can reportedly loft up to 14.2 metric tons of payload into LEO.

The design of the reusable ZQ-3 booster, including its fold-out landing legs at the base and stabilizing fins at the top, is very reminiscent of U.S. firm SpaceX’s Falcon 9. The ZQ-3 and Falcon 9 (229.6 feet/70 meters tall, 12 feet/3.7 meters diameter) are also similar in overall size, but the latter has a higher stated payload rating (maximum 22.8 metric tons to LEO). SpaceX pioneered reusable space-launch booster technology. The company is currently the top space launch provider globally, by far, with the U.S. government, and more specifically the U.S. military, being its chief customer.

LandSpace has not shied away from comparisons to the Falcon 9, and has reportedly said the primarily stainless steel construction of the ZQ-3 makes it cheaper to produce than its American competitor. It is also worth noting here that other companies in the United States, like Blue Origin, and elsewhere globally are pressing to enter the market place, as well.

The ZQ-3 also notably uses liquid methane as its main propellant. “A methane-liquid oxygen propellant mix offers advantages in performance and reduces issues of soot formation and coking for purposes of reusability,” according to a 2023 story from SpaceNews.

LandSpace has already claimed the title as the first anywhere in the world to get a liquid methane-fueled rocket into space and then into orbit with its earlier two-stage Zhuque-2 (ZQ-2) design. To date, the company has conducted eight ZQ-2 launches, six of which have been successful. The company’s original design was the three-stage ZQ-1, which it attempted to launch just once, without success, in 2018.

LandSpace’s official launch video of Zhuque-2 Y2 methane rocket

As noted, LandSpace’s achievement today follows CASC’s successful recovery of the reusable booster from a two-stage Long March 10B space launch rocket in July. The state-run aerospace firm used a net-like device installed on a ship to ‘catch’ the booster as it returned to Earth. This method of recovery means that the Long March 10B booster does not have, or necessarily need, landing legs, though it does have fins for stabilization at the top.

Long March-10B first landing

The Long March 10B is part of a family of space launch rockets with multiple stage and booster configurations. The first-ever launch of a Long March 10-series rocket, a 10A variant, only came in February. In that instance, the booster did return to Earth vertically, but set down in the sea rather than being recovered. CASC is also currently developing reusable versions of its Long March 12 design.

Long March-10 launch and landing

LandSpace’s ostensible focus is on commercial launch opportunities. CASC’s Long March 10 family is generally discussed in the context of China’s nominally civilian space program, including flights to the Tiangong space station and plans for a crewed mission to the lunar surface.

At the same time, it is hard not to see this continued push toward new reusable space launch capabilities having huge impacts on Chinese military and other national security activities outside the Earth’s atmosphere. A mature, reliable reusable space launch capability would drastically accelerate China’s access to space across the board while also lowering costs. This is especially vital for the deployment of new large distributed constellations.

This would also increase China’s ability to compete on price in the commercial space launch market globally. As noted, the United States currently enjoys a decided competitive advantage in this arena worldwide, thanks largely to SpaceX and its reusable launch options. The benefits of securing a greater share of this market could easily feed back into Chinese national security applications by helping further spread cost burdens and fueling accelerating development of this class of space launch systems.

In the meantime, the Chinese government has already been expanding its space-based intelligence gathering and other capabilities at a breakneck pace using non-reusable launch options.

“I think the ongoing greatest challenge is just the speed at which China is moving to rapidly improve their space capabilities and the breadth that that potentially poses,” U.S. Space Force Gen. Stephen Whiting, head of U.S. Space Command, said at the annual Space & Missile Defense (SMD) Symposium last week, at which TWZ was in attendance. “China is moving breathtakingly fast.”

Whiting was responding to a question about what he felt were the greatest challenges facing his command over the next year to 18 months.

What “[China’s] President Xi [Jinping] has decided to do is build the second-best remote sensing architecture in the world from outer space, and that’s now what they have,” Lt. Gen. Gregory Gagnon, head of the Space Force’s Combat Forces Command (CFC), also told TWZ and others at a roundtable at the Air & Space Forces Association’s (AFA) Warfare Symposium in February. “So when 2013 started, and he came to power, he had less than 100 satellites that were the total of what China had in outer space. They have about 1,900 today.”

“Over 500 of those satellites are remote sensing satellites, which are purposely designed and networked to track mobile forces such as U.S. carriers, destroyers, and cruisers in the Pacific, as well as aircraft that deploy around the Pacific. Those have been built with a purpose. The purpose is to cue their long-range fire weapons,” he added.

The U.S. military is now openly calling for new anti-satellite weapons to challenge China’s growing presence in orbit, further underscoring the scale of these developments.

With the new milestones just in the past two months, Chinese aerospace firms now look to be moving very fast in the realm of reusable space launch boosters, which only further fuel its many ambitions in orbit and beyond.

Contact the author: joe@twz.com

Former Maj. Gen. John Bruce Medaris, the military director of the nation’s unmanned space program who after a seemingly miraculous recovery from cancer devoted his remaining years to the Episcopal priesthood, has died of the disease, it was learned Sunday.

Medaris was 88 when he died Wednesday at his summer home in Highlands, N.C., after a long struggle against bone and lung cancer. The announcement was made by friends in Florida and reported by United Press International.

He had commanded the Army’s early space program, the Army Ballistic Missile Agency, when it orbited America’s first satellite on Jan. 31, 1958. The program was soon turned over to the civilian control of the new National Aeronautics and Space Administration.

Col. Pat Patterson of Maitland, Fla., a friend of Medaris’ for 47 years, said the former general had picked the nation’s first team of space scientists, both military and civilian, “and I have never seen a team surpass that one.”

The historic team that built those first missiles was headed by German scientist Wernher Von Braun, father of the Saturn V rocket that was to send Americans to the moon and a pioneer in the development of Germany’s wartime V-2 rocket. Kurt H. Debus, the Kennedy Space Center’s first director, was another team member.

The expatriated German scientists that included Von Braun had been sent after the war to Ft. Bliss, Tex., and later transferred to the small north Alabama cotton town of Huntsville where Medaris became their commander.

There was little sense of urgency about the nation’s embryonic space program until the Korean War broke out in 1950. Then seven years later, on Oct. 4, 1957, the Soviet Union launched the 184-pound Sputnik I, the world’s first orbiting satellite.

On Dec. 6, Medaris’ team tried to respond by sending a three-pound satellite into orbit, but the Vanguard rocket which was to have propelled it rose two feet off its Cape Canaveral launch pad and exploded into a giant fireball.

America finally got into space Jan. 31 when a Jupiter C booster hurled the 31-pound Explorer I into orbit. The satellite discovered the Van Allen Radiation Belt.

Medaris was born in Milford, Ohio, and at 16 lied about his age to get into the Marines. After a couple of years, he resigned and tried his hand at business, where he made but then lost a fortune.

Medaris entered the Army as a second lieutenant and came through 300 days of World War II combat unscathed.

An ordnance expert, he served as chief of the first Army contingent to Argentina from 1949 to 1952, and in 1955 was named commander of the Ballistic Missile Agency.

He became known as an aggressive, often arrogant commander who would roll over anyone in his way. He even carried a swagger stick for emphasis.

But in 1964, four years after retiring from the service, he was stricken with bone cancer and told he had only 18 months to live. Eighteen months later he was not only still alive, but the cancer somehow had gone into remission.

“The thought had sometimes crossed my mind that perhaps a power, or whatever it was, was keeping me intact because there was some important job that I was destined to do,” he said in a 1970 interview.

He told the Los Angeles Times in a 1982 interview from Cape Canaveral, where he had gone as an honored guest to watch the launch of the space shuttle Columbia, that he decided to repay the debt by service to his church.

He said he originally intended to become only an Episcopal deacon but “soon I found myself irresistibly forced into (other) situations.” He thus became the Very Rev. John B. Medaris, rector of Anglican churches in Maitland and Orlando, Fla.

In recent years, the International Aerospace Hall of Fame made Medaris a fellow, its highest award. The Army awarded him the first Medaris Award to Army Space Pioneers.

In the meantime, the cancer resurfaced in 1970 but again went into remission, returning only recently.

Although he had become a man of God, he did not lose the aggressiveness that had marked his military days and remained particularly critical of the decisions made many years earlier that separated military and civilian space objectives.

“It’s one of the greatest mistakes we ever made.”