vision

General Atomics is calling attention to a new mission for its Mojave short takeoff and landing (STOL) drone: hunting uncrewed aerial threats with laser-guided Advanced Precision Kill Weapon System II (APKWS II) rockets. The company put a heavy focus on this planned capability in a larger vision for Mojave that rolled out today.

Mojave is also envisioned as launching its own kamikaze drones, escorting friendly helicopters, spotting targets for artillery, and even transporting small cargoes. With its short and rough field capabilities, the drone could also push these capabilities far forward, including to island outposts during a future conflict in the Pacific. This was all showcased in a new computer-generated video, seen below. General Atomics’ Aeronautical Systems, Inc. division (GA-ASI) showed the video first today at the Army Aviation Association of America’s (AAAA) 2026 Warfighting Summit, at which TWZ is in attendance.

Mojave STOL: Real. Rugged. Ready Today.

General Atomics is also now officially referring to the drone at the center of the video as Mojave STOL. The company has previously used the name Gray Eagle STOL to differentiate planned production models from the already flying Mojave demonstrator, which first broke cover in 2021. Mojave is derived from the MQ-1C Gray Eagle, which itself leveraged the preceding MQ-1 Predator and MQ-9 Reaper designs.

“General Atomics is all-in on providing the best STOL solution for the Army and U.S. allies worldwide,” General Atomics spokesperson C. Mark Brinkley told TWZ. “Everything you see is a capability we can do right now, things already demonstrated on a real, flying aircraft.”

The new video, set “somewhere in the Western Pacific,” focuses first on the rocket-armed drone hunter mission. A Mojave STOL is depicted using an EagleEye multi-mode radar, as well as its infrared sensor in the turret under its nose, to spot and track a pair of kamikaze drones clearly modeled on the Iranian-designed Shahed-136 pattern. EagleEye is another General Atomics product, which was first unveiled in 2022 and has a demonstrated air-to-air target acquisition capability. It also has surface search, synthetic aperture radar (SAR) imaging, and ground moving target indicator (GMTI) modes.

The drone is then shown alerting a forward U.S. outpost to these approaching uncrewed aerial threats via satellite. Using a ruggedized laptop, an operator on the ground then orders the kamikaze drones to be destroyed. A Mojave carrying two 19-shot 70mm rocket pods, one under each wing, then swoops in and shoots them down. Afterward, it is also depicted being rearmed at a very rough-looking, unimproved jungle airstrip.

“We’ve shown APKWS [BAE Systems’ 70mm Advanced Precision Kill Weapon System II laser-guided rocket] mounted to Mojave in a static display at some of the recent U.S. Army shows where Mojave STOL was present,” General Atomics’ Brinkley told us. “Integrating new weapons is a multi-part process. Fit tests, weight considerations, captive carry for airworthiness, software, [and] actual live-fire.”

“For Mojave STOL and other GA-ASI aircraft, we’re inside that process now with APKWS,” he added. “It’s flying and firing soon, [in] weeks not months.”

“APKWS has already been demonstrated on other aircraft against airborne targets, so we know the weapon itself works for this mission,” he also noted. “GA-ASI has successfully destroyed other airborne targets using various weapons, including AIM-9X and Hellfire, so we know we can track, target, and hit flying objects of various sizes and speeds.”

APKWS II has had a meteoric rise in popularity in the air-to-air role since the U.S. Air Force F-16 fighters first began using the rockets this way in combat against Houthi drones in 2024, which TWZ was first to report. APKWS II was originally designed as an air-to-surface weapon and then also adapted to the surface-to-air role against drones. The total number of U.S. military and foreign aircraft cleared to use a variant of the rocket specifically optimized for air-to-air use continues to grow. Other companies that make similar laser-guided rockets are also now adapting them for employment in the anti-air role.

As an anti-air weapon against slower-flying and less dynamic targets, APKWS II offers immense benefits over traditional air-to-air missiles when it comes to cost-per-engagement and magazine depth, as you can read more about here. Just carrying two 19-shot pods, Mojave has an impressive 38 engagement opportunities. The drone has six underwing pylons and could carry additional pods, as well as other stores.

After the drone-hunting vignette, General Atomics’ new Mojave video moves on to show one of the drones leading a group of AH-64 Apache and UH-60 Black Hawk helicopters into apparent hostile territory. The drone fires an AeroVironment Switchblade 600 loitering munition to destroy an enemy mobile surface-to-air missile system to help clear the way. GA-ASI, in cooperation with AeroVironment, has previously demonstrated the ability of Switchblade 600 to be air-launched from the MQ-9 Reaper.

The video also shows Mojave being used to find and fix enemy forces, which are then engaged by friendly 155mm howitzers, as well as to carry cargo in underwing pods to forward locations. GA-ASI has previously showcased the potential value of Mojave in the latter role as part of a larger construct to provide logistics support during future expeditionary and distributed operations, even in actively contested environments.

The new video caps off with a Mojave firing on unseen targets with a pair of underwing Minigun pods. This is another capability General Atomics has previously demonstrated in real life. The drone can also carry other stores, including AGM-114 Hellfires and AGM-179 Joint Air-to-Ground Missiles (JAGM), on the pylons under its wings.

General Atomics is pitching the overall vision presented here for Mojave heavily to the U.S. Army, though it has also been engaged with other potential customers. Testing in cooperation with authorities in the United Kingdom and South Korea has demonstrated how the drone’s short-field capabilities could also translate to naval operations from aircraft carriers and big deck amphibious assault ships. Last year, GA-ASI announced a partnership with Hanwha Aerospace in South Korea to produce what was still then being called Gray Eagle STOL in that country.

Mojave Aircraft Carrier Takeoff and Landing

“Mojave STOL provides the versatility that the U.S. Army and others need for the future, with the endurance and persistence they’ve come to rely on, underpinned by experience gleaned from almost 10 million total flight hours,” General Atomics’ Brinkley told us. “That’s why Hanwha jumped in as our partner on this, bringing international investment to further buy down risk.”

“The U.S. Army wants to be successful right out of the gate. No stumbling, no fumbling,” he added. “They’re already integrating tactical drones into the force and experimenting with how that will change the nature of American warfare. They’re bringing a new tiltrotor online. It’s a period of massive change for Army aviation.”

The tiltrotor in question is the MV-75A, now officially nicknamed the Cheyenne II, which Bell derived from its V-280 Valor design. You can read more about the Army’s current plans for this aircraft here.

The Army is now in the early stages of formulating plans to acquire uncrewed companions for the MV-75A and its existing fleets of crewed helicopters. However, the focus so far has been on vertical takeoff and landing (VTOL) capable designs rather than a fixed-wing type like Mojave, as TWZ has explored previously. In general, greater independence from traditional runways has been a major area of focus across the U.S. military in recent years when it comes to planning for future aviation operations, especially in the context of a high-end fight in the Pacific against China.

“Our engineers are obsessed with developing the next-generation of uncrewed aircraft. More than a decade ago, they dug deep into VTOL and runway independence,” General Atomics’ Brinkley explained. “What they discovered was payload and endurance tradeoffs with VTOL create a lot of challenges when applied to real combat operations. It’s a tough hand to play.”

“Mojave STOL is flying right now. We have five million square feet of existing manufacturing, ready to go,” he added. “We can help the Army integrate a real, rugged, ready today Mojave STOL into the force with far less risk to success.”

Questions have also been raised in the past about the survivability and general utility of drones like Mojave, as well as predecessors like the MQ-1C and MQ-9, in future high-end operations. The latest conflict with Iran has underscored the vulnerability of the Reaper, in particular. Air-launched drones and stand-off munitions, as well as new self-protection capabilities, can help keep these drones further away from enemy defenses. TWZ has also previously highlighted how a drone like Mojave could be used to provide more localized force protection, including against uncrewed aerial threats, at forward outposts and rear areas in the context of a larger conflict.

It’s also worth noting here that while Mojave would not be as quick to respond to incoming drone threats as a tactical jet, it would be able to loiter in a particular area for a longer period of time. It could also provide strike and intelligence, surveillance, and reconnaissance (ISR) support while on station. Being able to fly from unimproved forward airstrips would also allow it to operate organically with the forces it is assigned to support.

When it comes to the Army, it remains to be seen how that service’s visions for its future drone fleets and crewed-uncrewed teaming evolve. As mentioned, the Mojave STOL’s capabilities, including its ability to act as a rocket-armed drone hunter, could be attractive to other potential operators, who might fly the drones from bases on land or ships at sea.

In the meantime, General Atomics continues to expand on the Mojave concept, which now includes the planned integration of APKWS II laser-guided rockets.

Contact the author: joe@twz.com

Spring is the season of creation, a time of renewal and new beginnings. In Los Angeles, alas, we were, last spring, a city of cinders. It was a time to mourn.

A hard year followed with floods, ICE, AI, etc., menacing our native optimism. Making matters worse, in December we lost L.A.’s grand visionary vizier, the architect who time and again built us out of civic funk and transformed L.A., inspiring the city he so loved to look good, feel good and do good.

But that is still the case. So many plans Frank Gehry imagined for L.A. still remain. Gehry bequeathed blueprints and models, sketches and concepts, for his large and devoted team of younger architects and next-generation visionaries equipped to fabricate our way out of angst.

Isn’t there supposed to be an Olympics on the way for which the city appears ill-prepared? Spring 2026 is the time to build.

A couple of springs ago, L.A. County dubbed the blocks around Gehry’s masterpiece, Walt Disney Concert Hall, the Grand Avenue Cultural District. This includes the rest of the Music Center, Museum of Contemporary Art, the Broad and Colburn School. The Grand, Gehry’s resplendent complex across the street from Disney, had recently opened and ground was about to be broken for the Colburn Center, a 1,000-seat concert hall equipped to also serve dance, opera and whatever yet-to-be-invented genres Gehry designed it to enable.

The Colburn Center is well on its way to completion next year. Bits of the building’s pink skin have started to peek out like spring blossoms on the construction site at 2nd and Olive. The Broad has begun an expansion. But after two years, nothing else has been done to make this the cultural district it must become, one unlike anything else in any city.

Four springs ago I toured Grand Avenue with Gehry to gather what he had in mind for an arts district. When Disney Hall opened in 2003, it instantly became an enduring symbol of L.A., overtaking the Hollywood sign in many cases. The Dodgers want to parade joy in winning their second World Series in row last October, where else but in front of Disney? But not in front of all Gehry had in mind.

We will soon have a pair of futuristic new museum buildings to show off this year: the David Geffen Galleries, the controversial Los Angeles County Museum of Art’s Peter Zumthor building (I predict it will prove a sensation), and the new Lucas Museum of Narrative Art (no predictions on that one) next door to the Coliseum. But the fact that each is a 15-minute ride away from the cultural district’s new Metro station only makes the district even more of a center.

A center, indeed. Gehry’s vision included completing the original plans cost-cut out of Disney a quarter-century ago, along with new modifications and much more throughout the area. Some are more costly than others. Enough could be done on Grand Avenue in time for the Olympics to make a difference if we begin this minute.

Since its opening, Disney has been — shamefully — the most poorly lit building of its stature in the world. Gehry had chosen the specific steel for its capacity to reflect light. His idea was to project on the building whatever concert was taking place that night. No sound, just imagery. Belt-tighteners didn’t want to commit the $2 or $3 million or whatever and go through the trouble.

It was spectacularly tested at the hall’s 10th anniversary, but with tacky prerecorded video and crummy amplification. Facilities are now included in the Grand for projectors. It would have been amazing in 2003 and will be amazing now. The Grand has been disappointingly slow to attract the restaurants, bars, cafes and shops it needs to create a scene. The projections could change all that and even create enough of a ruckus to get a reluctant, car-crazed city to make that Grand Avenue block pedestrian.

There is much more for Disney. Gehry wanted to turn BP Hall, where preconcert talks occur, into a small chamber music hall with a suspended balcony. He had plans for reconfiguring the seldom-used small outdoor Keck Amphitheater into an enclosed jazz club for Herbie Hancock and turning the little-used 1st Street entrance into a glass-enclosed bar that would be named the Ernest, in tribute to Ernest Fleischmann, the L.A. Phil executive director who was responsible for building Disney.

Disney was supposed to have a pit for the orchestra, allowing for staging opera and dance. The plans exist. That could be done in a summer for a couple million. Bottom-liners had also nixed Gehry’s original design for a more gracious lobby with a cafe out front, not the gloomy one installed against his will.

The Colburn Center has the potential for being another game changer for the area, a vibrant new hall where we are promised upward of 200 events a year from all walks of musical life, local and international. But Gehry had in mind even more.

He intended to lower the steep and pedestrian unfriendly 2nd Street hill, so that it would be an easy walk from the new Metro station two blocks away, and add two more pedestrian blocks by diverting traffic to the 2nd Street tunnel. This would connect the cultural district with Grand Central Market on one end and the Broad on the other. Then 2nd could itself become a lively street with the stores and restaurants a “district” needs.

A model of architect Frank Gehry’s design of an addition for Colburn School.

(Christina House/Los Angeles Times)

The extraordinary original plans for the Colburn Center included turning the parking lot across 2nd from the hall into a public plaza with a giant video wall and high-end outdoor sound system, for projecting nightly concerts in the hall. Gehry was a devoted outdoor-indoor architect, and he designed for the hall a balcony on which musicians can perform.

That initiative has thus far been blocked by City Hall officials, fearful of the tunnel’s aging infrastructure. Although if that’s the case, I’m not all that eager to be in the tunnel as it currently is when the Big One comes along. This is where L.A. shows its moxie. Upgrade the tunnel. Now! If this were Beijing, New Delhi or Hanoi, it would be a no-brainer.

Gehry next proposed building low-cost artist housing in Grand Park directly across from the Music Center, which would further create a true arts community. There has been talk of renovating the Dorothy Chandler Pavilion for three decades and that’s all it’s been. The corporate-esque recent Music Center plaza could use a little excitement, maybe a Phase II.

Arts make a city. The Edinburgh Festival in Scotland was created after World War II to help bring the city back to life. After its fire-bombing, Tokyo founded a bevy of symphony orchestras as a phenomenal experiment in mass antidepression. Beethoven’s Ninth Symphony played no small role in lifting the collective mood, preparing Tokyo to create what now feels like the world’s most arresting capital.

Unlike Scotland, unlike England, unlike Germany, unlike France, unlike Italy, unlike Poland, unlike Russia, unlike Finland, unlike the Czech Republic, unlike China, unlike any number of countries, America has no major international arts festival these days. We had one in L.A. in 1984 with the Olympic Arts Festival. The Cultural Olympiad in 2028 has shown no bones. But if we make the cultural district what it could be, there would be no better place anywhere for a major festival.

We have the goods. L.A. artists helped make the modern Salzburg Festival the meaningful model for all others. In 1992, the summer before Esa-Pekka Salonen became music director of the Los Angeles Philharmonic, he and the orchestra were invited to shake up clinging Austrian tradition. With the help of director Peter Sellars, they staged Messiaen’s epic opera “Saint François d’Assise,” with pyramids of televisions, resulting in music and monitors upending, in Mozart’s hometown, the role of the modern opera and, so to speak, the sound of music.

Over succeeding decades, both Sellars and Salonen have been Salzburg Festival lodestars. Last summer they were back staging two monodramas, Schoenberg’s “Erwartung” and “Abschied” (the last movement of Mahler’s symphonic song cycle “Das Lied von der Erde”). Conductor and director looked with shocking depth into the “Expectation” of death and gave a “Farewell” to the “Song of the Earth” we all await. I saw it twice and can’t imagine how anyone came away from it quite the same person, not more alive, not more fragile. Art on the stage doesn’t get deeper than “One Morning Turns Into an Eternity,” as Sellars named the production. Salonen, who conducted the production with Vienna Philharmonic, is now about to become the L.A. Phil creative director in the fall and will bring the production to Disney with the L.A. Phil next season. It is thus far the most important opera news of next season in America. All the more reason to build that pit in the hall and get started on much bigger plans.

Salzburg, which manages to come up with around $80 million from here and there, also helped with the question I’ve evaded: Who’s going to pay for all this? I’ve evaded it because it’s the wrong question. Money only started pouring into the building of Disney Hall when people got wind of what it was going to become. Five years ago, Crypto.com paid more than $700 million to change the name of Staples Center. That amount, which created nothing but an advertisement for a product of dubious value to society, is the price of two Walt Disney Concert Halls and probably all of Gehry’s projects put together. It is the amount that could fund nearly nine Salzburg-scale festivals.

If we let ourselves believe that L.A. wealth only cares for mega-crypto advertising, mega-mansions and mega-yachts, then L.A. is over. It isn’t. Do we want to show only that to the world? Downtown, and prominently Crypto.com Arena in L.A. Live, have been designated a center for LA28, as we’re calling the Olympics. That makes a graciously glorifying cultural district, which functions as creation being existential not commercial, just up the road from L.A. Live, L.A. live.

When one morning turns into an eternity, you don’t ask for the bill.

MILAN — Milan’s two first-division soccer teams share a stadium, the majestic San Siro, and the top two spots in the Serie A standings. They each have American owners and fanatically loyal supporters. And both are among the most iconic and successful teams in history.

But that’s where the similarities wane. Because while Inter Milan believes it has a story to tell, AC Milan has locked the doors, drawn the drapes and taken the phone off the hook.

I know this because ahead of last month’s Milan-Cortina Winter Games I reached out to both clubs and asked if they might have some time to visit. AC Milan proved too busy to chat, but Inter Milan invited me to its training center, hidden among farm fields and quiet pastures 45 minutes from the city. Those humble surroundings proved to be at odds with the lofty global reach the team is trying to build.

“I would say it’s leveraging more around Italian history and then the history of the club,” Giorgio Ricci, Inter Milan’s chief revenue officer, said of the image the club is trying to market. “A city like Milano is now a real ambassador of that Italian culture, from lifestyle to design to food and whatever. But we [also] have the authentic history around the foundation of this club. It’s a story not of globalization but of internationalization.

“So there is always this dualism between being very strong[ly] rooted in the city of Milan, in the real core, and having this international attitude. It’s quite a unique and winning combination.”

The Inter in Inter Milan, after all, is short for Internazionale, Italian for international.

“It shall be called Internazionale, because we are brothers of the world,” said Giorgio Muggiani when he helped start the team in 1908. He later lent his talents as an artist and illustrator to the fascist movement of Benito Mussolini.

Inter Milan is in the fifth year of its latest and boldest transition, one that is taking it from being just a soccer club into being a lifestyle and fashion-focused brand, a transition that, as Ricci said, will trade on its history as an international club and its location in one of the fashion capitals of the world.

It’s a model that was pioneered by French club Paris Saint-Germain, which nine years ago began partnering with Dior, Jordan Brand, Levi Strauss and others. Inter has teamed with Italian menswear brand Canali, created a new digital ecosystem that has won it a significant increase in video views and user engagement and has launched non-sporting merchandise such as streetwear accessories to accompany the rebrand.

“We are a football club,” Ricci said. “But in order to grow, we need to become a global football brand.”

And it has begun to do that. Deloitte, the British professional services company which does an annual ranking of soccer club revenues, says Inter brought in more than $620 million in 2024-25, the most recent season for which figures are available. That’s 11th best in the world and a jump of about 70% and eight places from where the club was a decade ago, when it was just the fourth-most-profitable club in Italy.

Inter Milan’s Hakan Calhanoglu celebrates after scoring on a penalty shot against Genoa on Feb. 28.

(Marco Luzzani / Getty Images)

In an effort to tell that story and continue that growth, Inter collaborated with Spike Lee on a short film titled “My Name Is My Story,” in which Lee narrated the club’s history and identity, introducing it to a U.S. audience during last summer’s Club World Cup.

Inter isn’t going it alone though. All of Italian football is in the midst of a long-needed overhaul.

A generation ago, Serie A was the best soccer league in the world. It had players like Roberto Baggio, Jurgen Klinsmann, Alessandro Del Piero, Ronaldo, George Weah and Diego Maradona and its wealthy, deep-pocketed owners sent Italian teams to nine Champions League finals between 1989-99.

Since then the league has struggled to market its product globally, lost many of its top players to better pay in other European leagues, found potential revenue streams closed off by aging, crumbling infrastructure, and saw its reputation and credibility damaged by the 2006 Calciopoli scandal, which centered on the manipulation of referee appointments to favor certain clubs.

An influx of U.S.-based owners is helping turn that around. Eight of Serie A’s 20 teams have American owners and Ricci says they have not only brought much-needed investment to the league but they’ve brought ideas on how to market Italian soccer.

“Some are only bringing money, yeah. Others are bringing also a vision and an ambition,” Ricci said. “Our ownership is exactly bringing that. Bringing the North American culture of not seeing only constraints and barriers in the development of a project [but] having the ambition, far-sighted[ness] and working on building a dream.

“That is exactly what Serie A needs: a bit of a dream and a bit of a vision to dare a bit more and not be too conservative. We need a few leading and having vision and bringing that dream.”

A big part of that dream and vision in Milan is a new stadium, one that will replace the century-old San Siro with a 71,500-seat arena at the center of a $1.4-billion urban-regeneration plan funded primarily by RedBird Capital, AC Milan’s New York-based owner, and Oaktree Capital Management, the Los Angeles-based company that owns Inter Milan.

For Inter Milan that investment, the club hopes, will transform the game-day experience not just for well-heeled corporate types but for the team’s diehard fans. I’m still waiting to hear what AC Milan’s plans are.

“I’m not only talking about corporate clients and things like that,” Ricci said. “That, of course, will benefit from a new state-of-the-art venue with the facilities, restaurants, whatever. But also for general [admission]. As soon as they step into a new venue with better seats, in terms of sound, in terms of video, audio and all the entertainment, we are going to increase the perception of each kind of spectator you have in the venue.”

Is it a gamble? Sure, but then very few things in sports are a sure bet. Yet for Inter Milan, at least, that vision and the story behind it are worth telling.

⚽ You have read the latest installment of On Soccer with Kevin Baxter. The weekly column takes you behind the scenes and shines a spotlight on unique stories. Listen to Baxter on this week’s episode of the “Corner of the Galaxy” podcast.

BERLIN — Juergen Habermas, whose work on communication, rationality and sociology made him one of the world’s most influential philosophers and a key intellectual figure in his native Germany, has died. He was 96.

Habermas’ publisher, Suhrkamp, said he died on Saturday in Starnberg, near Munich.

German Chancellor Friedrich Merz said that “Germany and Europe have lost one of the most significant thinkers of our time.”

Merz said that “his sociological and philosophical work had an impact on generations of researchers and thinkers.” He praised “Habermas’ intellectual forcefulness and his liberality” and said in a statement that “his voice will be missed.”

Habermas frequently weighed in on political matters over several decades. His extensive writing crossed the boundaries of academic and philosophical disciplines, providing a vision of modern society and social interaction. His best-known works included the two-volume “Theory of Communicative Action.”

Habermas, who was 15 at the time of Nazi Germany’s defeat, later recalled the dawn of a new era in 1945 and his coming to terms with the reality of Nazi crimes as something without which he wouldn’t have found his way into philosophy and social theory. He recalled that “you saw suddenly that it was a politically criminal system in which you had lived.”

He had an ambivalent relationship with the left-wing student movement of the late 1960s in Germany and beyond, engaging with it but also warning at the time against the danger of what he called “left-wing fascism” — a reaction to a firebrand speech by a student leader that he later said was “slightly out of place.” He would later recognize the movement as having driven a “fundamental liberalization” of German society.

In the 1980s, Habermas was a prominent figure in the so-called Historians’ Dispute, in which Berlin historian Ernst Nolte and others called for a new perspective on the Third Reich and German identity. They tended to compare what happened under Adolf Hitler to atrocities carried out by other governments, such as the deaths of millions in the Soviet Union under Josef Stalin. Habermas and other opponents contended that the conservative historians were trying to lessen the magnitude of Nazi crimes through such comparisons.

Habermas supported the rise to power of center-left Chancellor Gerhard Schroeder in 1998. He was critical of the “technocratic” approach and perceived lack of political vision of Schroeder’s conservative successor, Angela Merkel, complaining in 2016 of the paralyzing effects on public opinion of “the foam blanket of Merkel’s policy of sending people to sleep.”

He was particularly critical of the “limited interest” shown by German politicians, business leaders and media in “shaping a politically effective Europe.” In 2017, he praised newly elected French President Emmanuel Macron for laying out of plans for European reform, saying that “the way he speaks about Europe makes a difference.”

Habermas was born on June 18, 1929, in Duesseldorf and grew up in nearby Gummersbach, where his father headed the local chamber of commerce. He became a member of the Deutsches Jungvolk, a section of the Hitler Youth for younger boys, at 10.

He was born with a cleft palate that required repeated operations as a child, an experience that helped inform his later thinking about language.

Habermas said he had experienced the importance of spoken language as “a layer of commonality without which we as individuals cannot exist” and recalled struggling to make himself understood. He also spoke of the “superiority of the written word,” and said that “the written form conceals the flaws of the oral.”

His wife, Ute Habermas-Wesselhoeft, died last year. The couple had three children: Tilmann; Rebekka, who died in 2023; and Judith.

Moulson writes for the Associated Press.