Cool Finds Archaeologists Stumble Onto Sprawling Ancient Roman Villa During Construction of a Road in France Located near Auxerre, the grand estate once possessed an exorbitant level of wealth, with thermal baths and heated floors Aerial view of the villa, with thermal baths at the bottom right, the garden and fountain in the center, and the agricultural fields expanding to the left Ch. Fouquin / INRAP In ancient times, all roads led to Rome—or so the saying goes. Nowadays, new roads can lead to Roman ruins. During construction on an alternative route to D606, a regional road just under two miles outside of Auxerre, in central France, salvage archaeologists unearthed a sprawling Roman villa complete with a stately garden, a fountain and an elaborate system of underfloor heating known as a hypocaust, according to a statement from the French National Institute for Preventive Archaeological Research (INRAP). While researchers have been aware of the ruins on the outskirts of the Gallo-Roman settlement of Autissiodorum (as Auxerre was once known) since the 19th century, previous excavations have been limited. The most recent dig, in 1966, found a 7,500-square-foot building with ten rooms and amenities that suggested its residents enjoyed great wealth and regional power. The site of Sainte-Nitasse, adjacent to a regional highway Ch. Fouquin / INRAP But until now, the true scale of the villa known as Sainte-Nitasse and its surrounding agricultural estates along the River Yonne was unclear. Archaeologists at INRAP have since discovered a 43,000-square-foot building thought to date to between the first and third centuries C.E. It suggests a previously unimagined level of grandeur. INRAP identifies the site as one of the “grand villas of Roman Gaul,” according to the statement. Grand villas are typified by their vast dimensions and sophisticated architectural style. They typically encompass both agricultural and residential portions, known in Latin as pars rustica and pars urbana, respectively. In the pars urbana, grand villas tend to feature stately construction materials like marble; extensive mosaics and frescoes; and amenities like private baths, fountains and gardens. So far, the excavations at Sainte-Nitasse have revealed all these features and more. The villa’s development is extensive. A 4,800-square-foot garden is enclosed by a fountain to the south and a water basin, or an ornamental pond, to the north. The hypocaust, an ancient system of central heating that circulated hot air beneath the floors of the house, signals a level of luxury atypical for rural estates in Roman Gaul. A section of the villa's hypocaust heating system, which circulated hot air beneath the floor Ch. Fouquin / INRAP “We can imagine it as an ‘aristocratic’ villa, belonging to someone with riches, responsibilities—perhaps municipal, given the proximity to Auxerre—a landowner who had staff on site,” Alexandre Burgevin, the archaeologist in charge of the excavations with INRAP, tells France Info’s Lisa Guyenne. Near the banks of the Yonne, a thermal bath site contains several pools where the landowner and his family bathed. On the other side of the garden, workers toiled in the fields of a massive agricultural estate. Aside from its size and amenities, the villa’s level of preservation also astounded archaeologists. “For a rural site, it’s quite exceptional,” Burgevin tells L’Yonne Républicaine’s Titouan Stücker. “You can walk on floors from the time period, circulate between rooms like the Gallo-Romans did.”Over time, Autissiodorum grew to become a major city along the Via Agrippa, eventually earning the honor of serving as a provincial Roman capital by the fourth century C.E. As Gaul began slipping away from the Roman Empire around the same time, the prominence of the city fluctuated. INRAP archaeologists speculate that the site was repurposed during medieval times, around the 13th century. Burgevin offers several explanations for why the site remained so well preserved in subsequent centuries. The humid conditions along the banks of the river might have prevented excess decay. Since this portion of the River Yonne wasn’t canalized until the 19th century, engineers may have already been aware of the presence of ruins. Or, perhaps the rubble of the villa created “bumpy,” intractable soil that was “not easy to pass over with a tractor,” he tells France Info. While the site will briefly open to the public on June 15 for European Archaeology Days, an annual event held at sites across the continent, excavations will continue until September, at which time construction on the road will resume. Much work is to be done, including filling in large gaps of the site’s chronology between the Roman and medieval eras. “We have well-built walls but few objects,” says Burgevin, per L’Yonne Républicaine. “It will be necessary to continue digging to understand better.” Get the latest stories in your inbox every weekday.

Tutankhamun’s Iconic Gold Death Mask Is Getting a New Home Near the Pyramids of Giza Soon, the elaborately decorated artifact will be transferred to the brand new Grand Egyptian Museum, joining more than 5,000 other items from the boy king’s tomb Tutankhamun's gold funerary mask has been on display at the Egyptian Museum for nearly a century. Mostafa Elshemy / Anadolu Agency / Getty Images For nearly a century, visitors have flocked to the Egyptian Museum on Cairo’s Tahrir Square to admire Tutankhamun’s funerary mask, the intricately decorated artifact designed to cover the mummified pharaoh’s face. Starting this summer, they’ll be able to see the mask in its new home, the $1 billion Grand Egyptian Museum located in nearby Giza. Officials will soon transfer the mask to the massive new venue, where it will join more than 5,000 artifacts from the boy king’s tomb. “Only 26 objects from the Tutankhamun collection, including the golden mask and two coffins, remain here [at the Egyptian Museum] in Tahrir,” says Ali Abdel Halim, director of the Egyptian Museum, to the Agence France-Presse (AFP). “All are set to be moved soon.” Halim didn’t say when the death mask will be transferred, but the new Grand Egyptian Museum is scheduled to fully open to the public in early July after years of delays. Some portions of the Grand Egyptian Museum have been open since November 2023, with an additional 12 exhibit halls opening last October. All told, the museum complex spans more than 5 million square feet and houses more than 100,000 artifacts, which makes it the largest museum in the world focused on a single civilization. “We spent all this money to build the greatest museum in the world,” said Zahi Hawass, an Egyptologist who has twice served as Egypt's tourism and antiquities minister, to NBC News’ Keir Simmons, Charlene Gubash and Mithil Aggarwal in October. “You will see the objects for the first time in an incredible way.” The Untold Secrets of King Tut's Tomb Watch on Tutankhamun's mask has been housed at the Egyptian Museum in Cairo since 1934, 12 years after British archaeologist Howard Carter discovered the pharaoh’s tomb. However, the 123-year-old Beaux Arts venue is small and starting to show its age, so officials decided to relocate Tutankhamun's treasures to the enormous, high-tech Grand Egyptian Museum. At the new facility, the Tutankhamun artifacts will have their own dedicated, climate-controlled wing—one that’s large enough to display all of them together for the first time. Last month, officials carefully transferred 163 Tutankhamun treasures to the new museum, according to an announcement from the Egyptian Ministry of Tourism and Antiquities. That delivery included the pharaoh’s elaborately decorated ceremonial chair, various pieces of jewelry and the canopic chest that held the jars containing Tutankhamun’s organs, reports Artnet’s Sarah Cascone. The Egyptian Museum in Cairo, meanwhile, is not closing. Though it has lost Tutankhamun’s treasures and more than 20 mummies, it still has roughly 170,000 artifacts in its collection, per the AFP. Curators say they plan to replace the Tutankhamun artifacts with a new exhibition, though they haven’t shared many details. Get the latest stories in your inbox every weekday.

Meet Martha Swope, the Legendary Broadway Photographer Who Captured Iconic Moments From Hundreds of Productions and Rehearsals She spent nearly 40 years taking theater and dance pictures, providing glimpses behind the scenes and creating images that the public couldn’t otherwise access Stephanie Rudig - Freelance Writer June 11, 2025 Photographer Martha Swope sitting on a floor covered with prints of her photos in 1987 Andrea Legge / © NYPL Martha Swope wanted to be a dancer. She moved from her home state of Texas to New York to attend the School of American Ballet, hoping to start a career in dance. Swope also happened to be an amateur photographer. So, in 1957, a fellow classmate invited her to bring her camera and document rehearsals for a little theater show he was working on. The classmate was director and choreographer Jerome Robbins, and the show was West Side Story. One of those rehearsal shots ended up in Life magazine, and Swope quickly started getting professional bookings. It’s notoriously tough to make it on Broadway, but through photography, Swope carved out a career capturing theater and dance. Over the course of nearly four decades, she photographed hundreds more rehearsals, productions and promotional studio shots. Unidentified male chorus members dancing during rehearsals for musical West Side Story in 1957 Martha Swope / © NYPL At a time when live performances were not often or easily captured, Swope’s photographs caught the animated moments and distilled the essence of a show into a single image: André De Shields clad in a jumpsuit as the title character in The Wiz, Patti LuPone with her arms raised overhead in Evita, the cast of Cats leaping in feline formations, a close-up of a forlorn Sheryl Lee Ralph in Dreamgirls and the row of dancers obscuring their faces with their headshots in A Chorus Line were all captured by Swope’s camera. She was also the house photographer for the New York City Ballet and the Martha Graham Dance Company and photographed other major dance companies such as the Ailey School. Her vision of the stage became fairly ubiquitous, with Playbill reporting that in the late 1970s, two-thirds of Broadway productions were photographed by Swope, meaning her work dominated theater and dance coverage. Carol Rosegg was early in her photography career when she heard that Swope was looking for an assistant. “I didn't frankly even know who she was,” Rosegg says. “Then the press agent who told me said, ‘Pick up any New York Times and you’ll find out.’” Swope’s background as a dancer likely equipped her to press the shutter at the exact right moment to capture movement, and to know when everyone on stage was precisely posed. She taught herself photography and early on used a Brownie camera, a simple box model made by Kodak. “She was what she described as ‘a dancer with a Brownie,’” says Barbara Stratyner, a historian of the performing arts who curated exhibitions of Swope’s work at the New York Public Library. An ensemble of dancers in rehearsal for the stage production Cats in 1982 Martha Swope / © NYPL “Dance was her first love,” Rosegg says. “She knew everything about dance. She would never use a photo of a dancer whose foot was wrong; the feet had to be perfect.” According to Rosegg, once the photo subjects knew she was shooting, “the anxiety level came down a little bit.” They knew that they’d look good in the resulting photos, and they likely trusted her intuition as a fellow dancer. Swope moved with the bearing of a dancer and often stood with her feet in ballet’s fourth position while she shot. She continued to take dance classes throughout her life, including at the prestigious Martha Graham School. Stratyner says, “As Graham got older, [Swope] was, I think, the only person who was allowed to photograph rehearsals, because Graham didn’t want rehearsals shown.” Photographic technology and the theater and dance landscapes evolved greatly over the course of Swope’s career. Rosegg points out that at the start of her own career, cameras didn’t even automatically advance the film after each shot. She explains the delicate nature of working with film, saying, “When you were shooting film, you actually had to compose, because you had 35 shots and then you had to change your film.” Swope also worked during a period of changing over from all black-and-white photos to a mixture of black-and-white and color photography. Rosegg notes that simultaneously, Swope would shoot black-and-white, and she herself would shoot color. Looking at Swope’s portfolio is also an examination of increasingly crisp photo production. Advances in photography made shooting in the dark or capturing subjects under blinding stage lights easier, and they allowed for better zooming in from afar. Martha Graham rehearses dancer Takako Asakawa and others in Heretic, a dance work choreographed by Graham, in 1986 Martha Swope / © NYPL It’s much more common nowadays to get a look behind the curtain of theater productions via social media. “The theater photographers of today need to supply so much content,” Rosegg says. “We didn’t have any of that, and getting to go backstage was kind of a big deal.” Photographers coming to document a rehearsal once might have been seen as an intrusion, but now, as Rosegg puts it, “everybody is desperate for you to come, and if you’re not there, they’re shooting it on their iPhone.” Even with exclusive behind-the-scenes access to the hottest tickets in town and the biggest stars of the day, Swope remained unpretentious. She lived and worked in a brownstone with her apartment above her studio, where the film was developed in a closet and the bathroom served as a darkroom. Rosegg recalls that a phone sat in the darkroom so they could be reached while printing, and she would be amazed at the big-name producers and theater glitterati who rang in while she was making prints in an unventilated space. From left to right: Paul Winfield, Ruby Dee, Marsha Jackson and Denzel Washington in the stage production Checkmates in 1988 Martha Swope / © NYPL Swope’s approachability extended to how she chose to preserve her work. She originally sold her body of work to Time Life, and, according to Stratyner, she was unhappy with the way the photos became relatively inaccessible. She took back the rights to her collection and donated it to the New York Public Library, where many photos can be accessed by researchers in person, and the entire array of photos is available online to the public in the Digital Collections. Searching “Martha Swope” yields over 50,000 items from more than 800 productions, featuring a huge variety of figures, from a white-suited John Travolta busting a disco move in Saturday Night Fever to Andrew Lloyd Webber with Nancy Reagan at a performance of Phantom of the Opera. Swope’s extensive career was recognized in 2004 with a special Tony Award, a Tony Honors for Excellence in Theater, which are given intermittently to notable figures in theater who operate outside of traditional awards categories. She also received a lifetime achievement award from the League of Professional Theater Women in 2007. Though she retired in 1994 and died in 2017, her work still reverberates through dance and Broadway history today. For decades, she captured the fleeting moments of theater that would otherwise never be seen by the public. And her passion was clear and straightforward. As she once told an interviewer: “I’m not interested in what’s going on on my side of the camera. I’m interested in what’s happening on the other side.” Get the latest Travel & Culture stories in your inbox.

Graduate Student Develops an A.I.-Based Approach to Restore Time-Damaged Artwork to Its Former Glory The method could help bring countless old paintings, currently stored in the back rooms of galleries with limited conservation budgets, to light Scans of the painting retouched with a new technique during various stages in the process. On the right is the restored painting with the applied laminate mask. Courtesy of the researchers via MIT In a contest for jobs requiring the most patience, art restoration might take first place. Traditionally, conservators restore paintings by recreating the artwork’s exact colors to fill in the damage, one spot at a time. Even with the help of X-ray imaging and pigment analyses, several parts of the expensive process, such as the cleaning and retouching, are done by hand, as noted by Artnet’s Jo Lawson-Tancred. Now, a mechanical engineering graduate student at MIT has developed an artificial intelligence-based approach that can achieve a faithful restoration in just hours—instead of months of work. In a paper published Wednesday in the journal Nature, Alex Kachkine describes a new method that applies digital restorations to paintings by placing a thin film on top. If the approach becomes widespread, it could make art restoration more accessible and help bring countless damaged paintings, currently stored in the back rooms of galleries with limited conservation budgets, back to light. The new technique “is a restoration process that saves a lot of time and money, while also being reversible, which some people feel is really important to preserving the underlying character of a piece,” Kachkine tells Nature’s Amanda Heidt. Meet the engineer who invented an AI-powered way to restore art Watch on While filling in damaged areas of a painting would seem like a logical solution to many people, direct retouching raises ethical concerns for modern conservators. That’s because an artwork’s damage is part of its history, and retouching might detract from the painter’s original vision. “For example, instead of removing flaking paint and retouching the painting, a conservator might try to fix the loose paint particles to their original places,” writes Hartmut Kutzke, a chemist at the University of Oslo’s Museum of Cultural History, for Nature News and Views. If retouching is absolutely necessary, he adds, it should be reversible. As such, some institutions have started restoring artwork virtually and presenting the restoration next to the untouched, physical version. Many art lovers might argue, however, that a digital restoration printed out or displayed on a screen doesn’t quite compare to seeing the original painting in its full glory. That’s where Kachkine, who is also an art collector and amateur conservator, comes in. The MIT student has developed a way to apply digital restorations onto a damaged painting. In short, the approach involves using pre-existing A.I. tools to create a digital version of what the freshly painted artwork would have looked like. Based on this reconstruction, Kachkine’s new software assembles a map of the retouches, and their exact colors, necessary to fill the gaps present in the painting today. The map is then printed onto two layers of thin, transparent polymer film—one with colored retouches and one with the same pattern in white—that attach to the painting with conventional varnish. This “mask” aligns the retouches with the gaps while leaving the rest of the artwork visible. “In order to fully reproduce color, you need both white and color ink to get the full spectrum,” Kachkine explains in an MIT statement. “If those two layers are misaligned, that’s very easy to see. So, I also developed a few computational tools, based on what we know of human color perception, to determine how small of a region we can practically align and restore.” The method’s magic lies in the fact that the mask is removable, and the digital file provides a record of the modifications for future conservators to study. Kachkine demonstrated the approach on a 15th-century oil painting in dire need of restoration, by a Dutch artist whose name is now unknown. The retouches were generated by matching the surrounding color, replicating similar patterns visible elsewhere in the painting or copying the artist’s style in other paintings, per Nature News and Views. Overall, the painting’s 5,612 damaged regions were filled with 57,314 different colors in 3.5 hours—66 hours faster than traditional methods would have likely taken. Overview of Physically-Applied Digital Restoration Watch on “It followed years of effort to try to get the method working,” Kachkine tells the Guardian’s Ian Sample. “There was a fair bit of relief that finally this method was able to reconstruct and stitch together the surviving parts of the painting.” The new process still poses ethical considerations, such as whether the applied film disrupts the viewing experience or whether A.I.-generated corrections to the painting are accurate. Additionally, Kutzke writes for Nature News and Views that the effect of the varnish on the painting should be studied more deeply. Still, Kachkine says this technique could help address the large number of damaged artworks that live in storage rooms. “This approach grants greatly increased foresight and flexibility to conservators,” per the study, “enabling the restoration of countless damaged paintings deemed unworthy of high conservation budgets.” Get the latest stories in your inbox every weekday.

These 15 Dynamic Photos Will Make You Want to Dance Get footloose with these Smithsonian Magazine Photo Contest dance scenes Photographs selected by Quentin Nardi Text by Tracy Scott Forson June 13, 2025 In the 1500s, ballet roles for female characters were performed by men. Women entered the art form in the late 1600s and are now dominant in ballet. Libby Zhang, Texas, 2016 Like many art forms, dance transcends cultures, countries and continents. Flamenco, breakdancing, ballet, tango and other well-known genres are all forms of movement performed all across the globe. While being a professional can take decades of dedication and training, one appeal of dance is that you don’t have to be an expert to participate in or enjoy it. Just visit any preschool for evidence of that. “The arts teach tolerance because there is no one way of doing anything,” said dance icon and Emmy winner Debbie Allen. While some forms of dance are more structured and formal than others, they’re all about using the body as a tool of expression. Take a look. In Istanbul, a customary trance-like dance, embodying spiritual devotion and the pursuit of unity with the divine, is performed as part of a Sufi ceremony. Uku Sööt, Turkey, 2024 Passersby cheer and applaud energetic dancers in vibrant colors as they entertain a crowd at Fuzhou. Yi Yuan, China, 2024 A young dance student’s elegant movements are complemented by the flow and motion of her beautiful garment. Felicia Tolbert, Michigan, 2024 During a celebration in Tyrol, the locals perform a traditional dance called Schuhplattler, which is very demanding physically and requires the dancers to reach their shoes while jumping. Ory Schneor, Austria, 2024 Young dancers strike poses for photos before participating in a performance at Brihadeeswara Temple. Ravikanth Kurma, India, 2019 Members of Hush Crew, based in Boston, perform at public venues around the city—and all over social media—showing off their dance skills. Paul Karns, Massachusetts, 2024 A flamenco dancer from Granada jumps to heights that could rival any NBA Hall of Famer. Javier Fergo, Spain, 2017 Dancers of the Ho Chi Minh City Ballet nearly collide as they practice for a performance titled The Roof. Le Nguyen Huy Thuy, Vietnam, 2015 Genres converge as two dancers fuse the movements and choreography of ballet and hip-hop. Tom Griscom, Tennessee, 2015 A teenage dance student celebrates the first day of summer with an iconic ballet leap. Vicki Surges, Minnesota, 2010 Dressed in elaborate, ornate garments, dancers celebrating Day of the Dead participate in a colorful parade. Michelle Atkinson, Texas, 2013 With roots in Italy, ballet, like many forms of dance, is now common in countries and cultures around the world. Xiaoping Mao, China, 2023 Bodies blur as they move to the music during a party to celebrate the festive week of Maslenitsa at the St. Petersburg State University. Anton Golyshev, Russia, 2011 A wedding party celebrates new nuptials with a dance through the historic alleys of New Orleans’ French Quarter. Osman Sharif, Louisiana, 2021 Get the latest Travel & Culture stories in your inbox.

Study the Secrets of Early American Photography at This New Exhibition “The New Art: American Photography, 1839-1910” at the Metropolitan Museum of Art will feature more than 250 photographs Lillian Ali - Staff Contributor June 6, 2025 This image, taken by an unknown photographer in 1905, is an example of a cyanotype. The Metropolitan Museum of Art, William L. Schaeffer Collection A new exhibition at the crossroads of art, history and technology chronicles the beginnings of early American photography. Titled “The New Art: American Photography, 1839-1910,” the show at the Metropolitan Museum of Art in New York City features more than 250 photographs that capture “the complexities of a nation in the midst of profound transformation,” says Max Hollein, the Met’s CEO, in a statement. Curator Jeff Rosenheim tells the Wall Street Journal’s William Meyers that the exhibition focuses “on how early artists used the different formats to record individuals and the built and natural environments surrounding them.” A daguerrotype from around 1850 depicts a woman wearing a tignon, a headcovering popular among Creole women of African descent. The Metropolitan Museum of Art, William L. Schaeffer Collection The oldest photographs on display are daguerreotypes, named for inventor Louis Daguerre, which were introduced in 1839 as the first publicly available form of photography. Creating a daguerreotype was a delicate, sometimes painstaking process that involved several chemical treatments and variable exposure times. The process yielded a sharply detailed picture on a silver background and was usually used for studio portraiture. The exhibition moves through the history of photography, from daguerreotypes and other photographs made on metal to those made on glass and, eventually, paper. It even features stereographs, two photos showing an object from slightly different points of view, creating an illusion of three-dimensionality. Installation view of "The New Art: American Photography, 1839-1910" Eugenia Tinsely / The Met Rosenheim believes that early photographic portraits empowered working-class Americans. “Photographic portraits play a role in people feeling like they could be a citizen,” Rosenheim tells the Guardian’s Veronica Esposito. “It’s a psychological, empowering thing to own your own likeness.” Photographs in the exhibition also spotlight key moments in American history. Items on view include a portrait of formerly enslaved individuals and an image of a conspirator in the assassination of Abraham Lincoln. The exhibition features big names in American photography, such as John Moran, who advocated for the recognition of photography as an art form, and Alice Austen, a pioneering landscape photographer. Group on Petria, Lake Mahopac​​​​​​, photographed in 1888 by Alice Austen The Metropolitan Museum of Art, William L. Schaeffer Collection Many of the photographs on display were taken by unknown artists. One of the most recent photos in the exhibition, taken by an unknown artist in 1905, is a cyanotype depicting figures tobogganing on a hill in Massachusetts. Cyanotypes were created by exposing a chemically treated paper to UV light, such as sunlight, yielding the blue pigment it was named for. Beyond portraits and landscapes, the exhibition features several enigmatic images, such as one of a boot placed in a roller skate and positioned on top of a stool. Rosenheim tells the Guardian that the mysterious photo “asks more questions than it answers.” An unknown photographer took this unconventional still life in the 1860s. The Metropolitan Museum of Art, William L. Schaeffer Collection “It’s very emblematic of the whole of 19th-century American photography,” he adds. The exhibition features photographs from across time and economic divides, with portraits of the working-class and wealthy alike. “The collection is just filled with the everyday stories of people,” Rosenheim tells the Guardian. “I don’t think painting can touch that.” “The New Art: American Photography, 1839-1910” is on view at the Metropolitan Museum of Art in New York City through July 20, 2025. Get the latest stories in your inbox every weekday.

Catch This Year’s Strawberry Moon Lighting Up the Sky on June 11 The last full moon before summer kicks off is one of the lowest of the year in the Northern Hemisphere A full moon on June 28, 2018, as seen from Manchester, England. The reddish glow is likely due to the 2018 Saddleworth Moor wildfires.  Benjamin Shaw, CC BY-SA 4.0 via Wikimedia Commons Summer will officially begin with this year's solstice on June 20. And on Wednesday, June 11, comes a "strawberry moon," the last full moon of the Northern Hemisphere's spring. It will be at its brightest at 3:44 a.m. Eastern time in the United States. Its name, however, isn't related to the moon's color. The Old Farmer’s Almanac, which has charted everything from celestial bodies to the best time to plant vegetables since 1792, popularized useful nicknames for every month's full moon. According to the almanac, the name strawberry moon has been used by Native peoples, such as the Algonquian, Ojibwe, Dakota and Lakota, to mark the harvest time of “June-bearing” strawberries. "Mead moon" or "honey moon" are old European nicknames for June's full moon, according to National Geographic, and may have similarly been inspired by honey harvesting. In the Northern Hemisphere, the strawberry moon is one of the lowest full moons of the year. That's because June's full moon usually takes place closest to the summer solstice, which is when the Earth is in the lowest point of its tilted orbit around the sun, and thus the sun appears at its peak height in our skies. Full moons occur when they are opposite the sun in respect to Earth, so if the sun is in its highest point, the moon is in its lowest, as reported by Live Science's Jamie Carter. Earth will reach its aphelion—or the farthest point in its elliptical orbit around the sun—on July 3, making the strawberry moon one of the farthest full moons from our star, per Live Science. Earth's summer and winter solstices NASA Because of its position in the sky, June's full moon may live up to its nickname by appearing more colorful. According to NASA, when the moon hangs low, it "tends to have a more yellow or orange hue" than when it's high because its light has to travel through a thicker portion of the atmosphere to reach our view. This means a greater number of long red wavelengths survive the journey than short blue ones. Pollution, dust or wildfires can also make the moon appear more red. The strawberry moon is distinct from the blood moon, however, notes Fox61's Krys Shahin. Blood moons—like the one that graced our skies in March—occur during total lunar eclipses, when the sun, the Earth and the moon line up in a way that makes the Earth block most of the sun's light from reaching the moon. The light that manages to seep around our planet and still reach the moon has to filter through our atmosphere, meaning mostly red wavelengths make it through once again. Though the strawberry moon will reach its peak early Wednesday morning, the best time to see it will be when it rises over the horizon at dusk on Tuesday evening, per Live Science. As reported by Discover Magazine's Stephanie Edwards, Mars will also be visible on June 11. Get the latest stories in your inbox every weekday. More about: Moon Sky Watching Guide Sun

These Australian Cockatoos Learned to Operate Drinking Fountains With Their Feet to Quench Their Thirst Birds in Sydney’s western suburbs have figured out how to get a sip from the fountains, even though they have access to nearby streams Cockatoos in the western suburbs of Sydney, Australia, will wait in line for a taste of drinking fountain water. Klump et al., Biology Letters, 2025 Australia’s suburban-dwelling cockatoos are adept at picking up new skills. The clever birds had already figured out how to open trash cans to access scraps in neighborhoods outside Sydney—and now, scientists have observed others using their claws to turn on drinking fountains. Barbara Klump, a behavioral ecologist now at the University of Vienna, first noticed the cockatoos drinking from public water fountains west of Sydney in 2018. She thought someone had forgotten to turn off the water, but video footage from her research project showed a bird operating the handle with its foot. “Then, of course, a million questions went through my mind,” she tells Gemma Conroy at the New York Times. “How the hell did it figure that out?” Now, after monitoring cockatoos with wildlife cameras placed near one drinking fountain in Sydney’s western suburbs, Klump and her research team have confirmed that the birds regularly do this in local parks—something local wildlife experts also told her, per the New York Times. Over 44 days, the team recorded nearly 14 hours of the cockatoos around the fountain. The birds made 525 drinking attempts, of which 41 percent were successful. The findings were published Wednesday in the journal Biology Letters. Smart cockatoos use their beaks and claws to drink from water fountain Watch on Turning on the water fountains takes skill, so it makes sense that not all attempts worked out. To quench their thirst, the birds would place one foot on the fountain’s stem and the other on the spring-loaded handle, twisting it clockwise by leaning their body weight. “It’s a bit of an awkward body position they have to hold, but it’s pretty impressive,” says Lucy Aplin, an ecologist at the Australian National University and a study co-author, to Peter de Kruijff at the Australian Broadcasting Corporation. The researchers don’t yet understand why the birds go through the effort of maneuvering the fountains when there are easily accessible streams and creeks nearby. At the fountains, meanwhile, the cockatoos will wait for as long as ten minutes to get a turn to drink. “They appear to be quite willing to queue for a considerable amount of time,” Aplin says to Science News’ Jake Buehler. One possibility is that the birds have gotten a taste for the purer water coming from the fountains, explains Klump to Jack Tamisiea at Science. Or, the birds may prefer the height of the fountain, as drinking from a ground source leaves them less able to see predators like eagles and falcons. Spending time at the fountains could also be a form of social cohesion for the birds. “I think all three are possible,” Aplin says to Science News. The cockatoos might also just enjoy turning on the fountains, adds Alice Auersperg, a cognitive biologist at the University of Veterinary Medicine, Vienna, who was not involved in the research, to the Australian Broadcasting Corporation. “If there is no super urgent need and you’re not dying of thirst, then why not do something you enjoy?” Klump says to the New York Times. For now, the fountain drinking behavior hasn’t spread widely among Sydney’s cockatoos. The researchers looked through the citizen science platform Big City Birds, but they didn’t find any evidence of the behavior happening outside of the western suburbs. That’s unlike the species’ trash bin-opening habit, which has inconvenienced homeowners across at least 44 different suburbs. Residents in Brisbane, Australia, however, have also spotted cockatoos drinking from water fountains, Alpin says to the New York Times. The birds don’t migrate, so the two populations couldn’t have learned the behavior from each other. This suggests there’s potential for the “independent invention of the behavior and local spread in other places,” Alpin adds. Given their cleverness, it might not be long until more cockatoos are drinking from Australia’s fountains. Klump tells Science that she believes the birds are likely to come up with more ways to operate them, even fountains that turn on in a different way. “They’re so innovative and good at problem solving that they seem to eventually figure out a solution,” says Klump. “In a weird way, cockatoos constantly surprise me, but I’m also never that surprised.” Get the latest stories in your inbox every weekday.

A Deadly Disease Is Eating Away at Caribbean Corals and Wreaking Havoc on Reefs. Could Probiotics Be the Solution? New research suggests the probiotic McH1-7 could help stop the spread of stony coral tissue loss disease among wild corals near Fort Lauderdale, Florida Scientists determined the most effective method of halting the disease was covering a coral colony with a weighted plastic bag, then injecting a seawater solution that contains the probiotic. They left the colony covered for two hours to allow the probiotic bacteria to colonize the coral. Hunter Noren Probiotics can be good for human health. Now, new research suggests they might also help protect coral reefs. A bacterial probiotic helped slow the advance of stony coral tissue loss disease—a fast-spreading and deadly condition—among wild corals in Florida, researchers report today in a new study published in the journal Frontiers in Marine Science. The probiotic may be a good alternative to antibiotics like amoxicillin, which temporarily curb the spread of the disease but must be reapplied frequently. In addition, scientists fear stony coral tissue loss disease may one day become resistant to these antibiotic treatments—just as “superbugs” that infect humans are building resistance to our own drugs. Antibiotics are meant to kill microorganisms, but probiotics are beneficial living microbes. The idea is that a probiotic can be incorporated into corals’ natural microbiomes, ideally offering them longer-lasting protection. First discovered in Florida in 2014, stony coral tissue loss disease attacks the soft tissue of more than 30 different species of coral. Without treatment, the disease eventually kills the corals, and their soft tissue falls off, revealing the white calcium carbonate skeleton below. In just weeks or months, it can devastate a whole colony. Stony coral tissue loss disease can be spread by fish that eat coral, as well as by boaters and divers who do not disinfect their gear. The condition has since expanded its range beyond Florida to reefs throughout the Caribbean. Several years ago, researchers looking at the great star coral (Montastraea cavernosa) discovered a probiotic called Pseudoalteromonas sp. strain McH1-7. Laboratory tests showed McH1-7 stopped or slowed the progression of stony coral tissue loss disease in infected corals. It also helped prevent the disease from spreading to healthy corals. But that was in the lab. Would McH1-7 be similarly effective in the ocean? Researchers were eager to find out, so they set up an experiment on a shallow reef off the coast of Fort Lauderdale. Study co-author Kelly Pitts, a research technician with the Smithsonian Marine Station, applies a paste containing the probiotic directly onto the disease lesion of an infected coral. Hunter Noren Experimenting with wild corals For the study, the scientists focused on 40 great star coral colonies that were showing symptoms of stony coral tissue loss disease. In one experimental condition, the researchers made a paste that contained McH1-7 and applied it directly onto the disease lesions. For comparison, they also applied the same paste, minus the probiotic, to some corals. In another condition, they covered infected coral colonies with weighted plastic bags, then filled the bags with seawater solutions made with and without McH1-7. They left the corals covered for two hours. “This created a little mini-aquarium that kept the probiotics around each coral colony,” says study co-author Valerie Paul, head scientist at the Smithsonian Marine Station at Fort Pierce, Florida, in a statement. The scientists completed all the treatments within the first 4.5 months of the project. Then, they returned periodically to gather tissue and mucus samples from the corals to measure changes to their microbiomes. Over the next 2.5 years, they took photos from a variety of different angles, which they then used to create 3D models that could track the disease’s progression. In the end, the results suggest covering the corals with plastic bags filled with the probiotic seawater solution was the most effective method. More than two years post-treatment, the colonies that received the probiotic bag had lost just 7 percent of their tissue, while colonies in the control bag condition faced 35 percent tissue loss. Scientists applied a probiotic paste directly to disease lesions on some corals. Kelly Pitts The probiotic paste, by contrast, appears to have made the situation worse: The corals that had the probiotic paste applied directly to their lesions lost more tissue than those treated with the control paste, which did not contain McH1-7. “We do not really know what is going on with the probiotic paste treatment,” Paul tells Smithsonian magazine in an email. But she has a few theories. It’s possible the high concentrations of McH1-7 contributed to localized hypoxia, or low-oxygen conditions that further harmed the already stressed corals, she says. Or, the probiotic could have changed the microbiome at the lesion site in some negative way. Another possibility is that McH1-7 produces antibiotics or other substances that were harmful at high concentrations. Amanda Alker, a marine microbiologist at the University of Rhode Island who was not involved with the study, wonders if this finding suggests McH1-7 is beneficial at specific dosages—a question future laboratory research might be able to answer, she tells Smithsonian magazine in an email. She’s also curious to know which specific molecular components of the probiotic are responsible for the increased tissue loss when applied as a paste. More broadly, Alker would like to see additional experiments validating the bag treatment method, but she says this “inventive” technique seems promising. “Their approach is a safer solution than antibiotic treatment methods that have been deployed to combat [stony coral tissue loss disease] in the field so far,” she says. “Further, this is a practical solution that could be implemented widely because it doesn’t require highly specialized equipment and has the ability to be used with any type of microbial solution.” Looking ahead to save reefs Probiotics are likely not a silver bullet for protecting corals. For one, researchers still don’t know exactly what causes stony coral tissue loss disease, which makes it difficult to determine how or why the probiotic works, Paul says. In addition, since the disease has spread to many different parts of the Caribbean, it might be challenging to use the bag treatment technique on all affected colonies. “We would need to develop better methods of deploying the probiotic through time release formulations or other ways to scale up treatments,” Paul says. “Right now, having divers swim around underwater with weighted bags is not a very scalable method.” The researchers have also conducted similar experiments on infected corals located farther south, in the Florida Keys. However, these tests have produced mixed results, probably because of regional differences in stony coral tissue loss disease. This is another hurdle scientists will likely need to overcome if they hope to expand the use of probiotics. “We probably need to develop different probiotics for different coral species and different regions of the Caribbean,” Paul says. Researchers returned to gather samples of tissues and mucus to see how the corals' microbiomes had changed. Hunter Noren Even so, scientists are heartened by the results of the experiments conducted near Fort Lauderdale. With more research, the findings suggest probiotics could be a promising tool for combatting the disease elsewhere. “Coral probiotics is a challenging field, because there are hundreds of different types of bacteria that associate with corals, and there are limitless experiments that need to be performed,” Amy Apprill, a marine chemist at Woods Hole Oceanographic Institution who was not involved with the research, tells Smithsonian magazine in an email. “These researchers made a major advance with their study by demonstrating the utility of whole colony treatment as well as the specific probiotic tested.” Apprill adds that, while antibiotics have been widely used to control stony coral tissue loss disease, scientists haven’t conducted much research to see how these treatments are affecting the plants and creatures that live nearby. “Using a naturally occurring bacterium for disease treatment may result in lessened impacts to other members of the coral reef ecosystem,” she says. Amid rising ocean temperatures, scientists expect to find even more diseased coral colonies in the future. Warmer waters may also allow other pathogens to thrive and proliferate. Against that backdrop, Apprill adds, probiotics and the different methods of applying them will be “major allies” in the fight to save coral reefs. Paul is also optimistic. Through research and field studies, she’s confident researchers will be able to develop interventions that can “help corals better survive changing environments and respond better to diseases and bleaching,” she says. Get the latest stories in your inbox every weekday.

A New Museum Dedicated to Frida Kahlo’s Early Years and Family Life Is Coming to Mexico City The Museo Casa Kahlo will be located beside the popular Museo Frida Kahlo. It will display letters, artworks and mementos that shed light on the Mexican artist’s childhood Frida Kahlo in 1944 Bettmann via Getty Images A new museum dedicated to the early life of the Mexican painter Frida Kahlo is opening in Mexico City. Located in the city’s historic Coyoacán district, the Museo Casa Kahlo will tell the Mexican painter’s story through letters, toys, artworks and other personal items. “This museum isn’t just about her work—it’s about her world,” Frida Hentschel Romeo, Kahlo’s great-grand-niece, tells Vogue’s Chloe Schama. “It’s about how the people closest to her shaped who she became. And it’s also about the living family—those of us who carry her legacy forward.” The museum will occupy a building known as Casa Roja, a home belonging to the Kahlo family. It’s next door to the already famous Casa Azul, the family home built by Kahlo’s father in 1904. The Museo Frida Kahlo, which occupies Casa Azul, has been open since 1958. Andrew Hasson / Getty Images Born in 1907, Kahlo grew up in Casa Azul and later shared it with her husband, fellow artist Diego Rivera. She purchased the neighboring red house (also owned by her parents) for her sister Cristina’s family. Four years after Kahlo’s death in 1954, Casa Azul was converted into the popular Museo Frida Kahlo, which displays art and objects from Kahlo’s adult life alongside rotating exhibitions. Casa Roja has remained in the Kahlo family, passed down by Cristina’s descendants. “Cristina was by her side through so much,” Hentschel Romeo tells Vogue. “Traveling with her to New York for her first major exhibition, supporting her through surgeries and recovery.” Frida Kahlo photographed by her father in 1932 Public domain via Wikimedia Commons Pain was a constant throughout Kahlo’s life. After sustaining serious injuries from a bus accident at 18, she endured chronic symptoms for the rest of her life. Despite these challenges, Kahlo thrived as an artist, garnering international acclaim for her vibrant, wrenching self-portraits. Some of Kahlo’s most famous paintings are painful depictions of women’s suffering, her own injuries and her turbulent marriage to Rivera, who had countless affairs (including one with Cristina). Casa Roja was eventually passed down to Cristina’s granddaughter, Mara Romeo Kahlo, who is Kahlo’s closest living relative, reports the New York Times’ Robin Pogrebin. Romeo Kahlo volunteered the red house to host the new Museo Casa Kahlo, which will open in late September. Its development is being overseen by Fundación Kahlo, a nonprofit recently established by the Kahlo family, which aims to “preserve Frida’s legacy and promote Mexican, Indigenous and Latin American art and culture on a global scale,” according to its website. “For the first time, the voice of the family will be at the heart of how Frida’s story is told,” Hentschel Romeo tells Vogue. As Romeo Kahlo explains to the Times, “The family was very important for Frida because it was her support.” While Casa Azul focuses on Kahlo’s adult life, the new museum will focus on her early development. Visitors will examine never-before-seen personal artifacts, such as childhood photographs, dolls, letters, jewelry, clothes and a piece of embroidery Kahlo sewed when she was 5. Other highlights include the artist’s only known mural and her first oil painting.Hentschel Romeo tells Vogue that Kahlo showed this painting to her husband, asking him to judge whether she had the talent to be a painter. “It is incredibly moving to see up close,” she adds. “This is a dream long held by our family,” Romeo Kahlo says in a statement. “Frida’s legacy belongs to the world, but it begins here—on this land, in these homes and in the culture that shaped her. Museo Casa Kahlo will allow us to tell new stories, share family secrets, host new voices and build a future that honors her spirit.” Get the latest stories in your inbox every weekday.

A Fungal Disease Ravaged North American Bats. Now, Researchers Found a Second Species That Suggests It Could Happen Again White-nose syndrome caused millions of bat deaths, and scientists are sounding the alarm that a second fungus could be disastrous if it reaches American wildlife Lillian Ali - Staff Contributor May 30, 2025 A little brown bat (Myotis lucifugus) is seen with white fuzz on its nose, a characteristic of the deadly white-nose syndrome. Ryan von Linden / New York Department of Environmental Conservation In February 2006, a cave explorer near Albany, New York, took the first photograph of bats with a mysterious white growth on their faces. Later, biologists studying the mammals in caves and mines discovered piles of dead bats in the state—also with the fuzzy white mold. The scientists were floored. For years, no one knew what was causing the mass die-offs from this “white-nose syndrome.” In early 2007, Albany residents called local authorities with reports of typically nocturnal bats flying in broad daylight. “They were just dying on the landscape,” wildlife biologist Alan Hicks told the Associated Press’ Michael Hill in 2008. “They were crashing into snowbanks, crawling into woodpiles and dying.” At last, scientists identified a culprit: The bats had succumbed to an infection caused by the fungus Pseudogymnoascus destructans. Since its initial discovery, white-nose syndrome has killed millions of bats across 40 U.S. states and nine Canadian provinces, making it “the most dramatic wildlife mortality event that’s ever been documented from a pathogen,” DeeAnn Reeder, a disease ecologist at Bucknell University, tells the New York Times’ Carl Zimmer. Now, nearly two decades later, scientists have developed some promising ways to fend off the disease, including an experimental vaccine. But a new study published this week in the journal Nature warns of a newly discovered second species of fungus that, if it reaches North America, could set all that progress back. “We thought we knew our enemy, but we have now discovered it is twice the size and potentially more complex than we had imagined,” lead author Nicola Fischer, a biologist at the University of Greifswald in Germany, says in a statement. Little brown bats are susceptible to white-nose syndrome in North America. Krynak Tim, U.S. Fish and Wildlife Service The team analyzed 5,479 fungus samples collected by hundreds of citizen science volunteers across North America, Asia and Europe. They found that white-nose syndrome is caused by two distinct fungal species native to Europe and Asia, with only one species having reached North America so far. If the second species hits the continent, it could look like a “reboot” of the epidemic, Reeder tells the New York Times. Study co-author Sébastien Puechmaille, an evolutionary biologist at the University of Montpellier in France, knew bats in Europe had also been seen with white fuzz on their noses, as he tells the New York Times. But those populations didn’t die off like American bats. Charting the disease across Europe and Asia, he noticed that the fungus was able to live alongside those bats, while it ravaged American ones. In its native range, the fungus grows in the bodies of hibernating bats as their internal temperature drops, then it’s shed in the spring when they awaken. But in American bats, the fungus causes their immune systems to activate and burn fat reserves as they hibernate. The bats then wake up periodically, causing irregular activity and eventual starvation. The researchers suggest the damaging fungal spores were first brought to North America by cavers that traveled from Europe—potentially western Ukraine—to the United States without completely disinfecting their boots or rope. White-nose syndrome poses a threat not just to bats, but to whole ecosystems. Bats are vital parts of many food chains, eating insects and pollinating plants. However, they reproduce fairly slowly, only having one or two pups at a time. Rebuilding a bat population, then, could take decades. And since cave ecosystems are similarly delicate, biologists are wary of trying to kill off the fungus preemptively. “Cave ecosystems are so fragile that if you start pulling on this thread, what else are you going to unravel that may create bigger problems in the cave system?” said University of Wisconsin–Madison wildlife specialist David Drake to the Badger Herald’s Kiran Mistry in December. The discovery also occurs as the original wave of white-nose syndrome continues to spread across North America, having just crossed the Continental Divide in Colorado. Just one spore of the new species could be devastating to American bat colonies. Puechmaille tells the New York Times that policies should be put in place to make sure the second fungus does not spread to more continents, and that cavers should not move equipment between countries and should disinfect it regularly. “This work … powerfully illustrates the profound impact a single translocation event can have on wildlife,” he adds in the statement. Get the latest stories in your inbox every weekday.

NASA Wants Your Help to Study These Rare, High-Altitude Clouds That Appear to Glow at Sunrise and Sunset Noctilucent clouds usually form close to the poles, but in recent decades, they’re being spotted closer to the Equator Noctilucent clouds over the Baltic Sea, as seen from Germany in 2019. Typically seen in polar regions, the clouds are increasingly appearing at mid- and low latitudes. Matthias Süßen via Wikimedia Commons under CC BY-SA 4.0 While astronomy and clouds don’t usually mix, a rare type of atmospheric phenomenon, called noctilucent or night-shining clouds, offers an exception, as reported by Space.com’s Anthony Wood. Noctilucent clouds are wispy, silvery-blue clouds found at much higher altitudes than usual. While most clouds form in the troposphere between Earth’s surface and about 11 miles above the ground, these appear in the mesosphere, up to 50 miles high. They become visible right after sunset or right before sunrise, when the sun illuminates them from beyond the horizon. The rare clouds likely come into being as ice crystallizes on meteor dust, when the mesosphere is rich with water and very cold, per EarthSky. Paradoxically, noctilucent clouds usually form in the summer. That’s because during the hottest months of the year, surface air warms up and rises, expanding and cooling as it does so. Alongside other processes, this cools the mesosphere to temperatures as low as minus 210 degrees Fahrenheit, according to EarthSky. This happens around Earth’s poles, so people are thus most likely to see noctilucent clouds in polar regions during the summer—for the Northern Hemisphere, the clouds tend to appear between late May and mid-August. What are noctilucent clouds and how can you see them? Watch on More recently, however, the rare phenomenon has been spotted closer and closer to the Equator. As such, NASA published a statement earlier this month asking citizen scientists to submit their observations and photographs of noctilucent clouds—even pictures taken in the past—to a crowdsourced research project called Space Cloud Watch. “Combined with satellite data and model simulations, your data can help us figure out why these noctilucent clouds are more frequently appearing at mid-low latitudes,” the agency explains. According to Royal Museums Greenwich, some scholars suggest climate change is responsible for that shift, as well as rocket launches. Rocket exhaust trails consist of small ice particles and water vapor, which can contribute to noctilucent clouds once they reach the mesosphere. Last summer, Europe saw especially spectacular noctilucent clouds, despite the fact that strong solar activity—such as what we’re experiencing now at the solar maximum—would normally have dissipated them, as reported by Spaceweather.com. This might be partially explained by the underwater volcano near Tonga that erupted in 2022 and threw a plume of water vapor into the atmosphere. “That was two years ago, but it takes about two years for the vapor to circulate up to the mesosphere, where NLCs [noctilucent clouds] form. Water is a key ingredient for NLCs, so Tonga’s moisture could be turbocharging the clouds,” Spaceweather.com reported in June 2024, adding that the 124 rocket launches so far that year likely also played a role. If you’re hoping to spot the night-shining clouds yourself this summer, the good news is that they’re visible to the naked eye. The bad news is that the only ways to predict their natural appearance are by checking for ideal upper atmospheric conditions and keeping an eye on north-facing webcams in regions east of your location, as reported by Stuart Atkinson for BBC Sky at Night Magazine last year. If noctilucent clouds are forming in those eastern skies, where the sun sets earlier, chances are that they might be soon visible in your area. And if you do happen to catch a glimpse, don’t forget to snap a photo for science. “I find these clouds fascinating and can’t wait to see the amazing pictures,” Space Cloud Watch project lead Chihoko Cullens, a research scientist at the University of Colorado, Boulder, says in NASA’s statement. Get the latest stories in your inbox every weekday.

Banksy Unveils New Lighthouse Mural With the Words ‘I Want to Be What You Saw in Me’ in France The anonymous street artist announced the uncharacteristically personal artwork on May 29. It’s located on a wall in the French city of Marseille The new Banksy mural is on a wall beside a covered street in Marseille, France. Viken Kantarci / AFP via Getty Images After a five-month hiatus, Banksy is back with a new lighthouse mural in France. Compared to many of his previous works, the piece is uncharacteristically personal. The anonymous street artist announced his latest creation in an Instagram post on May 29. Located on a beige wall beside a sidewalk, the black lighthouse appears to merge with a painted shadow of a nearby metal safety post. Stenciled over the artwork are the words, “I want to be what you saw in me.” “There is no official explanation for the phrase,” write the Associated Press’ Thomas Adamson, Bishr Eltoni and Jill Lawless. “But its emotional pull is unmistakable—a quiet plea for recognition, love or redemption.”Banksy’s post appeared on Instagram with no caption, initially leaving the new mural’s location a mystery. However, BBC Verify, a team of investigative journalists and fact-checkers, quickly deduced that the mural is located on a backstreet called Rue Félix Frégier in the French city of Marseille, according to BBC News’ Cachella Smith and Amy Walker. Reactions to the new artwork were mixed. As the Art Newspaper’s Anny Shaw writes, “It could be a defection from the commercialism he simultaneously critiques and profits from, but I guess I’ve been made to expect more—either by technique or by message—from an artist whose entire practice, cheesy as it may be, is enmeshed in social and class consciousness.” Banksy has been creating street art around the world for decades. Some of his most well-known pieces include Rage, the Flower Thrower, a commentary on war, and Girl With Balloon. The artist’s works have sold for staggeringly high prices at auction; his most expensive piece is Love Is in the Bin, which fetched more than $25 million in 2021. Last summer, Banksy completed a series of animal-themed paintings in London, including a pair of elephants, monkeys swinging from a bridge and a howling wolf painted on a satellite dish. Until the lighthouse, his most recent verified mural was a black-and-white painting of a veiled woman breastfeeding a baby—a reference to the Madonna and child—which he announced in an Instagram post on December 16, 2024. Much of Banksy’s career has been “politically charged,” drawing attention to issues like Palestinian suffering and the refugee crisis, writes the Art Newspaper. For instance, his recent London animal artworks may have been “a comment on the impact of humans on biodiversity.” Swinger, a mural Banksy painted in New Orleans in 2008 Infrogmation of New Orleans via Wikimedia Commons under CC BY 2.0 However, the new lighthouse mural is a departure for Banksy, who “seems to be getting more philosophical in his middle age,” per the publication. His latest work could be “a moment of rare self-reflection—after all, this is the first time Banksy has referred to himself in the first person in a public mural.” Nobody knows what Banksy’s intentions were, though many onlookers have theories. The Guardian’s Matthew Weaver suggests that “I want to be what you saw in me” may be a reference to a lyric from “Softly,” a 2001 country song by the band Lonestar: “I want to be what you see in me / I want to love you the way that you love me.” Banksy rarely includes text in his pieces. When he does, he “usually incorporates extant signage or graffiti when adding his touch rather than writing out his own phrases,” according to Hyperallergic’s Rhea Nayyar. “That being said, this particular text takes the street artist’s already on-the-nose symbolism to another level,” with the “heavy-handed captioning” coming across as “overly sentimental.” “Some commentators have said that at best, the latest offering attempts to open a vaguely profound conversation about being a ‘guiding light’ or ‘finding the light within.’ At worst, it veers into ‘live, laugh, love’ territory,” writes the Art Newspaper. “This message could be Banksy’s most personal yet—but its execution risks it also being his most banal.” Get the latest stories in your inbox every weekday.

Scientists Investigate 2.2-Million-Year-Old Tooth Enamel to Unravel the Mysteries of Ancient Human Relatives By studying proteins preserved in teeth, researchers determined the sex of four Paranthropus robustus individuals that lived in southern Africa This skull of a 1.8-million-year-old Paranthropus robustus individual was unearthed in South Africa, but it was not one of the fossils included in the study. José Braga and Didier Descouens via Wikimedia Commons under CC BY-SA 4.0 Paranthropus robustus was a prehistoric, two-legged human relative that lived in southern Africa roughly two million years ago. Scientists have unearthed various P. robustus fossils, but because of the specimens’ age, they haven’t been able to glean much from them. Now, using a novel method, researchers say they’ve determined the sex of four P. robustus individuals by studying their teeth. The new analysis, published Thursday in the journal Science, also reveals insights into the genetic diversity of the broader Paranthropus genus. For the study, the team analyzed teeth discovered in a cave at the Swartkrans paleoanthropological site in South Africa, reports Live Science’s Kristina Killgrove. Because the fossils were so old—dating to between 1.8 million and 2.2 million years ago—researchers could not recover ancient DNA from them. So, instead, they turned to the relatively new field of paleoproteomics, or the study of preserved proteins. Ancient DNA degrades over time, particularly in hot places like southern Africa. So far, scientists studying hominin remains on the continent have only been able to successfully sequence DNA from material that’s less than 20,000 years old. But proteins can survive much longer than DNA, particularly in hard tooth enamel. When they analyzed the fossilized enamel of the P. robustus teeth, the researchers were able to identify specific protein sequences found only in males. This allowed them to determine that two of the P. robustus individuals were male and two were female. They were surprised to learn that one individual, named SK 835, was male. Based on the comparatively small size of that individual’s teeth, researchers had previously thought SK 835 was female, since male hominins tend to be larger than females, on average. This marks an important finding, as it supports the idea that dental measurements are not the most reliable way to determine the sex of ancient hominins. “Paleoanthropologists have long known that our use of tooth size to estimate sex was fraught with uncertainty, but it was the best we had,” says Paul Constantino, a paleoanthropologist at Saint Michael’s College who was not involved with the research, to ScienceNews’ Bruce Bower. “Being able to accurately identify the sex of fossils using proteins will be hugely impactful.” Further analyses of the fossils’ amino acid sequences revealed that SK 835 was less closely related to the other three individuals than they were to each other. That means it’s possible SK 835 represents a different species altogether—maybe the newly proposed Paranthropus capensis. After all, the team writes in the paper, the recent description of that species shows Paranthropus diversity “is currently underestimated and needs to be investigated further.” Or, perhaps the small size of SK 835’s teeth can be explained by microevolution—variations between P. robustus groups living at different sites. Scientists say they will need to get their hands on more Paranthropus fossils from multiple places to know for certain, per Science News. Moving forward, researchers hope they can one day use paleoproteomic methods to map the entire human family tree. Right now, however, their “ability to distinguish between different species is limited by the small number of different proteins present in enamel,” three of the study authors tell Live Science in an email. Scientists are also exploring other protein-sequencing techniques that are less destructive to fossil samples than the current methods. In the meantime, they’re excited about the potential of paleoproteomics to help them learn even more about humans’ ancient ancestors. “It opens entirely new avenues for understanding our evolutionary history [in Africa],” study co-author Marc Dickinson, a chemist at the University of York in England, says in a statement. Get the latest stories in your inbox every weekday.

Last Surviving Grandson of President John Tyler, Who Took Office in 1841, Dies at 96 When Harrison Ruffin Tyler’s grandfather was born 235 years ago in 1790, George Washington had just become the nation’s first president John Tyler was 63 when his 13th child was born in 1853. That child, Lyon Gardiner Tyler Sr., was 75 when Harrison Ruffin Tyler was born in 1928. Heritage Art / Heritage Images via Getty Images Harrison Ruffin Tyler, grandson of the tenth American president John Tyler, died on May 25 at age 96. Though the cause of death has not been revealed, his health had deteriorated in recent years. He had been diagnosed with dementia and suffered several small strokes starting in 2012, reports the New York Times’ Robert D. McFadden. He died at his home in a retirement community in Richmond, Virginia, according to the Washington Post’s Andrew Jeong and Brian Murphy. After the death of his brother, Lyon Gardiner Tyler Jr., in September 2020, Harrison Ruffin Tyler was the last surviving grandson of John Tyler, who was born in 1790 and led the nation between 1841 and 1845. But how could someone born in 1790 still have—until very recently—living grandchildren? Even the president’s grandson acknowledged that the time frame was difficult to comprehend. “When you talk about my grandfather born in the 1700s, there is a disconnect there,” he told WTVR’s Scott Wise and Greg McQuade in 2012. The unusual timeline was the result of second marriages and late-in-life fatherhood for the former president and, later, one of his sons. John Tyler was 63 when his 13th child, Lyon Gardiner Tyler Sr., was born in 1853. Then, Lyon Gardiner Tyler Sr. was 75 when Harrison Ruffin Tyler was born in 1928. “Both my grandfather—the president—and my father were married twice,” he told New York magazine’s Dan Amira in 2012. “And they had children by their first wives. And their first wives died, and they married again and had more children.” With so many relatives to keep track of, he added, “it does get very confusing.” “When I was a child, I did know most of the descendants, but as you get more generations down the line, it’s hard to keep track of everybody,” he said.John Tyler was born just after George Washington became the fledgling nation’s first president. He pursued a career in politics, serving as Virginia’s governor, as well as a United States representative and senator. He became America’s vice president when William Henry Harrison was elected president in 1840. When Harrison died of pneumonia a month into his term, John Tyler became the first vice president to succeed a president who died in office. His ascension was controversial, with some federal lawmakers questioning the legitimacy of his claims to the presidency. Some detractors even took to calling him “His Accidency.” The issue was not officially settled until 1967, with the ratification of the 25th Amendment. As president, one of John Tyler’s biggest accomplishments was pursuing the annexation of Texas, which officially joined the Union in 1845 under President James K. Polk. After his stint in the White House, he retired to his plantation on Virginia’s James River. During the Civil War, he was elected to the Confederate legislature, but he died in 1862 before he could take office. During his lifetime, he had a record-setting 15 children—the most of any U.S. president. He was married twice: first to Letitia Christian, who became the first president’s wife to die in the White House in 1842, followed by Julia Gardiner, who also served as First Lady. Their fifth child was Lyon Gardiner Tyler Sr., who later fathered Harrison Ruffin Tyler. Born in 1928, Harrison Ruffin Tyler studied chemistry at the College of William & Mary and chemical engineering at Virginia Tech before founding a water treatment company called ChemTreat. He and his wife, Frances Payne Bouknight, who died in 2019, also spent many years restoring the family’s ancestral home, Sherwood Forest Plantation. The 1,600-acre property, built around 1730 and purchased by his grandfather during his presidency, is a National Historic Landmark. The couple also worked to preserve a nearby Union supply depot called Fort Pocahontas that had been constructed by a regiment of Black soldiers during the Civil War. They had three children together: Harrison Ruffin Tyler Jr., William Bouknight Tyler and Julia Gardiner Tyler Samaniego. Harrison Ruffin Tyler “will be missed immeasurably by those who survive him,” Annique Dunning, the executive director of Sherwood Forest, said in a statement, as reported by the Associated Press. “He will be remembered for his considerable charm, generosity and unfailing good humor by all who knew him.” Get the latest stories in your inbox every weekday.

The Fearsome Megalodon Ate Basically Whatever It Wanted to Reach Its Daily 100,000-Calorie Need, Study Suggests Scientists previously assumed the giant, prehistoric sharks mostly feasted on whales, but it turns out they probably weren’t so picky An artistic reconstruction of the extinct megalodon. Scientists' ideas about how the megalodon looked are based on its fossilized teeth. Hugo Saláis via Wikimedia Commons under CC BY 4.0 Between 3 million and 20 million years ago, the largest predatory fish ever known hunted in Earth’s oceans. Called theOtodus megalodon), this giant shark grew up to 79 feet long, had teeth the size of human hands and could bite with the strength of an industrial hydraulic press. But what scientists know about the extinct creature has been almost entirely determined from fossil teeth—since paleontologists have yet to discover a complete megalodon, and the animals’ cartilaginous skeletons don’t preserve well. Now, new research on the mineral content of their teeth suggests megalodons ate pretty much whatever they wanted. Until recently, scientists assumed that megalodons satisfied their estimated 100,000-calorie daily needs by mostly eating whales. A study published Monday in the journal Earth and Planetary Science Letters, however, suggests the prehistoric shark had a much more diverse diet than previously thought—akin to the great white shark’s “if it moves, it’s food” hunting strategy of today, writes Vice’s Ashley Fike. Jeremy McCormack with a fossilized megalodon tooth. Uwe Dettmar for Goethe University An international team of researchers reached this conclusion after analyzing the ratio of different variants, called isotopes, of the mineral zinc in 18-million-year-old megalodon teeth. Animals absorb zinc only through food, so this could offer a hint to their diets. Muscles and organs absorb more of the isotope zinc-64 than zinc-66, meaning that the higher up the food chain an animal is—or the more meat and fish it eats—the less zinc-66 it absorbs, and its ratio of zinc-66 to zinc-64 is lower, in turn. “Since we don’t know how the ratio of the two zinc isotopes at the bottom of the food pyramid was at that time, we compared the teeth of various prehistoric and extant shark species with each other and with other animal species. This enabled us to gain an impression of predator-prey relationships 18 million years ago,” Jeremy McCormack, a scientist from Goethe University Frankfurt and lead author of the study, says in a statement. Unsurprisingly, the isotope ratios in the teeth put the megalodon at the top of the food chain, alongside close shark relatives such as Otodus chubutensis. At the same time, however, the scientists noticed there wasn’t a huge difference between the megalodon and the lower-tiered animals, suggesting the sharks feasted on creatures from all rungs of the ladder. “They were not concentrating on certain prey types, but they must have fed throughout the food web, on many different species,” McCormack tells CNN’s Jacopo Prisco. “While certainly this was a fierce apex predator, and no one else would probably prey on an adult megalodon, it’s clear that they themselves could potentially feed on almost everything else that swam around.” The results also indicate that megalodon populations living in different habitats had slightly contrasting diets, potentially because of differing prey availability. More broadly, the study invites comparisons between the megalodon and its iconic extant relative, the great white shark. These comparisons, however, may have previously led to some overreaching assumptions. “Previous studies simply assumed that megalodon must have looked like a gigantic version of the modern great white shark without any evidence,” Kenshu Shimada, a vertebrate paleontologist at DePaul University and co-author of the new study, told National Geographic’s Jason Bittel back in March. He and colleagues had just published a different paper that reassessed the prehistoric shark’s size, suggesting that it had a more slender body than its smaller, modern cousin. The new study thus joins a host of research challenging widely held ideas about megalodons and their relatives, says Alberto Collareta, a paleontologist at the University of Pisa in Italy who was not involved in the research, to CNN. “These have led us to abandon traditional reconstruction of the megatooth sharks as ‘inflated’ versions of the modern white shark. We now know that the megalodon was something else—in terms of size, shape and ancestry, and of biology, too,” he adds. In fact, with both species eating generalist diets, great white sharks might have outcompeted megalodons for food and ultimately played a role in their demise. “Even ‘supercarnivores’ are not immune to extinction,” Shimada says in the statement. Get the latest stories in your inbox every weekday.

You Can Now Visit the Small House Where Charlotte, Emily and Anne Brontë Were Born The newly renovated Brontë Birthplace in Bradford, England, was the three sisters’ home until 1820, when the family moved to a nearby parsonage The Brontë children were born near this fireplace, pictured mid-renovation. Matt Gibbons / Brontë Birthplace In the early 19th century, three sisters were born in a small house in northern England: Charlotte, Emily and Anne Brontë. Each one would grow up to become a pivotal figure in English literature, with Charlotte writing Jane Eyre (1847), Emily writing Wuthering Heights (1847) and Anne writing The Tenant of Wildfell Hall (1848). Now, that house in Bradford, England, where they were born has been restored and reopened to the public as a museum—and soon-to-be hotel. On May 15, Queen Camilla visited the village of Thornton to open the Brontë Birthplace in an official ceremony. After a year and a half of fundraising and renovations, the house is now a functioning educational center. Come July, its bedrooms will also be open to overnight guests, according to the Guardian’s David Barnett. The Brontë Birthplace pictured in 2008 Tim Green via Wikimedia Commons under CC BY 2.0 “This house is no longer just a place of literary history,” says Katharine Barnett, chair of the Brontë Birthplace, in a statement from the museum. “It is a living, breathing space filled with creativity, education and community pride.” The novelists’ parents were Patrick and Maria Brontë, an Irish clergyman and a Cornish gentlewoman who married in 1812. They had two daughters, Maria and Elizabeth, before moving to the Thornton house in 1815. Charlotte was born in 1816, Emily in 1818 and Anne in 1820. A brother, Branwell, was also born in 1817. When Anne was just three months old, Patrick was appointed the reverend of a nearby church, and the family moved to the Haworth parsonage. The two eldest children died soon after, but the younger four children survived. As they grew older, they also thrived as playmates, inventing “invented imaginary worlds together and [writing] about them in tiny books,” per the Brontë Parsonage Museum. Queen Camilla and Christa Ackroyd touring the Brontë Birthplace on May 15, 2025 Matt Gibbons / Brontë Birthplace By the mid-19th century, the three sisters were publishing novels under the pseudonyms Currer, Ellis and Acton Bell. Jane Eyre and Wuthering Heights would become two of the most renowned books ever written in English. After the family left the sisters’ birthplace, the building was repurposed several times. It has served as a butcher’s shop and a cafe, which shuttered during the pandemic, according to the Guardian. With the building up for grabs, a group of advocates—including journalist Christa Ackroyd and Brontë relative Nigel West—raised the £650,000 (more than $700,000) needed to purchase and renovate it. Every four years, the United Kingdom chooses a “City of Culture,” and this year’s selection is Bradford. Camilla opened the Brontë Birthplace as part of her honorary visit to the chosen city. A crowd gathered to welcome her. As Tom Golesworthy, a resident of Leeds who attended the opening ceremony, tells the Telegraph & Argus’ Brad Deas, “It makes you proud to be British.”The Haworth parsonage already attracts nearly one million visitors each year, per the Guardian. The Brontë Birthplace team hopes that those visitors will now add the Thornton house, which is only six miles away, to their itineraries. When the Brontës lived in the home, all six children likely slept in the house’s largest upstairs bedroom, while their parents slept next door, reports the Guardian. Both rooms, as well as a third that was added to the house later, will be available for overnight stays. “This will be the only place in the world where you can sleep in the same room that the Brontës slept in,” West tells the Guardian. Get the latest stories in your inbox every weekday.

Giant Sloths the Size of Elephants Once Walked Along the Ground. Here’s How the Massive Animals Evolved and Declined Researchers analyzed fossils and DNA to get a big-picture view of sloth evolution and determine what drove their immense size variation Researchers revealed that differences in sloth habitats drove the wide variation in size seen in extinct species. Diego Barletta Today, sloths are slow-moving, tree-dwelling creatures that live in Central and South America and can grow up to 2.5 feet long. Thousands of years ago, however, some sloths walked along the ground, weighed around 8,000 pounds and were as big as Asian elephants. Some of these now-extinct species were “like grizzly bears, but five times larger,” as Rachel Narducci, collection manager of vertebrate paleontology at the Florida Museum of Natural History, says in a statement. In a study published last week in the journal Science, Narducci and her colleagues studied ancient and modern sloth DNA along with more than 400 sloth fossils to shed light on the shocking differences in their ancient sizes—from the elephant-sized Megatherium ground sloth to its 14-pound relatives living in trees. While it’s clear that tree-dwelling lifestyles necessitate small bodies, scientists weren’t sure why ground sloths specifically demonstrated such vast size diversity. To investigate this, the team used their genetic and fossil analyses to reconstruct a sloth tree of life that reaches back to the animals’ emergence more than 35 million years ago. They integrated data on sloths’ habitats, diets and mobility that had been gathered in previous research. With a computer model, they processed this information, which ultimately indicated that sloths’ size diversity was mostly driven by their habitats and climates. “When we look at what comes out in the literature, a lot of it is description of individual finds, or new taxa,” Greg McDonald, a retired regional paleontologist with the U.S. Bureau of Land Management who was not involved with the study, tells Science News’ Carolyn Gramling. The new work is “more holistic in terms of looking at a long-term pattern. Often, we don’t get a chance to step back and get the big picture of what’s going on.” The big picture suggests that since the emergence of the oldest known sloths—ground animals around the size of a Great Dane—the creatures evolved into and out of tree living a number of times. Around 14 million to 16 million years ago, however, a time of global warming called the Mid-Miocene Climatic Optimum pushed sloths to become smaller, which is a known way for animals to respond to heat stress. Warmer temperatures might have also seen more rain, which would have created more forest habitats ideal for tree-dwelling sloths. Around a million years later, however, ground sloths grew bigger as the planet’s temperature cooled. “Gigantism is more closely associated with cold and dry climates,” Daniel Casali, a co-author of the paper and a researcher of mammalian evolution at the University of São Paulo, tells New Scientist’s Jake Buehler. A larger body mass would have helped the animals traverse environments with few resources more efficiently, Narducci says in the statement. In fact, these large ground sloths spread out across diverse habitats and thrived in different regions. The aquatic sloth Thalassocnus even evolved marine adaptations similar to manatees. Ground sloths achieved their greatest size during the last ice age—right before starting to disappear around 15,000 years ago. Given that humans arrived in North America around the same time (though recent research indicates they may have arrived as far back as 20,000 years ago), some scientists say humans are the obvious cause of the sloths’ demise. While tree-dwelling sloths were out of reach to our ancestors, the large and slow ground animals would have made easy targets. Even still, two species of tree sloths in the Caribbean disappeared around 4,500 years ago—also shortly after humans first arrived in the region, according to the statement. While the study joins a host of research indicating that humans drove various large Ice Age animals to extinction, “in science, we need several lines of evidence to reinforce our hypotheses, especially in unresolved and highly debated issues such as the extinction of megafauna,” says Thaís Rabito Pansani, a paleontologist from the University of New Mexico who did not participate in the study, to New Scientist. The International Union for Conservation of Nature currently recognizes seven—following a recent species discovery—and three are endangered. As such, “one take-home message is that we need to act now to avoid a total extinction of the group,” says lead author Alberto Boscaini, a vertebrate paleontologist from the University of Buenos Aires, to the BBC’s Helen Briggs. Get the latest stories in your inbox every weekday.

A Young Cooper’s Hawk Learned to Use a Crosswalk Signal to Launch Surprise Attacks on Other Birds Researcher Vladimir Dinets watched the bird repeatedly sneak behind a row of cars to ambush its unsuspecting prey Cooper's hawks are skilled hunters that feast on small and medium-sized birds. Pixabay Vladimir Dinets was driving his daughter to school one morning when a flash of movement caught his eye. He watched as a young Cooper’s hawk darted out of a tree, soared low to the ground along a line of cars and dove into a nearby front yard. Dinets is a zoologist at the University of Tennessee who specializes in animal behavior and intelligence, so the scene naturally piqued his curiosity. But when he watched the exact same scenario play out a few days later, Dinets realized something scientifically interesting might be going on. He decided to investigate. The bird seemed to understand that, whenever a human pushed the pedestrian crossing signal, a long line of cars would back up down the street. The savvy creature then used the vehicles as cover to launch a sneak attack on a group of unsuspecting birds gathered in a nearby home’s front yard. Dinets details the hawk’s clever behavior in a new paper published Thursday in the journal Frontiers in Ethology. “When I figured out what was going on, I was really impressed. I didn’t expect that,” Dinets tells the Guardian’s Nicola Davis. “On the other hand, every time I study some animal species it proves smarter than I expect.” Dinets observed the hawk for 12 total hours over the course of 18 weekday mornings in a neighborhood in West Orange, New Jersey, during the winter of 2021 to 2022. He watched as the bird attempted six attacks on the prey flock, but because of where Dinets was positioned, he couldn’t see how many of the hunts were successful. On one occasion, however, he did see the hawk fly away with a sparrow gripped in its talons, and on another, he saw the hawk eating a mourning dove on the ground. After the first two attacks, Dinets gleaned a clear picture of what was happening. First, someone would push the pedestrian crossing signal, which would activate a loud, rhythmic clicking sound designed to let individuals with visual impairments know it was safe to cross the street. The noise also seemed to serve as a cue for the hawk, which would fly into a nearby tree and perch on a low branch. As cars began stopping behind the crosswalk, the hawk seemed to bide its time. Once the queue got long enough—usually about ten cars—the bird sprang into action, swooping down and flying just a few feet above the sidewalk along the line of vehicles. Then, once it reached a certain house, it would make a hard, 90-degree turn and veer into the yard across the street, where prey birds were feeding on the ground. That house, as Dinets learned, was occupied by a family that liked to eat dinner outdoors. The next morning, their leftover crumbs would attract sparrows, doves and starlings—birds that Cooper’s hawks like to hunt and eat. “The hawk understood the connection between the [pedestrian crossing] sound and the eventual car queue length,” Dinets writes in a guest editorial for Frontiers in Ethology. “The bird also had to have a good mental map of the place, because when the car queue reached its tree, the raptor could no longer see the place where its prey was and had to get there by memory.” The bird waited in a tree by house 11 until the line of cars got long enough, then it launched its attack by flying toward house one and cutting across the street to the front yard of house two. Dinets, Vladimir, Frontiers in Ethology, 2025 Dinets was impressed by the bird’s ability to master a human environment for its own benefit. The ambush tactics were even more impressive, given the hawk’s likely unfamiliarity with the neighborhood, he adds. “Cooper’s hawks rarely nest in cities in our area but are common winter visitors,” he writes. “So, the bird I was watching was almost certainly a migrant, having moved to the city just a few weeks earlier. And it had already figured out how to use traffic signals and patterns.” The bird had also learned this behavior at a young age, at a time when other Cooper’s hawks “are just not good at hunting yet,” says Janet Ng, a wildlife biologist with Environment and Climate Change Canada who was not involved with the research, to the Atlantic’s Katherine J. Wu. Though adult Cooper’s hawks are skilled predators, Ng notes that young members of the species sometimes die of starvation if they can’t secure enough food. Other birds have also been observed taking advantage of human environments. Urban crows, for instance, have been spotted dropping nuts into traffic, letting cars do the hard work of cracking open the tough shells so they can reach the tasty morsels inside. Pigeons will sometimes wait for humans to turn on drinking fountains so they can get a sip of water. And Swainson’s hawks have been known to follow behind tractors and other farm equipment to nab insects and rodents that get flushed out. But cities are particularly difficult environments for birds of prey, Dinets notes. They must “avoid windows, cars, utility wire and countless other dangers while catching something to eat every day,” he writes in the editorial. Scientists have more often studied intelligence in other birds, such as parrots and crows, rather than in raptors. But that’s starting to change, as papers like this one start to call more attention to raptor intelligence. “My observations show that Cooper’s hawks manage to survive and thrive there, at least in part, by being very smart,” Dinets writes. Get the latest stories in your inbox every weekday.

South Korea’s Female Free Divers May Have Evolved to Thrive Underwater, Study Finds The Haenyeo, a group of skilled divers on Jeju Island, plunge beneath the ocean’s surface without any breathing equipment, thanks to a combination of their training and genetics Lillian Ali - Staff Contributor May 23, 2025 4:50 p.m. A group of female South Korean free divers on Jeju Island, known as the Haenyeo, exit the water after catching marine snails in November 2015. Chung Sung-Jun / Getty Images On Jeju Island, 50 miles south of the Korean peninsula, senior women regularly dive up to 60 feet beneath the ocean’s surface. They collect sea urchins, sea snails called abalone and other food—and they do it all without breathing equipment. These divers are known as the Haenyeo, or “women of the sea.” Trained from a young age, they plunge into cold ocean water year-round, throughout their lives. “They dive throughout their whole pregnancy,” Diana Aguilar-Gómez, a geneticist at the University of California, Los Angeles, tells NPR’s Ari Daniel. She describes stories of women diving until shortly before giving birth, then returning to the water just days later. Today, however, the practice is dwindling, and the current average age of the Haenyeo is about 70 years old. Many of the divers consider themselves to be the last of their kind. Aguilar-Gómez and her colleagues wanted to know how the Haenyeo built their remarkable underwater resilience—and whether evolution, rather than just training, played a role in their abilities. The scientists found a variety of genetic and adaptive traits among the Haenyeo and published their work this month in the journal Cell Reports. The research team compared 30 Haenyeo divers to 30 older non-diving women on Jeju Island, as well as to 31 older South Korean women from off the island. To keep all participants safe, they decided to conduct only “simulated dives,” where participants hold their breath and submerge their faces in a bowl of cold water. This triggers the mammalian dive reflex: The heart slows down, and the body diverts blood to the most important areas, like the brain. “Your body says, ‘Ok, there’s not a lot of oxygen coming, let’s keep it in the organs that need it the most,’” study co-author Melissa Ann Ilardo, a geneticist at the University of Utah, tells Deutsche Welle’s Matthew Ward Agius. The Haenyeo prepare for a dive. Hans Hillewaert / CC BY-NC-ND 2.0 Comparing the Haenyeo to other women, researchers found that the trained divers’ heart rates fell about 50 percent more than those who weren’t divers. In an extreme case, one Haenyeo woman’s heart rate dropped by 40 beats per minute in just 15 seconds. The lowered heart rate is not genetic, though. Scientists think that any human, if they had the lifetime of training the Haenyeo do, would adapt similarly. “We know that it’s because of training, because it’s something that we only saw in the Haenyeo,” Ilardo tells CNN’s Katie Hunt. To look for genetic differences, researchers took saliva samples from the different groups. They found that women from Jeju, whether or not they were divers, had similar genes. Compared to non-islanders, though, researchers saw two key differences. One has to do with cold tolerance—the Haenyeo are known for diving in frigid conditions, with surface water temperatures during their dives reaching 50 degrees Fahrenheit or colder. Ilardo tells NPR about a time she saw the Haenyeo diving in snowy weather: “They said as long as there’s not a risk that they’re going to be blown away to sea, then they still go out in the water, no matter how cold it is.” The people from Jeju Island were more likely to carry a genetic variant that may make them more resistant to hypothermia—in previous research, it has been linked to the ability to tolerate cold temperatures and pain. Jeju Island, known for its female free divers, seen from above. Robert Simmons / NASA The second difference relates to blood pressure—women from Jeju were more than four times more likely than women not from the island to have a gene variant related to lower blood pressure. Everyone’s blood pressure increases when they dive, Ilardo tells CNN. But Jeju residents’ blood pressure increases less. This resistance to heightened blood pressure could help the Haenyeo dive while pregnant, since high blood pressure can be very dangerous during pregnancy. The Haenyeo’s unique adaptations could hold the key to treating chronic diseases, particularly those related to high blood pressure. Gaining a better understanding of the gene tied to lower blood pressure could help scientists develop medications to protect people who are at risk of stroke or blood pressure complications, the researchers say. Ben Trumble, an anthropologist at Arizona State University who was not involved in the study, tells theWashington Post’s Mark Johnson that this new research could give insight into how to treat cardiovascular disease. “By working with populations like those Dr. Ilardo is working with, who aren’t sedentary office dwellers, we can gain some insights into how natural selection has helped us adapt and survive many problems that humans have faced throughout history,” Trumble says. Get the latest stories in your inbox every weekday.