Over the past few months, I’ve had the pleasure of testing out the reMarkable Paper Pro. You can read my full review here, but in short, it gets everything right about the note taking experience. Despite being an e-ink tablet, it does get quite pricey. However, there are certainly some fantastic parts of the experience that make it worth comparing to an iPad Air, depending on what you’re looking for in a note taking device for school, work, or whatever else. Updated June 15th to reflect reMarkable’s new post-tariff pricing. Overview Since the reMarkable Paper Pro comes in at $679 with the reMarkable Marker Plus included, it likely makes most sense to compare this against Apple’s iPad Air 11-inch. That comes in at $599 without an Apple Pencil, and adding in the Apple Pencil Pro will run you an additional $129. The equivalent iPad setup will run you $50 more than the reMarkable Paper Pro. Given the fact that iPad Air‘s regularly go on sale, it’d be fair to say they’re roughly on the same playing field. So, $679 for a reMarkable Paper Pro setup, versus $728 for a comparable iPad Air setup. Which is better for you? Obviously, the iPad Air has one key advantage: It runs iOS, has millions of apps available, can browse the web, play games, stream TV shows/movies, and much more. To some, that might end the comparison and make the iPad a clear winner, but I disagree. Yes, if you want your tablet to do all of those things for you, the iPad Air is a no brainer. At the end of the day, the iPad Air is a general purpose tablet that’ll do a lot more for you. However, if you also have a laptop to accompany your tablet, I’d argue that the iPad Air may fall into a category of slight redundance. Most things you’d want to do on the iPad can be done on a laptop, excluding any sort of touchscreen/stylus reliant features. iPads are great, and if you want that – you should pick that. However, I have an alternative argument to offer… The reMarkable Paper Pro does one thing really well: note taking. At first thought, you might think: why would I pay so much for a device that only does one thing? Well, that’s because it does that one thing really well. There’s also a second side to this argument: focus. It’s much easier to focus on what you’re doing when the device isn’t capable of anything else. If you’re taking notes while studying, you could easily see a notification or have the temptation to check notification center. Or, if you’re reading an e-book, you could easily choose to swipe up and get into another app. The best thing about the reMarkable Paper Pro is that you can’t easily get lost in the world of modern technology, while still having important technological features like cloud backup of your notes. Plus, you don’t have to worry about carrying around physical paper. One last thing – the reMarkable Paper Pro also has rubber feet on the back, so if you place it down flat on a table caseless, you don’t have to worry about scratching it up. Spec comparison Here’s a quick rundown of all of the key specs between the two devices. reMarkable Paper Pro‘s strengths definitely lie in battery, form factor, and stylus. iPad has some rather neat features with the Apple Pencil Pro, and also clears in the display category. Both devices also offer keyboards for typed notes, though only the iPad offers a trackpad. Display– 10.9-inch LCD display– Glossy glass– 2360 × 1640 at 264 ppi– 11.8-inch Color e-ink display– Paper-feeling textured glass– 2160 × 1620 at 229 ppiHardware– 6.1mm thin– Anodized aluminum coating– Weighs 461g w/o Pencil Pro– 5.1mm thin– Textured aluminum edges– Weighs 360g w/ Marker attachedStylus– Magnetically charges from device– Supports tilt/pressure sensitivity– Low latency (number unspecified)– Matte plastic build– Squeeze features, double tap gestures– Magnetically charges from device– Supports tilt/pressure sensitivity– Ultra-low latency (12ms)– Premium textured aluminum build– Built in eraser on the bottomBattery life– Up to 10 hours of web browsing– Recharges to 100% in 2-3 hrs– Up to 14 days of typical usage– Fast charges to 90% in 90 minsPrice– $599 ($529 on sale) for iPad Air– $129 ($99 on sale) for Pencil Pro– $679 bundled with Marker Plus Wrap up All in all, I’m not going to try to convince anyone that wanted to buy an iPad that they should buy a reMarkable Paper Pro. You can’t beat the fact that the iPad Air will do a lot more, for roughly the same cost. But, if you’re not buying this to be a primary computing device, I’d argue that the reMarkable Paper Pro is a worthy alternative, especially if you really just want something you can zone in on. The reMarkable Paper Pro feels a lot nicer to write on, has substantially longer battery life, and really masters a minimalist form of digital note taking. Buy M3 iPad Air on Amazon: Buy reMarkable Paper Pro on Amazon: What do you think of these two tablets? Let us know in the comments. My favorite Apple accessory recommendations: Follow Michael: X/Twitter, Bluesky, Instagram Add 9to5Mac to your Google News feed.  FTC: We use income earning auto affiliate links. More.You’re reading 9to5Mac — experts who break news about Apple and its surrounding ecosystem, day after day. Be sure to check out our homepage for all the latest news, and follow 9to5Mac on Twitter, Facebook, and LinkedIn to stay in the loop. 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ILM teams with Ben Stiller and Apple TV+ to bring thousands of seamless visual effects shots to the hit drama’s second season. By Clayton Sandell There are mysterious and important secrets to be uncovered in the second season of the wildly popular Apple TV+ series Severance (2022-present). About 3,500 of them are hiding in plain sight. That’s roughly the number of visual effects shots helping tell the Severance story over 10 gripping episodes in the latest season, a collaborative effort led by Industrial Light & Magic. ILM’s Eric Leven served as the Severance season two production visual effects supervisor. We asked him to help pull back the curtain on some of the show’s impressive digital artistry that most viewers will probably never notice. “This is the first show I’ve ever done where it’s nothing but invisible effects,” Leven tells ILM.com. “It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.” With so many season two shots to choose from, Leven helped us narrow down a list of his favorite visual effects sequences to five. (As a bonus, we’ll also dive into an iconic season finale shot featuring the Mr. Milchick-led marching band.) Before we dig in, a word of caution. This article contains plot spoilers for Severance. (And in case you’re already wondering: No, the goats are not computer-graphics.) Severance tells the story of Mark Scout (Adam Scott), department chief of the secretive Severed Floor located in the basement level of Lumon Industries, a multinational biotech corporation. Mark S., as he’s known to his co-workers, heads up Macrodata Refinement (MDR), a department where employees help categorize numbers without knowing the true purpose of their work.  Mark and his team – Helly R. (Britt Lower), Dylan G. (Zach Cherry), and Irving B. (John Turturro), have all undergone a surgical procedure to “sever” their personal lives from their work lives. The chip embedded in their brains effectively creates two personalities that are sometimes at odds: an “Innie” during Lumon office hours and an “Outie” at home. “This is the first show I’ve ever done where it’s nothing but invisible effects. It’s a really different calculus because nobody talks about them. And if you’ve done them well, they are invisible to the naked eye.”Eric Leven 1. The Running Man (Episode 201: “Hello, Ms. Cobel”) The season one finale ends on a major cliffhanger. Mark S. learns that his Outie’s wife, Gemma – believed killed in a car crash years ago – is actually alive somewhere inside the Lumon complex. Season two opens with Mark S. arriving at the Severed Floor in a desperate search for Gemma, who he only knows as her Innie persona, Ms. Casey. The fast-paced sequence is designed to look like a single, two-minute shot. It begins with the camera making a series of rapid and elaborate moves around a frantic Mark S. as he steps out of the elevator, into the Severed Floor lobby, and begins running through the hallways. “The nice thing about that sequence was that everyone knew it was going to be difficult and challenging,” Leven says, adding that executive producer and Episode 201 director, Ben Stiller, began by mapping out the hallway run with his team. Leven recommended that a previsualization sequence – provided by The Third Floor – would help the filmmakers refine their plan before cameras rolled. “While prevising it, we didn’t worry about how we would actually photograph anything. It was just, ‘These are the visuals we want to capture,’” Leven says. “‘What does it look like for this guy to run down this hallway for two minutes? We’ll figure out how to shoot it later.’” The previs process helped determine how best to shoot the sequence, and also informed which parts of the soundstage set would have to be digitally replaced. The first shot was captured by a camera mounted on a Bolt X Cinebot motion-control arm provided by The Garage production company. The size of the motion-control setup, however, meant it could not fit in the confined space of an elevator or the existing hallways. “We couldn’t actually shoot in the elevator,” Leven says. “The whole elevator section of the set was removed and was replaced with computer graphics [CG].” In addition to the elevator, ILM artists replaced portions of the floor, furniture, and an entire lobby wall, even adding a reflection of Adam Scott into the elevator doors. As Scott begins running, he’s picked up by a second camera mounted on a more compact, stabilized gimbal that allows the operator to quickly run behind and sometimes in front of the actor as he darts down different hallways. ILM seamlessly combined the first two Mark S. plates in a 2D composite. “Part of that is the magic of the artists at ILM who are doing that blend. But I have to give credit to Adam Scott because he ran the same way in both cameras without really being instructed,” says Leven. “Lucky for us, he led with the same foot. He used the same arm. I remember seeing it on the set, and I did a quick-and-dirty blend right there and thought, ‘Oh my gosh, this is going to work.’ So it was really nice.” The action continues at a frenetic pace, ultimately combining ten different shots to complete the sequence. “We didn’t want the very standard sleight of hand that you’ve seen a lot where you do a wipe across the white hallway,” Leven explains. “We tried to vary that as much as possible because we didn’t want to give away the gag. So, there are times when the camera will wipe across a hallway, and it’s not a computer graphics wipe. We’d hide the wipe somewhere else.” A slightly more complicated illusion comes as the camera sweeps around Mark S. from back to front as he barrels down another long hallway. “There was no way to get the camera to spin around Mark while he is running because there’s physically not enough room for the camera there,” says Leven. To capture the shot, Adam Scott ran on a treadmill placed on a green screen stage as the camera maneuvered around him. At that point, the entire hallway environment is made with computer graphics. Artists even added a few extra frames of the actor to help connect one shot to the next, selling the illusion of a single continuous take. “We painted in a bit of Adam Scott running around the corner. So if you freeze and look through it, you’ll see a bit of his heel. He never completely clears the frame,” Leven points out. Leven says ILM also provided Ben Stiller with options when it came to digitally changing up the look of Lumon’s sterile hallways: sometimes adding extra doors, vents, or even switching door handles. “I think Ben was very excited about having this opportunity,” says Leven. “He had never had a complete, fully computer graphics version of these hallways before. And now he was able to do things that he was never able to do in season one.” (Credit: Apple TV+). 2. Let it Snow (Episode 204: “Woe’s Hollow”) The MDR team – Mark, Helly, Dylan, and Irving – unexpectedly find themselves in the snowy wilderness as part of a two-day Lumon Outdoor Retreat and Team-Building Occurrence, or ORTBO.  Exterior scenes were shot on location at Minnewaska State Park Preserve in New York. Throughout the ORTBO sequence, ILM performed substantial environment enhancements, making trees and landscapes appear far snowier than they were during the shoot. “It’s really nice to get the actors out there in the cold and see their breath,” Leven says. “It just wasn’t snowy during the shoot. Nearly every exterior shot was either replaced or enhanced with snow.” For a shot of Irving standing on a vast frozen lake, for example, virtually every element in the location plate – including an unfrozen lake, mountains, and trees behind actor John Turturro – was swapped out for a CG environment. Wide shots of a steep, rocky wall Irving must scale to reach his co-workers were also completely digital. Eventually, the MDR team discovers a waterfall that marks their arrival at a place called Woe’s Hollow. The location – the state park’s real-life Awosting Falls – also got extensive winter upgrades from ILM, including much more snow covering the ground and trees, an ice-covered pond, and hundreds of icicles clinging to the rocky walls. “To make it fit in the world of Severance, there’s a ton of work that has to happen,” Leven tells ILM.com. (Credit: Apple TV+). 3. Welcome to Lumon (Episode 202: “Goodbye, Mrs. Selvig” & Episode 203: “Who is Alive?”) The historic Bell Labs office complex, now known as Bell Works in Holmdel Township, New Jersey, stands in as the fictional Lumon Industries headquarters building. Exterior shots often underwent a significant digital metamorphosis, with artists transforming areas of green grass into snow-covered terrain, inserting a CG water tower, and rendering hundreds of 1980s-era cars to fill the parking lot. “We’re always adding cars, we’re always adding snow. We’re changing, subtly, the shape and the layout of the design,” says Leven. “We’re seeing new angles that we’ve never seen before. On the roof of Lumon, for example, the air conditioning units are specifically designed and created with computer graphics.” In real life, the complex is surrounded by dozens of houses, requiring the digital erasure of entire neighborhoods. “All of that is taken out,” Leven explains. “CG trees are put in, and new mountains are put in the background.” Episodes 202 and 203 feature several night scenes shot from outside the building looking in. In one sequence, a camera drone flying outside captured a long tracking shot of Helena Eagan (Helly R.’s Outie) making her way down a glass-enclosed walkway. The building’s atrium can be seen behind her, complete with a massive wall sculpture depicting company founder Kier Eagan. “We had to put the Kier sculpture in with the special lighting,” Leven reveals. “The entire atrium was computer graphics.” Artists completed the shot by adding CG reflections of the snowy parking lot to the side of the highly reflective building. “We have to replace what’s in the reflections because the real reflection is a parking lot with no snow or a parking lot with no cars,” explains Leven. “We’re often replacing all kinds of stuff that you wouldn’t think would need to be replaced.” Another nighttime scene shot from outside the building features Helena in a conference room overlooking the Lumon parking lot, which sits empty except for Mr. Milchick (Tramell Tillman) riding in on his motorcycle. “The top story, where she is standing, was practical,” says Leven, noting the shot was also captured using a drone hovering outside the window. “The second story below her was all computer graphics. Everything other than the building is computer graphics. They did shoot a motorcycle on location, getting as much practical reference as possible, but then it had to be digitally replaced after the fact to make it work with the rest of the shot.” (Credit: Apple TV+). 4. Time in Motion (Episode 207: “Chikhai Bardo”) Episode seven reveals that MDR’s progress is being monitored by four dopplegang-ish observers in a control room one floor below, revealed via a complex move that has the camera traveling downward through a mass of data cables. “They built an oversize cable run, and they shot with small probe lenses. Visual effects helped by blending several plates together,” explains Leven. “It was a collaboration between many different departments, which was really nice. Visual effects helped with stuff that just couldn’t be shot for real. For example, when the camera exits the thin holes of the metal grate at the bottom of the floor, that grate is computer graphics.” The sequence continues with a sweeping motion-control time-lapse shot that travels around the control-room observers in a spiral pattern, a feat pulled off with an ingenious mix of technical innovation and old-school sleight of hand. A previs sequence from The Third Floor laid out the camera move, but because the Bolt arm motion-control rig could only travel on a straight track and cover roughly one-quarter of the required distance, The Garage came up with a way to break the shot into multiple passes. The passes would later be stitched together into one seemingly uninterrupted movement. The symmetrical set design – including the four identical workstations – helped complete the illusion, along with a clever solution that kept the four actors in the correct position relative to the camera. “The camera would basically get to the end of the track,” Leven explains. “Then everybody would switch positions 90 degrees. Everyone would get out of their chairs and move. The camera would go back to one, and it would look like one continuous move around in a circle because the room is perfectly symmetrical, and everything in it is perfectly symmetrical. We were able to move the actors, and it looks like the camera was going all the way around the room.” The final motion-control move switches from time-lapse back to real time as the camera passes by a workstation and reveals Mr. Drummond (Ólafur Darri Ólafsson) and Dr. Mauer (Robby Benson) standing behind it. Leven notes that each pass was completed with just one take. 5. Mark vs. Mark (Episode 210: “Cold Harbor”) The Severance season two finale begins with an increasingly tense conversation between Innie Mark and Outie Mark, as the two personas use a handheld video camera to send recorded messages back and forth. Their encounter takes place at night in a Lumon birthing cabin equipped with a severance threshold that allows Mark S. to become Mark Scout each time he steps outside and onto the balcony. The cabin set was built on a soundstage at York Studios in the Bronx, New York. The balcony section consisted of the snowy floor, two chairs, and a railing, all surrounded by a blue screen background. Everything else was up to ILM to create. “It was nice to have Ben’s trust that we could just do it,” Leven remembers. “He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’” Artists filled in the scene with CG water, mountains, and moonlight to match the on-set lighting and of course, more snow. As Mark Scout steps onto the balcony, the camera pulls back to a wide shot, revealing the cabin’s full exterior. “They built a part of the exterior of the set. But everything other than the windows, even the railing, was digitally replaced,” Leven says. “It was nice to have Ben [Stiller’s] trust that we could just do it. He said, ‘Hey, you’re just going to make this look great, right?’ We said, ‘Yeah, no problem.’”Eric Leven Bonus: Marching Band Magic (Episode 210: “Cold Harbor”) Finally, our bonus visual effects shot appears roughly halfway through the season finale. To celebrate Mark S. completing the Cold Harbor file, Mr. Milchick orders up a marching band from Lumon’s Choreography and Merriment department. Band members pour into MDR, but Leven says roughly 15 to 20 shots required adding a few more digital duplicates. “They wanted it to look like MDR was filled with band members. And for several of the shots there were holes in there. It just didn’t feel full enough,” he says. In a shot featuring a God’s-eye view of MDR, band members hold dozens of white cards above their heads, forming a giant illustration of a smiling Mark S. with text that reads “100%.” “For the top shot, we had to find a different stage because the MDR ceiling is only about eight feet tall,” recalls Leven. “And Ben really pushed to have it done practically, which I think was the right call because you’ve already got the band members, you’ve made the costumes, you’ve got the instruments. Let’s find a place to shoot it.” To get the high shot, the production team set up on an empty soundstage, placing signature MDR-green carpet on the floor. A simple foam core mock-up of the team’s desks occupied the center of the frame, with the finished CG versions added later. Even without the restraints of the practical MDR walls and ceiling, the camera could only get enough height to capture about 30 band members in the shot. So the scene was digitally expanded, with artists adding more green carpet, CG walls, and about 50 more band members. “We painted in new band members, extracting what we could from the practical plate,” Leven says. “We moved them around; we added more, just to make it look as full as Ben wanted.” Every single white card in the shot, Leven points out, is completely digital. (Credit: Apple TV+). A Mysterious and Important Collaboration With fans now fiercely debating the many twists and turns of Severance season two, Leven is quick to credit ILM’s two main visual effects collaborators: east side effects and Mango FX INC, as well as ILM studios and artists around the globe, including San Francisco, Vancouver, Singapore, Sydney, and Mumbai. Leven also believes Severance ultimately benefited from a successful creative partnership between ILM and Ben Stiller. “This one clicked so well, and it really made a difference on the show,” Leven says. “I think we both had the same sort of visual shorthand in terms of what we wanted things to look like. One of the things I love about working with Ben is that he’s obviously grounded in reality. He wants to shoot as much stuff real as possible, but then sometimes there’s a shot that will either come to him late or he just knows is impractical to shoot. And he knows that ILM can deliver it.” — Clayton Sandell is a Star Wars author and enthusiast, TV storyteller, and a longtime fan of the creative people who keep Industrial Light & Magic and Skywalker Sound on the leading edge of visual effects and sound design. Follow him on Instagram (@claytonsandell) Bluesky (@claytonsandell.com) or X (@Clayton_Sandell).

designer491/Getty Images 2025-06-05T08:27:25Z Save Saved Read in app This story is available exclusively to Business Insider subscribers. Become an Insider and start reading now. Have an account? Scott Edinburgh is still advising international students to apply for MBAs this year. US MBA programs can offer more networking and job opportunities than their European counterparts, he said. Sitting on the decision to apply for too long may hurt a candidate's acceptance chances. This as-told-to essay is based on a conversation with Scott Edinburgh, a Boston-based MBA admissions consultant. It has been edited for length and clarity.I launched an admissions consulting business in 2008 — it's a family business that I run with my sister.We get a lot of international students, and they sometimes make up half our clients for the year. Our reach matches what many schools are seeing. There is a lot of interest from India and China, as well as growing numbers in Europe, the Middle East, and some countries in Africa. For MBA programs, most students are in their mid- to late 20s and have some years of work experience.We offer guidance for universities in Europe and some other places, but there are still some unique features about pursuing an MBA in the US. An MBA as a course is more popular in the US than Europe and it opens up more networking opportunities, and the degree holds a bit more value. US programs are also stronger from a recruiting and job standpoint. It also comes down to where you want to establish yourself. If you want to live in the US, there's no better way to do it than to study here.Given the uncertainty surrounding US immigration policies, we've been getting questions about studying and working in the US and seeing some students apply to European schools instead. Still, there are a couple of reasons tons of students are still keen on pursuing an MBA in the US and why I recommend they apply now.Schools are working hard to keep international studentsI'm getting questions about the US being open to accepting international students and the risks of studying here.There are over 1.1 million international students in the US right now, and they're not all being kicked out and told to leave. There's a lot of hesitation among some international students about their ability to show up on campus.But what we're seeing from talking with deans and councils is that schools are doing a lot so that they can have their international students. These students make up a large percentage of the class at top business schools. Their legal teams are quite strong, and we've seen a lot of court interventions to uphold the rights and opportunities for international students.While it seems like there's an issue now, it's probably going to work itself out. People hesitating means there are fewer applicants, which means you're more likely to get in.You're not entering the job market nowPeople are worried about the job market not being great, and they're reading jobs reports that are coming out from these schools. We tell them you're not applying to apply for a job now. Things are cyclical. If you're applying to business school in 2025 and graduating in 2028, that's three years from now. The chances are that the job market will not be in the same place three years from now.Right now is the absolute best time to apply. This will be the best round in the span of many rounds that I've seen as far as acceptance rates go. The market is not great job-wise wise and you can spend that time educating yourself. You won't be missing out on huge promotions, huge raises, and new jobs. By the time you graduate, things may start to improve.MBAs are time-boundThe job market and political situation add an element of risk, but those who are looking to get ahead will find a way to succeed.Students often forget that the MBA is a time-bound program, and waiting too long to apply while the situation clears up might make it too difficult to get in.Universities prefer those in their mid- to late 20s because they are easier to place into jobs and because they want cohorts to mesh well. The median number of years of experience is five, and as you go further down the bell curve, there are just fewer and fewer spots that are available.Unless you are in your early 20s, you could be shooting yourself in the foot by delaying by one or two years. The fear of what might happen from a policy standpoint becomes irrelevant if you don't get into a program in a future year.Do you have a story to share about international graduate students in the US? Contact this reporter at sgoel@businessinsider.com.

I do not consider myself a very woo-woo person, someone who's in touch with their spirituality, or even someone particularly sentimental. The concept of meditating, like so many other things I regard "too mystical," has never appealed to me, but I'll tell you what does: Working out, being physically healthy, and staying on top of my goals. That's why Peloton's approach to meditation sessions appealed to me more than others have before.I'm always browsing the Peloton app for new workout options and recently stumbled across the guided meditation classes it offers alongside cycling, walking, yoga, strength training, and more. At first, I didn't see the appeal. I use the app and its classes to get sweaty, burn calories, and enhance my body's performance, after all. But as it turns out, these are really cool and can put you in a better mental space, which clears the way for you to do all that other stuff. Since discovering them, I've been streaming them quite a bit. Here's why you should, too.What are Peloton's meditation classes all about?Using Peloton's app—which is included on the touchscreens of its at-home workout equipment, can be downloaded to your phone, or even streamed on devices like a Roku—you can access a variety of class types. Tap Meditation from the home screen and you'll be shown hundreds of meditation options that range in length from five minutes to 30. As with any Peloton offering, they're led by a number of different instructors; if you take enough of them, you'll find a favorite or two, but what really stands out is that there are different categories available, such as:sleep mindfulness anxiety focus recoverygratitudehappinessrelaxingEach class is designed for a specific purpose, so you can choose if you want to "flow and let go," embrace a bright morning, or even take one designed for use on your evening commute. You can filter by class type, which lets you break down the classes by categories like "Daily Meditation," "Meditation Basics," "Emotions," "Theme," or "Walking Meditation." There are even some for pre- and post-natal meditation. You don't need any special equipment; the instructors usually lead off simply by suggesting how you should position your body. Meditations can be added to class Stacks, which are Peloton's version of playlists that cycles through pre-selected classes, allowing you to customize your entire workout before it begins. If you have your Apple Watch linked up to your Peloton account (and you should!) the app will track your heart rate and input the meditation into your Apple Health tracker, listing it as "Mind & Body" under your sessions. Why I like Peloton's meditationsAs I said, I'm not a very spiritual or soulful person, so I appreciate that the meditation classes I've taken through the app aren't overly mushy. Rather, they're pretty straightforward: The instructors speak clearly and plainly, don't rely too much on frivolous imagery, and instead, draw your attention to your breathing and body in a way that actually helps you feel more connected to both. For as much energy as I put into working out and strengthening my body, I do struggle with things like the "mind-muscle connection" or just identifying how different parts of my body are feeling, so these sessions, where I'm asked to focus intently on certain areas and connect to how I'm feeling in a given moment, are actually pretty beneficial to my quest to become stronger and healthier overall.I first tried the Peloton meditations a few weeks ago while waiting for the bus. I was having a very busy day and had had absolutely no time to work out, not even on my Peloton bike, which was adding to my stress while I waited for the bus to pull up and take me to more busy activities. I didn't want to lose my Peloton streak, so I opened the app to see if there was a quick walking workout I could get in, maybe by strolling to the next-farthest bus stop, and saw the meditations option. I picked a five-minute meditation and listened to it while I stood on the sidewalk—and it did chill me out, help me focus, and reinvigorate me a little, almost the same as a traditional workout would have, but without taking up as much time or making me a sweaty mess. I tried a few others over the next few days and found them really useful, especially during long hours in the car on my Memorial Day road trip or earlier this week and when my team was losing a baseball game and I was not enjoying the experience of watching. Obviously, these classes are a lot different from Peloton's usual offerings. I'm not sweating, straining myself, or enhancing my cardiovascular or respiratory function. Instead, I'm strengthening my mind, training myself to focus on my breathing and feelings. Those abilities translate really well to being able to continue my fitness journey as well as just handle whatever is going on in an average day. I think these are especially useful as a pick-me-up, a kickstart for the day, or a post-workout wind-down. I also appreciate how accessible the classes are. You can toggle on closed captions, for instance, and the audio and video components are high-quality, making the instructors easy to understand. The background music never muffles the instructors' voices, there is a diverse selection of instructors and class types, and there really does seem to be something for everyone, whether you want to walk and listen or only have five minutes to devote to grounding yourself.

It was a fun moment to be online. When the news broke on May 8 that Pope Francis’s successor would be the first-ever American to hold the sacred position—and a Chicagoan, no less—social media erupted with celebration and Windy City-specific memes. Within days, some of those memes had morphed into t-shirts for sale. As the conversation around Pope Leo XIV quickly spread to his environmentalist leanings and political opinions, though, the wellspring of unauthorized merchandise spread far beyond novelty shirts that read “Da Pope.” What has flourished in the days since is a broader pope economy that spans clothing, memorabilia, food, tourism, and more—both in the U.S. and in Rome. Demand in both places appears largely driven by Americans. Stateside fervor for pope merchandise is not without precedent, of course. A pontifical cottage industry sprang up around Pope Francis’s 2015 visit to Philadelphia, for instance. Along with t-shirts commemorating the event, Philly streets were flooded with plush pope dolls, life-sized cardboard cutouts, and other pope swag. There was even pope cheese, a mozzarella ball shaped like the bishop of Rome. Considering this level of entrepreneurial excitement marked the occasion of a sitting pope merely visiting the U.S., it’s no wonder so many people have found creative ways to capitalize on an American ascending to the papacy. No business like pope business The scope of the pope-based merch empire is already vast. It has a devotional side, with various faith-based online retailers lining up to sell prayer cards, framed portraits, and an insta-book called When the White Smoke Clears: A Guide to Pope Leo XIV’s Early Days, which currently has a June 30 release date.  Topps offered a limited-release Pope Leo-themed trading card for four days in May, and reportedly sold 133,535 units at $8.99 a pop. (Though the cards are part of a special Topps collection marking significant moments in sports and culture, Pope trading cards date back to the early 1900s.) The Pope Leo cards are now being listed at up to $199 on eBay. For those who would like something a little more three-dimensional, the National Bobblehead Hall of Fame and Museum recently put on presale two separate iterations of Pope Leo for $30 each. There’s also piping hot content on the way: Castletown Media’s forthcoming documentary, Pope Leo XVI: A Pontiff’s Path, which is expected to reside on an upcoming faith-based streaming service called CREDO. Perhaps some of the many viewers who made 2025 Oscar nominee Conclave a massive hit on streaming during Pope Leo’s election will be among the first to tune in. Unsurprisingly, Chicago has become the white-hot epicenter for stateside Popemania. The merch frenzy includes custom White Sox jerseys, in the wake of Pope Leo’s brother dispelling rumors of Cubs fandom and archival video footage confirming his Sox bona fides. The Chicago sports shop Grandstand claimed to Sports Illustrated that their Sox jerseys with the Pope’s name on it are outselling those of any other player on the team. The Sox’s home, Rate Field, took the team’s papal love public, installing a mural of him at the stadium.  Beloved Chi-town restaurant chain Portillo’s also named a new sandwich  The Leo, which it describes as “divinely seasoned Italian Beef, baptized in gravy.” Meanwhile, in Evanston, Bennison’s Bakery is offering limited edition cookies that bear Pope Leo’s likeness.  Chicago may eventually become an even bigger tourist destination for the faithful. The owner of Pope Leo’s now-decrepit childhood church—St. Mary of the Assumption, on Chicago’s south side—is reportedly in talks to convert the space into a place of worship for local congregations, with a food pantry named after the new pope. (The Chicago suburb in which he grew up intends to either purchase his childhood home that was up for sale, or obtain it through eminent domain, and allow it “to be viewed and visited by the public as a historic site.”) A lot of the papal tourism, however, is currently taking place in Rome. When in Rome Americans already account for the largest segment of tourist visits to Rome, with a record 2.5 million arriving in 2024 alone, according to The Guardian. Now that an American will occupy the Chair of St. Peter in Vatican City, though, vendors and various service providers are preparing for a full-on religious tourist invasion. Tour companies are reporting an increase in bookings for pilgrimages, especially from Americans. The owner of Atlante Star, a hotel in Rome known for its impressive view over St Peter’s Basilica, told The Guardian ahead of Pope Leo’s inaugural service on May 18 that the hotel was “mostly full with people from North America, and not just pilgrims.” And as in Chicago, culinary business owners near the Vatican, including gelato makers and brewers, are offering pope-themed confections to entice American visitors. Within two days of Pope Leo XIV’s election, posters, magnets and other small items featuring him have gone on sale in Rome pic.twitter.com/LfVJWXiYLE— Reuters (@Reuters) May 10, 2025 Out on the streets of Rome, some vendors began to sell posters and trinkets bearing the new pope’s name and image within 48 hours of his election. No official Pope Leo XIV holy cards or rosaries have gone on sale yet in the Vatican gift shop, though, nor are any available at many of the other souvenir shops throughout the city, which are reportedly waiting for “the authorization of the dicastery,” a department within the administrative body of the Holy See, to be able to sell merch celebrating the new pope. Waiting seems like a wise move—and not just because it will give all remaining official Pope Francis merch a chance to sell out. Divine copyright protection The Vatican, it turns out, has a long history of legally protecting the pope’s image. Back in 2009, toward the end of Pope Benedict XVI’s tenure, the Holy See essentially declared a divine copyright. Citing a “great increase of affection and esteem for the person of the Holy Father” as contributing to broader use the Pontiff’s name and image, the Vatican emphasized that “it alone has the right to ensure the respect due to the Successors of Peter,” and therefore, to protect the Pope from unauthorized uses of his name, image, or any related symbols. Perhaps inspired by all the papal ephemera Pope Francis and his handlers would have seen during the 2015 trip to the U.S., the Vatican went on the offensive two years later. In 2017, it hired global law firm Baker McKenzie to protect the rights to its intellectual property. (Representatives for Baker McKenzie did not respond to Fast Company’s request for comment on the work it may have done, or continues to do, for the Catholic Church.) It’s unclear how long it will take for the Vatican to authorize official Pope Leo XIV merch. According to Italian news organization Agenzia Nazionale Stampa Associata, it could be as soon as a matter of weeks. In the meantime, the enterprising souls selling trinkets and sandwiches with the pope’s name appear to be taking advantage of a Wild West moment of slow trademark enforcement. In the long haul, those “Da Pope” shirts made in America fall under the parody allowance in the fair use doctrine, but the online merch store with the audacious URL officialpopeleoxiv.com seems destined for litigation. (The operator of the site did not respond to a request for comment, but WHOIS Domain Lookup shows that it went live on May 9 and operates out of Reykjavik.) Retailers selling rosaries decorated with Pope Leo’s face, and supposedly blessed by him, may be able to operate unimpeded for the moment. If any folks operating unauthorized shops are religious, though, a much greater punishment than litigation could serve as a deterrent.

To grow, we must forget… but now AI remembers everythingAI’s infinite memory could endanger how we think, grow, and imagine. And we can do something about it.Photo by Laura Fuhrman on UnsplashWhen Mary remembered too muchImagine your best friend — we’ll call her Mary — had perfect, infallible memory.At first, it feels wonderful. She remembers your favorite dishes, obscure movie quotes, even that exact shade of sweater you casually admired months ago. Dinner plans are effortless: “Booked us Giorgio’s again, your favorite — truffle ravioli and Cabernet, like last time,” Mary smiled warmly.But gradually, things become less appealing. Your attempts at variety or exploring something new are gently brushed aside: “Heard about that new sushi place, should we try it?” you suggest. Mary hesitates, “Remember last year? You said sushi wasn’t really your thing. Giorgio’s is safe. Why risk it?”Conversations start to feel repetitive, your identity locked to a cached version of yourself. Mary constantly cites your past preferences as proof of who you still are. The longer this goes on, the smaller your world feels… and comfort begins to curdle into confinement.Now, picture Mary isn’t human, but your personalized AI assistant.A new mode of hyper-personalizationWith OpenAI’s new memory upgrade, ChatGPT can now recall everything you’ve ever shared with it, indefinitely. Similarly, Google has opened the context window with “Infini-attention,” letting large language models (LLMs) reference infinite inputs with zero memory loss. And in consumer-facing tools like ChatGPT or Gemini, this now means persistent, personalized memory across conversations, unless you manually intervene.https://medium.com/media/f1f7978fb8d63f7a1e9f52f051808f44/hrefThe sales pitch is seductively simple: less friction, more relevance. Conversations that feel like continuity: “Systems that get to know you over your life,” as Sam Altman writes on X. Technology, finally, that meets you where you are.In the age of hyper-personalization — of the TikTok For You page, Spotify Wrapped, and Netflix Your Next Watch — a conversational AI product that remembers everything about you feels perfectly, perhaps dangerously, natural.Netflix “knows us.” And we’re conditioned to expect conversational AI to do the same.Forgetting, then, begins to look like a flaw. A failure to retain. A bug in the code. Especially in our own lives, we treat memory loss as a tragedy, clinging to photo albums and cloud backups to preserve what time tries to erase.But what if human forgetting is not a bug, but a feature? And what happens when we build machines that don’t forget, but are now helping shape the human minds that do?Forgetting is a feature of human memory“Infinite memory” runs against the very grain of what it means to be human. Cognitive science and evolutionary biology tell us that forgetting isn’t a design flaw, but a survival advantage. Our brains are not built to store everything. They’re built to let go: to blur the past, to misremember just enough to move forward.Our brains don’t archive data. They encode approximations. Memory is probabilistic, reconstructive, and inherently lossy. We misremember not because we’re broken, but because it makes us adaptable. Memory compresses and abstracts experience into usable shortcuts, heuristics that help us act fast, not recall perfectly.Evolution didn’t optimize our brains to store the past in high fidelity; it optimized us to survive the present. In early humans, remembering too much could be fatal: a brain caught up recalling a saber-tooth tiger’s precise location or exact color would hesitate, but a brain that knows riverbank = danger can act fast.Image generated by ChatGPT.This is why forgetting is essential to survival. Selective forgetting helps us prioritize the relevant, discard the outdated, and stay flexible in changing environments. It prevents us from becoming trapped by obsolete patterns or overwhelmed by noise.And it’s not passive decay. Neuroscience shows that forgetting is an active process: the brain regulates what to retrieve and what to suppress, clearing mental space to absorb new information. In his TED talk, neuroscientist Richard Morris describes the forgetting process as “the hippocampus doing its job… as it clears the desktop of your mind so that you’re ready for the next day to take in new information.”https://medium.com/media/e272064dd59f29c4ca35e808d39e4e72/hrefCrucially, this mental flexibility isn’t just for processing the past; forgetting allows us to imagine the future. Memory’s malleability gives us the ability to simulate, to envision, to choose differently next time. What we lose in accuracy, we gain in possibility.So when we ask why humans forget, the answer isn’t just functional. It’s existential. If we remembered everything, we wouldn’t be more intelligent. We’d still be standing at the riverbank, paralyzed by the precision of memories that no longer serve us.When forgetting is a “flaw” in AI memoryWhere nature embraced forgetting as a survival strategy, we now engineer machines that retain everything: your past prompts, preferences, corrections, and confessions.What sounds like a convenience, digital companions that “know you,” can quietly become a constraint. Unlike human memory, which fades and adapts, infinite memory stores information with fidelity and permanence. And as memory-equipped LLMs respond, they increasingly draw on a preserved version of you, even if that version is six months old and irrelevant.Sound familiar?This pattern of behavior reinforcement closely mirrors the personalization logic driving platforms like TikTok, Instagram, and Facebook. Extensive research has shown how these platforms amplify existing preferences, narrow user perspectives, and reduce exposure to new, challenging ideas — a phenomenon known as filter bubbles or echo chambers.Positive feedback loops are the engine of recommendation algorithms like TikTok, Netflix, and Spotify. From Medium.These feedback loops, optimized for engagement rather than novelty or growth, have been linked to documented consequences including ideological polarization, misinformation spread, and decreased critical thinking.Now, this same personalization logic is moving inward: from your feed to your conversations, and from what you consume to how you think.“Echo chamber to end all echo chambers”Just as the TikTok For You page algorithm predicts your next dopamine hit, memory-enabled LLMs predict and reinforce conversational patterns that align closely with your past behavior, keeping you comfortable inside your bubble of views and preferences.Jordan Gibbs, writing on the dangers of ChatGPT, notes that conversational AI is an “echo chamber to end all echo chambers.” Gibbs points out how even harmless-seeming positive reinforcement can quietly reshape user perceptions and restrict creative or critical thinking.Jordan Gibb’s conversation with ChatGPT from Medium.In one example, ChatGPT responds to Gibb’s claim of being one of the best chess players in the world not with skepticism or critical inquiry, but with encouragement and validation, highlighting how easily LLMs affirm bold, unverified assertions.And with infinite memory enabled, this is no longer a one-off interaction: the personal data point that, “You are one of the very best chess players in the world, ” risks becoming a fixed truth the model reflexively returns to, until your delusion, once tossed out in passing, becomes a cornerstone of your digital self. Not because it’s accurate, but because it was remembered, reinforced, and never challenged.When memory becomes fixed, identity becomes recursive. As we saw with our friend Mary, infinite memory doesn’t just remember our past; it nudges us to repeat it. And while the reinforcement may feel benign, personalized, or even comforting, the history of filter bubbles and echo chambers suggests that this kind of pattern replication rarely leaves room for transformation.What we lose when nothing is lostWhat begins as personalization can quietly become entrapment, not through control, but through familiarity. And in that familiarity, we begin to lose something essential: not just variety, but the very conditions that make change possible.Research in cognitive and developmental psychology shows that stepping outside one’s comfort zone is essential for growth, resilience, and adaptation. Yet, infinite-memory LLM systems, much like personalization algorithms, are engineered explicitly for comfort. They wrap users in a cocoon of sameness by continuously repeating familiar conversational patterns, reinforcing existing user preferences and biases, and avoiding content or ideas that might challenge or discomfort the user.Hyper-personalization traps us in a “comfort cocoon” that prevents from growing and transforming. From Earth.comWhile this engineered comfort may boost short-term satisfaction, its long-term effects are troubling. It replaces the discomfort necessary for cognitive growth with repetitive familiarity, effectively transforming your cognitive gym into a lazy river. Rather than stretching cognitive and emotional capacities, infinite-memory systems risk stagnating them, creating a psychological landscape devoid of intellectual curiosity and resilience.So, how do we break free from this? If the risks of infinite memory are clear, the path forward must be just as intentional. We must design LLM systems that don’t just remember, but also know when and why to forget.How we design to forgetIf the danger of infinite memory lies in its ability to trap us in our past, then the antidote must be rooted in intentional forgetting — systems that forget wisely, adaptively, and in ways aligned with human growth. But building such systems requires action across levels — from the people who use them to those who design and develop them.For users: reclaim agency over your digital selfJust as we now expect to “manage cookies” on websites, toggling consent checkboxes or adjusting ad settings, we may soon expect to manage our digital selves within LLM memory interfaces. But where cookies govern how our data is collected and used by entities, memory in conversational AI turns that data inward. Personal data is not just pipelines for targeted ads; they’re conversational mirrors, actively shaping how we think, remember, and express who we are. The stakes are higher.Memory-equipped LLMs like ChatGPT already offer tools for this. You can review what it remembers about you by going to Settings > Personalization > Memory > Manage. You can delete what’s outdated, refine what’s imprecise, and add what actually matters to who you are now. If something no longer reflects you, remove it. If something feels off, reframe it. If something is sensitive or exploratory, switch to a temporary chat and leave no trace.You can manage and disable memory within ChatGPT by visiting Settings > Personalization.You can also pause or disable memory entirely. Don’t be afraid to do it. There’s a quiet power in the clean slate: a freedom to experiment, shift, and show up as someone new.Guide the memory, don’t leave it ambient. Offer core memories that represent the direction you’re heading, not just the footprints you left behind.For UX designers: design for revision, not just retentionReclaiming memory is a personal act. But shaping how memory behaves in AI products is design decision. Infinite memory isn’t just a technical upgrade; it’s a cognitive interface. And UX designers are now curating the mental architecture of how people evolve, or get stuck.Forget “opt in” or “opt out.” Memory management shouldn’t live in buried toggles or forgotten settings menus. It should be active, visible, and intuitive: a first-class feature, not an afterthought. Users need interfaces that not only show what the system remembers, but also how those memories are shaping what they see, hear, and get suggested. Not just visibility, but influence tracing.ChatGPT’s current memory interface enables users to manage memories, but it is static and database-like.While ChatGPT’s memory UI offers user control over their memories, it reads like a black-and-white database: out or in. Instead of treating memory as a static archive, we should design it as a living layer, structured more like a sketchpad than a ledger: flexible and revisable. All of this is hypothetical, but here’s what it could look like:Memory Review Moments: Built-in check-ins that ask, “You haven’t referenced this in a while — keep, revise, or forget?” Like Rocket Money nudging you to review subscriptions, the system becomes a gentle co-editor, helping surface outdated or ambiguous context before it quietly reshapes future behavior.Time-Aware Metadata: Memories don’t age equally. Show users when something was last used, how often it comes up, or whether it’s quietly steering suggestions. Just like Spotify highlights “recently played,” memory interfaces could offer temporal context that makes stored data feel navigable and self-aware.Memory Tiers: Not all information deserves equal weight. Let users tag “Core Memories” that persist until manually removed, and set others as short-term or provisional — notes that decay unless reaffirmed.Inline Memory Controls: Bring memory into the flow of conversation. Imagine typing, and a quiet note appears: “This suggestion draws on your July planning — still accurate?” Like version history in Figma or comment nudges in Google Docs, these lightweight moments let users edit memory without switching contexts.Expiration Dates & Sunset Notices: Some memories should come with lifespans. Let users set expiration dates — “forget this in 30 days unless I say otherwise.” Like calendar events or temporary access links, this makes forgetting a designed act, not a technical gap.Image a Miro-like memory board where users could prioritize, annotate, and link memories.Sketchpad Interfaces: Finally, break free from the checkbox UI. Imagine memory as a visual canvas: clusters of ideas, color-coded threads, ephemeral notes. A place to link thoughts, add context, tag relevance. Think Miro meets Pinterest for your digital identity, a space that mirrors how we actually think, shift, and remember.When designers build memory this way, they create more than tools. They create mirrors with context, systems that grow with us instead of holding us still.For AI developers: engineer forgetting as a featureTo truly support transformation, UX needs infrastructure. The design must be backed by technical memory systems that are fluid, flexible, and capable of letting go. And that responsibility falls to developers: not just to build tools for remembering, but to engineer forgetting as a core function.This is the heart of my piece: we can’t talk about user agency, growth, or identity without addressing how memory works under the hood. Forgetting must be built into the LLM system itself, not as a failsafe, but as a feature.One promising approach, called adaptive forgetting, mimics how humans let go of unnecessary details while retaining important patterns and concepts. Researchers demonstrate that when LLMs periodically erase and retrain parts of their memory, especially early layers that store word associations, they become better at picking up new languages, adapting to new tasks, and doing so with less data and computing power.Photo by Valentin Tkach for Quanta MagazineAnother more accessible path forward is in Retrieval-Augmented Generation (RAG). A new method called SynapticRAG, inspired by the brain’s natural timing and memory mechanisms, adds a sense of temporality to AI memory. Models recall information not just based on content, but also on when it happened. Just like our brains prioritize recent memories, this method scores and updates AI memories based on both their relevance and relevance, allowing it to retrieve more meaningful, diverse, and context-rich information. Testing showed that this time-aware system outperforms traditional memory tools in multilingual conversations by up to 14.66% in accuracy, while also avoiding redundant or outdated responses.Together, adaptive forgetting and biologically inspired memory retrieval point toward a more human kind of AI: systems that learn continuously, update flexibly, and interact in ways that feel less like digital tape recorders and more like thoughtful, evolving collaborators.To grow, we must choose to forgetSo the pieces are all here: the architectural tools, the memory systems, the design patterns. We’ve shown that it’s technically possible for AI to forget. But the question isn’t just whether we can. It’s whether we will.Of course, not all AI systems need to forget. In high-stakes domains — medicine, law, scientific research — perfect recall can be life-saving. However, this essay is about a different kind of AI: the kind we bring into our daily lives. The ones we turn to for brainstorming, emotional support, writing help, or even casual companionship. These are the systems that assist us, observe us, and remember us. And if left unchecked, they may start to define us.We’ve already seen what happens when algorithms optimize for comfort. What begins as personalization becomes repetition. Sameness. Polarization. Now that logic is turning inward: no longer just curating our feeds, but shaping our conversations, our habits of thought, our sense of self. But we don’t have to follow the same path.We can build LLM systems that don’t just remember us, but help us evolve. Systems that challenge us to break patterns, to imagine differently, to change. Not to preserve who we were, but to make space for who we might yet become, just as our ancestors did.Not with perfect memory, but with the courage to forget.To grow, we must forget… but AI remembers everything was originally published in UX Collective on Medium, where people are continuing the conversation by highlighting and responding to this story.

Observation Rocket Report: SpaceX’s expansion at Vandenberg; India’s PSLV fails in flight China's diversity in rockets was evident this week, with four types of launchers in action. Stephen Clark – May 23, 2025 7:00 am | 7 Dawn Aerospace's Mk-II Aurora airplane in flight over New Zealand last year. Credit: Dawn Aerospace Dawn Aerospace's Mk-II Aurora airplane in flight over New Zealand last year. Credit: Dawn Aerospace Story text Size Small Standard Large Width * Standard Wide Links Standard Orange * Subscribers only   Learn more Welcome to Edition 7.45 of the Rocket Report! Let's talk about spaceplanes. Since the Space Shuttle, spaceplanes have, at best, been a niche part of the space transportation business. The US Air Force's uncrewed X-37B and a similar vehicle operated by China's military are the only spaceplanes to reach orbit since the last shuttle flight in 2011, and both require a lift from a conventional rocket. Virgin Galactic's suborbital space tourism platform is also a spaceplane of sorts. A generation or two ago, one of the chief arguments in favor of spaceplanes was that they were easier to recover and reuse. Today, SpaceX routinely reuses capsules and rockets that look much more like conventional space vehicles than the winged designs of yesteryear. Spaceplanes are undeniably alluring in appearance, but they have the drawback of carrying extra weight (wings) into space that won't be used until the final minutes of a mission. So, do they have a future? As always, we welcome reader submissions. If you don't want to miss an issue, please subscribe using the box below (the form will not appear on AMP-enabled versions of the site). Each report will include information on small-, medium-, and heavy-lift rockets, as well as a quick look ahead at the next three launches on the calendar. One of China's commercial rockets returns to flight. The Kinetica-1 rocket launched Wednesday for the first time since a failure doomed its previous attempt to reach orbit in December, according to the vehicle's developer and operator, CAS Space. The Kinetica-1 is one of several small Chinese solid-fueled launch vehicles managed by a commercial company, although with strict government oversight and support. CAS Space, a spinoff of the Chinese Academy of Sciences, said its Kinetica-1 rocket deployed multiple payloads with "excellent orbit insertion accuracy." This was the seventh flight of a Kinetica-1 rocket since its debut in 2022. Back in action ... "Kinetica-1 is back!" CAS Space posted on X. "Mission Y7 has just successfully sent six satellites into designated orbits, making a total of 63 satellites or 6 tons of payloads since its debut. Lots of missions are planned for the coming months. 2025 is going to be awesome." The Kinetica-1 is designed to place up to 2 metric tons of payload into low-Earth orbit. A larger liquid-fueled rocket, Kinetica-2, is scheduled to debut later this year. The Ars Technica Rocket Report The easiest way to keep up with Eric Berger's and Stephen Clark's reporting on all things space is to sign up for our newsletter. We'll collect their stories and deliver them straight to your inbox. Sign Me Up! French government backs a spaceplane startup. French spaceplane startup AndroMach announced May 15 that it received a contract from CNES, the French space agency, to begin testing an early prototype of its Banger v1 rocket engine, European Spaceflight reports. Founded in 2023, AndroMach is developing a pair of spaceplanes that will be used to perform suborbital and orbital missions to space. A suborbital spaceplane will utilize turbojet engines for horizontal takeoff and landing, and a pressure-fed biopropane/liquid oxygen rocket engine to reach space. Test flights of this smaller vehicle will begin in early 2027. A risky proposition ... A larger ÉTOILE "orbital shuttle" is designed to be launched by various small launch vehicles and will be capable of carrying payloads of up to 100 kilograms (220 pounds). According to the company, initial test flights of ÉTOILE are expected to begin at the beginning of the next decade. It's unclear how much CNES is committing to AndroMach through this contract, but the company says the funding will support testing of an early demonstrator for its propane-fueled engine, with a focus on evaluating its thermodynamic performance. It's good to see European governments supporting developments in commercial space, but the path to a small commercial orbital spaceplane is rife with risk. (submitted by EllPeaTea) Dawn Aerospace is taking orders. Another spaceplane company in a more advanced stage of development says it is now taking customer orders for flights to the edge of space. New Zealand-based Dawn Aerospace said it is beginning to take orders for its remotely piloted, rocket-powered suborbital spaceplane, known as Aurora, with first deliveries expected in 2027, Aviation Week & Space Technology reports. "This marks a historic milestone: the first time a space-capable vehicle—designed to fly beyond the Kármán line (100 kilometers or 328,000 feet)—has been offered for direct sale to customers," Dawn Aerospace said in a statement. While it hasn't yet reached space, Dawn's Aurora spaceplane flew to supersonic speed for the first time last year and climbed to an altitude of 82,500 feet (25.1 kilometers), setting a record for the fastest climb from a runway to 20 kilometers. Further along ... Aurora is small in stature, measuring just 15.7 feet (4.8 meters) long. It's designed to loft a payload of up to 22 pounds (10 kilograms) above the Kármán line for up to three minutes of microgravity, before returning to a runway landing. Eventually, Dawn wants to reduce the turnaround time between Aurora flights to less than four hours. "Aurora is set to become the fastest and highest-flying aircraft ever to take off from a conventional runway, blending the extreme performance of rocket propulsion with the reusability and operational simplicity of traditional aviation," Dawn said. The company's business model is akin to commercial airlines, where operators can purchase an aircraft directly from a manufacturer and manage their own operations. (submitted by EllPeaTea) India's workhorse rocket falls short of orbit. In a rare setback, Indian Space Research Organisation's (ISRO) launch vehicle PSLV-C61 malfunctioned and failed to place a surveillance satellite into the intended orbit last weekend, the Times of India reported. The Polar Satellite Launch Vehicle lifted off from a launch pad on the southeastern coast of India early Sunday, local time, with a radar reconnaissance satellite named EOS-09, or RISAT-1B. The satellite was likely intended to gather intelligence for the Indian military. "The country's military space capabilities, already hindered by developmental challenges, have suffered another setback with the loss of a potential strategic asset," the Times of India wrote. What happened? ... V. Narayanan, ISRO's chairman, later said that the rocket’s performance was normal until the third stage. The PSLV's third stage, powered by a solid rocket motor, suffered a "fall in chamber pressure" and the mission could not be accomplished, Narayanan said. Investigators are probing the root cause of the failure. Telemetry data indicated the rocket deviated from its planned flight path around six minutes after launch, when it was traveling more than 12,600 mph (5.66 kilometers per second), well short of the speed it needed to reach orbital velocity. The rocket and its payload fell into the Indian Ocean south of the launch site. This was the first PSLV launch failure in eight years, ending a streak of 21 consecutive successful flights. (submitted by EllPeaTea) SES makes a booking with Impulse Space. SES, owner of the world's largest fleet of geostationary satellites, plans to use Impulse Space’s Helios kick stage to take advantage of lower-cost, low-Earth-orbit (LEO) launch vehicles and get its satellites quickly into higher orbits, Aviation Week & Space Technology reports. SES hopes the combination will break a traditional launch conundrum for operators of medium-Earth-orbit (MEO) and geostationary orbit (GEO). These operators often must make a trade-off between a lower-cost launch that puts them farther from their satellite's final orbit, or a more expensive launch that can expedite their satellite's entry into service. A matter of hours ... On Thursday, SES and Impulse Space announced a multi-launch agreement to use the methane-fueled Helios kick stage. "The first mission, currently planned for 2027, will feature a dedicated deployment from a medium-lift launcher in LEO, followed by Helios transferring the 4-ton-class payload directly to GEO within eight hours of launch," Impulse said in a statement. Typically, this transit to GEO takes several weeks to several months, depending on the satellite's propulsion system. "Today, we’re not only partnering with Impulse to bring our satellites faster to orbit, but this will also allow us to extend their lifetime and accelerate service delivery to our customers," said Adel Al-Saleh, CEO of SES. "We're proud to become Helios' first dedicated commercial mission." Unpacking China's spaceflight patches. There's a fascinating set of new patches Chinese officials released for a series of launches with top-secret satellites over the last two months, Ars reports. These four patches depict Buddhist gods with a sense of artistry and sharp colors that stand apart from China's previous spaceflight emblems, and perhaps—or perhaps not—they can tell us something about the nature of the missions they represent. The missions launched so-called TJS satellites toward geostationary orbit, where they most likely will perform missions in surveillance, signals intelligence, or missile warning.  Making connections ... It's not difficult to start making connections between the Four Heavenly Gods and the missions that China's TJS satellites likely carry out in space. A protector with an umbrella? An all-seeing entity? This sounds like a possible link to spy craft or missile warning, but there's a chance Chinese officials approved the patches to misdirect outside observers, or there's no connection at all. China aims for an asteroid. China is set to launch its second Tianwen deep space exploration mission late May, targeting both a near-Earth asteroid and a main belt comet, Space News reports. The robotic Tianwen-2 spacecraft is being integrated with a Long March 3B rocket at the Xichang Satellite Launch Center in southwest China, the country's top state-owned aerospace contractor said. Airspace closure notices indicate a four-hour-long launch window opening at noon EDT (16:00–20:00 UTC) on May 28. Backup launch windows are scheduled for May 29 and 30. New frontiers ... Tianwen-2's first goal is to collect samples from a near-Earth asteroid designated 469219 Kamoʻoalewa, or 2016 HO3, and return them to Earth in late 2027 with a reentry module. The Tianwen-2 mothership will then set a course toward a comet for a secondary mission. This will be China's first sample return mission from beyond the Moon. The asteroid selected as the target for Tianwen-2 is believed by scientists to be less than 100 meters, or 330 feet, in diameter, and may be made of material thrown off the Moon some time in its ancient past. Results from Tianwen-2 may confirm that hypothesis. (submitted by EllPeaTea) Upgraded methalox rocket flies from Jiuquan. Another one of China's privately funded launch companies achieved a milestone this week. Landspace launched an upgraded version of its Zhuque-2E rocket Saturday from the Jiuquan launch base in northwestern China, Space News reports. The rocket delivered six satellites to orbit for a range of remote sensing, Earth observation, and technology demonstration missions. The Zhuque-2E is an improved version of the Zhuque-2, which became the first liquid methane-fueled rocket in the world to reach orbit in 2023. Larger envelope ... This was the second flight of the Zhuque-2E rocket design, but the first to utilize a wider payload fairing to provide more volume for satellites on their ride into space. The Zhuque-2E is a stepping stone toward a much larger rocket Landspace is developing called the Zhuque-3, a stainless steel launcher with a reusable first stage booster that, at least outwardly, bears some similarities to SpaceX's Falcon 9. (submitted by EllPeaTea) FAA clears SpaceX for Starship Flight 9. The Federal Aviation Administration gave the green light Thursday for SpaceX to launch the next test flight of its Starship mega-rocket as soon as next week, following two consecutive failures earlier this year, Ars reports. The failures set back SpaceX's Starship program by several months. The company aims to get the rocket's development back on track with the upcoming launch, Starship's ninth full-scale test flight since its debut in April 2023. Starship is central to SpaceX's long-held ambition to send humans to Mars and is the vehicle NASA has selected to land astronauts on the Moon under the umbrella of the government's Artemis program. Targeting Tuesday, for now ... In a statement Thursday, the FAA said SpaceX is authorized to launch the next Starship test flight, known as Flight 9, after finding the company "meets all of the rigorous safety, environmental and other licensing requirements." SpaceX has not confirmed a target launch date for the next launch of Starship, but warning notices for pilots and mariners to steer clear of hazard areas in the Gulf of Mexico suggest the flight might happen as soon as the evening of Tuesday, May 27. The rocket will lift off from Starbase, Texas, SpaceX's privately owned spaceport near the US-Mexico border. The FAA's approval comes with some stipulations, including that the launch must occur during "non-peak" times for air traffic and a larger closure of airspace downrange from Starbase. Space Force is fed up with Vulcan delays. In recent written testimony to a US House of Representatives subcommittee that oversees the military, the senior official responsible for purchasing launches for national security missions blistered one of the country's two primary rocket providers, Ars reports. The remarks from Major General Stephen G. Purdy, acting assistant secretary of the Air Force for Space Acquisition and Integration, concerned United Launch Alliance and its long-delayed development of the large Vulcan rocket. "The ULA Vulcan program has performed unsatisfactorily this past year," Purdy said in written testimony during a May 14 hearing before the House Armed Services Committee's Subcommittee on Strategic Forces. This portion of his testimony did not come up during the hearing, and it has not been reported publicly to date. Repairing trust ... "Major issues with the Vulcan have overshadowed its successful certification resulting in delays to the launch of four national security missions," Purdy wrote. "Despite the retirement of highly successful Atlas and Delta launch vehicles, the transition to Vulcan has been slow and continues to impact the completion of Space Force mission objectives." It has widely been known in the space community that military officials, who supported Vulcan with development contracts for the rocket and its engines that exceeded $1 billion, have been unhappy with the pace of the rocket's development. It was originally due to launch in 2020. At the end of his written testimony, Purdy emphasized that he expected ULA to do better. As part of his job as the Service Acquisition Executive for Space (SAE), Purdy noted that he has been tasked to transform space acquisition and to become more innovative. "For these programs, the prime contractors must re-establish baselines, establish a culture of accountability, and repair trust deficit to prove to the SAE that they are adopting the acquisition principles necessary to deliver capabilities at speed, on cost and on schedule." SpaceX's growth on the West Coast. SpaceX is moving ahead with expansion plans at Vandenberg Space Force Base, California, that will double its West Coast launch cadence and enable Falcon Heavy rockets to fly from California, Spaceflight Now reports. Last week, the Department of the Air Force issued its Draft Environmental Impact Statement (EIS), which considers proposed modifications from SpaceX to Space Launch Complex 6 (SLC-6) at Vandenberg. These modifications will include changes to support launches of Falcon 9 and Falcon Heavy rockets, the construction of two new landing pads for Falcon boosters adjacent to SLC-6, the demolition of unneeded structures at SLC-6, and increasing SpaceX’s permitted launch cadence from Vandenberg from 50 launches to 100. Doubling the fun ... The transformation of SLC-6 would include quite a bit of overhaul. Its most recent tenant, United Launch Alliance, previously used it for Delta IV rockets from 2006 through its final launch in September 2022. The following year, the Space Force handed over the launch pad to SpaceX, which lacked a pad at Vandenberg capable of supporting Falcon Heavy missions. The estimated launch cadence between SpaceX’s existing Falcon 9 pad at Vandenberg, known as SLC-4E, and SLC-6 would be a 70-11 split for Falcon 9 rockets in 2026, with one Falcon Heavy at SLC-6, for a total of 82 launches. That would increase to a 70-25 Falcon 9 split in 2027 and 2028, with an estimated five Falcon Heavy launches in each of those years. (submitted by EllPeaTea) Next three launches May 23: Falcon 9 | Starlink 11-16 | Vandenberg Space Force Base, California | 20:36 UTC May 24: Falcon 9 | Starlink 12-22 | Cape Canaveral Space Force Station, Florida | 17:19 UTC May 27: Falcon 9 | Starlink 17-1 | Vandenberg Space Force Base, California | 16:14 UTC Stephen Clark Space Reporter Stephen Clark Space Reporter Stephen Clark is a space reporter at Ars Technica, covering private space companies and the world’s space agencies. Stephen writes about the nexus of technology, science, policy, and business on and off the planet. 7 Comments