Space exploration

The twin probes just launched toward Mars have an Easter egg on board

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The mission aims to aid our understanding of Mars’ climate history and what was behind the loss of its conditions that once supported liquid water, potential oceans, and possibly life on the surface.

Plaques and partner patches

In addition to the kiwi-adorned plates, Rocket Lab also installed two more plaques on the twin ESCAPADE spacecraft.

“There are also two name plates (one in blue and one in gold) on each spacecraft listing Rocket Lab team members who’ve contributed to the mission, making it possible to get to Mars,” said McLaurin.

Mounted on the solar panels, the plaques use shading to also display the Latin initials (NSHO) of the Rocket Lab motto and form the company’s logo. Despite their diminutive size, each plate appears to include more than 200 names, including founder, president, and CEO Peter Beck.

Montage of photos and graphics illustrating the blue and gold metal plates attached a spacecraft — Additional plates in blue and gold display the names of the Rocket Lab team members behind the ESCAPADE spacecraft. Credit: UCB-SSL via collectSPACE.com

UC Berkeley adopted its colors in 1873. According to the school’s website, “blue for the California sky and ocean and for the Yale graduates who helped establish the university, gold for the ‘Golden State.’”

ESCAPADE also has its own set of colors, or rather, colorful patches.

The main mission logo depicts the twin spacecraft in orbit around Mars with the names of the primary partners listed along its border, including UCB-SSL (University of California, Berkeley-Space Science Laboratory); RL (Rocket Lab); ERAU (Embry-Riddle Aeronautical University, which designed and built the langmuir probe, one of the mission’s science instruments); AdvSp (Advanced Space, which oversaw mission design and trajectory optimization); and NASA-GSFC (NASA Goddard Space Flight Center).

Rocket Lab also designed an insignia, which renders the two spacecraft in blue and gold, as well as shows their trajectory in the same colors and includes the company’s motto.

Lastly, Blue Origin’s New Glenn-2 (NG-2) patch features the launch vehicle and the two ESCAPADE satellites, using hues of orange to represent Mars.

Graphic montage of mission patches — Three mission patches represent the Mars ESCAPADE mission and its partners. Credit: NASA/Rocket Lab/Blue Origin/collectSPACE.com

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Texas lawmakers double down on Discovery, call for DOJ investigation into Smithsonian

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It is unknown what, if any, actions Roberts took in response to the letter. The Smithsonian issued a statement asserting it “does not engage in direct or grassroots lobbying” and that its staff has “acted in accordance with all governing rules and regulations.”

The Smithsonian has also stated that it is not a part of the federal government and holds clear title to Discovery, as transferred by NASA in 2012. As such, any attempt to remove Discovery from its collection would be unprecedented. The Congressional Research Service raised similar concerns about ownership in a briefing paper it prepared for lawmakers.

The crux of the concerns seems to be a letter the Smithsonian sent to the congressional authorizing and appropriating committees, as first shared by KeepTheShuttle, a grassroots organization founded to support Discovery staying at the National Air and Space Museum’s Steven F. Udvar-Hazy Center in Chantilly, Virginia. In that letter, the Smithsonian cited a cost of $35 million to $65 million more than the $85 million authorized by the Big Beautiful Bill Act (and that excluded the construction of a display facility, which was included in the legislation’s budget).

To chop or not to chop

The Smithsonian, together with NASA, also expressed concern that “Discovery will have to undergo significant disassembly to be moved.”

That possibility, along with the logistics and costs of making the move, resulted in Sens. Mark Kelly (D-Ariz.), Dick Durbin (D-Ill.), Mark Warner (D-Va.), and Tim Kaine (D-Va.) sending their own letter to the Senate Committee on Appropriations to block funding for the move. Kelly, a former NASA astronaut who flew on Discovery twice, and Warner also released a video on social media contrasting chopping vegetables to chopping up the space shuttle.

“To get it down there [to Houston], you would have to rip off the wings. The head shield, all of those tiles on the bottom, would be stripped off. The white thermal blankets? Gone,” Kelly said in the video released on Tuesday. “If Ted Cruz and Cornyn think they are putting this thing back together, I want to see them get out there. They’ll be out there for the next 10 years trying to figure this out.

“This is the dumbest plan I’ve ever heard in nearly five years in the United States Senate,” said Kelly.

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Senators try to halt shuttle move, saying “little evidence” of public demand

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“Houston’s disappointment in not being selected is wholly understandable,” the four senators wrote, “but removing an item from the National Collection is not a viable solution.”

In July, Cornyn and Cruz successfully added language to the “One Big Beautiful Bill Act” championed by President Donald Trump, which enabled acting NASA Administrator Sean Duffy to then identify Discovery for relocation. The provision also called for $85 million to be made available to transport and display the shuttle in Houston.

“There are also profound financial challenges associated with this transfer,” wrote Kelly. Warner, Kaine, and Durbin. “The Smithsonian estimates that transporting Discovery from Virginia to Houston could cost more than $50 million, with another $325 million needed for planning, exhibit reconstruction, and new facilities.”

“Dedicating hundreds of millions of taxpayer dollars to move an artifact that is already housed, displayed, and preserved in a world-class facility is both inefficient and unjustifiable,” the senators wrote.

Risks and rewards

Then there are the logistical challenges with relocating Discovery, which could result in damaging it, “permanently diminishing its historical and cultural value for future generations.”

“Moving Discovery by barge or road would be far more complex [than previous shuttle moves], exposing it to saltwater, weather, and collision risks across a journey several times longer,” the letter reads. “As a one-of-a-kind artifact that has already endured the stresses of spaceflight, Discovery is uniquely vulnerable to these hazards. The heat tiles that enabled repeated shuttle missions become more fragile with age, and they are irreplaceable.”

Kelly, who previously lived in Houston when he was part of the space program, agrees that the city is central to NASA’s human spaceflight efforts, but, along with Warner, Kaine, and Durbin, points out that displaying Discovery would come with another cost: an admission fee, limiting public access to the shuttle.

“The Smithsonian is unique among museums for providing visitors with access to a national treasure meant to inspire the American public without placing economic barriers,” wrote the senators.

Under the terms of the act, NASA has until January 4, 2027 (18 months after the bill’s enactment) to transfer Discovery to Space Center Houston. For its part, the Smithsonian says that it owns the title to Discovery and, as the institution is not part of the federal government, the orbiter is no longer the government’s to move.

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The crew of Artemis II will fly on Integrity during mission to the Moon

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Three men and one woman, all in orange pressure suits, stand in front of a silver-coated space capsule in an overhead view — The Artemis II crew (from the right): Reid Wiseman, Victor Glover, Christina Koch, and Jeremy Hansen pose in front of their Orion spacecraft, which they have named *Integrity*. Credit: NASA/Rad Sinyak

Whole and undivided

Ultimately, Integrity was inspired by something one of their instructors said while on a team-building trip to Iceland.

“He coined this for us, and we held on to it,” said Hansen, who, unlike his NASA crewmates, is a Canadian Space Agency astronaut. “It was this idea that you’re not a person who has integrity, you’re a person who strives to be in integrity. Sometimes you’re out of integrity, and sometimes you’re in your integrity. That was profound for all of us.”

For Glover, it boiled down to the definition.

“The Latin root means ‘whole.’ It’s a very simple concept, and it’s about being whole. This crew comes together as pieces—the four of us and our backups—but the six of us make up a whole team. The vehicle, the pieces come together and make up a whole spacecraft,” he said.

“What people anecdotally say is that integrity is what you do when no one’s watching. That, and truth, honor, and integrity matter,” said Glover. “There are so many layers to that name and what it means and what it inspires.”

Integrating Integrity

Integrity is one of the tenets of the Astronaut Code of Professional Responsibility. It is also one of the Canadian Space Agency’s core values.

“We all strive to be in integrity all of the time, but integrity isn’t an absolute that you either have or don’t have,” said Koch. “So this helps us give grace and build trust with each other.”

“I hope that people hearing [the name] over the 10 days of the mission appreciate all of the different things that it means, from a whole ship, a whole crew, to a wholeness and wellness that I think humanity just needs. We need to hear more of that togetherness and wholeness,” said Glover.

Three men and a woman, all in blue flight suits, pose for a photograph backdropped by images of the moon and Mars — NASA’s Artemis II crew (from the left) Victor Glover, Reid Wiseman, Christina Koch, and Jeremy Hansen at the Johnson Space Center in Houston on Wednesday, September 24, 2025. Credit: collectSPACE.com

Now that it has been announced, next up is for Integrity to be used as the crew’s possible call sign.

“We waited to make sure the whole enterprise was ready for us to announce it before we even used it,” said Glover. “I think we’ll start using it in sims: ‘Houston, Integrity. Integrity, Houston.’ That’s the plan.

“But if someone doesn’t like that, then we won’t, and we can say Orion,” he said.

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NASA closing its original repository for Columbia artifacts to tours

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NASA is changing the way that its employees come in contact with, and remember, one of its worst tragedies.

In the wake of the 2003 loss of the space shuttle Columbia and its STS-107 crew, NASA created a program to use the orbiter’s debris for research and education at Kennedy Space Center in Florida. Agency employees were invited to see what remained of the space shuttle as a powerful reminder as to why they had to be diligent in their work. Access to the Columbia Research and Preservation Office, though, was limited as a result of its location and related logistics.

To address that and open up the experience to more of the workforce at Kennedy, the agency has quietly begun work to establish a new facility.

“The room, titled Columbia Learning Center (CLC), is a whole new concept,” a NASA spokesperson wrote in an email. “There are no access requirements; anyone at NASA Kennedy can go in any day of the week and stay as long as they like. The CLC will be available whenever employees need the inspiration and message for generations to come.”

Debris depository

On February 1, 2003, Columbia was making its way back from a 16-day science mission in Earth orbit when the damage that it suffered during its launch resulted in the orbiter breaking apart over East Texas. Instead of landing at Kennedy as planned, Columbia fell to the ground in more than 85,000 pieces.

The tragedy claimed the lives of commander Rick Husband, pilot Willie McCool, mission specialists David Brown, Kalpana Chawla, Michael Anderson, and Laurel Clark, and payload specialist Ilan Ramon of Israel.

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James Lovell, the steady astronaut who brought Apollo 13 home safely, has died

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Gemini and Apollo astronaut

Lovell was the first person to fly to the Moon twice.

Astronaut Jim Lovell takes a self-portrait aboard NASA’s Gemini 12 spacecraft during the final mission of the program in 1966. Credit: NASA

James Lovell, a member of humanity’s first trip to the moon and commander of NASA’s ill-fated Apollo 13 mission, has died at the age of 97.

Lovell’s death on Thursday was announced by the space agency.

“NASA sends its condolences to the family of Capt. Jim Lovell, whose life and work inspired millions of people across the decades,” said acting NASA Administrator Sean Duffy in a statement on Friday. “Jim’s character and steadfast courage helped our nation reach the moon and turned a potential tragedy into a success from which we learned an enormous amount. We mourn his passing even as we celebrate his achievements.”

A four-time Gemini and Apollo astronaut, Lovell was famously portrayed in the 1995 feature film Apollo 13. The movie dramatized his role as the leader of what was originally planned as NASA’s third moon landing, but instead became a mission of survival after an explosion tore through his spacecraft’s service module.

“I know today when I came out many of you were expecting Tom Hanks, but you’re going to have to settle for little old me,” Lovell often said at his public appearances after the movie was released.

two men in tuxedos talk to each other while one stands and the other sits on a stage — Astronaut Jim Lovell (right) addressing Tom Hanks at the premiere of *Apollo 13: The IMAX Experience* at the Kennedy Space Center Visitor Complex in November 2002. Credit: collectSPACE.com

Practicing for the moon

Selected with NASA’s second group of astronauts in 1962, Lovell first launched aboard Gemini 7, the first mission to include a rendezvous with another crewed spacecraft (Gemini 6). Lifting off on a Titan II rocket on December 4, 1965, Lovell and the mission’s commander, Frank Borman, had one goal: to spend two weeks in Earth orbit in preparation for the later Apollo missions to the moon.

“It was very exciting to me,” said Lovell in a 1999 NASA oral history interview. “I mean, it was tedious work, you know, two weeks. We did have a break when [Wally] Schirra and [Tom] Stafford came up [on Gemini 6] and rendezvoused with us. And then they were up, I think, 24 hours and they went back down again. And we stayed up there for the full time. But it was quite rewarding.”

At 13 days, 18 hours, 35 minutes and one second, Gemini 7 was the longest space flight until a Russian Soyuz mission surpassed it in 1970. Lovell and Borman continued to hold the US record until the first crewed mission to Skylab, the nation’s first space station, in 1973.

Lovell then commanded Gemini 12, the final flight of the program, which launched on November 11, 1966. Only four days long, the mission stood out for demonstrating all of the skills needed to send astronauts to the moon, including rendezvousing and docking with an Agena target and the first successful spacewalks conducted by crewmate Buzz Aldrin.

“Buzz completed three spacewalks of about 5.5 hours and everything was fine,” said Lovell. “[We did] everything we were supposed to do, and [had] no problem at all. So, it was a major turning point in the ability to work outside a spacecraft.”

First and fifth

Lovell made his first trip to the moon as a member of the first-ever crew to fly to another celestial body. Reunited with Borman and joined by William “Bill” Anders, Lovell launched on Apollo 8 on December 21, 1968. The mission was also the first crewed flight of the Saturn V, the massive rocket designed to send astronauts from Earth to the moon.

“You had to pinch yourself,” Lovell said of the journey out. “Hey, we’re really going to the moon!” I mean, “You know, this is it!”

a man is seen wearing a white coveralls and brown head cap inside a spacecraft — A still from a 16mm motion picture film shows Jim Lovell during the Apollo 8 mission, the first flight by humans to the moon. Credit: NASA

Lovell and his Apollo 8 crewmates were the first to see the far side of the moon with their own eyes and the first to witness “Earthrise”—the sight of our home planet rising above the lunar horizon—their photographs of such were later credited with inspiring the environmental movement.

“We were so curious, so excited about being at the moon that we were like three school kids looking into a candy store window, watching those ancient old craters go by from—only 60 miles [97 kilometers] above the surface,” said Lovell.

Splashing down on December 27, 1968, the Apollo 8 mission brought to a close a year that had otherwise been troubled with riots, assassinations, and an ongoing war. A telegram sent to the crew after they were home said, “You saved 1968.”

“I was part of a thing that finally gave an uplift to the American people about doing something positive, which was really—that’s why I say Apollo 8 was really the high point of my space career,” said Lovell.

Even before launching on Apollo 13 on April 11, 1970, Lovell had decided it was going to be his last. At 42, he was the first person to launch four times into space. Had the flight gone to plan, he would have become the fifth person to walk on the moon and the first to wear red commander stripes while do so.

a man in a white spacesuit stands in front of a launch pad where a rocket is being prepared for his mission — Jim Lovell, commander of the Apollo 13 mission, poses for a photo with his Saturn V rocket on the launch pad in April 1970. Credit: NASA

Instead, there was a “problem.”

“I don’t know why I did this, but I looked out the right window, and that’s when I saw that at a high rate of speed, gas was escaping from the spacecraft. You could see a little plume of it,” said Lovell in an April 2000 interview with collectSPACE. “I then glanced at the oxygen gauges and one read zero and another was in the process of going down.”

“That is when I really felt we were in a very dangerous situation,” he said.

Lovell and his Apollo 13 crewmates Fred Haise and John “Jack” Swigert splashed down safely on April 17, 1970. In total, Lovell logged 29 days, 19 hours and three minutes on his four spaceflights.

Lovell was the 22nd person to enter orbit, and the 28th to fly into space, according to the Association of Space Explorers’ Registry of Space Travelers.

From the cockpit to the board

Born on March 25, 1928, in Cleveland, Ohio, Lovell achieved Eagle Scout as a member of the Boy Scouts and studied engineering as part of the US Navy’s “Flying Midshipman” program at the University of Wisconsin in Madison from 1946 to 1948. Four years later, he was commissioned as an ensign and graduated with a Bachelor of Science degree from the Naval Academy in Annapolis, Maryland.

Lovell reported for flight training at Naval Air Station Pensacola in October 1952, and he was designated a naval aviator on February 1, 1954. He served at Moffett Field in Northern California and logged 107 deck landings during a deployment aboard the aircraft carrier USS Shangri-La.

In July 1958, Lovell graduated at the top of the class at the Naval Air Test Center (today, the US Naval Test Pilot School) at Naval Air Station Patuxent River in Maryland. He was one of 110 candidates to be considered for NASA’s original Mercury 7 astronauts but was turned away due to a temporary medical concern. Instead, Lovell became the program manager for the McDonnell Douglas F-4 Phantom II supersonic jet.

In 1962, Lovell was serving as a flight instructor and safety engineering officer at Naval Air Station Oceana in Virginia Beach when he was chosen for the second class of NASA astronauts, the “Next Nine.”

In addition to his prime crew assignments, Lovell also served on the backup crews for the Gemini 4, Gemini 9, and Apollo 11 missions, the latter supporting Neil Armstrong as backup commander. He also served on a panel studying what could be done in case of an in-flight fire after a fire on the launch pad claimed the lives of the Apollo 1 crew in 1967.

After the Apollo 13 mission, Lovell was named the deputy director of science and applications at NASA’s Manned Spacecraft Center (today, Johnson Space Center) before retiring from both the space agency and Navy on March 1, 1973. Lovell became chief executive officer of Bay-Houston Towing Company in 1975 and then president of Fisk Telephone Systems in 1977.

On January 1, 1981, Lovell joined Centel Corporation as group vice president for business communications systems and, 10 years later, retired as executive vice president and a member of the company’s board of directors.

For 11 years, from 1967 to 1978, Lovell served as a consultant and then chairman of the Physical Fitness Council (today, the President’s Council on Sports, Fitness and Nutrition). He was a member of the board for several organizations, including Federal Signal Corporation in Chicago from 1984 to 2003 and the Astronautics Corporation of America in Milwaukee from 1990 to 1999. He was also chairman of the Astronaut Scholarship Foundation from 1997 to 2005.

Appearances and awards

From 1999 to 2006, Lovell helped run “Lovell’s of Lake Forest,” a restaurant that he and his family opened in Illinois. (The restaurant was then sold to Jay, Lovell’s son, but ultimately closed in 2015.)

In 1994, Lovell worked with Jeffrey Kluger to publish Lost Moon: The Perilous Voyage of Apollo 13, which was later retitled Apollo 13 after serving as the basis for the Ron Howard movie.

In addition to being played by Hanks and having a cameo in Apollo 13, Lovell was also portrayed by Tim Daly in the 1998 HBO miniseries From the Earth to the Moon and Pablo Schreiber in the 2018 Neil Armstrong biopic First Man. Lovell also made a cameo appearance in the 1976 movie The Man Who Fell to Earth.

a man in a blue flight suit and ball cap shakes hands with a man in a business suit outside under a clear blue sky — Jim Lovell, Apollo 13 commander, shakes hands with President Richard Nixon after being presented with the Presidential Medal of Freedom at Hickham Air Force Base, Hawaii, in 1970. Credit: NASA

For his service to the US space program, Lovell was awarded the NASA Distinguished Service and Exceptional Service medals; the Congressional Space Medal of Honor, and Presidential Medal of Freedom. As a member of the Gemini 7, Gemini 12, and Apollo 8 crews, Lovell was bestowed the Harmon International Trophy three times and, with his Apollo 8 crewmates, the Robert J. Collier and Dr. Robert H. Goddard Memorial trophies and was named Time Magazine’s Man of the Year for 1968.

Lovell was inducted into the International Space Hall of Fame in 1982, the US Astronaut Hall of Fame in 1993, and National Aviation Hall of Fame in 1998.

A crater on the far side of the moon was named for Lovell in 1970. In 2009, he was awarded a piece of the moon as part of NASA’s Ambassador of Exploration Award, which Lovell placed on display at the Patuxent River Naval Air Museum in Lexington Park, Maryland.

A statue of Lovell with his two Apollo 13 crewmates stands inside the Saturn V building at Johnson Space Center’s George W.S. Abbey Rocket Park in Houston.

Lovell’s legacy

In 2005, Lovell donated his personal collection of NASA memorabilia to the Adler Planetarium in Chicago, where it is on display in the “Mission Moon” exhibition.

With Lovell’s death, only five out of the 24 people who flew to the moon during the Apollo program remain living (Buzz Aldrin, 95; Fred Haise, 91; David Scott, 93; Charlie Duke, 89; and Harrison Schmitt, 90).

Lovell is survived by his children, Barbara Harrison, James Lovell III, Susan Lovell, and Jeffrey Lovell; 11 grandchildren; and nine great-grandchildren. Lovell was preceded in death by his wife Marilyn Lovell and parents James Lovell, Sr, and Blanche Lovell (Masek).

“We are enormously proud of his amazing life and career accomplishments, highlighted by his legendary leadership in pioneering human space flight,” said Lovell’s family in a statement. “But, to all of us, he was dad, granddad and the leader of our family. Most importantly, he was our hero. We will miss his unshakeable optimism, his sense of humor and the way he made each of us feel we could do the impossible. He was truly one of a kind.”

A memorial service and burial will be held at the Naval Academy in Annapolis on a date still to be announced.

Robert Pearlman is a space historian, journalist and the founder and editor of collectSPACE, a daily news publication and online community focused on where space exploration intersects with pop culture. He is also a contributing writer for Space.com and co-author of “Space Stations: The Art, Science, and Reality of Working in Space” published by Smithsonian Books in 2018. He is on the leadership board for For All Moonkind and is a member of the American Astronautical Society’s history committee.

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Texas politicians warn Smithsonian it must not lobby to retain its space shuttle

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(Oddly, Cornyn and Weber’s letter to Roberts described the law as requiring Duffy “to transfer a space vehicle involved in the Commercial Crew Program” rather than choosing a destination NASA center related to the same, as the bill actually reads. Taken as written, if that was indeed their intent, Discovery and the other retired shuttles would be exempt, as the winged orbiters were never part of that program. A request for clarification sent to both Congress members’ offices was not immediately answered.)

two men in business suits sit front of a large model of a space shuttle — Sen. John Cornyn (R-TX, at right) sits in front of a model of Space Shuttle *Discovery* at Space Center Houston, where they want to move the real orbiter. Credit: collectSPACE.com

In the letter, Cornyn and Weber cited the Anti-Lobbying Act as restricting the use of funds provided by the federal government to “influence members of the public to pressure Congress regarding legislation or appropriations matters.”

“As the Smithsonian Institution receives annual appropriations from Congress, it is subject to the restrictions imposed by this statute,” they wrote.

The money that Congress allocates to the Smithsonian accounts for about two-thirds of the Institution’s annual budget, primarily covering federal staff salaries, collections care, facilities maintenance, and the construction and revitalization of the buildings that house the Smithsonian’s 21 museums and other centers.

Pols want Smithsonian to stay mum

As evidence of the Smithsonian’s alleged wrongdoing, Cornyn and Weber cited a July 11 article by Zach Vasile for Flying Magazine, which ran under the headline “Smithsonian Pushing Back on Plans to Relocate Space Shuttle.” Vasile quoted from a message the Institution sent to Congress saying that there was no precedent for removing an object from its collection to send it elsewhere.

The Texas officials wrote that the anti-lobbying restrictions apply to “staff time or public relations resources” and claimed that the Smithsonian’s actions did not fall under the law’s exemptions, including “public speeches, incidental expenditures for public education or communications, or activities unrelated to legislation or appropriations.”

Cornyn and Weber urged Roberts, as the head of the Smithsonian’s Board of Regents, to “conduct a comprehensive internal review” as it applied to how the institution responded to the One Big Beautiful Bill Act.

“Should the review reveal that appropriated funds were used in a manner inconsistent with the prohibitions outlined in the Anti-Lobbying Act, we respectfully request that immediate and appropriate corrective measures be implemented to ensure the Institution’s full compliance with all applicable statutory and ethical obligations,” Cornyn and Weber wrote.

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Houston, you’ve got a space shuttle… only NASA won’t say which one

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An orbiter by any other name…

“The acting administrator has made an identification.”

Don’t say Discovery: Acting NASA Administrator Sean Duffy has decided to send a retired space shuttle to Houston, but won’t say which one. Credit: Smithsonian/collectSPACE.com

The head of NASA has decided to move one of the agency’s retired space shuttles to Houston, but which one seems to still be up in the air.

Senator John Cornyn (R-Texas), who earlier this year introduced and championed an effort to relocate the space shuttle Discovery from the Smithsonian to Space Center Houston, issued a statement on Tuesday evening (August 5) applauding the decision by acting NASA Administrator Sean Duffy.

“There is no better place for one of NASA’s space shuttles to be displayed than Space City,” said Cornyn in the statement. “Since the inception of our nation’s human space exploration program, Houston has been at the center of our most historic achievements, from training the best and brightest to voyage into the great unknown to putting the first man on the moon.”

Keeping the shuttle a secret, for some reason

The senator did not state which of NASA’s winged orbiters would be making the move. The legislation that required Duffy to choose a “space vehicle” that had “flown in space” and “carried people” did not specify an orbiter by name, but the language in the “One Big Beautiful Bill” that President Donald Trump signed into law last month was inspired by Cornyn and fellow Texas Senator Ted Cruz’s bill to relocate Discovery.

“The acting administrator has made an identification. We have no further public statement at this time,” said a spokesperson for Duffy in response to an inquiry.

a man with gray hair and pale complexion wears a gray suit and red tie while sitting at a table under a red, white and blue NASA logo on the wall behind him

NASA’s acting administrator, Sean Duffy, identified a retired NASA space shuttle to be moved to “a non-profit near the Johnson Space Center” in Houston, Texas, on Aug. 5, 2025. Credit: NASA/Bill Ingalls

It is not clear why the choice of orbiters is being held a secret. According to the bill, the decision was to be made “with the concurrence of an entity designated” by the NASA administrator to display the shuttle. Cornyn’s release only confirmed that Duffy had identified the location to be “a non-profit near the Johnson Space Center (JSC).”

Space Center Houston is owned by the Manned Space Flight Education Foundation, a 501(c)3 organization, and is the official visitor’s center for NASA’s Johnson Space Center.

“We continue to work on the basis that the shuttle identified is Discovery and proceed with our preparations for its arrival and providing it a world-class home,” Keesha Bullock, interim COO and chief communications and marketing officer at Space Center Houston, said in a statement.

Orbiter owners

Another possible reason for the hesitation to name an orbiter may be NASA’s ability, or rather inability, to identify one of its three remaining space-flown shuttles that is available to be moved.

NASA transferred the title for space shuttle Endeavour to the California Science Center in Los Angeles in 2012, and as such it is no longer US government property. (The science center is a public-private partnership between the state of California and the California Science Center Foundation.)

NASA still owns space shuttle Atlantis and displays it at its own Kennedy Space Center Visitor Complex in Florida.

Discovery, the fleet leader and “vehicle of record,” was the focus of Cornyn and Cruz’s original “Bring the Space Shuttle Home Act.” The senators said they chose Discovery because it was “the only shuttle still owned by the federal government and able to be transferred to Houston.”

For the past 13 years, Discovery has been on public display at the Steven F. Udvar-Hazy Center in Chantilly, Virginia, the annex for the Smithsonian’s National Air and Space Museum in Washington, DC. As with Endeavour, NASA signed over title upon the orbiter’s arrival at its new home.

As such, Smithsonian officials are clear: Discovery is no longer NASA’s to have or to move.

“The Smithsonian Institution owns the Discovery and holds it in trust for the American public,” read a statement from the National Air and Space Museum issued before Duffy made his decision. “In 2012, NASA transferred ‘all rights, title, interest and ownership’ of the shuttle to the Smithsonian.”

The Smithsonian operates as a trust instrumentality of the United States and is partially funded by Congress, but it is not part of any of the three branches of the federal government.

“The Smithsonian is treated as a federal agency for lots of things to do with federal regulations and state action, but that’s very different than being an agency of the executive branch, which it most certainly is not,” Nick O’Donnell, an attorney who specializes in legal issues in the museum and visual arts communities and co-chairs the Art, Cultural Property, and Heritage Law Committee of the International Bar Association, said in an interview.

a space shuttle orbiter sits at the center of a hangar on display — The Smithsonian has displayed the space shuttle *Discovery* at the National Air and Space Museum’s Steven F. Udvar-Hazy Center in Chantilly, Virginia, since April 2012. Credit: Smithsonian National Air and Space Museum

“If there’s a document that accompanied the transfer of the space shuttle, especially if it says something like, ‘all rights, title, and interest,’ that’s a property transfer, and that’s it,” O’Donnell said.

“NASA has decided to transfer all rights, interest, title, and ownership of Discovery to the Smithsonian Institution’s National Air and Space Museum,” reads the signed transfer of ownership for space shuttle orbiter Discovery (OV-103), according to a copy of the paperwork obtained by collectSPACE.

The Congressional Research Service also raised the issue of ownership in its paper, “Transfer of a Space Vehicle: Issues for Congress.”

“The ability of the NASA Administrator to direct transfer of objects owned by non-NASA entities—including the Smithsonian and private organizations—is unclear and may be subject to question. This may, in turn, limit the range of space vehicles that may be eligible for transfer under this provision.”

Defending Discovery

The National Air and Space Museum also raised concerns about the safety of relocating the space shuttle now. The One Big Beautiful Bill allocated $85 million to transport the orbiter and construct a facility to display it. The Smithsonian contends it could be much more costly.

“Removing Discovery from the Udvar-Hazy Center and transporting it to another location would be very complicated and expensive, and likely result in irreparable damage to the shuttle and its components,” the museum’s staff said in a statement. “The orbiter is a fragile object and must be handled according to the standards and equipment NASA used to move it originally, which exceeds typical museum transport protocols.”

“Given its age and condition, Discovery is at even greater risk today. The Smithsonian employs world-class preservation and conservation methods, and maintaining Discovery‘s current conditions is critical to its long-term future,” the museum’s statement concluded.

The law directs NASA to transfer the space shuttle (the identified space vehicle) to Space Center Houston (the entity designated by the NASA administrator) within 18 months of the bill’s enactment, or January 4, 2027.

In the interim, an amendment to block funding the move is awaiting a vote by the full House of Representatives when its members return from summer recess in September.

“The forced removal and relocation of the Space Shuttle Discovery from the Smithsonian Institution’s Air and Space Museum is inappropriate, wasteful, and wrong. Neither the Smithsonian nor American taxpayers should be forced to spend hundreds of millions of dollars on this misguided effort,” said Rep. Joe Morelle (D-NY), who introduced the amendment.

A grassroots campaign, KeepTheShutle.org, has also raised objection to removing Discovery from the Smithsonian.

Perhaps the best thing the Smithsonian can do—if indeed it is NASA’s intention to take Discovery—is nothing at all, says O’Donnell.

“I would say the Smithsonian’s recourse is to keep the shuttle exactly where it is. It’s the federal government that has no recourse to take it,” O’Donnell said. “The space shuttle [Discovery] is the Smithsonian’s, and any law that suggests the intention to take it violates the Fifth Amendment on its face—the government cannot take private property.”

Houston, you’ve got a space shuttle… only NASA won’t say which one Read More »

Lunar Outpost celebrates release of Lego Moon Rover Space Vehicle

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The set’s large, main futuristic rover with its rocker suspension, four-wheel steering, deployable solar panels, and rotating arm is not based on any specific vehicle Lunar Outpost is building now, but was inspired by the company’s plans.

More to come

“We have five lunar surface missions in total booked. One of the upcoming ones is really cool. It’s with the Australian Space Agency, so it will be Australia’s flagship lunar rover, which they affectionately call ‘Roo-ver,’ which I just love,” said Gemer.

Lunar Outpost’s next MAPP is targeted for launch in spring 2026. Using science instruments developed by NASA and the Johns Hopkins University Applied Physics Laboratory (JHU APL), the rover will investigate a magnetic anomaly that has gone unexplained for hundreds of years.

“So those missions will be going, [but] we want to do bigger things, better things, more collaborative, robotic missions. We really want to be the foundational infrastructure on the Moon,” Gemer said. “Mobility is one of those key enablers to building big and exciting things like a permanent human presence on the moon. So that’s why we set out to be the leaders in space mobility, and I think that’s what we’ve accomplished.”

building brick toys shaped as moon rovers on display in a blue-tinted dimly-lit room — Lunar Outpost displayed its new Lego Technic Moon Rover Space Vehicle at Space Center Houston on August 2, 2025. Credit: collectSPACE.com

Similarly, Lego is a leader when it comes to inspiring the next generation as to what is possible.

“I bet most engineers started out as a kid playing with Lego,” said Gemer. “We’ve got lots of great work to do with Lego, because it’s one of those foundational, inspirational things for kids in STEM [science, technology, engineering, and math]. Tying that to space exploration, which is another one of those things everyone can connect with, it’s just a really natural partnership.”

Which brings it all back to Ari and Aiden and the Moon Rover Space Vehicle set.

“We built the MAPP rover, and then the resource collection rover. We are working our way up to the big one,” said Gemer. “I just want them to enjoy building it.”

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Smithsonian Air and Space opens halls for “milestone” and “future” artifacts

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$900M renovation nearing completion

John Glenn’s Friendship 7 returns as SpaceX and Blue Origin artifacts debut.

“Futures in Space” recaptures the experience of the early visitors to the National Air and Space Museum, where the objects on display were contemporary to the day. A mockup of a Blue Origin New Shepard capsule and SpaceX Merlin rocket engine are among the items on display for the first time. Credit: Smithsonian National Air and Space Museum

The National Air and Space Museum welcomed the public into five more of its renovated galleries on Monday, including two showcasing spaceflight artifacts. The new exhibitions shine modern light on returning displays and restore the museum’s almost 50-year-old legacy of adding objects that made history but have yet to become historical.

Visitors can again enter through the “Boeing Milestones of Flight Hall,” which has been closed for the past three years and has on display some of the museum’s most iconic items, including John Glenn’s Friendship 7 Mercury capsule and an Apollo lunar module.

From there, visitors can tour through the adjacent “Futures in Space,” a new gallery focused on the different approaches and technology that spaceflight will take in the years to come. Here, the Smithsonian is displaying for the first time objects that were recently donated by commercial spaceflight companies, including items used in space tourism and in growing the low-Earth orbit economy.

a museum gallery with air and spacecraft displayed on the terrazzo floor and suspended from the ceiling — The artifacts are iconic, but the newly reopened Boeing Milestones of Flight Hall at the National Air and Space Museum is all new. Credit: Smithsonian National Air and Space Museum

“We are thrilled to open this next phase of exhibitions to the public,” said Chris Browne, the John and Adrienne Mars Director of the National Air and Space Museum, in a statement. “Reopening our main hall with so many iconic aerospace artifacts, as well as completely new exhibitions, will give visitors much more to see and enjoy.”

The other three galleries newly open to the public are devoted to aviation history, including the “Barron Hilton Pioneers of Flight,” “World War I: The Birth of Military Aviation,” and the “Allan and Shelley Holt Innovations Gallery.”

What’s new is not yet old

Among the artifacts debuting in “Futures in Space” are a Merlin engine and grid fin that flew on a SpaceX Falcon 9 rocket, Sian Proctor’s pressure suit that she wore on the private Inspiration4 mission in 2021, and a mockup of a New Shepard crew module that Blue Origin has pledged to replace with its first flown capsule when it is retired from flying.

“When the museum first opened back in 1976 and people came here and saw things like the Apollo command module and Neil Armstrong’s spacesuit, or really anything related to human spaceflight, at that point it was all still very recent,” said Matt Shindell, one of the curators behind “Futures in Space,” in an interview with collectSPACE.com. “So when you would come into the museum, it wasn’t so much a history of space but what’s happening now and what could happen next. We wanted to have a gallery that would recapture that feeling.”

Instead of being themed around a single program or period in history, the new gallery invites visitors to consider a series of questions, including: Who decides who goes to space? Why do we go? And what will we do when we get there?

a black and white astronaut's pressure suit and other space artifacts are displayed behind glass in a museum gallery with blue flooring and walls — Curatores designed “Futures in Space” around a list of questions, including “Why go to space?” On display is a pressure suit worn by Sian Proctor on the Inspiration4 mission and a 1978 NASA astronaut “TFNG” T-shirt. Credit: Smithsonian National Air and Space Museum

“We really wanted the gallery to be one that engaged visitors in these questions and that centered the experience around what they thought should be happening in the future and what that would mean for them,” said Shindell. “We also have visions of the future presented throughout the gallery, including from popular culture—television shows, movies and comic books—that have explored what the future might look like and what it would mean for the people living through it.”

That is why the gallery also includes R2-D2, or rather a reproduction of the “Star Wars” droid as built by Adam Savage of Tested. In George Lucas’ vision of the future (“a long, long time ago”), Astromech droids serve as spacecraft navigators, mechanics, and companion aides.

Beyond the artifacts and exhibits (which also include an immersive 3D-printed Mars habitat and Yuri Gagarin’s training pressure suit), there is a stage and seating area at the center of “Futures.”

“I think of it as a TED Talk-style stage,” said Shindell. “We’re hoping to bring in people from industry, stakeholders, people who have flown, people who are getting ready to fly, and people who have ideas about what should be happening to come and talk to visitors from that stage about the same questions that we’re asking in the gallery.”

Modernized “Milestones”

The artifacts presented in the “Boeing Milestones of Flight” are mostly the same as they were before the hall was closed in 2022. The hall underwent a renovation in 2014 ahead of the museum’s 40th anniversary, so its displays did not need another redesign.

Still, the gallery looks new due to the work done surrounding the objects.

“What is new for the ‘Boeing Milestones of Flight Hall’ is, at some level, most noticeably the floor and media elements,” said Margaret Weitekamp, curator and division chair at the National Air and Space Museum, in an interview.

“We have a wonderful 123-foot (37-meter) media band that goes across the front of the mezzanine, and we have 20 different slide shows that work as a digest of what you’ll find in the new galleries throughout the building,” said Weitekamp. “So as people come into the Boeing Milestones of Flight Hall, they’ll be greeted by that and get a taste of what they’re going to see inside.”

And then there is the new flooring. In the past, the hall had been lined in maroon or dark gray carpet. It is now a much lighter color terrazzo.

“It really brightens up the room,” Weitekamp told collectsPACE.

“Also, you’ll notice that as you are going up and down the hallways, there are medallions embedded in the floor that display quotes from significant aviation and spaceflight figures. So we’ve been able to put some quotes from Carl Sagan, Sally Ride, and Chuck Yeager into the floor,” she said.

the view looking down and into a museum gallery with aircraft suspended from the ceiling, spacecraft on display and a binary map embedded in the flooring — The pattern on the floor of the Boeing Milesones of Flight Hall is the pulsar-based map to Earth’s solar system that was mounted to the Pioneer and Voyager probes, now updated for 2026. Credit: Smithsonian National Air and Space Museum

Visitors should also pay attention to what look like lines of dashes converging at the hall’s center. The design is an update to a NASA graphic.

“We have a revised version of the pulsar map from Pioneer 10 and 11 and the Voyager interstellar record,” said Weitekamp, referring to the representation of the location of Earth for any extraterrestrial species that might discover the probes in the future. “The map located Earth’s solar system with relationship to 14 pulsars.”

When the Pioneer and Voyager spacecraft were launched, astronomers didn’t know that pulsars (or rotating neutron stars) slow down over time.

“So we worked with a colleague of ours to make it a map to our solar system as would be accurate for 2026, which will mark the 50th anniversary of the museum’s building and the 250th birthday of the nation,” Weitekamp said.

Thirteen open, eight to go

Monday’s opening followed an earlier debut of eight reimagined galleries in 2022. Also open is the renovated Lockheed Martin IMAX Theater, which joins the planetarium, the museum store, and the Mars Café that were reopened earlier.

the exterior entrance to a building with a tall, spike-like silver sculpture standing front and center — The redesigned north entrance to the Smithsonian National Air and Space Museum opened to the public on Monday, July 28, 2025. Credit: Smithsonian National Air and Space Museum

“We are nearing the end of this multi-year renovation project,” said Browne. “We look forward to welcoming many more people into these modernized and inspiring new spaces,”

Eight more exhibitions are scheduled to open next year in time for the 50th anniversary of the National Air and Space Museum. Among those galleries are three that are focused on space: “At Home in Space,” “National Science Foundation Discovering Our Universe,” and “RTX Living in the Space Age Hall.”

Admission to the National Air and Space Museum and the new galleries is free, but timed-entry passes, available from the Smithsonian’s website, are required.

Smithsonian Air and Space opens halls for “milestone” and “future” artifacts Read More »

‘Not that into peace doves’: The Apollo-Soyuz patch NASA rejected

Alexei Leonov, Apollo-Soyuz Test Project, ASTP, Bob McCall, Chris Calle, Deke Slayton, Jean Pinataro, mission patch, Paul Calle, peace, Space, space collectible, Space exploration, space history, space memorabilia, Thomas Stafford, Tim Gagnon, Valery Kubasov, Vance Brand / Beth Washington / July 15, 2025

a black and white ink drawing of a man carrying an oversized space mission patch running towards a launching rocket — Paul Calle’s July 1975 cartoon poking fun at his own rejected mission patch for the joint Apollo-Soyuz Test Project. Credit: Calle Space Art

Rejects and revivals

Calle’s patch design was not the only one ruled out by NASA’s officials.

At first, Stafford, Brand, and Slayton chose a design from a contest among the US space program’s workforce. The winner, Jean Pinataro of North American Rockwell (the prime contractor for the Apollo command module), came up with a concept that the astronauts liked, but the agency’s leaders rejected it for not having enough “international significance” (unofficially, it was also said to be “cartoonish”).

That led to NASA accepting the cost of hiring an artist from the NASA art program and Calle being invited to offer his ideas. It also resulted in the patch that flew.

When Calle stepped away, the decision was made to repurpose the work of Bob McCall, an artist who had designed the Apollo 17 mission patch and in 1974 had painted the scene of the Apollo and Soyuz spacecraft nearing a docking. McCall would go on to create similar art for a pair of postage stamps issued in the United States and the Soviet Union, while Pinataro adapted McCall’s original painting as the central image of the US ASTP emblem.

The cosmonauts had their own design—in fact, it was the first Russian mission patch to involve the crew’s input—but wore both their own and the US patch during their six days in space.

five colorful embroidered space patches each related to the 1975 Apollo -Soyuz Test Project — Apollo-Soyuz Test Project (ASTP) patches, from top left to right: 2021 embroidered replica of Jean Pinataro’s original design; the Soviet Soyuz 18 crew patch; the Apollo-Soyuz Test Project crew patch; souvenir ASTP program patch; and ASTP program patch. Credit: AB Emblem/Roscosmos/collectSPACE.com

Today, 50 years later, the McCall-inspired design, the cosmonauts’ patch, and the Apollo-Soyuz program insignia are used interchangeably to represent the mission. Calle’s designs have been largely forgotten but are now getting a revival for the golden anniversary.

“I wanted to reimagine them. Not redo them, but bring them to life,” said Chris.

Working with a fellow artist Tim Gagnon, who created a number of the mission patches worn by space shuttle and International Space Station crews, Chris has begun the process of producing a limited number of embroidered patches based on his and his late father’s ideas.

Chris primarily focused on Calle’s dove and olive branch design.

“It certainly keeps to the spirit of my dad’s original idea,” Chris said.

Chris Calle asks readers to contact him via his website to be informed about when the limited-edition Apollo-Soyuz patches are available.

Click through to collectSPACE to see more of Paul Calle’s original designs and the reimagined versions by Chris Calle and Tim Gagnon.

‘Not that into peace doves’: The Apollo-Soyuz patch NASA rejected Read More »

“It’s a heist”: Senator calls out Texas for trying to steal shuttle from Smithsonian

Bring the Space Shutle Home Act, Chantilly, Dick Durbin, discovery, John Corbyn, NASA, National Air and Space Museum, One Big Beautiful Bill, senators, Smithsonian, Space, space center houston, Space exploration, space history, Space shuttle, Steven F. Udvar-Hazy Center, ted cruz, texas, Virginia / Shannon Garcia / July 11, 2025

Citing research by NASA and the Smithsonian, Durbin said that the total was closer to $305 million and that did not include the estimated $178 million needed to build a facility to house and display Discovery once in Houston.

Furthermore, it was unclear if Congress even has the right to remove an artifact, let alone a space shuttle, from the Smithsonian’s collection. The Washington, DC, institution, which serves as a trust instrumentality of the US, maintains that it owns Discovery. The paperwork signed by NASA in 2012 transferred “all rights, interest, title, and ownership” for the spacecraft to the Smithsonian.

“This will be the first time ever in the history of the Smithsonian someone has taken one of their displays and forcibly taken possession of it. What are we doing here? They don’t have the right in Texas to claim this,” said Durbin.

Houston was not the only city to miss out on displaying a retired space shuttle. In 2011, Durbin and fellow Illinois Senator Mark Kirk appealed to NASA to exhibit one of the winged spacecraft at the Adler Planetarium in Chicago. The agency ultimately decided to award the shuttles to the National Air and Space Museum, the Kennedy Space Center Visitor Complex in Florida, and the California Science Center in Los Angeles.

Houston, we have a problem

A prototype orbiter that was exhibited where Discovery is now was transferred to the Intrepid Museum in New York City.

To be able to bring up his points at Thursday’s hearing, Durbin introduced the “Houston, We Have a Problem” amendment to “prohibit the use of funds to transfer a decommissioned space shuttle from one location to another location.”

He then withdrew the amendment after having voiced his objections.

“I think we’re dealing with something called waste. Eighty-five million dollars worth of waste. I know that this is a controversial issue, and I know that there are other agencies, Smithsonian, NASA, and others that are interested in this issue; I’m going to withdraw this amendment, but I’m going to ask my colleagues to be honest about it,” said Durbin. “I hope that we think about this long and hard.”

“It’s a heist”: Senator calls out Texas for trying to steal shuttle from Smithsonian Read More »