July 19th, saw the opening of Cica Ghost’s latest installation in Second Life, to which she kindly sent me an invitation to pop in and see. Entitled Visiting a Friend, it presents a bright colourful setting in keeping with the summer time, one mindful of a coastal region and memories of visiting the beach (or sea-side, if your prefer).
This is a place of grass and sand, where rowing and fishing boats bob on the waves and storks wade the shallows. Sand dunes rise from the grass, some of them topped by sand castles, and one by a row of brightly-painted sea-side houses reached by a ladder and home to some of Cica’s art, whilst overhead giant balloons (on which you can sit) float.
Cica Ghost, July 2026: Visiting a Friend
Watching over all of this is a – literal – blue whale complete with a little house on its head. The latter is a cosy little place with a comfortable bed and happy flower in a pot and a slightly curious cat-like pet. It appears to be the home of a little duck going by the picture on the wall and the little chap outside.
Also watching over the setting is a sand-built lighthouse atop another sand dune complete with the keeper’s cottage on the neighbouring dune, reach via a bridge. However, it is at the top of the lighthouse that accommodation might be found – albeit watched over by a toothy spider.
Cica Ghost, July 2026: Visiting a Friend
It’s all a happy scene, one not even spoiled by the presence of an erupting volcano given it seems more intent on throwing firework-like trails up into the air rather than bringing forth lava. All of it sits under a starry sky in keeping with the quote Cica has chosen for the installation:
Good friends are like stars. You don’t always see them, but you know they are there.
And who – or what – is the (good) friend(s) in question? Well, anyone who went to the beach during childhood likely has happy memories of those occasions; memories which are as much comforting friends as they are recollections. And like the stars in the sky, while we might not always think of them, they are always there, just waiting for us to remember.
Frogmore: Monet’s Pond, July 2026 – click any image for full size
I recently caught a new entry in the Destination Guide for Frogmore, the region and setting held by Dandelion Rabbit (or as she used to be known, Tolla Crisp) – something bound to get me reaching for my camera and notebook before doing the magical teleport hop.
Over the years, Dandelion has been responsible for a number of public regions in Second Life, some she has created herself, and others – as with the various Frogmore iterations – in collaboration with Dandy Warhlol Terry Fothrington), with most of them created under her Frogmore estate banner, and a fair few, past and present, covered within these pages.
Frogmore: Monet’s Pond, July 2026
A Full region leveraging the available Land Capacity Bonus, Frogmore has – at least during the time I had been covering it through to 2022 (it’s been a whole four years since I last dropped in!) – tended to take inspiration from the coastal regions of England’s county of Cornwall. However, for the summer 2026 version the inspiration shifts more toward France in terms of some of the architecture present, and takes the name Monet’s Pond in reflection of the use of colour throughout.
Which is not to say any of the dramatic beauty of the region has been lost, far from it; the rugged looks and the mix of both elevation and water continue to result in a place of visual and natural splendour.
Frogmore: Monet’s Pond, July 2026
Step into a dreamy summer at Frogmore’s newest chapter — Monet’s Pond. All the waters of the region have been freshly painted in the soft, shimmering hues of a Claude Monet masterpiece — hushed lilacs, misty greens, silvered blues, and warm golden reflections that dance gently in the sunlight.
– Frogmore’s Destination Guide entry
Frogmore: Monet’s Pond, July 2026
This is a place which genuinely feel much larger than a 256×256 sized region; just when you think you’ve managed to see all of it, the chances are you’ll find another corner awaiting exploration.
It is also a place where a degree of mystery and magic await discovery, and a sense of fantasy enters without ever feeling out of place. Indeed, the entire setting carries with it a feeling it is one step removed from the world in which we otherwise live, where the everyday happily resides with the not-so-ordinary.
Frogmore: Monet’s Pond, July 2026
Part of the reason the setting feels so big is that use of elevation mentioned above. Parts of the setting are set with high cliffs and escarpments rising to flat tops. These form an arc around the edge of one corner of the setting whilst points fingers inland the naturally intrude into the lowlands and serve to bot reveal and hide. The highest elevation of these uplands is taken up by the bulk of an almost-Norman-style castle and the houses of a somewhat medieval-looking town for which the castle may have once served as guardian.
Sitting between the two is a dramatic gorge, spanned by a bridge forming an excellent choke-point for any armies which may once have attempted to attack the castle in times past. The long finger of rock on which the village is set points its way north is one of the escarpment naturally splitting the land, descending through gentle tiers down to the lowlands and waters below.
Frogmore: Monet’s Pond, July 2026
Another promontory also extends northwards from the castle’s feet, pushing inland with steep slopes and walls of rock. Sheltered between the tall rms of rock and overlooked by the village, sits an inlet cutting deep into the landscape by way of the gorge spanned by the castle’s bridge.
With outlets passing under further bridges, the inlet gives way to wetlands and lowlands this inlet while the foreshores are beautifully set out (including possibly the best integrations of Marcthur Goosson’s Ma Maison farmhouse into a landscape I’ve seen). All of this, with its richness of colour, wildlife and coves and islands, remains largely hidden from the lands to the west.
Frogmore: Monet’s Pond, July 2026
The lowlands across the region offer a mix of architectural styles, with cottages and small hold farms rubbing shoulders with larger townhouse-style homes. A second, very different castle raises its bulk to the north whilst free-flowing waters and wetlands quite naturally break the land up, further helping to give the setting a sense of size and space, whilst bridges help to keep feet dry as one explores.
The bridges, paths and trails running through the landscape provide the means to explore it fully and in detail and discover all that lies within. Whilst some of the buildings to the west are understandably unfurnished, this is more than made up for the manner in which has been set out as a mix of farmlands and wetlands rich in flora and wildfowl.
Frogmore: Monet’s Pond, July 2026
In terms of the mystery and hints of magic can be found along the paths and steps of the village. It is here as well, that colour again brings depth and atmosphere to a wander between the shops, cottages and houses – all of which are decorated and furnished, adding to the delight of visiting this portion of the region.
One of the things essential for a visit is to use the region’s Shared Environment. This will really bring out the beauty of Monet’s Pond, including the reflections of colour across the waters when seen from the right angles which work with the hues of the trees and flowers and hanging lights to give the setting a feeling of being something Monet, had he been so minded, might have painted.
Frogmore: Monet’s Pond, July 2026
To be perfectly honest, to describe Monet’s Pond is an exercise in futility; it simply has to be seen for itself. There is so much to be discovered, and so much attention to detail, the use of a colour palette with flowers, water reflections, blossoming tree and amongst the houses and shops of the village befitting of a Monet painting, words simply made the place feel dry.
What I will say is, I’ve followed Dandy’s work in landscaping down the years – ever since he worked with Belle des Champs (Bridget Genna) to produce the BarDeco series of locations (2016 through 2021) – and watching his landscaping skill mature and refine to produce truly memorable locations for land-holder and visitors alike has been a genuine pleasure. With the latest iteration of Frogmore he has achieve something truly special.
Logos representative only and should not be seen as an endorsement / preference / recommendation
Updates from the week through to Sunday, July 19th, 2026
This summary is generally published every Monday, and is a list of SL viewer / client releases (official and TPV) made during the previous week. When reading it, please note:
It is based on my Current Viewer Releases Page, a list of all Second Life viewers and clients that are in popular use (and of which I am aware), and which are recognised as adhering to the TPV Policy.
This page includes comprehensive links to download pages, blog notes, release notes, etc., as well as links to any / all reviews of specific viewers / clients made within this blog.
By its nature, this summary presented here will always be in arrears, please refer to the Current Viewer Release Page for more up-to-date information.
Outside of the Official viewer, and as a rule, alpha / beta / nightly or release candidate viewer builds are not included; although on occasions, exceptions might be made.
Official LL Viewers
Default viewer – 26.2.0.25386466510, May 19 -“flat” UI and font update – No change.
Second Life Lua Editor Alpha viewer 6.1.0.23768336784, April 29 – No change.
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
I have said it before, and I will doubtless say it again: Scylla Rhiadra is one of the most gifted communicators in Second Life. Her ability to use art to convey ideas, feelings, realities and truths, and/or to expose concepts and ideas and encourage the grey stuff between the ears to fire on all available cylinders, is second to none.
In the years I’ve been covering Scylla’s work, I’ve always been utterly engaged by its depth and commentary – possibly to the extent of at times putting words in her mouth, so to speak, via the articles I’ve written here.
Using her own avatar as a model, Scylla creates images of a captivating depth and style, allowing individual pieces to be appreciated purely for their artistry and framing. But when taken with her ability to observe and comment upon the human condition, they become visual essays by which she conveys her thoughts and reflections.
I have been seriously focused upon photography in Second Life since 2018. Most of my work has been avatar-centred, because I’m particularly interested in the ways in which we can represent the “human” in a digital simulacrum: how can we retain the things that reflect the complexity and uniqueness of “real life” identity – emotions, connections, our dynamic engagement with the world – in a simulation that, to varying degrees, constrains the expression of these things?
– Scylla Rhiadra on her photography
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
Such is the case with Thou Shalt Not be Burned, a collection of her Second Life photography built around the notion of transitional moments in life – the form they might take, how they impact us and the time and how they might be looked back upon with the passage of time. Presented at Nitroglobus Roof Gallery, curated by Dido Haas, it offers a further chapter in a collection of works vivid in both their presentation as images and through their context as commentary.
The title for the piece is taken from Isaiah 43.2. In context, the verse holds much value to the subject; however, it also perhaps initially obscures it behind thoughts of a religious-themed exhibition – which this is anything but.
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
Life is a series of transitions. Some – the major seminal moments of change such as leaving our parents’ home to start life independently of them, or getting married or starting a new career or engaging in a new means of creative expression, and so on – are the ones we perhaps most readily identify. These events so often feel like they are the cliff-hangers, if you will, between one chapter of life and the next, and because they are so impactful of the moment, they can feel as if they are the moments of transition in life.
However, whilst these pivotal moments can have some of the greatest impact on us, the reality is life is really a continuous flow of transitions, many of them small and quiet, seemingly incidental at the time they occur: the making of a friend, a small moment of discovery, a quiet daydream. Moments which flow as a part of living such that when they occur, we may not even recognise them or the changes they invite; instead, we transition in the most subtle of ways.
I’m also interested in exploring ways of making the digital art we produce here something that is in itself a little unique — neither documentary screenshot of a “gaming” platform, nor pallid imitation of art forms (photography, painting) in real life. Can SL art become its own thing?
– Scylla Rhiadra on her photography
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
Such is this subtlety, we are perhaps unaware of it until a conscious effort is made to look back, be it over months, years or even decades, brings with it the realisation that some of the most enduring changes in our lives originated and grew out of those chains of moments, small and quiet and completely unrecognised at the time they occur, which forge us without the heat and flame of change, and make us who we are.
Through the pieces offered within Thou Shalt Not be Burned, Scylla offers up a series of pieces in celebration of these small moments of change and the settings and surroundings in which they might occur. Perfectly framed as simple moments in time, each one carries its own brief narrative of an event, an action, the appearance of a memory – quiet transitional moments within the everyday flow of life.
Finally, I am interested in Second Life photography as a means of storytelling, which I conceive of as a dynamic and creative dialogue between “artist” and “viewer,” in a way that seeks to dissolve the boundaries that too often narrowly define those two roles.
– Scylla Rhiadra on her photography
Nitroglobus Roof Gallery, July 2026: Scylla Rhiadra – Thou Shalt Not be Burned
There is a richness and depth within these pieces which speaks to us. Transition is not merely the sudden eruption of a singularity around which our lifer suddenly reforms; it is a galaxy of moments, of the progression of life through experience, of growth through the most natural of events faced every day.
Once again, a truly marvellous and deeply engaging exhibition from one of Second Life’s most engaging photographic artists.
Note: Thou Shalt Not be Burned officially opens on Monday, July 20th, 2026 at 12:00 noon SLT with music by DJ Magda.
The Swaying Shelf, July 2026 – click any image for full size
In my previous Exploring Second life piece, I wrote about Storywood Sanctuary, noting that it is one of two settings located in the Mainland continent of Heterocera designed by the Wild Abundance team. The other of these locations is The Swaying Shelf, sitting a little further to the east along Mock Heather Road, and which I also recently visited.
Around twice the size of Storywood Sanctuary, The Swaying Shelf contains themes and motifs in keeping with the former whilst offering its own character and nature.
The Swaying Shelf, July 2026 – click any image for full size
There is no set Landing Point, but a pair of tree houses (the excellent Yara Treehouse by Cory Edo) sit close to the roadside, one of which acts as the entrance from the road – just climb and descend the steps. As this delivers visitors from the road to the setting’s footpath, I’ve arbitrarily used a SLurl in this piece which will drop you more-or-less onto the same spot on the footpath.
The path forms a loop around an arbour on its opposite side to the tree houses. Draped in vines and with grass for a carpet, the arbour sits as a cosy reading room complete with rocking chair and blazing fire in the hearth.
The Swaying Shelf, July 2026 – click any image for full size
Pointing eastwards, the path, lit by lanterns – the setting had its own day / night cycle – makes its way past another tree house, this one atop a tree apparently growing out of a storybook, before weaving its way to where a gate provides access to the Greenwitch Cafe.
Whilst larger than Storybook Sanctuary, The Swaying Shelf is more open in nature, just the one path winding through it and most of the land is give over to trees and flowers. Which is not to say it is not without its own little details worth looking out for; in this regard, do be careful where you tread when you’re approaching the gate to the café next door.
The Swaying Shelf, July 2026 – click any image for full size
Sitting in a parcel of just 1024 sq metres, The Greenwitch Café sits just over the region boundary from The Swaying Shelf.
As a part of The Nature Collective, the café has been designed by the extended Cerulean family under the Le’eaf & Co banner. This talented group are responsible for many such builds beautifying corners of Mainland, a good few of which I’ve covered in these pages, as well as operating the Cerulean estate, which I’ve also written about several times.
The Greenwitch Café, July 2026 – click any image for full size
Savour garden-to-table meals in a queer-owned, cannabis-friendly café nestled in the Lake District, surrounded by forest and blooms. Everything is grown on-site — from herbs to healing plants. A cosy, magical LGBTQIA+ friendly retreat.
– Greenwitch Café About Land description
Apparently utilising a converted shipping container as its structure, the café offers outdoor seating on the wooden deck placed before it and on its roof, there latter reached by a set of outside stairs to one side of the deck. Additional seating for visitors sits just to the right of the entrance gates in the form of a small pergola neatly and cosily set with furnishings and décor.
The Greenwitch Café, July 2026 – click any image for full size
As the About Land description and signs on and around the café make clear, this is a place to enjoy a drink or two and nibble on something sweet or savoury – or which may well give a person a certain buzz, shall we say.
The Landing Point sits between between the sweep of Mock Heather Road and the gabled gates providing access to the café’s grounds, it being only a few steps from the gates to either the café or the pergola.
The Greenwitch Café, July 2026 – click any image for full size
Bees and Silkies – Chinese silk chickens – are cared for here, and it’s easy to assume the honey produced by the former finds its way into and onto some of café’s offerings. Eggs from Silkies are known to be especially rich in favour, so its likely some of these also find their way into the cafés kitchen – although Silkies are often kept as much for pets / exhibition birds as they are for their eggs. Towards the back of the land is a neat little area with pagan / occult-ish vibes – and with a neat little twist on the idea of Tarot cards.
Surrounded by tall fir trees and wild grasses, the café also shares its space with the local squirrels – do be careful where you tread on the deck! – whilst a barn owl keeps an eye on all that goes on. I admit to finding the parcel’s Shared Environment leaning a little towards the dim side and so played around with the Sun position to brighten things a little (rather than playing with the HDR slider), but that’s purely a personal thing.
The Greenwitch Café, July 2026 – click any image for full size
Taken individually or as a joint visit (no pun intended given the nature of the café!), The Swaying Shelf and The Greenwitch Café again demonstrate how small corners of the Mainland can be turned into welcoming little spaces for people to freely enjoy.
Rocket Lab: the launch of VICTUS HAZE, the upper stage and payload fairings of the Electron rocket; the Pioneer Demonstrator payload. Credit: Rocket Lab
Rocket Lab, the New Zealand / US company, has made a name for itself in the smallsat market – possibly the fastest growing sector of the space industry – both as a launch provider via its Electron rocket (around US $7.5 million per launch). It’s one of the most successful commercial space companies going (although still to consistently earn a profit), and it is growing its reputation both in the commercial sector and in support of US government-related launches.
In this latter regard, in June 2026, the company set a new benchmark for military responsive space operations under the United States Space Force’s (USSF) TacRS – TACtical Responsive Space – programme. This is a programme designed to place satellites into orbit on short notice during a crisis. VICTUS HAZE, the test involving Rocket Lab, tested the concept under demanding timelines and cleared several milestones well ahead of schedule.
In particular, the company was able to take a payload – their Pioneer demonstrator of a satellite they have been specifically developing to meet USSF requirements – from storage through ground check-out, fuelling and integration into a launch vehicle and thence to orbit in under 17 hours, beating the previous TacRS test mission’s record by 10 hours. Key to this was Rocket Lab’s ability to complete all trajectory guidance calculations in order for Pioneer to rendezvous with its intended target in just 4 hours, including coordinating all the required ground tracking stations around the world.
While the launch didn’t shave time off of the satellite’s on-orbit initialisation process, it still meant that within 3 days of launch, the satellite was ready to begin rendezvous and proximity operations (RPO) with a target a vehicle in a simulation of chasing down and observing a Chinese satellite which had itself been launched in order to snoop on an orbital asset operated by a western nation.
The success with VICTUS HAZE further enhanced Rocket Lab’s status as a company that delivers on its promises. Whilst specialising in the smallsat market – perhaps the fastest-growing sector of the commercial space industry – using its Electron rocket putting small payloads in orbit for around US $7.5 million a shot, the company is far more than a launch provider.
As well as providing launch vehicles for customers, Rocket Lab has a dedicated satellite development capability enables the company to provide the payloads customers are seeking to fly. Further, and as demonstrated by Victus Haze, Rocket Lab has the ability to manage and co-ordinate satellites in orbit on their client’s behalf – Pioneer remaining under Rocket Lab’s operational control on behalf of US Space Command. Thus, the company is able to provide a full vertical stack of satellite development, launch and operational capabilities to customers.
While Electron, with its current maximum payload capacity of 300 kilos is the most well-known of the company’s rockets, it is not the only vehicle Rocket Lab operates. There is also the Electron-derived HASTE vehicle, specifically designed for flight test opportunities in the hypersonic and suborbital system technology development field.
The DART AE demonstrator, built for the US DoD by Australian company Hypersonix, mounted on its launch bus ahead of integration into a Rocket Lab HASTE launcher. Credit: Rocket Lab / Hypersonix
A HASTE vehicle was most recently used in February 2026 to lift the DART AE hypersonic demonstrator to a release altitude where it could test advanced propulsion, materials, sensors and guidance systems under real hypersonic flight conditions (5x the speed of sound). Built by Australia’s Hypersonix on behalf of the US DoD, a unique part of DART’s design is that the scramjet engine it uses is 3D printed.
In a typical twist of humour reflective of Rocket Lab’s CEO, New Zealander Sir Peter Beck, the rocket used to successfully launch and deploy DART AE for its (also successful) test flight was called That’s Not a Knife – a reference to an iconic scene in the film Crocodile Dundee, thus referencing the Australian heritage of hypersonic vehicle.
As I’ve reported on several times in these pages, Rocket Lab is also developing a new reusable medium-lift launch vehicle (MLLV) called Neutron. This is due to make its maiden flight later in 2026, and has already gained worldwide recognition for it novel approach to payload carrying.
An artist’s rendering of Rocket Lab’s Neutron rocket and its “Hungry Hippo” payload doors. Credit: Rocket Lab
Rather than have the payload and the upper stage of the rocket mounted on top of the first stage, they are mounted inside the rocket’s first stage behind a pair of clamshell doors which will open up to release both – giving them the nickname of the “Hungry Hippo” – before closing to allow the complete booster to return to Earth.
Currently, Neutron is expected to make its maiden flight later in 2026, despite the loss of a propellant tank intended for the first flight-ready vehicle during pressure tests in January, 2026. The company has reported that it is now entering into vehicle integration, ground-testing of both the rocket’s main Archimedes engines and the vacuum-optimised version used in its upper stage is proceeding, and the construction of the new Neutron- capable launch pad at the Mid-Atlantic Regional Spaceport (MARS) within NASA’sWallops Flight Facility, Virginia is complete.
A Rocket Lab Archimedes methlox (methane / liquid oxygen) engine designed for the company’s Neutron rocket, undergoing testing at NASA’s Stennis Space Centre, Mississippi. Credit: Rocket Lab
Through its unique design and the reusability of its first stage, Neutron will be able to deliver up to 13 tonnes to low-Earth orbit with the first stage reused. This might not sound much compared to Blue Origin’s New Glenn or SpaceX Falcon Heavy, but it actually places Neutron right in the sweet spot of launch capabilities: able to meet requirements of 98% of all commercial payloads through until the end of 2029 (were all those contracts up for grabs). Thus, it is well-placed to compete not only with the behemoths in the market (which have to wait around until they have sufficient payload to make launches reasonably cost-effective), but very much directly against SpaceX Falcon 9.
At the time of writing, Rocket Lab is attempting to acquire Iridium Communications for some US $8 billion. Iridium operates a network of 80 satellites in near-polar orbits (66 operational, 14 in-orbit back-ups). This constellation provides a globe-spanning network for voice and data communication from handheld satellite phones, satellite messenger communication devices and integrated transceivers, as well as for two-way satellite messaging service from supported mobile phones.
The Iridium network provides global coverage and communications relay. Credit: unknown
If the deal goes through, it will mean Rocket lab has entered another area of competition with SpaceX, Amazon and OneWeb – one which comes with an already established satellite network and 2.54 million billable subscribers (which is well short of Starlink’s 10 million). In addition, Iridium provides services for the US government, airlines, cruise ship and shipping operators. Perhaps most significantly, the Iridium system is certified for use in the Global Maritime Distress and Safety System (GMDSS) and for Future Air Navigation System (FANS) data links, neither of which is supported by the other providers, thus putting Rocket Lab in a unique position to harness new customers.
All of which speaks to a lot for a little rocket company that decided it can.
1 Launch, 1 Billion Kilometres and a Rendezvous
In May 2025, China launched one of its most ambitious missions so far: sending a robotic vehicle to rendezvous, land on and gather samples from a near-Earth asteroid (NEA) and then return those samples to Earth.
It’s not the first time there has been such a mission, both NASA’s OSIRIS-REx and Japan’s Hayabusa and Hayabusa2, have all gathered samples from near-Earth objects; however for China, Tianwen-2 (“’Heavenly Questions-2”) is an ambitious step considering the relative age of their space programme.
The target of the mission is 469219 Kamoʻoalewaa (also known as 2016 HO3), what is called a quasi-satellite because there are periods in its orbit around the Sun where it passes close enough to Earth to become temporarily caught by Earth’s gravity, orbits the planet numerous times whilst continuing along its orbit around the Sun before moving off once more until the next time its orbit and that of Earth intersect. What makes 469219 Kamoʻoalewaa particularly interesting for study is that it is believed to be a piece of our Moon ejected into space when an impact created the crater Giordano Bruno on the lunar far side.
Orbit of asteroid 469219 Kamoʻoalewa showing it’s quasi-moon nature around Earth. Credit: NASARendezvousing with such an object might sound relatively simple compared to sending a probe to somewhere like Mars. However, orbital mechanics mean that doing either is a complex task – particularly in the case of 469219 Kamoʻoalewaa, about which relatively little was known in terms of trajectory when the mission launched. In all, it took over a year for Tianwen-2 to close on the asteroid with frequent course corrections guided using observations from Earth, travelling 1 billion kilometres in the process.
In early June, the probe was able to detect the tiny asteroid – just 27.4 metres across – directly, rather than relying on guidance from Earth. This allowed it to initiate a capture control manoeuvre, settling into trajectory alongside that of the asteroid, matching its orbital path rather than simply crossing it. Through the first part of June, the probe gently closed the distance between itself and the asteroid to just 2,000 kilometres.
By July 2nd, 2026, Tianwen 2 had reached an altitude of 20 km above the asteroid, allowing it to commence its primary science mission. The vehicle will now carry out an intensive survey of the asteroid as it gradually decreases the separation between them until at 300m, with a sampling site determined, Tianwen-2 will attempt to touch-down briefly on the asteroid’s surface and gather around 100 grams of material.
469219 Kamoʻoalewa imaged by Tianwen-2 on 2 July 2026 from a distance of 20 km. Credit: CNSA
If successful, this will be the first time a spacecraft from Earth has used an anchor-and-attach approach method to physically fix itself on an asteroid to gather samples. Both of the Hayabusa missions and OSIRIS-REx used touch-and-go, essentially closing to a point were a sampler gathering device could make contact with the target for long enough – a couple of seconds – to gather a sample before springs in the device compressed by the mass of the spacecraft released to push it away. However, in case Tianwen 2’s anchor and attach mechanism proves unsuitable, the craft also has a touch-and-go capability for sample acquisition.
Following sample gathering, Tianwen-2 will return to Earth, ejecting its payload before heading back out into space for a rendezvous comet311P/PanSTARRS, which it will reach in 2035.
Astronomers Discover 1st Atmosphere around an Earth-sized Planet in a Star’s Habitable Zone
LHS 1140 is a red dwarf star appearing in the constellation of Cetus (the Whale), approximately 48.8 light-years from our own star. It has 18.4% the mass of the Sun and is 21% of its radius. It is also the parent to two exoplanets – LHS 1140 b and LHS 1140 c.
Of these, LHS 1140 b, is classified a “super Earth”, being roughly 70% larger in radius than Earth and with a mass 5.6 times greater. It orbits very close to its parent star – some 0.095 AU – taking just 24.74 terrestrial days to complete an orbit. Despite this, the planet sits within the habitable zone for 1140, and because of the star’s small size, it receives around 0.43 times the incident flux – the amount of radiant energy received by a surface per unit area, typically expressed in watts per square meter (W/m²) as Earth does.
For some time since its discovery in 2017, observations of LHS 1140 b during its transits in front of its parent star have suggested one of two things: either it is a large rocky world with an atmosphere and perhaps 19% of its surface being water; or it might be a mini-Neptune with a really dense, hydrogen-rich atmosphere. To try to determine which of these might be true, in September 2024 a team of astronomers carried out a 6.5 hour observation of the planet’s transit in front of its star using the Magellan Clay Telescope at Las Campanas Observatory, Chile. During this period, the team measured an excess absorption feature consistent with helium, which they interpreted as a hydrodynamic atmospheric outflow driven by stellar X-ray and extreme-ultraviolet heating.
In other words they detected both an outflow of helium from the planet, indicating it has a potentially helium-rich atmospheric envelope consistent with a world. A further study in 2025 further resulted in measurements consistent with the September 2024 study, minus no excess helium absorption, suggesting the planet’s atmosphere is relatively stable atmosphere which is not constantly outgassing under the influence of a solar wind from its parent star. That the atmosphere appears to be predominantly helium also means the indications that water could exist on the planet’s surface are likely accurate.
An artist’s impression of the limb of LHS 1140 b and its parent star, LHS 1140. Credit: ESO
Of course, being classified “Earth like” and having an atmosphere does not mean there is life on LHS 1140 b – nor does the fact it sits within its star’s habitable zone. However, all of the data gathered suggests that LHS-1140 b has a temperature at least equitable to Earth’s Polar Regions so the water on its surface could well be in part liquid, rather than totally frozen; and if the atmosphere is sufficiently dense, then surface conditions could be a lot warmer, and so more liquid water might be present.
Two of the key determinants in assessing whether a planet like LHS 1140 might be capable of supporting life once it has found to have an atmosphere and the potential for liquid water are: how active is the parent star, and whether the planet is tidally locked.
Most red dwarf stars tend to be violent places; their small size means they suffer powerful convection currents which can led to violent flaring and other outbursts fully capable of ripping the atmosphere away from a planet as close to it as LHS 1140 b is to its parent. However, at an age close to that of our own Sun, LHS1140 is surprisingly clam for its size, meaning there is a good chance of LHS-1140 b retaining its atmosphere for long enough for life to potentially take hold.
Tidally locked refers to a planet being so close to its star that it ceases rotating about its own axis and instead keeps the same side facing the star (like the Moon keeps its same face towards Earth). In these situations, it means that one side of the planet is in perpetual sunlight whilst the other is constantly exposed to space and thus to freezing. This can lead to the planet have extreme weather, particularly along the terminator between the day and night sides of the planet. However, such conditions don’t necessary rule out such a place supporting life – but it does make it harder.
As such, there is still a lot more that needs to be understood about LHS 1140 b, but the fact we now have what appears to be the first direct evidence of an atmosphere around another world means we will likely be able to find others.