Giant Sloths, Mastodons Coexisted with Humans for Millennia in Americas, New Discoveries Suggest

New York State Museum and State University of New York Orange staff unearth a complete well-preserved mastodon jaw, as well as a piece of a toe bone and a rib fragment, that were discovered by a man who spotted two giant teeth while gardening at his upstate New York home, near Scotchtown, NY. (New York State Museum via AP)
New York State Museum and State University of New York Orange staff unearth a complete well-preserved mastodon jaw, as well as a piece of a toe bone and a rib fragment, that were discovered by a man who spotted two giant teeth while gardening at his upstate New York home, near Scotchtown, NY. (New York State Museum via AP)
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Giant Sloths, Mastodons Coexisted with Humans for Millennia in Americas, New Discoveries Suggest

New York State Museum and State University of New York Orange staff unearth a complete well-preserved mastodon jaw, as well as a piece of a toe bone and a rib fragment, that were discovered by a man who spotted two giant teeth while gardening at his upstate New York home, near Scotchtown, NY. (New York State Museum via AP)
New York State Museum and State University of New York Orange staff unearth a complete well-preserved mastodon jaw, as well as a piece of a toe bone and a rib fragment, that were discovered by a man who spotted two giant teeth while gardening at his upstate New York home, near Scotchtown, NY. (New York State Museum via AP)

Sloths weren’t always slow-moving, furry tree-dwellers. Their prehistoric ancestors were huge – up to 4 tons – and when startled, they brandished immense claws.
For a long time, scientists believed the first humans to arrive in the Americas soon killed off these giant ground sloths through hunting, along with many other massive animals like mastodons, saber-toothed cats and dire wolves that once roamed North and South America, The Associated Press reported.
But new research from several sites is starting to suggest that people came to the Americas earlier – perhaps far earlier – than once thought. These findings hint at a remarkably different life for these early Americans, one in which they may have spent millennia sharing prehistoric savannas and wetlands with enormous beasts.
“There was this idea that humans arrived and killed everything off very quickly – what’s called ‘Pleistocene overkill,’” said Daniel Odess, an archaeologist at White Sands National Park in New Mexico. But new discoveries suggest that “humans were existing alongside these animals for at least 10,000 years, without making them go extinct."
Some of the most tantalizing clues come from an archaeological site in central Brazil, called Santa Elina, where bones of giant ground sloths show signs of being manipulated by humans. Sloths like these once lived from Alaska to Argentina, and some species had bony structures on their backs, called osteoderms – a bit like the plates of modern armadillos – that may have been used to make decorations.
In a lab at the University of Sao Paulo, researcher Mírian Pacheco holds in her palm a round, penny-sized sloth fossil. She notes that its surface is surprisingly smooth, the edges appear to have been deliberately polished, and there’s a tiny hole near one edge.
“We believe it was intentionally altered and used by ancient people as jewelry or adornment,” she said. Three similar “pendant” fossils are visibly different from unworked osteoderms on a table – those are rough-surfaced and without any holes.
These artifacts from Santa Elina are roughly 27,000 years old – more than 10,000 years before scientists once thought that humans arrived in the Americas.
Originally researchers wondered if the craftsmen were working on already old fossils. But Pacheco’s research strongly suggests that ancient people were carving “fresh bones” shortly after the animals died.
Her findings, together with other recent discoveries, could help rewrite the tale of when humans first arrived in the Americas – and the effect they had on the environment they found.
“There’s still a big debate,” said Pacheco.
Scientists know that the first humans emerged in Africa, then moved into Europe and Asia-Pacific, before finally making their way to the last continental frontier, the Americas. But questions remain about the final chapter of the human origins story.
Pacheco was taught in high school the theory that most archaeologists held throughout the 20th century. “What I learned in school was that Clovis was first,” she said.
Clovis is a site in New Mexico, where archaeologists in the 1920s and 1930s found distinctive projectile points and other artifacts dated to between 11,000 and 13,000 years ago.
This date happens to coincide with the end of the last Ice Age, a time when an ice-free corridor likely emerged in North America – giving rise to an idea about how early humans moved into the continent after crossing the Bering land bridge from Asia.
And because the fossil record shows the widespread decline of American megafauna starting around the same time – with North America losing 70% of its large mammals, and South America losing more than 80% -- many researchers surmised that humans’ arrival led to mass extinctions.
“It was a nice story for a while, when all the timing lined up,” said paleoanthropologist Briana Pobiner at the Smithsonian Institution’s Human Origins Program. “But it doesn’t really work so well anymore.”
In the past 30 years, new research methods – including ancient DNA analysis and new laboratory techniques – coupled with the examination of additional archaeological sites and inclusion of more diverse scholars across the Americas, have upended the old narrative and raised new questions, especially about timing.
“Anything older than about 15,000 years still draws intense scrutiny,” said Richard Fariña, a paleontologist at the University of the Republic in Montevideo, Uruguay. “But really compelling evidence from more and more older sites keeps coming to light.”
In Sao Paulo and at the Federal University of Sao Carlos, Pacheco studies the chemical changes that occur when a bone becomes a fossil. This allows her team to analyze when the sloth osteoderms were likely modified.
“We found that the osteoderms were carved before the fossilization process” in “fresh bones” – meaning anywhere from a few days to a few years after the sloths died, but not thousands of years later.
Her team also tested and ruled out several natural processes, like erosion and animal gnawing. The research was published last year in the journal Proceedings of the Royal Society B.
One of her collaborators, paleontologist Thaís Pansani, recently based at the Smithsonian Institution, is analyzing whether similar-aged sloth bones found at Santa Elina were charred by human-made fires – which burn at different temperatures than natural wildfires.
Her preliminary results suggest that the fresh sloth bones were present at human campsites – whether burned deliberately in cooking, or simply nearby, isn’t clear. She is also testing and ruling out other possible causes for the black markings, such as natural chemical discoloration.
The first site widely accepted as older than Clovis was in Monte Verde, Chile.
Buried beneath a peat bog, researchers discovered 14,500-year-old stone tools, pieces of preserved animal hides, and various edible and medicinal plants.
“Monte Verde was a shock. You’re here at the end of the world, with all this organic stuff preserved," said Vanderbilt archaeologist Tom Dillehay, a longtime researcher at Monte Verde.
Other archaeological sites suggest even earlier dates for human presence in the Americas.
Among the oldest sites is Arroyo del Vizcaíno in Uruguay, where researchers are studying apparent human-made “cut marks” on animal bones dated to around 30,000 years ago.
At New Mexico's White Sands, researchers have uncovered human footprints dated to between 21,000 and 23,000 years ago – as well as similar-aged tracks of giant mammals. But some archaeologists say it’s hard to imagine that humans would repeatedly traverse a site and leave no stone tools.
“They’ve made a strong case, but there are still some things about that site that puzzle me,” said David Meltzer, an archaeologist at Southern Methodist University. “Why would people leave footprints over a long period of time, but never any artifacts?
Odess at White Sands said that he expects and welcomes such challenges. “We didn’t set out to find the oldest anything – we’ve really just followed the evidence where it leads,” he said.
While the exact timing of humans’ arrival in the Americas remains contested – and may never be known – it seems clear that if the first people arrived earlier than once thought, they didn’t immediately decimate the giant beasts they encountered.
And the White Sands footprints preserve a few moments of their early interactions.
As Odess interprets them, one set of tracks shows “a giant ground sloth going along on four feet” when it encounters the footprints of a small human who’s recently dashed by. The huge animal “stops and rears up on hind legs, shuffles around, then heads off in a different direction."



Inside ‘7 Dogs,’ the Biggest Arab Film Production

Karim Abdel Aziz and Ahmed Ezz behind the scenes during filming (production company)
Karim Abdel Aziz and Ahmed Ezz behind the scenes during filming (production company)
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Inside ‘7 Dogs,’ the Biggest Arab Film Production

Karim Abdel Aziz and Ahmed Ezz behind the scenes during filming (production company)
Karim Abdel Aziz and Ahmed Ezz behind the scenes during filming (production company)

The makers of “7 Dogs” set out to do more than produce an action film to international standards. Their aim was to deliver a visual spectacle shaped by Saudi Arabia’s General Entertainment Authority, built on a strategic vision for a transcontinental thriller with Hollywood-level technical standards, while preserving a Middle Eastern identity and cultural voice.

The film, which opened in Cairo on Friday evening in the presence of its makers, was written by Egyptian screenwriter Mohamed el-Dabbah, who was tasked with turning the Entertainment Authority’s ambitious vision into a fully developed screenplay.

El-Dabbah did not write a conventional chase story. He built a fast-paced, dramatic structure driven by escalating events and centered on the infiltration of an international criminal network, requiring a coherent narrative that could sustain the film’s heavy visual and action momentum.

The decisive moment that moved the project from concept to production came during the 2024 global tour for “Bad Boys: Ride or Die.”

During that period, Belgian-Moroccan directors Adil El Arbi and Bilall Fallah visited Riyadh and held a lengthy meeting with adviser Turki Alalshikh, chairman of Saudi Arabia’s General Entertainment Authority. Their talks focused on the major advances in Saudi Arabia’s film infrastructure.

The meeting reviewed Riyadh’s growing logistical capabilities and its ability to attract major global productions. Alalshikh then presented the idea for the film, drawing an immediate and enthusiastic response from the directing duo, who saw it as a chance to apply their experience in American cinema to a new production environment.

Riding the momentum of their film’s record commercial success at the Saudi and global box office, the directors became convinced that regional audiences were eager for action films made with a global sensibility.

A large-scale production partnership was formed to provide the financial and technical resources needed to carry out the project without restrictions or creative compromise.

To give the film its international scope, producer Ivan Atkinson was brought in as the project’s logistical maestro. His first task was to build a creative front by recruiting department heads with extensive experience in big-budget filmmaking, ensuring that every technical detail met contemporary Hollywood standards.

Among them was renowned production designer Paul Kirby, known for creating complex architectural spaces and adapting them to serve the drama.

Atkinson also brought in the global stunt and fight design team 87eleven, the celebrated group behind the combat identity of the “John Wick” franchise, giving the film a decisive edge in its action sequences.

The directors approached the script through rhythm. They wanted a visual experience with the pace and dynamism of modern video games. That choice pushed the editing and cinematography teams toward extremely fast movement, with a highly flexible camera designed to keep viewers alert as they follow the layers of the international conspiracy.

According to the film’s crew, preparatory workshops began in Riyadh months before filming.

The screenplay went through detailed technical reviews by el-Dabbah, the directors and the fight team to balance the characters’ human drama with the film’s action. The aim was to ensure the chases and explosions served the dramatic line rather than felt forced into the story.

Adil and Bilall’s artistic vision centered on breaking the stereotype of Middle Eastern action films that rely on easy visual solutions. They insisted on shooting the dangerous scenes with rough realism, which required the cast to undergo long, demanding physical training so they could perform complex fight movements themselves under the supervision of Hollywood stunt experts.

Sela Studios helped clear the logistical hurdles by providing advanced filming, lighting and lens equipment, including tools that had not previously been used in the region.

That production support allowed cinematographer Robrecht Heyvaert to create a visual identity that blends the warm colors of the East with the cooler, contemporary palette of modern global action cinema, according to sources from the production company.

The chemistry between El Arbi and Fallah important. The two worked in close coordination, with one focusing on the actors and dramatic performance while the other concentrated on visual design, camera movement and special effects.

The arrangement helped maintain a fast and efficient production flow on crowded, detail-heavy sets.

Early preparations required complex schedules to manage the movement of international stars and coordinate their filming dates in Riyadh. The logistics team created a flexible system that accommodated the project's evolving demands, allowing principal photography to begin on schedule amid enthusiasm and strict professional discipline from all parties involved.

The General Entertainment Authority placed government and security facilities at the filmmakers’ disposal, allowing them to close key areas and film complex car chases on open streets. That regulatory flexibility demonstrated that Riyadh can offer not only closed studios but also entire urban spaces ready to serve as stages for large-scale action scenes.

In the film, 7 Dogs is not presented as a conventional gang. It is written as a complex cross-border intelligence and criminal entity, an octopus-like network of businessmen and influential figures running globalized organized crime from distant locations. That makes it an invisible threat that cannot easily be tracked by traditional security methods.

The main dramatic trigger is the organization’s creation of a highly dangerous synthetic drug called Pink Lady. The lethal compound is not just a product for sale. It drives the plot, turning the conflict from a local criminal case into a major security threat that mobilizes international security agencies and INTERPOL.

To confront the network, Egyptian INTERPOL officer Khaled Al Azazi, played by Ahmed Ezz, launches a wide-ranging intelligence operation to infiltrate the organization from within.

His investigation leads him to a fragile lead, a professional transcontinental criminal named Ghali Abu Dawood, played by Karim Abdel Aziz. Ghali has close ties to The Seven Dogs’ pillars, making him the only one who can bring down the destructive network.

The disciplined officer and the elusive criminal are forced into an uneasy alliance. The stark contrast between a man who represents the law and another who embodies pragmatism and life outside it creates a tense dynamic marked by suspicion, shifting loyalties and deep psychological conflict throughout the journey.

Alongside Karim Abdel Aziz and Ahmed Ezz, the cast includes international names such as Monica Bellucci, Giancarlo Esposito, Bollywood star Salman Khan, Sanjay Dutt, Max Huang, Tara Emad, Nasser Algassabi, and Sayed Ragab. The geographic and cultural diversity of the cast reflects the organization’s reach across continents.

Bellucci plays Julia, the luxurious and dark European face of the organization. The character combines extreme elegance with absolute cruelty, creating a striking visual contrast with the Eastern characters.

The participation of Salman Khan as Johar and Sanjay Dutt as Ranjit adds strong visual and action energy to the film’s Asian track. Their screen presence is used in large-scale action scenes marked by violent combat, turning the Mumbai segment into an action climax tied to the broader dramatic arc.

Saudi actor Nasser Algassabi brings a local flavor and Gulf depth to the film’s web of international relationships.

His character serves as the logistical link in the region. Egyptian actress Tara Emad plays a young intelligence operative working in the shadows to support Khaled, alongside Jessica, played by Lebanese actress Sandy Bella, a member of the INTERPOL team.


China Set for Latest Space Launch, with Hong Kong Astronaut Aboard

Astronauts for China's Shenzhou-23 space mission Lai Ka-ying (L), Zhu Yangzhu (C) and Zhang Zhiyuan (R) wave during a press conference before the launch of the mission at the Jiuquan Satellite Launch Center in the Gobi desert in Jiuquan, in northwestern China's Gansu province on May 23, 2026. (Photo by CNS / AFP) / China OUT
Astronauts for China's Shenzhou-23 space mission Lai Ka-ying (L), Zhu Yangzhu (C) and Zhang Zhiyuan (R) wave during a press conference before the launch of the mission at the Jiuquan Satellite Launch Center in the Gobi desert in Jiuquan, in northwestern China's Gansu province on May 23, 2026. (Photo by CNS / AFP) / China OUT
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China Set for Latest Space Launch, with Hong Kong Astronaut Aboard

Astronauts for China's Shenzhou-23 space mission Lai Ka-ying (L), Zhu Yangzhu (C) and Zhang Zhiyuan (R) wave during a press conference before the launch of the mission at the Jiuquan Satellite Launch Center in the Gobi desert in Jiuquan, in northwestern China's Gansu province on May 23, 2026. (Photo by CNS / AFP) / China OUT
Astronauts for China's Shenzhou-23 space mission Lai Ka-ying (L), Zhu Yangzhu (C) and Zhang Zhiyuan (R) wave during a press conference before the launch of the mission at the Jiuquan Satellite Launch Center in the Gobi desert in Jiuquan, in northwestern China's Gansu province on May 23, 2026. (Photo by CNS / AFP) / China OUT

A Hong Kong astronaut will join a Chinese space mission for the first time as part of a three-person crew launching on Sunday, as Beijing edges closer to its goal of landing people on the Moon.

The Tiangong space station -- crewed by teams of three astronauts that are typically rotated every six months -- is the crown jewel of China's space program, boosted by billions in state investment in a bid to catch up with the United States and Russia.

The Shenzhou-23 mission will blast off at 11:08 pm (1508 GMT) on Sunday from the Jiuquan Satellite Launch Center in northwestern China, carrying three astronauts to the space station, China Manned Space Agency (CMSA) spokesman Zhang Jingbo told reporters on Saturday.

The team comprises Lai Ka-ying, hailed by state media as Hong Kong's first astronaut, Zhu Yangzhu and Zhang Zhiyuan, AFP quoted the spokesman as saying.

Hong Kong's Chief Executive John Lee congratulated Lai on passing "the rigorous selection and training process.”

Flight engineer Zhu, who participated in the Shenzhou-16 mission in 2023, will be the commander.

"This is a ... test of our physical and psychological endurance, emergency response capabilities, coordination and teamwork, as well as our ability to work and live in orbit," Zhu told reporters.

"As mission commander, what I have thought about most is how to make thorough preparations in every aspect and how to lead the team in successfully completing the flight mission with zero mistakes and zero errors."

The mission's primary objectives are to "continue carrying out space science and application work, conduct astronauts' extravehicular activities and cargo transfer in and out of the cabin", the CMSA's Zhang told reporters.

One of the astronauts will remain on the station for a year, he added, without specifying who.
"Arranging for an astronaut to carry out a one-year in-orbit residency experiment is by no means a simple matter of adding together two six-month missions in terms of duration," Zhang said.

The one-year space residency, Zhang said, will collect data on astronauts on longer-duration spaceflights and test health support capabilities.

China is "steadily" building operational experience for "sustained occupation" of its Tiangong space station, and year-long missions are an important step towards future lunar and potentially deep-space ambitions, said Macquarie University's Richard de Grijs.

"A year in orbit pushes both hardware and humans into a different operational regime compared with the shorter Shenzhou missions of the program's earlier phases," the professor of physics and astronomy told AFP.

Beijing's space program, the third to put humans in orbit, has also landed robotic rovers on Mars and the Moon.

China has ramped up plans to achieve its "space dream" under President Xi Jinping.

Beijing says it aims to send a crewed mission to the Moon by 2030, with the goal of constructing a base on the lunar surface.

The CMSA said on Saturday it would "make every possible effort and strive tirelessly" to achieve that goal.


AI Will Help Make a Nobel Prize-Winning Discovery Within a Year

A robot holding a medicine box at the simulated pharmacy of the Beijing Humanoid Robot Innovation Center (EPA)
A robot holding a medicine box at the simulated pharmacy of the Beijing Humanoid Robot Innovation Center (EPA)
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AI Will Help Make a Nobel Prize-Winning Discovery Within a Year

A robot holding a medicine box at the simulated pharmacy of the Beijing Humanoid Robot Innovation Center (EPA)
A robot holding a medicine box at the simulated pharmacy of the Beijing Humanoid Robot Innovation Center (EPA)

An AI system will work with humans to make a Nobel prize-winning discovery within 12 months and tradespeople will be helped by bipedal robots in two years, according to the co-founder of Anthropic.

Jack Clark described a “vertiginous sense of progress” in the technology and made a series of predictions, including that companies run solely by AIs would be generating millions of dollars in revenue within 18 months, and that by the end of 2028, AI systems would be able to design their own successors, according to The Guardian.

In a lecture at Oxford University on Wednesday, he also said there remained plausible scenarios in which the technology had “a non-zero chance of killing everyone on the planet” and that it was “important to clearly state that that risk hasn’t gone away.”

Anthropic’s most popular model is called Claude, but it recently launched a version called Mythos that proved alarmingly capable at exploiting cybersecurity weaknesses.

Clark told students it would be better if humans could slow the development of the technology “to give ourselves more time as a species” to deal with the implications of its powers.

But he said this wouldn’t happen, in the breakneck development “by a variety of actors and a variety of countries, locked in a competition with one another, where commercial and geopolitical rivalries are often drowning out the larger existential-to-the-species aspects of the technology being built.” This was “not ideal,” he said.

Clark is one of the most senior figures at Anthropic, which was established by AI researchers who quit the rival firm OpenAI over disagreements on safety.

The $900 billion company has been accused by Donald Trump’s White House and other AI accelerationists of “fear-mongering” to encourage regulation that could cement its competitive position.

Anthropic disputes this, and Clark said many people appeared to be in denial about AI’s progress.

He said he wanted to encourage humanity to prepare for a technology that would “soon be more capable than all of us collectively.”

Comparing the failure to prepare for AI to the failure to prepare for pandemics such as COVID, he said: “If we stand by and let synthetic intelligence multiply, then we’ll eventually be forced into reactivity.”

Critics of the frontier AI companies such as Anthropic, OpenAI and Google fear over-reliance on their few AI models – which have been backed by huge amounts of profit-seeking capital – could create a “single point of failure” in global systems.