Astronomers Watch the Whole Process as Huge Star Dies

Retired shepherd and self-taught astronomer Joaquin Tapioles disassembles one of his telescopes outside the farming village of San Agustin del Pozo, Spain, July 22, 2026. REUTERS/Violeta Santos Moura
Retired shepherd and self-taught astronomer Joaquin Tapioles disassembles one of his telescopes outside the farming village of San Agustin del Pozo, Spain, July 22, 2026. REUTERS/Violeta Santos Moura
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Astronomers Watch the Whole Process as Huge Star Dies

Retired shepherd and self-taught astronomer Joaquin Tapioles disassembles one of his telescopes outside the farming village of San Agustin del Pozo, Spain, July 22, 2026. REUTERS/Violeta Santos Moura
Retired shepherd and self-taught astronomer Joaquin Tapioles disassembles one of his telescopes outside the farming village of San Agustin del Pozo, Spain, July 22, 2026. REUTERS/Violeta Santos Moura

Astronomers have taken the rare opportunity to observe the explosive death of an enormous star from start to finish, gaining a new understanding of how this kind of violent event can transpire in more ways than previously known.

The observations began in March when China's Einstein Probe space telescope detected a momentary flare of X-rays caused when a powerful shock wave triggered by the explosion in the collapsing stellar core tore through the doomed star's surface.

This is called a shock breakout. It is thought to occur in every supernova but is notoriously hard to spot because of how brief it is. In fact, this one was the first since 2008 to be observed.

"It requires serendipity to catch it in real time," said astronomer Brendan O'Connor, a postdoctoral fellow at Carnegie Mellon University in Pittsburgh and lead author of one of two scientific papers describing the supernova published in the Astrophysical Journal Letters.

"You can think of the shock like radar — as the shock plows through the star's outer layers and any material in the vicinity, it leaves an imprint on the signal that we detect ⁠in X-rays. We can ⁠use these X-rays to give us an unprecedented, close-up view of the star at the brink of collapse," said astronomer Jillian Rastinejad, a NASA Einstein Fellow at the University of Maryland and lead author of the other study.

Researchers quickly marshaled a battalion of telescopes, including the orbiting Chandra X-ray Observatory and a host of ground-based facilities, to continue the observations for almost three months until the supernova's location passed behind our sun, from the perspective of Earth.

The star was located roughly 500 million light-years from Earth in a relatively nearby galaxy. A light-year is the distance light travels in a year, 5.9 trillion miles (9.5 trillion km).

The star was estimated to be around 30 times more ⁠massive than the sun, prior to the supernova, Reuters reported.

"This would be among the most massive stars, probably larger than Betelgeuse," Rastinejad said, referring to one of the brightest stars in the night sky, a stellar behemoth believed to be nearing a supernova death, located in the Milky Way about 500 to 600 light-years from Earth.

The blast is thought to have left behind a black hole, an exceptionally dense object with gravity so strong not even light can escape. Before the explosion, this was a Wolf-Rayet star, a rare and gigantic kind that had shed its outer layers of hydrogen and helium through powerful stellar winds.

The star's explosion was classified as a "broad-lined Type Ic" supernova, involving a star with stripped outer layers and with the material ejected by the blast moving at an extreme velocity — in this case a bit more than 10% of the speed of light.

The supernova displayed many characteristics of powerful stellar explosions often associated with a phenomenon called a gamma-ray burst — an intense flash of gamma-ray radiation, the highest-energy form of light — but ⁠in this case there was ⁠no evidence of one.

"One of the central unanswered questions in the field is why some collapsing massive stars launch jets of material near the speed of light that escape the star and produce gamma-ray bursts, while apparently similar stars do not," O'Connor said.

"The fast-moving matter in the jet collides with itself in discrete shocks to produce the gamma-rays we see in gamma-ray bursts," O'Connor said.

One possibility is that this jet was "choked" — prevented from surging into space — either by the surface of the star or by dense material that had surrounded the star in the final stages of its life.

"The existence of choked jets was theorized decades ago, but yet to be conclusively identified. The difference between a successful and choked jet is whether the jet is moving fast enough, or is powerful enough, to break out of the surrounding stellar material," O'Connor said.

This represented the first supernova of its type observed without a gamma-ray burst and jet of material.

"The finding shows that the most massive stars die in more ways than astronomers previously thought," Rastinejad said.

"These extreme supernovae are laboratories for astrophysicists to study how the laws of physics behave in extreme environments — think high densities, high temperatures, material that is several times the mass of our sun — that we can't recreate here on Earth. By studying them, we learn more about the laws of our universe," Rastinejad said.



'No Divisions, No Borders', French Astronaut Says of Seeing Earth

European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen
European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen
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'No Divisions, No Borders', French Astronaut Says of Seeing Earth

European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen
European Space Agency (ESA) French astronaut Sophie Adenot cries while speaking to the media as she returns to Europe, following the return of NASA's SpaceX Crew-12 mission to Earth after nearly eight months in space, in Cologne, Germany, October 10, 2026. REUTERS/Thilo Schmuelgen

French astronaut Sophie Adenot went through "all human emotions, from the most joyful to the hardest" during her eight months in space, she said back on solid ground on Saturday in Germany.

Adenot splashed down in the Pacific Ocean Thursday off the coast of California in the Dragon capsule that carried Crew-12, having returned to Earth from a mission on the International Space Station (ISS), Agence France Presse reported.

She had spent a total of 235 days in space, breaking the record for the longest uninterrupted orbital stay by a European astronaut.

At 400 km away from Earth, Adenot could see there are "no divisions, no borders" but "just a precious planet that we all share," she said Saturday on the tarmac of the European Space Agency (ESA) training center in Cologne, occasionally in tears.

The 44-year-old astronaut looked visibly weakened on her arrival in Germany and was assisted by two ESA physicians.

In space, the body adapts to the absence of gravity, which leads to bone loss, muscle wasting, cardiovascular deconditioning and even visual problems.

Adenot must now begin an intensive recovery program of about three weeks to regain her pre-flight condition.

"It's a cocktail of astonishing emotions, it's incredible. It's great to be back on Earth, but it also comes with its share of challenges, especially physiological ones," she told a press conference.

She also described the "difficult" moment of Thursday's splashdown, when the capsule bringing back the four astronauts on her team had to endure "a lot of waves for 25 minutes.”

"And when the commandos pulled me out of the capsule, the first thing I said to them was, 'Send me back to space, please!' It was much easier up there," she added.

During the mission, Adenot became the first French female astronaut to venture outside the space station for a spacewalk. In all, she undertook three spacewalks on August 18 and 25, and September 1.


Wolf Near Athens Removed after Suspected Attacks

An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)
An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)
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Wolf Near Athens Removed after Suspected Attacks

An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)
An ambulance leaves Corinth General Hospital, in Greece, Friday, Oct. 9, 2026. (AP Photo/Vasilis Psomas)

Greek conservation groups have caught and removed a male wolf suspected of links to attacks on joggers in Mount Parnitha near Athens in recent months, officials said late on Thursday.

The move was authorized by the environment ministry after the animal allegedly attacked and slightly injured a jogger in a forested area of the rural town of Kryoneri, northeast of the capital, on September 24, the Callisto group said, according to AFP.

"After a lengthy chase during the night of October 5 to 6, 2026, the male wolf that had alarmed the residents of the Kryoneri, Varybobi and Olympic Village settlements in recent months due to his frequent appearances within the urban fabric was successfully and safely tranquilized," the group said.

The wolf had been fitted with a tracking collar in July and returned to the woods but it continued to return to urban areas near Mount Parnitha, mainly to prey on stray cats, Callisto said.

"(It) continued to display bold behavior, even following citizens at close range," the group said.

The wolf allegedly attacked a jogger in February and again in September.

It was taken to a wolf sanctuary operated by the Arcturos wildlife organization in northern Greece.

Wolves are protected in Greece under the Bern Convention, to the consternation of many farmers who claim their numbers have swelled in recent years.

The population stands at 2,075 individuals, mainly in the north of the country, according to a recent study by Callisto.

In mid-August, a female wolf suspected of having attacked and injured a four-year-old child near Thessaloniki was also captured.

She was found to be missing a leg and was in poor health.

In September 2025, another wolf reportedly attacked and injured a five-year-old girl near a seaside resort in Chalkidiki, northern Greece.

On its website, Callisto explained that wolves inhabited remote areas far from people when suitable wild prey is abundant there. But when that natural habitat is destroyed, they move closer to areas where they could find food.

In Greece, "populations of wild ungulates that could naturally sustain wolves-such as roe deer and wild boar-remain relatively sparse...

"As a result, wolves in Greece currently depend to a significant extent on livestock, refuse dumps, animal carcasses originating from slaughterhouses and livestock farms, and other human-associated food sources," it explained.


After 20 Years, Sofia Coppola’s ‘Marie Antoinette’ Movie Has Come Home to Versailles

Filming Kirsten Dunst as Marie Antoinette on set (imdb)
Filming Kirsten Dunst as Marie Antoinette on set (imdb)
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After 20 Years, Sofia Coppola’s ‘Marie Antoinette’ Movie Has Come Home to Versailles

Filming Kirsten Dunst as Marie Antoinette on set (imdb)
Filming Kirsten Dunst as Marie Antoinette on set (imdb)

Paris: Laura Cappelle

In 2006, the American director’s whimsical, candy-colored “Marie Antoinette” divided audiences with its Manolo Blahnik shoes and contemporary soundtrack. Yet the film has since become a classic, and Versailles is honoring its 20th anniversary with an exhibition at the Petit Trianon, the small chateau on the royal estate given to the queen for her private use in the 1770s, where part of “Marie Antoinette” was filmed.

Curated by Hélène Delalex and Laurent Salomé and running through Jan. 24, the show brings back Milena Canonero’s Oscar-winning costumes alongside props, sketches and photographs. In Marie Antoinette’s private rooms, mannequins recreate some of the movie’s frames.

And Coppola is revisiting “Marie Antoinette” onscreen, too. As she made the film 20 years ago, someone was watching closely: her mother, Eleanor, who shot almost 100 hours of behind-the-scenes footage with the goal of making a documentary.

Eleanor Coppola died in 2024 without completing the project, but her daughter has completed it for her. The movie “Making Marie Antoinette,” a time capsule of the film and of a young director finding her way, will be released in US theaters on Oct. 23.

In a recent video interview, Coppola, 55, talked about stepping back into Versailles, fighting for the film’s female perspective and watching hip-hop cut-ups of “Marie Antoinette” on TikTok. These are edited excerpts from the conversation.

Were you surprised when Versailles reached out to you about this exhibition?

Yes, I was really surprised — it was like being offered the Petit Trianon to put our posters up. It was surreal to be there again, in the real home of Marie Antoinette, with the costumes from our version.

I thought it was cool that the curators were interested in the preparation materials and research, so I was excited to open up the boxes that I had in my storage at my family home in Napa Valley. Anne Seibel, the art director, also saved a lot of things, and Milena Canonero, our great costume designer, tracked down different pieces and put the accessories together to bring it all back. We even recreated some of the lighting that was used in the film.

What do you remember about how you felt while making it?

It was really stressful and overwhelming, because I’d never taken on anything of that scale. There were just so many people there in order to pull it off, so many extras and crew. I think I had that sort of youthful naïveté — I don’t think I would take on something like that now.

But I had a really clear vision in my head, and I was really trying to do a different kind of period movie. The ones that I had grown up with were very big tableaux, based on paintings. I always felt like you were looking back at history, and I wanted this to feel like you’re jumping back in time and you’re alive with the characters. When I visited the real private rooms of Marie Antoinette, I was struck by the fact that the fabric was this bright turquoise color. At that time, you never saw that in period films: It was always muted, dusty earth tones.

The depiction of ennui and aimlessness connects it to some of your other films. What did you draw on to bring it to life?

I was trying to imagine what Marie Antoinette’s emotional life was like, and I could see parallels in LA at the time when I was writing the script in the early 2000s. I saw women shopping when they didn’t have anything else to do, to fill their time. It was my version of what I could imagine that might be like.

Were you taken aback by the controversy over the anachronisms in the movie when it came out?

It was disappointing that some people were really offended by it. To me, it’s hard to imagine that the modern music was so offensive to people, and it’s done a lot now. I knew that it was a little bit obnoxious and rebellious for an American to make that story, but you don’t ever really know how things are going to be received.

You lived in France for a few years after “Marie Antoinette.” What is your relationship nowadays to the country?

My husband [Thomas Mars, of the band Phoenix] is actually from Versailles. Their home was right down the street from the Petit Trianon. They moved away in more recent years, but we had holidays there, which was wild. My daughter Romy was born in Paris, and I feel really grateful that I still get to spend time there. I grew up with French New Wave films, and I’ve always felt supported by French culture.

The film’s reputation seems to have changed considerably since its release. Do you feel that?

Definitely. I feel like it has a whole new audience of young people. My daughters show me these edits to hip-hop songs on TikTok, which I love. It’s been a fun surprise, because usually your movies aren’t talked about afterward. A lot of mothers and daughters say that they watch it together, or men come up to me and say that that was their gay coming-out.

The film has a strong female gaze, and that registers differently today. Did you have to fight for that perspective when you made it?

My mom shot almost 100 hours of documentary footage on set. I helped edit it recently, and there’s a lot of me pushing for the female point of view of the story. That was really important to me, and it was interesting to see that men on the crew did not understand this idea or were resisting it. It just didn’t exist in filmmaking at that time. Nowadays, the guys I work with are much more open.

The documentary you edited based on your mother’s footage, “Making Marie Antoinette,” will be out in the US in October. Why did it take so long to come back to it?

Only a very small amount was used for a DVD bonus at the time, and we went on with our lives — I was having kids and I forgot about it. Then during the pandemic, my family was all together at home in Napa. My mom got the footage out to look at it, and I had never seen it before. It was amazing for me to see like all the details that she caught, all of the craftsmanship: the costumes, the wigs, the flowers.

And she really wanted to do something with it. She passed away two years ago now, but at the end of her life, it was really important to her that we got this film done. I promised her that I would. I’ve worked a lot this last year with an editor and a friend of my mom’s, trying to think of how she would want it made — even though it’s hard for me to have perspective, because I’m in it, and it’s embarrassing to see my young self.

Why?

I am not as assured of asserting myself. I’m kind of finding my way as a young director. And I thought maybe that would be interesting for other young people interested in film, to see that there is a process of how you evolve as a creative person.

It’s also me seeing through my mother’s eyes, her watching her daughter work. It was very emotional to work on, and I felt like it was a gift that she left for me.

The New York times