logo
100th person to fly only a suborbital spaceflight

100th person to fly only a suborbital spaceflight

Yahoo15-04-2025
When you buy through links on our articles, Future and its syndication partners may earn a commission.
On April 14, 2025, Blue Origin launched its 11th human spaceflight, the company's first to include only women aboard. Based on the seat assignments provided by the company, one of the six newly qualified astronauts has now become the 100th person in history to fly only a suborbital trajectory to space and back.
The photo captures the moment that former NASA aerospace engineer-turned-entrepreneur Aisha Bowe stepped out of Blue Origin's New Shepard capsule, having completed the 10-minute trip into space and back. She held out her arms in celebration.
Flying alongside five other women, including pop star Katy Perry and TV morning show host Gayle King, Bowe soared past the Karman line, the boundary at 62 miles (100 kilometers) that is internationally recognized as the demarcation between Earth's atmosphere and outer space.
Bowe and her crewmates landed in West Texas, not far from where they took off from Blue Origin's Launch Site One, located near the town of Van Horn.
The booster that lofted the New Shepard crew capsule into space also returned to the same site, re-igniting its engine and landing on extended legs to be reused again.
The namesake for Blue Origin's New Shepard launch system, Alan Shepard, was the first American in space and the first person to complete a suborbital spaceflight. His May 5, 1961 Mercury-Redstone 3 launch aboard the Freedom 7 capsule ended in a splashdown in The Bahamas, from where Bowe's family originates.
Shepard later walked on the moon on Apollo 14, so is not included in the 100-person count, but included among Bowe's ranks are X-15 and SpaceShipOne rocket plane pilots and the people who earlier flew on Blue Origin's and Virgin Galactic's space tourism and suborbital science-dedicated flights.
You can read more about Bowe's NS-31 mission and the items that she and her crewmates chose to fly as souvenirs of their journey. You can also read and watch the crew's reaction immediately after returning to Earth.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

One of the best dark comedy series of the past 10 years is on Netflix — but not for much longer
One of the best dark comedy series of the past 10 years is on Netflix — but not for much longer

Tom's Guide

time34 minutes ago

  • Tom's Guide

One of the best dark comedy series of the past 10 years is on Netflix — but not for much longer

Netflix has confirmed the shows and movies set to leave its library this month, and among the list are both seasons of 'Kevin Can F**k Himself,' which is less-than-ideal because I just started watching (and am already falling in love with) this fantastic dark comedy-drama. Fortunately, the show won't be waving goodbye until Tuesday, August 19, so I have exactly one week to polish off the series. And while I'm still working my way through season 1, I can already tell this show is something very special. Not that this is a particularly unique opinion, it currently ranks as one of the most critically acclaimed shows of the past several years. The good news is that, at just two seasons long, comprised of 16 total episodes, it's not a massively time-consuming binge-watch, so if you get started right now, you'll also be able to see it through to the very end before it waves goodbye to the world's biggest streaming service. And trust me, once you start, you're going to want to inhale 'Kevin Can F**k Himself' as this dark comedy blends classic sitcom tropes with modern dramas, in a way that keeps on surprising me. It's all anchored by a phenomenal leading turn from Annie Murphy, and with each episode, I'm drawn further into this very unique concept and gripped by its story. If you're curious to know more before committing to binge-watching 'Kevin Can F**k Himself' on Netflix before it leaves, here's everything you need to know about this dark comedy. Allison McRoberts (Annie Murphy) is a stereotypical doting 'sitcom wife' to an overgrown manchild, Kevin (Eric Peterson). She puts up with his hairbrained schemes, layabout attitude and his very annoying habits. But what if Allison wasn't stuck in Kevin's orbit anymore? That's one of the key questions at the heart of 'Kevin Can F**k Himself,' which sees Allison break free of the confines of her "happy" life with Kevin, and attempt to not only strike out on her own, but literally strike back against the man who has made her miserable for years. Get instant access to breaking news, the hottest reviews, great deals and helpful tips. The 16-episode show blends a classic multiple-camera sitcom (complete with purposefully irritating laughter track) with a more modern single-camera perspective. It's a genre-bending sitcom that explores the darker side of the familiar and comforting TV comedy we all know very well. On a conceptual level, 'Kevin Can F**k Himself' is, and I swear I rarely use this word, awesome. Whenever Allison is with Kevin, the show is presented through the lens of a classic American sitcom, think 'The Honeymooners,' or for a more modern comparison, Kevin James' 'Kevin Can Wait' (I wonder where the name of the show comes from…) Murphy brings an intense, quiet fury to Allison, and you can feel her bubbling resentment in almost every scene where she is forced to smile along with Kevin's slob behaviour or narcissistic ways. But when Allison breaks out of Kevin's world, the laughter track drops, and the color palette becomes darker, and the realities of her unhappy existence are laid bare. It's a brilliant setup for a show, and the way it deconstructs the classic sitcom genre is constantly novel and unique. Of course, the show wouldn't be anything without a real star in the key role of Allison, and Annie Murphy is more than up to the task. Murphy brings an intense, quiet fury to Allison, and you can feel her bubbling resentment in almost every scene where she is forced to smile along with Kevin's slob behaviour or narcissistic ways. It's an award-caliber level of performance. While the sitcom portion of the show is focused more on Kevin's antics and how much they drive Allison up the wall, in the 'real world', there's a surprisingly gripping scheme afoot. Allison decides in the first episode to take extreme measures to rid herself of her husband, and her attempts to deal with the parasite she calls a life partner get pretty complicated. Season 1 of "Kevin Can F**k Himself" was embraced by critics, scoring 82% on Rotten Tomatoes. While the ambitious blend of TV genres was praised, some reviewers felt the mix of tones didn't always gel well (which is something of a fair point, though I'd argue the 'clash' in styles is extremely intentional). However, season 2 really sees the show hit its stride, holding a perfect 100% score on the review aggregate site. 'Kevin Can F**k Himself' also isn't a show that stuck around long enough to wear out its welcome. It concluded with its second season back in 2022, and while I'm still working my way towards the big finale, I'm informed it brings the show to a satisfying close with no cliffhanger ending or unresolved plot points. So you can binge-watch without fear. Just remember, you've only got a little time left to watch 'Kevin Can F**k Himself' on Netflix, as the dark comedy is set to be removed from the streaming service on August 19. Meanwhile, if you're wondering what's being added to replace this show (and the others like it being removed this month), here's a guide to everything new on Netflix in August 2025. Follow Tom's Guide on Google News to get our up-to-date news, how-tos, and reviews in your feeds. Make sure to click the Follow button. Watch "Kevin Can F**k Himself" season 1-2 on Netflix until August 19

No Parents Allowed
No Parents Allowed

Atlantic

time35 minutes ago

  • Atlantic

No Parents Allowed

In the 1980s and '90s, Adrienne Salinger photographed American teenagers in their natural habitat: their bedroom. Salinger was fascinated by the way these spaces reflected the personalities of their inhabitants. In an era before smartphones and social media, teenagers used the walls of their room to demonstrate their good taste in hair bands and hip-hop groups, commemorate their accomplishments, and construct their identity. These spaces, Salinger wrote in her 1995 book, In My Room, were 'the repository for our memories and the expressions of our desires and self-image.' Salinger's book, reissued this month, features portraits of dozens of teenagers. The images capture an inflection point between childhood and adolescence: Her subjects pose among stuffed animals and pinups, dolls and drug paraphernalia. In one image, a girl named Ellen stands beside a neat bookshelf, clutching a violin. On the wall behind her is a poster of James Dean astride a motorcycle—just below it, a brochure from Brown. Most of the rooms Salinger visited—of rich and poor teens alike—were illuminated by a single light fixture at the center of the ceiling. She brought her own studio lights, which would frequently blow a fuse. As she set up her equipment, she and her subjects would talk, often for hours. Then she would take a photograph, and the teens would see their room—and themselves—in a new light. Photos courtesy of Adrienne Salinger / D.A.P. This article appears in the September 2025 print edition with the headline 'No Parents Allowed.'

Dean Cain Doesn't Understand Superman
Dean Cain Doesn't Understand Superman

Newsweek

timean hour ago

  • Newsweek

Dean Cain Doesn't Understand Superman

Dean Cain, who donned the Superman cape in the 1990s TV series Lois & Clark, recently announced he'll be working with ICE. The irony is so thick you could cut it with a kryptonite knife. Here we have an actor who played America's most famous illegal alien—a literal undocumented immigrant who crossed intergalactic borders without permission—now joining the agency tasked with deportation. It's enough to make you wonder if Cain ever actually read a Superman comic or if he just memorized his lines. Shortly before James Gunn's newest silver screed adaption was released, Cain complained that portraying Superman as "an immigrant thing" was a mistake that would "hurt the numbers on the movie." He insisted that wanting people to "follow our immigration laws" shouldn't be seen as negative, apparently missing that the most famous character he ever portrayed broke every immigration law on the books. Baby Kal-El didn't arrive with a visa. The Kents didn't file paperwork with United States Citizenship and Immigration Services (USCIS). There was no green card application for refugees from the planet Krypton. Superman is, by every legal definition conservatives like Cain love to invoke, exactly the kind of alien they claim threatens American society. Dean Cain speaks onstage at the Lois & Clark: The New Adventures of Superman 25th Anniversary Reunion panel during New York Comic Con 2018 at Jacob K. Javits Convention Center on Oct. 5, 2018, in... Dean Cain speaks onstage at the Lois & Clark: The New Adventures of Superman 25th Anniversary Reunion panel during New York Comic Con 2018 at Jacob K. Javits Convention Center on Oct. 5, 2018, in New York City. Morefor New York Comic Con But here's what really reveals the depth of Cain's misunderstanding: Superman's story has always been an immigrant narrative. This isn't some new "woke" reinterpretation by modern Hollywood. Jerry Siegel and Joe Shuster, children of Jewish immigrants, created Superman in 1938 during a period of intense anti-immigrant sentiment and rising fascism. The immigrant metaphor of Superman isn't subtle—it's the foundation of the entire mythology. Cain argues that immigrants can't come to America wanting to "get rid of all the rules" and make it "more like Somalia," warning that "society will fail" without strict limits. Yet Superman's entire story refutes this zero-sum thinking. The last son of Krypton didn't try to transform Earth into his dead planet. Instead, he became the ultimate example of successful integration—maintaining his Kryptonian heritage while embodying the best values of his adopted home. He kept his birth name, Kal-El, while also being Clark Kent. He built a Fortress of Solitude to preserve his culture while dedicating his life to protecting Earth. That's the actual immigrant experience—not abandonment of identity but synthesis of old and new. Cain's failure to grasp Superman extends beyond immigration, as he also recently complained about the Kent family being portrayed as "stupid rednecks," seemingly oblivious to the fact that these salt-of-the-earth farmers are the moral center of Superman's universe. As the Superman: Red Son brilliantly illustrated—a storyline where Superman was reimagined to have landed in the Soviet Union instead of Kansas—it's not Kryptonian DNA that makes Superman a good person. It's the Kents' compassion, humility, and decency that shaped him into a hero rather than a tyrant. Without Jonathan and Martha Kent's rural American values, Superman becomes something else entirely, something sinister. Those "stupid rednecks" are literally the reason Superman fights for truth and justice rather than ruling through strength. What's particularly telling is that while Cain fretted about the new movie's immigrant themes possibly hurting domestic box office, Superman has actually performed well domestically but struggled internationally. And why might that be? Perhaps because Superman has become so intertwined with American identity that when America's global reputation suffers, so does his. Under the current political moment, with America's international standing at historic lows, the world is less eager to embrace a character wrapped in American symbolism. The immigrant story isn't hurting Superman; American nativism is. The tragedy here is that Cain is rallying conservatives to abandon a character who should be their natural champion. Superman represents the successful assimilation they claim to want—an immigrant who embraced American values, contributed immeasurably to society, and became a symbol of hope. He learned English, got a job at a great American newspaper, and fell in love with Lois Lane. He's literally everything conservatives say they want from immigrants—except he had no documents and would have been deported by the very agencies they champion. This isn't about making Superman political. It's about recognizing what he's always been—a story about the potential within every refugee, every immigrant, every stranger who arrives on our shores seeking safety. When Dean Cain puts on an ICE badge while criticizing Superman's immigrant story, he's not protecting American values. He's betraying the very core of the mythology that made him famous. Superman saves the world regularly precisely because the Kents didn't check his immigration status before saving him from that crashed rocket. That's not a bug in the Superman story—it's the entire point. Nicholas Creel is an associate professor of business law at Georgia College & State University. The views expressed in this article are the writer's own.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store