logo
Harvard Physicist Claims New Interstellar Comet is Alien Probe

Harvard Physicist Claims New Interstellar Comet is Alien Probe

Newsweek4 days ago
Based on facts, either observed and verified firsthand by the reporter, or reported and verified from knowledgeable sources.
Newsweek AI is in beta. Translations may contain inaccuracies—please refer to the original content.
An unexpected visitor to our solar system spotted earlier this month might be a piece of alien technology—that is, according to one professor from Harvard University.
3I/ATLAS—which is only the third known interstellar object ever recorded—was detected on July 1 by NASA's ATLAS telescope in Chile.
Despite being officially classified as a comet, theoretical physicist professor Avi Loebof Harvard University, has argued that the object could have been sent by an alien civilization.
Loeb explained that the object's trajectory, size and behavior suggest it could be something far more advanced than a natural occurrence—and could instead be some form of alien craft or probe.
"The retrograde orbital plane of 3I/ATLAS around the Sun lies within 5 degrees of that of Earth... The likelihood for that coincidence out of all random orientations is 0.2 percent," Loeb told Newsweek.
Despite this, other scientists are skeptical of Loeb's claims. Richard Moissl, Head of Planetary Defence at the European Space Agency told Newsweek: "There have been no signs pointing to non-natural origins of 3I/ATLAS in the available observations."
A picture of the observation of comet 3I/ATLAS when it was discovered on July 1, 2025. The NASA-funded ATLAS survey telescope in Chile first reported that the comet originated from interstellar space.
A picture of the observation of comet 3I/ATLAS when it was discovered on July 1, 2025. The NASA-funded ATLAS survey telescope in Chile first reported that the comet originated from interstellar space.
ATLAS/University of Hawaii/NASA
These are not the only anomalies that set 3I/ATLAS apart from typical comets. In addition to its retrograde orbit, Loeb said that the brightness of 3I/ATLAS implies an object that is around 20 kilometers in diameter which he explained is "too large for an interstellar asteroid."
"It might have targeted the inner Solar System as expected from alien technology," he added.
3I/ATLAS is expected to pass unusually close to Venus, Mars and Jupiter this fall, an alignment Loeb calculates as having a probability of just 0.005 percent if the arrival time were random.
The comet is expected to reach its closest point to the Sun on October 29, when it will be hidden from Earth's view, a detail Loeb finds suspicious. "This could be intentional to avoid detailed observations from Earth-based telescopes," he said.
The object also lacks typical cometary features. "No spectral features of cometary gas are found in spectroscopic observations of 3I/ATLAS," Loeb said.
A diagram showing the trajectory of interstellar comet 3I/ATLAS as it passes through the solar system.
A diagram showing the trajectory of interstellar comet 3I/ATLAS as it passes through the solar system.
NASA/JPL-Caltech
Unlike Loeb, Moissl believes that the most likely explanation for the object is a natural origin, likely originating from an orbit around a star somewhere in our galaxy.
"All observations are in agreement with basic assumptions about a space-weathered natural object with, so far, weak cometary activity," he said.
This is not the first time that Loeb has shared an extraterrestrial theory for a space object. In 2022 he theorized that mysterious cosmic object known as 'Oumuamua may be technology from an alien civilization.
While emphasizing that this remains a hypothesis, Loeb argues the possibility deserves serious attention.
"The consequences, should the hypothesis turn out to be correct, could potentially be dire for humanity," he said. "We better be ready for both options and check whether all interstellar objects are rocks."
In the meantime, work is being done to collect as much data as possible about space objects like 3I/ATLAS.
"Astronomers around the world are collecting as much data as possible on the orbit and physical properties of the object and how these change in the course of it passing through our solar system," Moissl explained.
"Collecting this data will provide us with clues as to what the object is made of and, by proxy, provide some exciting insights into how faraway planetary systems might look."
Do you have a tip on a science story that Newsweek should be covering? Do you have a question about 3I/ATLAS? Let us know via science@newsweek.com.
Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

The fight to keep space shuttle Discovery at the Smithsonian: L.A. arts and culture this weekend
The fight to keep space shuttle Discovery at the Smithsonian: L.A. arts and culture this weekend

Los Angeles Times

time24 minutes ago

  • Los Angeles Times

The fight to keep space shuttle Discovery at the Smithsonian: L.A. arts and culture this weekend

The Smithsonian Institution has faced pressure from President Trump since March when he issued his 'Restoring Truth and Sanity to American History' executive order, which demanded an end to federal funding for exhibitions and programs based on racial themes that 'divide Americans.' Amid Trump's headline-grabbing gambits to remake the landscape of American arts and culture into a more MAGA-friendly image, another challenge to the Smithsonian flew largely under the radar. In early April, Texas Senators John Cornyn and Ted Cruz introduced the Bring the Space Shuttle Home Act, which proposed to move the space shuttle Discovery from the National Air and Space Museum's Udvar-Hazy Center in Virginia to a spot near NASA's Johnson Space Center in Houston. The act was folded into President Trump's One Big Beautiful Bill, which Trump signed into law on July 4. NASA gifted the Discovery to the Smithsonian in 2012 and it has been in Virginia ever since. Discovery launched on its maiden voyage in 1984 and flew 39 Earth-orbital missions — more than any other orbiter. The Smithsonian considers it a key part of its collection and issued a statement to Congress objecting to the proposed move. According to the Hill, the statement noted that 'the case against relocating the orbiter Discovery is both philosophical and practical … It would be unprecedented for Congress to remove an object from a Smithsonian collection and send it somewhere else.' In late June, the Houston Business Journal reported that the Smithsonian estimated the cost of moving Discovery to Texas would be between $300 and $400 million, far more than the $85 million cited by Cornyn and Cruz in Trump's massive reconciliation and spending package. Since the passage of of the bill, the fight over Discovery has heated up. Earlier this week, Rep. Joe Morelle, a Democrat from New York, introduced an amendment to keep Discovery at the Smithsonian. The Appropriations Committee agreed to the amendment, which now moves to the Rules Committee before going to the House floor for a vote. 'The forced removal and relocation of the Space Shuttle Discovery from the Smithsonian Institution's Air and Space Museum is inappropriate, wasteful, and wrong. Neither the Smithsonian nor American taxpayers should be forced to spend hundreds of millions of dollars on this misguided effort. I am grateful for the bipartisan support of my colleagues on this amendment and hope we can continue working together throughout the remainder of the Appropriations process to keep a treasured Smithsonian artifact where it belongs,' Morelle said in a statement sent to The Times. The Smithsonian did not respond to a request for comment on the evolving situation, or its quest to keep the Discovery in its collection. I'm arts and culture writer Jessica Gelt, hoping to orbit a positive news cycle someday soon. Here's your arts and culture roundup for this week. The Corpse FlowerThe infamously stinky plant, formally Titan Arum (Amorphophallus titanum), 'produces the largest unbranched inflorescence in the plant kingdom' and is known for its pungent aroma. 'Green Boy,' one of 43 corpse flowers in the Huntington's collection may have already blossomed by the time you read this, so be sure to check it out as the bloom lasts only 24-48 hours. 'It smells pretty bad,' Brandon Tam, the Huntington's associate curator of orchids,' told Times summer intern Aspen Anderson in her story on the event. But for those who prefer to avoid the full olfactory experience, there's a livestream.10 a.m.–5 p.m., closed Tuesday. The Huntington, 1151 Oxford Road, San Marino. Father John MistyJosh Tillman, whose Misty persona was described in a 2017 profile by Times pop music critic Mikael Wood as 'a convivial (if polarizing) chronicler of society's growing absurdity,' is joined by Lucinda Williams and Hamilton Leithauser for an eclectic evening of indie rock and folk.7 p.m. Friday. Greek Theatre, 2700 N. Vermont Ave. Phasmagorica: The Room Between WorldsLimited to nine audiences members at a time, this 'experiential paranormal encounter' proudly boasts that it is not a performance and does not use actors. Instead, sacred geometry, occult methodology, immersive light phenomena and 13 speakers of Dolby Atmos sound produce 'a fully-contained, tactile installation designed to provoke contact.' Guests are guided through a séance featuring spirit communication via arcane instruments and trigger objects, fortune-telling and psychological thresholds.7:30 and 9:15 p.m. Friday through Sunday. Heritage Square Museum, 3800 Homer St. Austin Powers triple feature Yeah, baby! The academy's 'Summer of Camp' series continues with the shagadelic trilogy of 'Austin Powers: International Man of Mystery' (1997), 'Austin Powers: The Spy Who Shagged Me' (1999) and 'Austin Powers in Goldmember' (2002). Director Jay Roach will be in attendance.2 p.m. Saturday. Academy Museum, 6067 Wilshire Blvd. Billy WoodberryThe MOCA Artist Film Series presents the L.A. Rebellion filmmaker's 2016 feature, 'And when I die, I won't stay dead,' a documentary on the life of Beat poet Bob Kaufman. Best known for 'Bless Their Little Hearts' (1983), Woodberry assembled archival footage and photos, interviews with Kaufman's contemporaries, and readings from Ruby Dee, Ossie Davis and others, plus a jazz soundtrack featuring Billie Holiday and Ornette Coleman.3 p.m. Saturday. Museum of Contemporary Art, 250 S. Grand Ave., downtown L.A. Queens of SoulThe peacocks and peahens will not be the only ones strutting and preening at the L.A. County Arboretum when the Pasadena Pops performs this salute to such divas as Aretha Franklin, Tina Turner, Whitney Houston, Alicia Keys, Adele and others, featuring hit songs such as 'Respect,' 'Proud Mary, 'I'm Every Woman' and 'Rolling in the Deep.'7:30 p.m. Saturday. L.A. County Arboretum, 301 N. Baldwin Ave., Arcadia. Black Pasifika: Deep Sea ProtocolsWriter, relational architect and guerrilla theorist Neema Githere hosts this program exploring the links between climate crisis and technology across Melanesia. Githere will provide context and discuss deep-sea protocols and the consequences of technological accelerationism on sea-stewarding peoples from the Swahili coast to Melanesia with their grandfather, Dr. Gilbert Githere, founder of the Mombasa-Honolulu Sister City society. The filmic essay 'AI: African Intelligence' by Manthia Diawara searches for a more humane and spiritual control of algorithms. Ahead of the program, from 10 a.m.–6 p.m., the time-based somatic works 'Oceanic Refractions' and 'Cries From the Moana' will be shown on monitors in LACMA's Smidt Welcome Plaza.6 p.m. Sunday. Los Angeles County Museum of Art, 5905 Wilshire Blvd. L.A. Phil at the Hollywood BowlIn a week of debuts, Italian conductor Daniele Rustioni, recently appointed principal guest conductor of the Metropolitan Opera, makes his Los Angeles Philharmonic bow leading the orchestra through Mendelssohn's 'Violin Concerto' (with soloist Veronika Eberle), selections from Berlioz and Liszt, and Respighi's 'Pines of Rome.' Two nights later, former Dudamel Fellow and current Boston Symphony Orchestra assistant conductor Anna Handler makes her first Bowl appearance, leading the Phil in the world premiere of Eunike Tanzil's 'Ode to the City of Dreams,' Mozart's 'Concerto for Flute and Harp' and Richard Strauss' 'Also sprach Zarathustra, Op. 30.' Mendelssohn, 8 p.m. Tuesday; Tanzil, Mozart and Strauss, 8 p.m. Thursday. Hollywood Bowl, 2301 N. Highland Ave. — Kevin Crust Times art critic Christopher Knight was thrilled to see the Los Angeles County Museum of Art's exhibit 'Realms of the Dharma: Buddhist Art Across Asia.' Currently installed in the temporary exhibition spaces of the Resnick Pavilion, the show consists of roughly 180 objects that have been in storage for years after being boxed up in preparation for the demolition of the museum's original campus and the debut of the new David Geffen Galleries. Catch the exhibit now, before it gets stowed away again, writes Knight, adding that it 'includes some of the most splendid sculptures and paintings' in the museum's permanent collection. Times classical music critic Mark Swed hopped a plane to Austria and headed for the small town of Bregenz, where a major arts festival that attracts more than 250,000 visitors in July and August and boasts a $31-million budget is hosted. The biggest draw at the bustling festival is opera, and the biggest show is a production staged each year on the Seebühne — a massive stage built directly on Lake Constance with bleachers to accommodate an audience of 7,000. 'This year's 'Die Freischütz,' Carl Maria von Weber's early 19th century opera about a huntsman who makes a very bad deal with the devil for a magic bullet, opened last week and runs through Aug. 17,' writes Swed. 'All 27 performances are expected to sell out as usual for the kind of spectacle that exists nowhere else.' Read all about the world-famous technical and artistic extravaganza, here. Johanna Burton is leaving the Museum of Contemporary Art, Los Angeles, to become the new director of the Institute of Contemporary Art at the University of Pennsylvania, ICA Philadelphia announced Thursday. Burton became MOCA's first female director in 2021 after its recently named Artistic Director Klaus Biesenbach unceremoniously left his position for a job in Berlin. Burton's departure makes her the fifth director to leave MOCA since 2008. Burton will fill the role at ICA Philadelphia left vacant by Zoë Ryan who exited the museum to take over leadership at the UCLA Hammer Museum in Westwood after its longtime director Ann Philbin retired. MOCA did not respond to a request for comment about Burton's departure. Architect Paul R. Williams' L.A. building, Founders Church of Religious Science, is among five structures across the country picked to receive funding through the Getty Foundation's Conserving Black Modernism Initiative. Announced earlier this week by the foundation and the National Trust for Historic Preservation's American Cultural Heritage Action Fund, the money will support preservation plans for the buildings and further train caretakers in maintenance best practices. Another overarching goal is to increase public awareness of the architects' legacies and the buildings they created. The other four buildings receiving Getty funds are the ITC Administration Building in Atlanta, designed by Edward C. Miller; First Church of Deliverance in Chicago, an adaptive reuse project redesigned by Walter T. Bailey; McKenzie Hall in Eugene, Ore., designed by DeNorval Unthank Jr.; and Vassar College's 2500 New Hackensack building in Poughkeepsie, N.Y., by Jeh Vincent Johnson. Artist Amy Sherald has canceled her upcoming solo show, 'American Sublime,' at the Smithsonian's National Portrait Gallery, citing censorship after she was told the museum wanted to exclude a painting featuring a transgender woman holding a torch in a pose meant to evoke the Statue of Liberty. Sherald was told that the museum did not want to provoke a reaction from President Trump, who has brought anti-trans ideals into the federal government. In a statement to the New York Times, Sherald wrote, 'It's clear that institutional fear shaped by a broader climate of political hostility toward trans lives played a role.' The Ebell of Los Angeles has named Camille Schenkkan its chief operating officer. The nonprofit organization, which dedicates itself to 'inspiring women and fostering community through arts, culture and education,' was founded in 1894 and occupies one of the city's most storied historic buildings — a campus and theater designed in 1927 by architect Sumner Hunt. Schenkkan arrives at the Ebell from Center Theatre Group, where she served as deputy managing director. Republican members of the House Appropriations Committee introduced a proposal earlier this week to rename the Opera House at the John F. Kennedy Center for Performing Arts in Washington after the first lady, Melania Trump. — Jessica Gelt Marlee Matlin shared her favorite Sunday activities with The Times — including a stop for pizza in Eagle Rock (hint: it's a classic). See you there!

Jaw-Dropping Video Shows NASA's Plan to Deliver a Helicopter Swarm to Mars Without Landing
Jaw-Dropping Video Shows NASA's Plan to Deliver a Helicopter Swarm to Mars Without Landing

Gizmodo

time24 minutes ago

  • Gizmodo

Jaw-Dropping Video Shows NASA's Plan to Deliver a Helicopter Swarm to Mars Without Landing

It's been more than a year since the Ingenuity helicopter broke one of its blades, ending its experimental stint on Mars. On the heels of this wildly successful NASA mission, a defense contractor has introduced a new design concept to succeed the iconic Mars chopper—one that would release multiple vehicles to spread across the Martian landscape at the same time, like a coordinated swim team diving into the water. Virginia-based AeroVironment (AV), in partnership with NASA's Jet Propulsion Laboratory (JPL), recently revealed its Skyfall mission concept, a next-generation Mars helicopter designed to pave the way for a future human landing on the neighboring world. Skyfall would deploy six small choppers, similar to NASA's Ingenuity, to the Red Planet using a single entry capsule, with each helicopter landing independently on the Martian surface. The mission is aiming for a launch date in 2028, according to AV. The landing carrier would drop the six helicopters midway through its descent through the planet's atmosphere, eliminating the need for a landing platform. Following their release from the carrier, each helicopter would land on the Martian surface under its own power. Each helicopter would quickly get to work, exploring different parts of the planet and investigating potential landing sites for a future human mission. Operating independently, each chopper will collect high-resolution images of the surface and radar data from beneath the surface to search for potential resources on Mars. 'With six helicopters, Skyfall offers a low-cost solution that multiplies the range we would cover, the data we would collect, and the scientific research we would conduct–making humanity's first footprints on Mars meaningfully closer,' William Pomerantz, head of Space Ventures at AV, said in a statement. Ingenuity was the first helicopter to fly on another planet, paving the way for a fleet of successors that can explore the Martian surface from above. The o.g. Mars helicopter arrived on the planet in February 2021, tucked inside the belly of NASA's Perseverance rover. Shortly afterwards, the 19-inch-tall (48-centimeter), 4-pound (1.8-kilogram) helicopter became the first powered aircraft to lift off from the surface of another planet. Although it was originally intended to perform just five test flights, Ingenuity kept on going, performing 72 flights and flying 14 times farther than planned for a total flight time of two hours. Things came crashing down for Ingenuity last year after the helicopter broke its blades while landing for the 72nd time, officially ending its mission in January 2024. Its mission more than exceeded expectations, delivering precious data on a new method of exploring the surface of another planet and opening up a new gateway for missions to Mars and elsewhere. Whatever chopper comes next will have some pretty big shoes to fill, so maybe sending six helicopters to Mars is the appropriate follow-up.

Let's Talk About the End Credits of ‘The Fantastic Four: First Steps'
Let's Talk About the End Credits of ‘The Fantastic Four: First Steps'

Gizmodo

time24 minutes ago

  • Gizmodo

Let's Talk About the End Credits of ‘The Fantastic Four: First Steps'

The Marvel Cinematic Universe officially has its Fantastic Four. Or should we call it five? The new film, which is in theaters now, is largely centered around the fact that Reed Richards (Pedro Pascal) and Sue Storm (Vanessa Kirby) have a child named Franklin. Franklin is crucial to not just the plot and the ending but also beyond. So let's get into it of the biggest revelations in The Fantastic Four: First Steps is that the planet-eater Galactus is willing to trade all of Earth for Franklin. Galactus believes he sees a cosmic destiny in Franklin: the ability to take over Galactus' job as an eternal planet destroyer, which would allow him to finally rest. Reed and Sue are shocked because they don't see anything special about their child. But who would know more? The two super smart Earthlings? Or the billion-year-old giant who lives in space and can eat planets? Galactus is right about Franklin, and we see why at the end of the movie. After Sue uses every ounce of her power to thwart Galactus, she dies but is quickly saved by Franklin's mysterious powers. He's more than us, Sue says to Reed, and, in the film's post-credit scene, someone else seems interested too. Four years after the events of the film, Franklin is older now and sitting in the Baxter Building with his mom. She's playing with him and says he wants to read a book. HERBIE pulls out Charles Darwin's On the Origin of Species, which, apparently, is Franklin's favorite (saying a lot about the kid's intelligence), but they read it yesterday. Instead, Sue grabs something called A Fly Went By, a 1958 book written by Mike McClintock, when she hears a noise. Someone is in the room with them. And, as Sue walks around the corner, she sees none other than Doctor Doom, kneeling next to Franklin, who is touching his face. We don't see Doom's face, only his green cloak from the side, but he holds his silver mask in his hand so Franklin can go skin to skin. A few things here. First of all, Doctor Doom is probably the most famous of the Fantastic Four villains and, we know, the main bad guy in the upcoming Avengers: Doomsday, played by Robert Downey Jr. So of course this is a tease to that. It's also the first time we see Doom in the film, but not the first time he's referenced. Doom's comic book country, Latveria, is represented in an early scene at a United Nations-type place as the only country that didn't send a representative to Sue Storm's speech. So people are aware of him, we assume, but this credits scene is our actual first look. However, we don't really learn much from the scene. We don't know what Doom wants with Franklin. We don't know what Doom's specific relationship is, if any, with the Fantastic Four. We don't know how he got in, what's next, or anything. And we frankly don't know the extent of Franklin's powers. In the comics, he's had all manner of powers, such as the ability to manipulate space and time. So will Doom utilize that to try and take over the multiverse? Will the Fantastic Four follow in pursuit? That's another thing. Remember a whole three months ago when Thunderbolts ended with a scene of that team tracking an extra-dimensional incident of a ship with a '4' on it coming into Earth 616 (the main MCU timeline)? We all assumed it was the Fantastic Four, but maybe it's Doom with Franklin, making a run from the Fantastic Four. Marvel Studios president Kevin Feige, if you remember, teased that the ship might not be the team's. Maybe he was being honest. Basically, the Fantastic Four end credits scene leaves us with many more questions than answers. And we're fine with it. We'll get those answers next December when the Fantastic Four and Doctor Doom return in Avengers: Doomsday. It's also worth mentioning that while the mid-credits scene is the only one of significance to the plot, there is a second scene at the very end. After a touching quote from Fantastic Four co-creator Jack Kirby, we get to see the full animated intro to the in-universe cartoon show that Ben Grimm hates so much. And it's awesome. A nice way to send us out. Did you think the Fantastic Four end credits scene was a fitting tease? What does Doctor Doom want with Franklin? Let us know below. Want more io9 news? Check out when to expect the latest Marvel, Star Wars, and Star Trek releases, what's next for the DC Universe on film and TV, and everything you need to know about the future of Doctor Who.

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