New top story from Time: A Fire at Kyoto Animation Killed 33 People. Here’s What to Know About the Deadly Arson Attack in Japan

Thirty-three people have died and dozens have been left injured after a suspected arson attack in an animation studio in Kyoto, Japan.

A man reportedly shouted “You die!” before setting fire to Kyoto Animation studio on Thursday, local media reports.

The fire started in the three-story building after the suspect sprayed an unidentified liquid accelerant, Kyoto prefectural police and fire department officials said, according to the Associated Press.

With 33 dead, the fire is the worst mass killing in Japan since a man stabbed and killed 19 people at an assisted living facility in western Tokyo in 2016. In 2001, 44 people died in a fire in Tokyo’s busy entertainment district, but that it ruled accidental according to the New York Times.

Thirty six others were injured.

Japan’s Prime Minister Shinzo Abe said the fire was “too appalling for words” in a post on Twitter, adding: “I would like to express my sympathies to the injured people and pray for a quick recovery.”

Japan has a famously low crime rate. The number of crimes fell to about 915,000 in 2017, the lowest level in the post-war era.

Here’s what to know about the suspected arson attack on Kyoto Animation Co.

Who is suspected of starting the fire?

A 41-year-old man was reportedly seen pouring flammable liquid and setting it alight. A Kyoto prefectural police spokesperson told CNN he had a backpack containing several knives.

Broadcaster NHK said the suspect had been detained in connection with the fire and was later taken to hospital for treatment. A witness told NHK that the suspect was burned on his armed and legs and complained that something had been “stolen” from him, according to the AP.

He has not been identified by authorities.

What is Kyoto Animation Co.?

Kyoto Animation, better known as KyoAni, is unlike many other animation studios. Founded in 1981 by producer Yoko Hatta, is known for its focus on quality rather than quantity, preferring to hire full time illustrators rather than freelance ones.

The studio has produced TV series and feature films, as well as publishing illustrated novels and manga.

What shows and movies have they produced?

Its hits include anime such as Lucky Star, K-On! and Haruhi Suzumiya. Its anime adaptation of the K-On! manga is one of its best-known works. The TV series, a comedy about five high school girls who play in a band, was very successful when it aired in Japan in 2009, according to the Japan Times. It was also broadcast overseas.

A Silent Voice, a feature film that arrived on Netflix in the U.S. last month, was hailed by critics and fans when it was released in 2016. The drama based on manga by Yoshitoki Oima deals with fracturing friendships and childhood suicide. The Guardian gave it a four-star review, calling it “a beguiling film: subtle, sensuous and delicate.”

How are the fans reacting?

Thousands of fans and anime industry professionals have taken to Twitter to pay tribute to the studio. Many praised Kyoto Animation for treating its employees well in an industry known for harsh working conditions and low pay. A labour shortage combined with a growing demand for content around the world has put pressure on studios in recent years.

Mike Toole, editor-at-large at Anime News Network, wrote: “Kyoto Animation are a rarity in the anime business: they treat their people well, they strive to own part of their works, and their creations are consistently excellent, at the very least on a technical level.”

Sentai Filmworks, a licensing company specializing in Japanese animation and film based in Houston, Texas, has launched a crowdfunding campaign called Help KyoAni Heal. The campaign has raised over $300,000 our of its $500,000 goal.


New top story from Time: 12 Israelis Detained in Cyprus for Alleged Rape of British Woman

(PARALIMNI, Cyprus) — A Cyprus court has ordered 12 Israelis vacationing on the east Mediterranean island nation to remain in police custody for eight days after a 19-year-old British woman alleged that she was raped.

Judge Tonia Nicolaou removed reporters from the hearing Thursday because some of the suspects were minors.

Israeli Embassy official Yossef Wurmbrand said the suspects’ ages ranged from 15½ to 18½ and that the embassy is monitoring the case closely and stands ready to provide support to the suspects and their families.

Some of the suspects’ parents were present at the court hearing. They embraced the handcuffed suspects as they arrived at the courthouse in shorts and T-shirts. One young suspect broke down in tears.

The alleged rape occurred early Wednesday at the same hotel in the popular Cyprus resort town of Ayia Napa where the woman and the Israelis were staying separately.

Lawyer Ioannis Habaris who represents four of the suspects, told The Associated Press that prosecutors informed the court that the British woman was raped but that it was unclear exactly how many of the suspects were implicated.

Habaris said there was “some evidence” the British woman was involved in a “relationship” with one of the suspects, but that as far as he knew, there was nothing to corroborate the allegation that the suspects had engaged in any sexual act with the victim.

“As far as I’m concerned and as far as the evidence presented I do not have any material or evidence which … corroborates this story,” said Habaris.

Israeli lawyer Nir Yaslovitzh, who represents three of the suspects, said there was no evidence that the victim knew any of the suspects and that the 12 suspects came to the popular resort of Ayia Napa in three separate groups and didn’t know each other. Some, he said, had gone on vacation prior to being inducted into the Israeli army.

He said he suspects police investigators are trying to set a trap by implicating all 12 suspects.

“I think it’s a trick,” Yaslovitzh told the Associated Press. “They want to know how my clients will (react).”

Habaris said he wasn’t aware of any police mistreatment of the suspects, but that police should fully investigate any such allegations. He said prosecutors told the court that photographs had been taken during the time of the alleged assault.

New top story from Time: Could Your Cell Phone Really Crash Your Flight? On 2 Popular Boeing Jets, There’s a Risk

U.S. government officials in 2014 revealed an alarming safety issue: Passenger cellphones and other types of radio signals could pose a crash threat to some models of Boeing 737 and 777 airplanes.

More than 1,300 jets registered in the U.S. were equipped with cockpit screens vulnerable to interference from Wi-Fi, mobile phones and even outside frequencies such as weather radar, according to the Federal Aviation Administration, which gave airlines until November 2019 to replace the units made by Honeywell International Inc.

Today, potentially hundreds of planes worldwide are still flying with the unsafe systems cited in the FAA report. Flight-critical data including airspeed, altitude and navigation could disappear and “result in loss of airplane control at an altitude insufficient for recovery,” the FAA said in the safety bulletin, known as an airworthiness directive.

Honeywell hasn’t heard of any blanking display screens caused by cell phones or other radio frequencies while an airplane was in flight, spokeswoman Nina Krauss said. When airlines and Honeywell argued that radio signals were unlikely to cause safety problems during flight, though, the FAA countered that it had run tests on in-service planes — and the jets flunked.

Boeing Co. found the interference in a laboratory test in 2012 and hasn’t seen similar issues on other aircraft, a company spokesman said. Honeywell is aware of only one case where all six display units in a 737 cockpit went blank, Krauss said. The cause was a software problem that has been fixed and is currently being flight-tested, she said.

The affected 737s are the so-called Next Generation model, a predecessor of the Boeing Max, which was involved in two crashes in less than five months. Cockpit displays on the Max were made by Rockwell Collins, now a unit of United Technologies Corp., not Honeywell. Boeing’s 777s also were covered by the FAA order.

The FAA order didn’t quantify the amount of radio signals needed to cause interference problems. Still, the radio-signal threat extends beyond that specific display system and FAA warning.

Numerous cell phones left on during any airplane flight “could be a real problem,” said professor Tim Wilson, department chair for electrical, computer, software and systems engineering at Embry-Riddle Aeronautical University. The greater the number of phones emitting radio signals, he said, the greater the potential for interference with a plane’s flight system.

Airplane Mode

Many airlines now permit passengers to turn their phones to “airplane mode,” which allows Wi-Fi transmissions. But mobile phones operate at higher power levels, Wilson said, since the signals must reach a cell tower and not just a local antenna or router. “So cellular service is potentially more impactful,” he added.

The FAA in 2013 began the process of allowing wider use of electronic devices on planes, provided airlines could demonstrate it was safe. That prompted an outcry from consumer groups concerned about passengers being subjected to the cellphone conversations of seatmates.

No U.S. airlines allowed it and, in 2018, Congress barred the use of cellphones for calls during flights.

Honeywell initially told the FAA that 10,100 display units — or the equivalent of almost 1,700 planes — were affected worldwide. When asked this week about the progress of the fixes, Honeywell’s Krauss said that 8,000 components had been replaced and fewer than 400 needed upgrading.

The lower number reflects the fact that some airlines might have had the work performed at non-Honeywell facilities, and regulators in other regions of the world might not have ordered the units replaced. In addition, some planes might have been taken out of service due to age.

Depending on how many planes are still in service, the global number flying with display units that could cause critical data to disappear could be in the hundreds. But Krauss said that “even if a blanking incident were to occur,” the units are backed up by multiple redundancies.

Both Delta Air Lines Inc. and Southwest Airlines Co. have completed their overhauls, according to the companies. American Airlines Group Inc. has 14 more jets that need refurbished units, and United Airlines still needs to replace components across 17 aircraft, representatives from those companies said.

Ryanair Holdings Plc, the large Irish-based discount carrier, told the FAA in 2014 that its planes held 707 of the affected Honeywell units and argued at the time that changing out all of them “is imposing a high, and unnecessary, financial burden on operators.” A Ryanair spokeswoman said the airline hasn’t upgraded all 707 screens but that the carrier inspected all of its display units and “any affected DUs have been replaced.”

‘Potentially Disastrous’

In just the past three years, mystified pilots flying Boeing NG or 777 jets — the same models cited in the FAA warning on cellphones — have reported more than a dozen instances of important flight information disappearing. Calling the situations “critical,” the pilots filed their concerns with the Aviation Safety Reporting System, or ASRS, which is administered by NASA.

Last September, pilots of a 737-700 noticed that various flight information was flashing on and off, and showing different air speeds and altitudes. Then a primary display unit went blank. “At that time,” the pilots wrote, “we decided it was best to get the aircraft on the ground.”

In January 2017, pilots of a 737 flying out of Costa Rica lost all of their map displays and the flight-management computers on both sides of the plane “during a critical phase of flight in mountainous terrain,” according to the crew’s ASRS report. If the flight information had disappeared in bad weather or at night, “it could have been a potentially disastrous outcome,” the pilot wrote.

Later that year, the captain of a 737-800 reported that key flight data intermittently disappeared as the jet was climbing through turbulence and the screens blanked even more during the descent. After the plane landed, maintenance crews couldn’t find any reason for the blanking display units. “Due to no known cause for a known recurring problem,” the pilot reported to ASRS, “I refused the aircraft for the next leg.”

The NASA-administered database scrubs the reports of identifying details, including names of airlines, pilots and usually the locations. Aviation experts caution that the ASRS filings are based on crew reports and don’t provide official findings. And blanking display screens haven’t been cited in crashes, only in scary incidents.

Two years ago, the pilot of a 737-800 reported multiple episodes of important flight information “blanking or simply not functioning,” including an incident where the plane flew into a wind shear due to lack of data. “The so-called momentary blanking,” the pilot wrote, “is a puzzle.”

–With assistance from Thomas Black, Justin Bachman, Christopher Jasper and Jonathan Morgan.

New top story from Time: After President Trump’s Racist Tweets, People Have Been Searching for the Definition of ‘Racism’

As backlash and debate over a series of racist tweets posted by President Donald Trump continues, Merriam-Webster dictionary announced a big uptick in Americans searching for the definition of “racism.”

“Tonight’s top searches, in order: racism, socialism, fascism, concentration camp, xenophobia, bigot,” Merriam-Webster tweeted on Wednesday night.

Among Merriam-Webster’s definitions for “racism” are: “a belief that race is the primary determinant of human traits and capacities and that racial differences produce an inherent superiority of a particular race,” “a political or social system founded on racism” and “racial prejudice and discrimination.”

The post came days after Trump apparently told four Democratic Congresswomen of color—Alexandria Ocasio-Cortez, Ilhan Omar, Ayanna Pressley and Rashida Tlaib—to “go back and help fix the totally broken and crime infested places from which they came.” All four women are U.S. citizens and all but Omar, who was born in Somalia, were born in the United States.

Democrats quickly declared the tweets racist and voted to condemn them, but the President pushed back on that accusation. On Monday, he declared that the tweets were “NOT Racist,” and that he doesn’t “have a Racist bone in my body!”

The President’s comments, as well as hesitance by many Republican lawmakers and Trump supporters to call the tweets racist, sparked debate about the word’s actual definition—a debate that, apparently, drove many people to look it up for themselves, along with words like “fascism,” “xenophobia” and “bigot.”

“Socialism” has also come up in the controversy, with Trump repeatedly calling the lawmakers socialist.

New top story from Time: The Science Behind TIME’s New Apollo 11 Moon Landing Augmented Reality Experience

TIME this week launched TIME Immersive, a new iPhone and Android app that we’ll use to deliver groundbreaking augmented reality and virtual reality experiences. First up: the TIME Moon Landing experience, the world’s most accurate 3D re-creation of the Apollo 11 mission, which took place 50 years ago this month. Users can watch an approximately five-minute AR simulation of the Apollo 11 landing, narrated by TIME’s Jeffrey Kluger and featuring original NASA audio from the mission, then explore the surface of the moon on their own.

What makes the TIME Moon Landing hyper-accurate? At the experience’s core lies incredibly precise data meticulously collected over the last 20 years by John Knoll, the chief creative officer and visual effects supervisor at Industrial Light and Magic, a top Hollywood special effects company founded by George Lucas.

“I’m old enough to remember seeing the Apollo 11 landing live as a kid,” says Knoll, who gave his data to TIME. “That really left a big impression on me. In the years that followed, I was always fascinated with the space program.”

Knoll began collecting Apollo 11 landing data after stumbling upon a transcript of radio calls between the spacecraft and mission control. Those transcripts, he says, underscored the harrowing few minutes just before the “Eagle” lander touched down on the lunar surface, when it was running dangerously low on fuel. That moment, says Knoll, was largely glossed over in the Apollo 11 documentaries of his youth. “In reading the timestamped transcripts, this is white-knuckle time,” he says.

Knoll’s commitment to accuracy came in part from his disappointment with some Hollywood directors who pay lip service to scientific precision but abandon it in favor of what they or the studios believe is better storytelling. “I was very committed to making the re-creation as technically accurate as I could make it, in getting everything right about the motion of the spacecraft, the lighting conditions, the lunar terrain, where individual rocks and craters were,” says Knoll. “And to figure out if there were clever or sneaky ways to extract data from unlikely sources.”

To that end, Knoll relied on a handful of data sources, including NASA telemetry graphs, footage from a descent camera on the lunar module (LEM), and data from the Lunar Reconnaissance Orbiter (LRO), a probe orbiting the moon that was launched in 2009. He made up for shortcomings in the data with advanced computer vision techniques, including one process whereby the altitude of moon surface features can be estimated based on how bright or dark they appear in photographs.

“When you look at a photograph of the moon, and you see all that light and shadow, what you’re seeing is the orientation of the surface relative to the sun,” says Knoll. “If a surface is brighter, it’s because it’s inclined more towards the illuminance, and if it’s darker, it’s because it’s inclined more away. If you start on one end of an image, and if a surface is lighter than the average then it’s inclined up, so you accumulate the altitude, and if it’s darker, it’s declined, and so you decrement the altitude. By doing that, you can integrate an approximation of the terrain.”

Knoll hopes that the experience helps people better understand and take pride in the complexity of the Apollo project.

“I’m a big champion of science education, and people really understanding what we achieved,” says Knoll. “Those Apollo missions were great and amazing, and especially in these very divisive times, everyone regardless of their political affiliation can look back with some pride and look back at the accomplishment.”

The TIME Moon Landing experience was co-produced by TIME, John Knoll, the Smithsonian’s National Air and Space Museum and Smithsonian’s Digitization Program Office, Trigger, RYOT, and the Yahoo News XR Program. It is available within the TIME Immersive app, which you can download for iPhone in Apple’s App Store, or for Android in the Google Play Store. Look out for more TIME Immersive projects in the near future.

New top story from Time: Elon Musk Told Us Why He Thinks We Can Land on the Moon in ‘Less Than 2 Years’


On July 12, TIME editor-at-large and space reporter Jeffrey Kluger had a far-ranging conversation with SpaceX CEO Elon Musk at the company’s headquarters in California. They discussed Musk’s reasons for starting SpaceX, his thoughts on his various challengers in the new race to the moon, and his predictions for the near-future of human space travel. The interview below has been lightly edited and condensed for clarity.

TIME: History is usually most viscerally felt by people who lived it. If you lived through World War II, you understand World War II. You came along two years after Apollo 11. And yet space seems to be in your marrow.

Elon Musk: I think Apollo 11 was one of the most inspiring things in all of human history. Arguably the most inspiring thing. And one of the most universally good things in history. The level of inspiration that provided to the people of Earth was incredible. And it certainly inspired me. I’m not sure SpaceX would exist if not for Apollo 11.

I kept expecting that we would continue beyond Apollo 11, that we would have a base on the moon, that we would be sending people to Mars. And that by 2019 probably would be sending people to the moons of Jupiter. And I think actually if you ask[ed] most people in 1969 they would have expected that. And here we are in 2019. The U.S. actually does not have the ability to send people even to low-Earth orbit.

So year after year, I kept expecting us to exceed Apollo and we didn’t. And it made me sad about the future. And I thought, well at least for me and I think probably for a lot of people you want to have a sense that the future’s gonna be better than the past. And if you don’t have that sense it leads to cynicism, pessimism about the future.

Lots of other people who love space felt that same despair and disappointment. I certainly did and yet I didn’t build a space and company and you did. So what was it that made you think, “Yeah this has to be done, and I’m the guy who can do it, or at least one of the guys who can do it”?

Well I didn’t think I was one of the guys who could do it. I thought SpaceX would be 90% likely to fail. And the way I actually started out was I was gonna do a philanthropic mission called “Mars Oasis” to land a small greenhouse on the surface of Mars with seeds in dehydrated nutrient gel that would hydrate upon landing. And you’ve have this incredible shot of green plants against a red background. My goal was simply to get the public excited, which would then get Congress excited so that they would appropriate more money and increase NASA’s budget. I was gonna take half the money that I made from PayPal and essentially it would be gone—in order to increase NASA’s budget, and then we’d go to Mars.

It could not have been easy getting a home-brew space mission and rocket company off the ground. How did you begin?

I went to Russia to try to buy some decommissioned ICBMs, which sounds crazy, but you know, they’re gonna throw them away anyway.I went to Russia a couple of times because I couldn’t afford the American rockets. They were too expensive. Russia was decommissioning a whole bunch of ICBMs [intercontinental ballistic missiles]. So in 2001 and early 2002 I went to Russia to try to buy some decommissioned ICBMs, which sounds crazy, but you know, they’re gonna throw them away anyway. But they kept raising the price on me.

I also came to realize that even if we doubled NASA’s budget, unless NASA had good options for rocket contractors, they would still not make progress ’cause it would just be more expendable rockets and we’d be at risk of a flags-and-footprints outcome for Mars, which is still better than not going there at all, but not as good as having a base on Mars, a base on the Moon, and ultimately a self sustaining city on Mars. And so I was like ‘okay I gotta try building a rocket company here.’

I thought this was almost certain to fail. In fact, I would not let anyone invest in the company in the beginning. Not because I thought it would turn out well, but because I thought it would fail.

If the Elon Musk of 2019 could talk to Wernher Von Braun, Chris Craft, Gene Kranz and all of the heroes of the 1960s—if you had one piece of advice to give them whether it was technological, spiritual, salesmanship, long-term vision, what would it be?

Well, Wernher Von Braun really knew what he was doing. His plans were for reusability. But those plans were stymied. It doesn’t matter how you skin the cat, you just have to get reusability done. It’s so insane the way rockets work today. It would be like if you got a plane and the way you get to your destination is you bail out with a parachute over the city in question and your plane crash lands somewhere. That’s how rockets work today—with the exception of Falcon 9. This is completely bonkers.

In order for us to be a multi-planet species we must solve full reusability of rockets. In the absence of that…. It would as though if in the old days if ships were not reusable. The cost of an ocean voyage would be tremendous. And you’d need to have a second ship towed behind you for the return journey. Or you can imagine if airplanes were not reusable, nobody would fly, you know, because airliner costs a couple hundred million dollars.

So this is why full and rapid reusability is the holy grail of access to space and is a fundamental step towards it—without which we cannot become a multi planet species. We cannot have a base on the moon or a city on Mars without full and rapid reusability. This is why we’ve been working so hard towards reusability at SpaceX.

There are people who argue for taking the same monomaniacal—and I mean that in a good way—focus and creativity that SpaceX brings to the work it does and applying to developing a truly renewable, truly clean power grid. The knock-on effects in terms of saving the species would be easier to see what in the relatively short term. Do you ever think about that in those 3 AM hours?

Well, I think Tesla’s actually made great progress towards a sustainable energy economy. I think for electrification of transport Tesla’s arguably advanced the cores of sustainable transport by 10 years, maybe 20. These are small numbers in the grand scheme of things. But they do matter.

If I were to fully allocate myself to Tesla, how much faster could we grow versus if I split my time between SpaceX and Tesla? I think the marginal value is relatively limited. I’d rather have Tesla take a couple years longer and still have SpaceX ’cause I think this is the right balance for the greater good.

I wish there was some way to do rockets without burning things. But there isn’t. I mean, Newton’s third law, no way around it. So, you know, balancing what is best for humanity—well, there’s just no other way to do it except rockets.

Obviously a question a lot of folks wanna know right now is, when will we start seeing regular crewed runs to the International Space Station on a crewed Dragon?

Well, this is both a NASA and a SpaceX readiness thing. So from a SpaceX readiness standpoint, my guess is we’re about six months. But whatever the schedule currently looks like, it’s a bit like Zeno’s paradox. You’re sort of halfway there at any given point in time. And then somehow you get there. So if our schedule currently says about four months, then probably about eight months is correct.

If you had to bet your house on it, when would you say the next boot prints show up on the moon?

Well, this is gonna sound pretty crazy, but I think we could land on the moon in less than two years. Certainly with an uncrewed vehicle I believe we could land on the moon in two years. So then maybe within a year or two of that we could be sending crew. I would say four years at the outside.

And when you say, “We,” do you mean the U.S. or you mean SpaceX?

It may literally be easier to just land Starship on the moon than try to convince NASA that we can.I’m not sure. If it were to take longer to convince NASA and the authorities that we can do it versus just doing it, then we might just do it. It may literally be easier to just land Starship on the moon than try to convince NASA that we can.

Obviously this is a decision that’s out of my hands. But the sheer amount of effort required to convince a large number of skeptical engineers at NASA that we can do it is very high. And not unreasonably so, ’cause they’re like, “Uh, come on. How could this possibly work?” The skepticism…you know, they’d have good reasons for it. But the for sure way to end the skepticism is just do it.

Instead of going with the Falcon rockets and Dragon spacecraft you’ve got and saying, “Let’s get ourselves to the moon in three years,” you’re going an even more ambitious step further with, the Super Heavy and Starship. Why do that? Why not say, “We can go now”?

Well, I think we could do a repeat of Apollo 11 and a few small missions—you know, send people back to the moon. But the remake’s never as good as the original.

We really wanna have a vehicle capable of sending enough payload to the moon or Mars, such that we could have a full lunar base. A permanently occupied lunar base would be incredible. Like we’ve got a permanently occupied base in Antarctica. And it’d be absolutely way cooler to have a science base on the moon.

So that’s why we’re trying to build it as fast as possible. You know, I think it’s generally a good idea for a company that is building technology to try to make its own products redundant as quickly as possible. It’s slightly discomforting because we’ve put so much work into Falcon 9 and Falcon Heavy and Dragon. But actually the thing we should aspire to do is to render them redundant as quickly as possible. And we’ll put them in the museum.

Lastly, there are gonna be feet on the moon. There are gonna be feet on Mars. Could they be yours one day?

I would like to go to the moon and Mars. I think that’d be quite fun. But I need to make sure…the overarching goal here is to help make life multi-planetary. This is not some sort of personal quest to go to the moon or to Mars. My sort of philosophical foundation is in line with Douglas Adams, the Hitchhiker’s Guide to the Galaxy. What he was essentially saying was, “The universe is the answer, what are the questions?” And if we expand the scope and scale of consciousness, then we are better able to understand what questions to ask. We’ll learn more, we’ll become more enlightened. And so we should try to do the things that expand the scope and scale of consciousness. And becoming a multi-planet species and ensuring that we have a sustainable climate on earth, these are very important to that overarching philosophy. And that’s the philosophy I buy into.

New top story from Time: TIME Launches New Augmented Reality and Virtual Reality App, TIME Immersive, to Showcase Groundbreaking Visual Journalism

Today, TIME launches TIME Immersive, an augmented reality and virtual reality app, available on both iOS and Android devices, to showcase new AR and VR projects from TIME.

The first activation featured in TIME Immersive is Landing on the Moon, which allows viewers to experience a scientifically and historically accurate cinematic recreation of the Apollo 11 landing in photo-real 3D on any table top at home.

The project is sponsored by Jimmy Dean and produced in partnership with the Smithsonian’s National Air and Space Museum to celebrate the 50th anniversary of the Apollo 11 landing. A teaser for Landing on the Moon is also available as a mobile web AR experience.

“With Landing on the Moon, TIME is building on its decades of trusted and authoritative space reporting to tell this story in a brand new way, just as we have done in previous projects such as our Emmy Award-winning documentary A Year in Space,” said Edward Felsenthal, TIME Editor in Chief and CEO.

“TIME has always been at the forefront of visual storytelling. With the launch of this app and our first web AR experience, we are putting a stake in the ground with AR and establishing the level of immersive journalism that TIME will continue to bring to our readers,” said Mia Tramz, Emmy-winning VR producer and editorial director of Enterprise and Immersive Experiences at TIME.

“The National Air and Space Museum’s Apollo collection is the largest in the world, and we are excited to present Landing on the Moon with our partners at TIME, whose Apollo-era reporting helped shape the way Americans experienced the space race,” said Nick Partridge, who leads strategic partnerships for the Museum and co-directed the Apollo 50 national celebration. “This AR activation brings our artifacts to life like never before, and we hope it inspires a new generation to define their own 21st century Moonshot.”

The accuracy of Landing on the Moon is the result of nearly 20 years of painstaking research and artistry by John Knoll, Chief Creative Officer of Industrial Light & Magic and made possible with research and 3-D assets provided by Knoll and the Smithsonian’s Digitization Office. The project features immersive spatial sound design by Erik Lohr, RYOT’s head of audio, and a voice over by TIME’s Jeffrey Kluger. Led by TIME Enterprise and Immersive producer Tomi Omololu-Lange, Landing on the Moon is co-produced by TIME, Trigger – The Mixed Reality AgencyTM, John Knoll, the Smithsonian’s National Air and Space Museum and Smithsonian’s Digitization Program Office, RYOT, and Yahoo News. The TIME Immersive app and the mobile web AR experience (built on Amazon Sumerian) were developed by Trigger. In partnership with the Yahoo News XR Partner Program, the experience is also available on the Yahoo News app.

The launch of TIME Immersive follows the announcement earlier this year of two major immersive projects to be released by TIME: The March, which will offer audiences an unprecedented opportunity to experience the historic March on Washington for Jobs and Freedom in a groundbreaking room-scale, interactive virtual reality and Space Explorers: The ISS Experience, an immersive documentary series filmed on and around the International Space Station. For more information on TIME’s immersive content: