AI is driving the stock market to record highs, dominating countless debates about the value of human labor, and radically rewiring the way schools approach education. It’s also causing a stir in the art world, with media artist Refik Anadol poised to open Dataland, the world’s first museum of AI arts, inside the Frank Gehry-designed Grand L.A. complex in downtown Los Angeles next spring.
A first-look at the Infinity Room gallery at Dataland.
(Dataland)
The 25,000-square-foot museum was originally scheduled to open this year, but Anadol announced Thursday that the opening has been pushed back to spring 2026. Anadol also unveiled a sneak peak at the Infinity Room, one of the museum’s five discrete galleries. The immersive room features Anadol’s distinct swirling colors and images and will be infused with AI-generated scents, creating a multisensory experience powered by its very own AI model, called the Large Nature Model.
The Infinity Room design dates back to 2014 when Anadol created his first immersive data sculpture at UCLA. He described it as an exploration into the future of the Light and Space movement. It was essentially a 12-by-12-foot cube, with mirrored walls, ceiling and floors. Projectors emitted pulses of black-and-white imagery that used data as a pigment. To date, the Infinity Room has toured 35 cities and been viewed by more than 10 million people.
Another look at the Infinity Room, which has been viewed by 10 million people on tour.
(Dataland)
“The work emerged from my exploration of the idea that information can become a narrative material capable of transforming architectural space into a living canvas. The question driving me was simple but profound: What happens if there is no corner, no floor, no ceiling, no gravity?” Anadol wrote about his concept for the Infinity Room in a blog post on his website. “At DATALAND, Infinity Room enters a new era. This iteration embodies the technical and conceptual leaps our studio has made over the past decade. Where the original used generative algorithms, this new incarnation incorporates our decade-long research into what I call “machine hallucinations” — the dreamlike, surreal realities an AI can generate from vast datasets.”
The Infinity Room is meant to be a multisensory experience.
(Dataland)
In an interview last year, Anadol said “ethical AI” is essential to his practice. Unlike most large AI models, Anadol secured permission to use all of his sourced material, and said all of the studio’s AI research was performed on Google servers in Oregon that use only renewable energy.
The company behind the wildly popular Pokémon franchise says it doesn’t want its characters used for propaganda.
The Department of Homeland Security uploaded a Pokémon-themed montage of various ICE raids to social media earlier this week.
The connection to the beloved franchise was clear, as the recognizable theme song played, the original animation appeared and even its signature blue and yellow text materialized.
The video angered many fans. The Japanese gaming company said the federal agency was not authorized to use its original content.
“We are aware of a recent video posted by the Department of Homeland Security that includes imagery and language associated with our brand,” wrote the Pokémon Company International in a statement to The Times. “Our company was not involved in the creation or distribution of this content, and permission was not granted for the use of our intellectual property.”
The posted video included the anime theme song, with the lyrics “Gotta catch ‘em all,” playing over segments of federal agents handcuffing people and imagery of a Pokémon character and the Pokéballs used to capture monsters in the game.
It concluded with several mock-ups of Pokémon playing cards with photographs of detainees, which included their full names, crimes they have committed and details about their convictions and sentencing.
The DHS’ social media feeds are full of provocative imagery and videos that borrow from popular media.
It used Jay-Z’s “Public Service Announcement” last month. It reportedly received a copyright violation complaint and had to be taken down.
In July, the DHS X account posted a video montage, which used audio from 2022’s “The Batman” and displayed a Bible verse onscreen. Paintings, from artists like Thomas Kinkade, Morgan Weistling and John Gast have also been utilized by the federal agency.
Comedian Theo Von recently complained about being used in one of these videos. DHS used a video of him saying, “Heard you got deported, dude,” as he nods his head in disappointment, in one of their video edits.
On Tuesday, he posted on X, saying, “And please take this down and please keep me out of your ‘banger’ deportation videos. When it comes to immigration my thoughts and heart are a lot more nuanced than this video allows. Bye!”
A defining image of the horrors of slavery has emerged as the latest flashpoint in the Trump administration’squest to root out what Trump has called “divisive, race-centered ideology” from the nation’s museums and national parks.
Earlier this week, the Washington Postbroke the news that the administration had ordered the removal of signs and exhibits related to slavery at multiple national parks, “including a historic photograph of a formerly enslaved man showing scars on his back.”
The photo in question — “The Scourged Back,” 1863 — is among the most famous images of the Civil War era and has been credited with driving home the brutality of slavery to the masses in what would become a turning point for the abolitionist movement. The image, which appeared in the political magazine Harper’s Weekly the day after the battle of Gettysburg, showed the deeply scarred back of an escaped slave-turned-Union soldier referred to as “Gordon,” but whose real name may have been “Peter.”
The photo was copied and distributed far and wide in pamphlets and on cards, eliciting shock and raising awareness wherever it appeared. Today, the image is housed in the collections of major museums including the Smithsonian’s National Portrait Gallery and the National Gallery of Art, as well as at the Metropolitan Museum of Art.
The New York Timesreported that the copy of the photo the administration has targeted for removal is on display at Georgia’s Fort Pulaski National Monument, which was a Union-captured Confederate stronghold that served as a prisoner-of-war camp. The story notes that a spokeswoman for the Interior Department wrote in an email that “all interpretive signage in national parks is under review”; she also “accused media outlets of spreading ‘false claims’ and ‘misinformation’ about the review, although she did not specify what information was incorrect.”
The review of signage, monuments and display materials at national parks, as well as at the Smithsonian’s 21 museums, stems from a March executive order titled “Restoring truth and sanity to American history.” In the order, Trump wrote that the Secretary of the Interior would work to identify “improper partisan ideology” at properties within its jurisdiction.
In August, Trump made it clear in a post on Truth Social that focusing on the country’s history of slavery was unacceptable. He criticized museums for being the last bastions of “woke” in the country, and zeroed in on the Smithsonian in particular for exhibits that discuss “how horrible our Country is, how bad Slavery was, and how unaccomplished the downtrodden have been — Nothing about Success, nothing about Brightness, nothing about the Future.”
It’s unclear if the indelible photo of Peter will remain on display in national parks, but one thing seems certain: The controversy surrounding the way we engage as a country with our shared history is likely to rage on for quite some time.
I’m arts and culture writer Jessica Gelt, looking back to make sense of the present. Here’s your arts news for the week.
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Lee Byung-hun in the movie “No Other Choice.”
(Neon)
Beyond Fest The event “proves once again why it has become much more than a genre festival and is now the best film festival in L.A.,” says Times film writer Mark Olsen, ”playing movies straight from Sundance, Cannes, Venice and Toronto with guests including Conan O’Brien, Al Pacino, Luca Guadagnino and John Carpenter.” The award-winning “No Other Choice,” Park Chan-wook’s adaptation of the Donald Westlake thriller “The Ax,” opens the festival, 7 p.m. Tuesday at the Aero. Through Oct. 8. Aero Theatre, 1328 Montana Ave., Santa Monica; Egyptian Theatre, 6712 Hollywood Blvd.; Los Feliz Theatre, 1822 N. Vermont Ave. americancinematheque.com
Gustavo Dudamel performs with the Los Angeles Philharmonic at Walt Disney Concert Hall in April.
(Etienne Laurent / For The Times)
Gracias Gustavo Gustavo Dudamel’s farewell season as the Los Angeles Philharmonic‘s music and artistic director begins as all his 17 seasons in Walt Disney Concert Hall have begun — with a world premiere. Ellen Reid’s “Earth Between Oceans,” a co-commission between the L.A. Phil and New York Philharmonic (which Dudamel will take over in 2026), evoking nature’s command of the four elements (earth, air, fire and water) as they operate in both cities. In our case, that involves contending with fires and our swelling oceans but also the promise of a future of unity through celebration of our multicultural communities. The opening program also includes Richard Strauss’ nature-saturated “Alpine Symphony.” — Mark Swed 8 p.m. Thursday-Sept. 27 and 2 p.m. Sept. 28 Where: Walt Disney Concert Hall, 111 S. Grand Ave., downtown L.A. laphil.com
Francesca Zambello’s staging of “West Side Story.”
(Todd Rosenberg / Lyric Opera)
West Side Story L.A. Opera turns to Broadway for this Leonard Bernstein-Stephen Sondheim-Jerome Robbins masterwork, which was originally conceived as an opera. James Conlon conducts the orchestra in such classic songs as “America,” “Somewhere” and “I Feel Pretty” as director Francesca Zambello utilizes Robbins’ original choreography in a “maximalist” production. Through Oct. 12. Dorothy Chandler Pavilion, 135 N. Grand Ave., downtown L.A. laopera.org
The week ahead: A curated calendar
FRIDAY
The cast of South Coast Repertory’s production of ”Million Dollar Quartet,” includes Chris Marsh Clark as Johnny Cash, JP Coletta as Jerry Lee Lewis, Armando Gutierrez as Carl Perkins and Rustin Cole Sailors as Elvis Presley.
(Scott Smeltzer / SCR)
🎭 🎶 Million Dollar Quartet On a December night in 1956, music legends Elvis Presley, Johnny Cash, Jerry Lee Lewis and Carl Perkins gather to jam on “Blue Suede Shoes,” “Great Balls of Fire,” “I Walk the Line,” “Who Do You Love?” and more in this jukebox musical written by Colin Escott and Floyd Mutrux. Through Oct. 11. South Coast Repertory, Segerstrom Stage, 655 Town Center Drive, Costa Mesa. scr.org
🎥 Mysterious Skin The Academy Museum presents a 4K screening of Gregg Araki’s haunting 2004 coming-of-age drama. In his review, Times critic Kevin Thomas wrote, “It’s hard to imagine a more serious or persuasive indictment of the horrors inflicted on children by sexual abuse.” Oscar-winning filmmaker Sean Baker will moderate a Q&A with Araki, actor Joseph Gordon-Levitt and novelist Scott Heim. 7:30 p.m. Academy Museum, Geffen Theater, 6067 Wilshire Blvd. academymuseum.org
SATURDAY 🎥 Born in East L.A. Cheech Marin’s 1987 comedy about a third-generation Chicano who is inadvertently deported following an immigration raid is a chilling reminder that this type of behavior from the government isn’t new, just more flagrant. Filmmaker Jorge R. Gutierrez will moderate a Q&A with Marin. 7 p.m. Academy Museum, David Geffen Theater, 6067 Wilshire Blvd. academymuseum.org
Derek Fordjour “Nightsong,” a solo exhibition that combines painting, sculpture, live performance and video to create an immersive, multifaceted experience. 6-10 p.m. Tuesday-Saturday, through Oct. 11. David Kordansky Gallery, 5130 W. Edgewood Place. davidkordanskygallery.com
🎭 Go Play! Three strangers meet for the first time at a dog park, while their four-legged companions — a flamboyant show poodle, a pampered Yorkie and a scrappy rescue — offer a running commentary in writer-director Barra Grant’s new stage comedy. 2 and 8 p.m. Saturday; 2 p.m. Sunday, through Nov. 2. Odyssey Theatre, 2055 S. Sepulveda Blvd. GoPlayOnStage.com
🎨 Habitat: Making the California Environment Period landscape paintings depict the radical change in the region between the state’s late-19th century genocide of Indigenous people and the urbanism that erupted in the 1920s. 10 a.m.-4 p.m. Tuesday-Saturday. Langson Institute and Museum of California Art, UC Irvine, 18881 Von Karman Ave. imca.uci.edu
🎥 🎶 La La Land in Concert Moonlit screening of Damien Chazelle’s Oscar-winning 2016 romantic musical starring Emma Stone and Ryan Gosling with a live concert conducted by the film’s composer Justin Hurwitz. Food trucks and local vendors offer gourmet fare, and themed cocktails will be available from a full bar. 7:30 p.m. Saturday and Sunday, door opens 4:30 p.m. Los Angeles State Historic Park, 1245 N. Spring St. streetfoodcinema.com
💃 San Pedro Festival of the Arts Eighteen dance companies perform a wide variety of styles including modern, ballet, Indian, jazz and flamenco. 1 p.m. Peck Park near the Community Center, 560 N. Western Ave. triartsp.com
🎨 Manoucher Yektai A survey of early paintings of the Iranian-born artist and poet, “Beginnings” charts the first decades of his career and early experimentation with genre, color, shape and form. 6-8 p.m. Saturday, opening reception; 10 a.m.–6 p.m. Tuesday–Saturday, through Nov. 1. Karma, 7351 Santa Monica Blvd., Los Angeles. karmakarma.org
THURSDAY Carol Bove The industrial heritage of Cold War-era Los Angeles is evoked in “Nights of Cabiria,” a new exhibition that incorporates the artist’s sculptures into the architecture of the gallery. 6-8 p.m. Thursday, opening reception; 10 a.m.-6 p.m. Tuesday–Saturday, through Nov. 1. Gagosian Beverly Hills, 456 N. Camden Drive gagosian.com
🎨 The Other Art Fair Larger than ever, the quirky event presents affordable works from more than 150 independent artists alongside immersive installations, performances, DJs and and a fully stocked bar. 6-10 p.m. Thursday; 5-10 p.m. Friday; 11 a.m. 7 p.m. Saturday; and 11 a.m.-6 p.m. Sunday. Barker Hangar, 3021 Airport Ave., Santa Monica. theotherartfair.com/la/
📷 Paul Outerbridge The exhibition “Photographs” celebrates the work of the provocative artist (1896–1958), presenting a rare selection of Carbro prints, silver gelatin photographs and platinum prints. 7-9 p.m. Thursday, opening reception; 10 a.m. to 5 p.m. Tuesday-Saturday, through Nov. 8. The Fahey/Klein Gallery, 148 N. La Brea Ave..faheykleingallery.com
📷 Matthew Rolston A multi-venue Los Angeles exhibition of the photographer and artist’s latest series “Vanitas: The Palermo Portraits,” in which he uses “expressionistic lighting” to document dozens of 500-year-old mummified remains in Sicily’s Capuchin Catacombs, accompanying the release of a special limited-edition monograph from Nazraeli Press. 7 p.m. Thursday, opening reception; 10 a.m. to 5 p.m. Tuesday-Saturday, through Nov. 8. Fahey/Klein Gallery, 148 N. La Brea Ave. faheykleingallery.com; 6 p.m. Saturday, opening reception; 8 a.m.-7 p.m. daily through Nov. 9. ArtCenter College of Design (South Campus), Mullin Transportation Design Center – Oculus Space, 2nd Floor, 950 S. Raymond Ave., Pasadena. artcenter.edu; 1 p.m. Oct. 26, Opening reception, artist talk and book signing; 10 a.m. to 6 p.m. Monday-Saturday, noon-5 p.m. Sunday, through Nov. 2. Leica Gallery, 8783 Beverly Blvd., West Hollywood. leicagalleryla.com
Culture news and the SoCal scene
Roxana Ortega in “Am I Roxie?” at Geffen Playhouse, directed by Bernardo Cubría.
(Jeff Lorch)
The fall theater season is in full swing and Times critic Charles McNulty has been busy seeing as much as possible. First up this week: his review of the world premiere of Groundlings Theatre alum Roxana Ortega’s world-premiere, one-woman show, “Am I Roxie?,” which has the actor exploring what it was like being the caregiver for her mother as she suffered from the increasing effects of dementia. “The show is more of a personal essay composed for the stage than a deeply imagined performance work. Ortega’s approach is friendly and wryly conversational,” McNulty writes.
McNulty was effusive in his praise for the concert version of the National Yiddish Theatre Folksbiene’s production of “Fiddler on the Roof” in Yiddish, which staged its West Coast premiere at the Soraya. He begins his review with one word, “Magnificent,” and the plaudits keep coming from there. If you were not in the audience for the show’s three performances, reading McNulty’s words will make you very sorry indeed.
“Eureka Day,” a comedy that skewers the vaccine-mandate debate at a liberal private school in Berkeley, is making its L.A. premiere at the Pasadena Playhouse. In many ways, the play is more topical than ever given the current “anti-science” moment of the Trump era, but it was first performed in 2018, before the COVID-19 pandemic. “The production, directed by Teddy Bergman, has a field day with the woke-run-amok ethos of Eureka Day, where kids at the school cheer the other team’s goals at soccer games,” McNulty writes.
Gustavo Dudamel officially stepped into his role as the New York Philharmonic’s music and artistic director designate on the 24th anniversary of 9/11, and Times classical music critic Mark Swed was there to take stock. The New York orchestra, Swed writes, “is basically his baby now.” From here on out, Dudamel will increase his presence on the East Coast while winding down his work with the Los Angeles Philharmonic during his final season in L.A. Read Swed’s review of Dudamel’s inaugural performance, here.
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Big news for L.A.’s gallery scene as Venice Beach’s L.A. Louver, established in 1975 by Peter and Elizabeth Goulds, announced that it’s winding down its public exhibition program in order to “shift to a new model that embraces private art dealing, artist support, consulting, and projects.” As part of that move, the gallery said it is donating its archive and library, including correspondence, photography, publications, records, objects, graphics and related ephemera, to the Huntington by 2029. “Until that time, L.A. Louver and Huntington archivists and librarians will collaborate to process and prepare the collection to facilitate its transfer, and optimize access and use,” L.A. Louver said in a news release.
School children’s access to the Getty Museum received a significant boost with the establishment of the Mia Chandler Endowment for School Visits — a $12-million gift from the Camilla Chandler Family Foundation in support of the Getty Museum’s Education Department and its engagement with the city’s students and educators. The money will go toward the Getty’s free bus service for field trips to both the Getty Center and the Getty Villa. The gift is the largest financial contribution received by the organization since J. Paul Getty’s original bequest, the Getty says. Camilla “Mia” Chandler Frost died in 2024 at the age of 98; she was the granddaughter of Harry Chandler and daughter of Norman Chandler, former publishers of the Los Angeles Times.
A new one-hour PBSdocumentary on theGetty’s 2025 PST: Art and Science Collide, which, according to a news release, “highlights collaborations between artists and scientists in Southern California to address some of humanity’s most urgent challenges, from climate change and space exploration to biodiversity and environmental justice,” is scheduled to air Friday, Oct. 17 at 8 p.m. on PBS SoCal and at 10 p.m. on PBS stations nationwide. It will also stream on PBS.org and the free PBS App.
— Jessica Gelt
And last but not least
Spooky season is just beginning, and features columnist Todd Martens checks in with a creepy séance at Heritage Square Museum called “Phasmagorica.”
Weekly insights and analysis on the latest developments in military technology, strategy, and foreign policy.
Planet Labs has collected satellite images that show just the level of precision in yesterday’s unprecedented Israeli airstrike on a Hamas compound in Doha, Qatar. The IAF hit a compound where negotiators for the terror group were meeting to consider a Gaza ceasefire proposal put forth by the U.S. government. You can read our initial reporting on that incident here.
The images offer views of what that compound looked like before and after the attack. The one taken after the attack shows it was confined to a cluster of five buildings without damage to surrounding structures. The building in the lower right corner of the compound appears to have suffered the most damage, but other areas of the compound are clearly affected too. This includes a small structure that sits near a pool being destroyed. The buildings right next to the compound seemed to have emerged largely unscathed.
You can see a street view of the strike in the following video.
Israeli officials said the Doha strike was carried out by 15 Israeli fighter jets, firing 10 precision munitions against a single target, the BBC reported, citing Israeli media. We don’t know at the moment what weapons were used.
Qatar and its U.S. guests have very advanced air defense systems and sensors that would provide prior alert to an impending attack, in most circumstances. With standoff munitions launched at distance the most likely means of attack, why there was no attempt to intercept these weapons if they were of unknown origin isn’t clear. The use of F-35s is possible here, as well, which may have been able to make closer proximity standoff attacks, but Israel has F-15 and F-16-launched weapons capable of reaching hundreds of miles and strike with pinpoint accuracy.
The U.S. military spotted Israeli jets flying east toward the Persian Gulf but had little time to react, according to Axios.
“The U.S. sought clarification, but by the time Israel provided it, missiles were already in the air,” the publication reported, citing three U.S. officials.
At the same time, U.S. President Donald Trump “was informed of the impending strike by his military and alerted Qatar’s leadership,” White House spokesperson Karonline Leavitt told reporters on Tuesday.
So exactly what the U.S. knew about the impending strike and when, and when Qatar was informed, remains disputed at this time.
Qatari officials complained that they only found out about the attack after it took place. Foreign Ministry spokesman Majed Al Ansari said notification from the U.S. only came after explosions were heard in Doha. He did not address why his nation’s air defense system did not pick up the Israeli jets.
The statements being circulated about Qatar being informed of the attack in advance are baseless. The call from a U.S. official came during the sound of explosions caused by the Israeli attack in Doha.
— د. ماجد محمد الأنصاري Dr. Majed Al Ansari (@majedalansari) September 9, 2025
Qatar’s Prime Minister Sheikh Mohammed bin Abdulrahman Al Thani, however, said Israeli jets went undetected by radar.
Israel used weapons that were not detected by Qatari air defence radar, says Qatari PM Al Thani:
“US officials notified Qatar of Israeli attack 10 minutes after the attack began”
The Iranian Press TV news outlet questioned why “with many air defense systems present”…the U.S. hadn’t “fired a single shot to defend Qatar against the Israeli invasion.” The U.S. military’s largest salvo of Patriot interceptors took place at Al Udeid back in June, defending against an Iranian missile barrage. You can read more about that here.
As we previously reported, the widely condemned strike targeted Hamas leadership but killed five lower-level Hamas negotiators instead. Now it appears some Israeli officials are trying to distance themselves from that attack.
“Israel’s Minister for Strategic Affairs Ron Dermer, who has led Israel’s ceasefire negotiations for months, told U.S. officials that he was unaware of the specific strike plan when he met with U.S. special envoy Steve Witkoff one day earlier, CNN reported on Wednesday, citing anonymous officials.
“David Barnea, the Mossad director who has played a key role in ceasefire talks, told US and Qatari mediators that he had no prior knowledge of the strikes and learned about them as they took place,” the network added. “But two other Israeli sources familiar with the discussions told CNN that Barnea was aware of the plans and had questioned the wisdom of carrying out the strikes at the same time as the U.S. was launching a new attempt to restart negotiations.
As the cable network noted, it is “highly unlikely that either official would have been unaware of the planning and decision-making to carry out such a high-profile strike.”
In an exclusive interview with CNN on Wednesday, Al Thani expressed outrage at the attack, said Israeli Prime Minister Benjamin Netanyahu “needs to be brought to justice,” and that Arab nations were working on what steps to take next.
“There is a response that will happen from the region,” he told the network. “This response is currently under consultation and discussion with other partners in the region,” Al Thani said. An Arab-Islamic summit will be held in Doha in the coming days, where the participants will decide on a course of action.”
Qatar’s PM to CNN:
There will be a “collective response” to Israel’s strike on Hamas officials in Doha.
Al Thani added that Netanyahu is “trying to undermine any chance of stability, any chance of peace” by attacking Hamas’ leadership in Doha.All this leaves the future of negotiations between Israel and Hamas in doubt. Israel is planning a full-scale ground assault on the Palestinian enclave, where tens of thousands of civilians have been killed in constant bombardment. These attacks follow the surprise Hamas incursion into Israel on Oct. 7, 2023, which killed more than 1,200 and resulted in the capture of hundreds of hostages, some still in Gaza.
Flames and smoke rise from the building following Israel’s attack on the al-Ruya Tower in Gaza City, Gaza, on September 7, 2025. (Photo by Ali Jadallah/Anadolu via Getty Images) Anadolu
Meanwhile, a day after the Qatar strike, Israel said it carried out airstrikes on targets in Yemen belonging to the Houthi rebels.
“A short while ago, the IAF struck military targets belonging to the Houthi terrorist regime in the areas of Sanaa and Al Jawf in Yemen,” the IDF said on Telegram. “Among the targets struck are military camps in which operatives of the terrorist regime were identified, the Houthis’ Military Public Relations Headquarters, and a fuel storage facility that was used by the terrorist regime for terrorist activity.”
⭕️The IDF struck military targets belonging to the Houthi terrorist regime in the areas of Sanaa and Al Jawf in Yemen.
Among the targets struck: • Military camps in which the Houthi regime gathered intelligence, and planned & executed terrorist attacks against Israel. • A…
The IDF claimed that the airstrikes were “conducted in response to attacks by the Houthi terrorist regime against the State of Israel, including launching UAVs and surface-to-surface missiles toward Israeli territory.”
Israel justified its attack by saying that the Houthis’ public relations department is “responsible for distributing and disseminating propaganda messages in the media, including speeches of Houthis leader Abd al-Malik and spokesman Brig. Gen. Yahya Saree’s statements. During the war, the headquarters led the propaganda efforts and the terrorist regime’s psychological terror.”
The military camps that were struck “served the Houthi regime to plan and execute terrorist attacks against the State of Israel,” the IDF claimed. “Additionally, the military camps included operation and intelligence rooms.”
The Houthis claim without proof that they deflected most of the attack.
“Our air defenses were able to launch a number of surface-to-air missiles during the confrontation of the Zionist aggression on our country, forcing some combat formations to retreat before carrying out their aggression, and thwarting the majority of the attack, thanks to God,” Saree, a target of the airstrike, stated on X. You can read more about the Houthis’ air defenses in our deep dive here.
دفاعاتُنا الجوية تتصدى في هذه الأثناء للطائرات الإسرائيلية التي تشن عدوانا على بلدِنا.
Video and images emerged on social media showing explosions in the Yemeni capital, followed by flames and trails of smoke.
⚡ Israel bombs houthis
An airstrike was carried out on the Houthi government complex in the capital of Yemen, Sana’a. Media reports indicate hits on the Ministry of Defense and the General Staff buildings.
This is the latest in a series of attacks Israel has carried out against the Houthis in response to the Iranian-backed rebel group’s firing missiles and drones at Israel. The Houthis say they are supporting Hamas and the Palestinians in the Gaza Strip, and on Sunday, sent a drone that breached Israel’s vaunted multilayered air defenses and slammed into the country’s southern airport. You can see a video of that incident below.
The mystery as to how Israel pulled off its strike in Qatar remains unsolved at this time, but hopefully we will learn more in the coming days about what was truly an unprecedented and highly controversial operation.
