Glamour and ambition in space

Blue Origin has successfully completed its 11th human spaceflight under the New Shepard program (1). The all-female crew included former NASA rocket scientist Aisha Bowe, civil rights activist Amanda Nguyễn, broadcast journalist and television personality Gayle King, pop singer Katy Perry, film producer Kerianne Flynn, and philanthropist and journalist Lauren Sánchez, who played a central role in organising the mission.

This flight was presented as a continuation of the legacy of Soviet cosmonaut Valentina Tereshkova, who in 1963 became the first woman in space, orbiting Earth 48 times during a nearly three-day solo mission aboard Vostok 6. Tereshkova, a Hero of the Soviet Union and a symbol of female empowerment across the globe, remains a revered figure in Russia and beyond. Her mission, deeply embedded in the ideological context of the Cold War, represented not only a technological achievement but also a political and cultural milestone in the fight for gender equality.

In contrast, Blue Origin’s recent mission, while historic as the first all-female spaceflight since Tereshkova’s, reflects a markedly different era—one dominated by commercial space exploration and private enterprise. Lasting just 10 minutes and 21 seconds, the New Shepard flight emphasised symbolic participation rather than scientific endeavour. While all six crew members expressed a desire to inspire young girls and women, the mission also leaned heavily into a glamorous and entertainment-focused narrative.

In a interview to Elle (2), the crew highlighted their commitment to style and self-expression. Katy Perry stated, “Space is finally going to be glam,” and added, “We are going to put the ‘ass’ in astronaut.” Such remarks underscore a cultural shift from the ideological and pioneering spirit of early space exploration to a more consumer-driven, image-conscious approach characteristic of the "New Space" era—an arena in which the United States currently leads.

While Tereshkova’s mission was grounded in the geopolitical and ideological rivalries of the 20th century, today’s commercial spaceflights exist within a world shaped by capitalism and individual branding. Nonetheless, both missions—in their vastly different contexts—have contributed in their own way to the evolving narrative of women in space. During their brief experience in zero gravity, the crew expressed awe and wonder, as captured on the mission’s livestream. Their voices were heard marvelling at the moon and erupting in joyful exclamations as the parachutes deployed during descent. Upon landing in the dusty terrain, mission control welcomed them back: “Congratulations, and welcome back to Earth.” Moments later, the capsule door opened and the six women emerged—some visibly emotional, others pumping their fists in celebration. Both Perry and King knelt to touch and kiss the ground. Reflecting on the experience, King shared: “It’s oddly quiet when you get up there. It’s really quiet and peaceful, and you look down on the planet and think: That’s where we came from? To me, it’s a reminder that we need to do better, be better.” Katy Perry, who had hinted prior to launch that she might sing in space, entertained her crewmates with a rendition of Louis Armstrong’s What a Wonderful World while in orbit. Speaking afterward, she said, “It’s not about me or my songs—it’s about a collective energy. It’s about making space for future women, taking up space, and belonging. It’s about this wonderful world we saw right out there, and appreciating it. This is all for the benefit of Earth.”

Lauren Sánchez, overcome with emotion upon exiting the capsule, struggled to put the experience into words. When asked to summarise the experience in one word, she chose “profound,” highlighting the contrast between the darkness of space and the luminous moon, and the breathtaking view of Earth. “It looked like a beautiful jewel,” she said. “It was quiet. It felt like it was breathing. It was so alive.” Amanda Nguyễn, who carried with her a hospital bracelet from a past trauma as a symbol of healing, offered a message of hope to survivors of sexual assault: “I just want all survivors to know that you can heal—no dream is too wild.” Katy Perry also brought a personal item: a daisy, in honour of her daughter and as a symbolic tribute to Earth. “Daisies are common flowers, but they grow in any condition,” she explained. “They are strong, resilient, and found everywhere. For me, flowers are God’s smile—a reminder of Earth’s beauty and the everyday magic all around us.” She added, “I felt super connected to love—and also inspired.” When asked whether she would write a song about the experience, she replied without hesitation: “100%.” Film producer Kerianne Flynn described the journey, particularly the view of the moon, as “the most incredible experience of my life.” She was moved by the thought that her loved ones were watching from Earth. “I just hope that these kinds of experiences can pave the way for everyone to have the chance to go.”

Space travel can indeed be a life-changing experience. Viewing Earth from such a unique vantage point—the so-called "overview effect"—can be profoundly eye-opening, often altering forever the way individuals relate to the planet. However, gaining access to such a transcendent, yet inherently risky, experience remains a complex challenge.

One area of contention is the definition of the term "astronaut." Legally (3) and semantically, this designation is used rather loosely by Blue Origin and other U.S. private companies involved in space tourism. As space tourism edges closer to becoming a widespread phenomenon, its potential environmental impact—particularly on Earth’s atmosphere—cannot be ignored. To be clear, this mission does represent a significant step toward making spaceflight more accessible. Yet, as humanity seeks to extend its presence beyond Earth, we must also grapple with the associated challenges—technological, legal, political, and environmental.

A significant portion of the criticism directed at this all-female mission has focused on its environmental impact. Yet, such criticism is largely unfounded: span style="background-color: #ff944d">Blue Origin's rocket uses liquid hydrogen (H) and liquid oxygen (O), producing only water vapor (H₂O) and no carbon dioxide (CO₂). Even when accounting for indirect emissions, the total impact is estimated at around 100 tons of CO₂—less than a weekend on a yacht or ten long-haul flights.

span style="background-color: #ff944d">Moreover, the entire global space sector contributes less than 0.01% of total CO₂ emissions worldwide. By comparison, the fashion industry is far more polluting, yet no one seems to question the legitimacy of holding fashion shows.

It is difficult to categorise participants in such missions as "astronauts" in the traditional sense. They are not professional astronauts; the term "tourists" may be more accurate, though it perhaps oversimplifies the very real risks involved in travelling to low Earth orbit. Nevertheless, missions like this one help society become more familiar with the emerging possibilities of space exploration. They also serve as crucial testbeds for refining the frameworks—economic, political, and legal—that will shape our future beyond Earth.

BIBLIOGRAPHY

(1)  The unpiloted New Shepard capsule accommodates six passengers, each seated beside one of the largest windows currently available on any spacecraft. Blue Origin has stated that, in addition to providing commercial spaceflights, the New Shepard program aims to contribute to scientific research and the advancement of space-related knowledge.
(2) https://www.elle.com/culture/celebrities/a64341516/blue-origin-female-flight-crew-space-interview-2025/
(3) I.E.S. Kiggundu, ON THE LEGAL FRAMEWORK OF ORBITING SPACE STATIONS AND THE PRIVATISATION OF SPACE LAW (2024), p. 69-133-134