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Trump Wants to Double Production of New Nuclear Weapon Cores

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Trump Wants to Double Production of New Nuclear Weapon Cores

Trump’s proposed 2027 budget would almost double the budget for plutonium pits, the chemical filled metal sphere inside a nuclear warhead that kicks off the explosion in a nuclear weapon. The same budget would slash almost $400 million from nuclear environmental cleanup. The budget request follows a leaked National Nuclear Security Administration (NNSA) memo calling on America’s nuclear scientists to prototype new kinds of nukes and to double plutonium pit production from 30 to 60 triggers a year.

About the size of a bowling ball, a plutonium pit is an essential part of a nuclear warhead. The implosion of these plutonium filled balls in a nuclear weapon triggers the massive explosion and unleashes the weapon’s destructive potential. Until 1992, American manufactured 1,000 plutonium pits a year. Now it makes fewer than 30. Trump wants to change that and he’s willing to throw money at the problem to make it happen.

The 2027 White House budget request sets aside $53.9 billion for the Department of Energy (DOE). This includes a 87 percent increase of funding for pit production at the Savannah River Site—$2.25 billion up from $1.2 billion—and an 83 percent increase in pit funding at Los Alamos National Lab (LANL)—$2.4 billion up from $1.3 billion.

These are shocking increases, especially given that there are around 15,000 existing and unused plutonium pits sitting in a warehouse in Texas. “We have thousands of pits that should be eligible to be reused. The NNSA has publicly acknowledged that they will be reusing pits for some number of warheads,” Dylan Spaulding, a senior scientist at the Union of Concerned Scientists, told 404 Media.

Many of those plutonium pits are old and some in the American government have concerns that they no longer function. But a 2006 and 2019 study from an independent group of scientists said the nuclear triggers should have a lifespan of 85 to 100 years. But some interpreted the 2019 study as cause for alarm.

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Trump Wants to Double Production of New Nuclear Weapon Cores

“They essentially said we haven’t learned anything alarming about detrimental degradation to pits, but nonetheless the NNSA should resume pit production ‘as expeditiously as possible.’ So those words ‘as expeditiously as possible,’ that raised a lot of alarm because it suggested there was something to worry about,” Spaulding said. “I don’t think it’s clear to me that there’s any physical evidence that pits have a shorter lifetime…we should have decades left to solve the pit production problems and I think using aging as an excuse to go back right now is sort of a red herring.”

For Spaulding, the budget increase isn’t about replacing old pits. It’s about making new ones for new and different kinds of nuclear weapons. “The new budget really corresponds to a new push to accelerate everything in the nuclear complex that this administration has increasingly emphasized,” he said.

A leaked NNSA memo dated February 11, 2026 from Deputy Administrator for Defense Programs David Beck outlined a plan for new weapons aimed at “enhancing American nuclear dominance.” The memo was first published by the Los Alamos Study Group, an independent community think tank. 

The Beck memo outlined an ambitious project for plutonium pit production. “Complete near-term modifications at Los Alamos National Laboratory’s Plutonium Facility (PF-4) to enable production of 100 pits and achieve a sustained production rate of at least 60 pits per year and begin production,” it said. “Position the Savannah River Site (SRS) to facilitate expanded pit production at PF-4 until Savannah River Plutonium Processing Facility (SRPPF) achieves full operations.”

Spaulding said that getting LANL to produce 60 pits a year at a sustained rate was going to be difficult. “They were already going to be struggling to get to 30 in the next few years. It's not clear that 60 is feasible,” he said. “I don't think that LANL is incapable of doing that if they choose to do it, but it's putting a lot of additional strain on a system that was already struggling to meet half the requirement.”

Spaulding also pointed out an interesting line in the Beck memo that seemed to call for new weapon designs. “They’re adding new requirements to LANL. One of those is to demonstrate what they call two new ‘novel Rapid Capability’ weapon systems, and for LANL to produce what they call ‘design-for-manufacture’ pits.’”

Spaulding said he interpreted these new tasks as the federal government asking America’s nuclear scientists to figure out how to get new weapons from the drawing board to prototype fast. “I think one of the things they’re thinking about is to be able to have increased flexibility in the 2030s to be able to produce different kinds of warheads,” he said. “We’re seeing calls for next generation hard and deeply buried target capabilities…it really seems like NNSA is shifting their philosophy from life extension and refurbishment…to all new production. This boost is really to try to get this industrial base moving faster than it is.”

Xiaodon Liang, a senior policy analyst for the Arms Control Association, also interpreted the increased plutonium pit budget as a sign of a new nuclear arms race. “There are new warhead designs that are currently in the early stages of production, if not late stages of development. One of those is the W87-1, which is a new warhead for the Sentinel,” he told 404 Media.

The Sentinel is a new intercontinental ballistic missile that’s set to replace the Minutemans that dot underground silos across the United States. The Sentinel program is billions over budget, will require the digging of new ICBM silos, and has no end in sight.

Liang pointed to the W93 warhead, another new design that’s set to be used in submarine-launched ballistic missiles. “I think the case has been even weaker as to why the existing warheads don't satisfy requirements,” he said. “And I would add that part of the argument for the W93 is that the British were very strongly in favor of it because the British are reliant on our sea based systems for their own deterrence. So they lobbied very hard for the W93 and the case for why the United States needs it was never made clear.”

Both the United States and Russia have about 5,000 nuclear weapons each. None of the other nuclear countries have anywhere close to that number. Experts estimate that China has the next biggest stockpile with only around 400 warheads. It begs the question: Why do we need more? Why make more plutonium pits at all?

“People are pointing at China as an emerging threat. There’s a widespread assumption in the defense world—which UCS disagrees with—that China is necessarily seeking parity with the United States in terms of numbers of weapons,” Spaulding said.

The amount of nuclear weapons began to plummet at the end of the Cold War. A series of treaties between Russia and the United States limited the amount of deployed weapons and both countries began to decommission the weapons. But all those treaties are gone now and global instability—largely driven by America and Russia—has many countries reconsidering their anti-nuclear stance.

The US military is worried it won’t have enough nukes to deter everyone who might get one in the future. It’s also worried about hypersonic weapons, AI-driven innovations, and nukes from space. “That doesn’t mean it’s still a game of numbers,” Spaulding said. “That sort of simplistic thinking that applied to the Cold War with the arms race against Russia was, well, if they have X number, we have to have X number. Once there's sort of horizontal proliferation across nine nuclear armed states. It's not clear that this sort of tit for tat numbers game works the same way. More and more weapons are not the solution to nuclear proliferation elsewhere, that doesn't lead us to a safer state in the world.”

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Trump Wants to Double Production of New Nuclear Weapon Cores

That hasn’t stopped the US from throwing billions at making new nuclear weapons triggers and asking its scientists to step up production. But it’s unclear if that’s even possible in the short term. In 1992, when the US was making 1,000 pits a year, it did so because of a plant in Rocky Flats, Colorado. The plant closed because the FBI raided it. The plant was an environmental disaster that killed its workers and irradiated the surrounding community. But it met quotas.

Since the closure, America’s nuclear scientists have worked on preserving the pits they had instead of making new ones. “I think the feeling is that science based stockpile stewardship was not enough because it did not leave us with the capability to respond to geopolitical change,” Spaulding said. “I think it’s being looked at quite a bit as an indicator of how well the United States is meeting this new aspiration even if the goals and quantities we’re setting are completely unbounded by reality, which is one of the problems right now.”

The budget and NNSA call for South Carolina’s SRS to manufacture the bulk of the plutonium pits in the future. But it’s unclear if that will ever happen. The ACA’s Liang is skeptical. “The key unanswered question is whether the Savannah River Site will ever come online,” he said. “The current estimate is 2035 for when it’ll reach construction’s end.” Current projections predict the pit factory will cost $30 billion, making it one of the most expensive buildings ever constructed in the US.

All that money and time making new plutonium is less that goes towards other projects. “There’s ongoing remediation work that the state of New Mexico says should be done, that the NNSA has not performed because it claims ‘we are expanding pit production, we can’t do this until later,’” Liang said. 

“Los Alamos will start producing pits at some number soon. The question to me is, at what cost. Not just financial cost,” he said.  “If you look at the DOE budget, what is getting cut? The Trump administration has tried to cut $400 million from the Environmental Management budget twice in the last two years."

Ramping up pit production will lead to more radioactive waste that the DOE will be responsible for cleaning up. “We know from historical experience when pits were produced before…that this is a dangerous and hazardous process. Plutonium is radioactive. It’s a carcinogenic material. It results in large amounts of waste…which present human and environmental risks, not only to the workers who will be charged with carrying this out but to communities around these facilities,” Spaulding said at a press conference on Wednesday.

The United States spends billions of dollars every year cleaning up its radioactive messes, including around Rocky Flats where it once produced most of its plutonium pits. If this budget is approved, and it looks like it will be, then America will spend less money on helping people poisoned by nuclear weapons and more money making new ones.

Update 4/22/26: An earlier version of this story stated an incorrect statistic regarding cuts to environmental management. We've updated the piece with the correct information.

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mkalus
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Jonoya by Masakazu Tsujibayashi Is Anything But Ordinary

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Jonoya by Masakazu Tsujibayashi Is Anything But Ordinary

All architecture is a dance between the public and the private. The things we choose to show, and the things we keep to ourselves – usually quite telling. Among the small streets of Osaka, things that happen on street level are usually of the public’s interest, and therefore the public’s business. Jonoya by Masakazu Tsujibayashi creates a rich inner world, one that stays relatively hidden, an oasis among the dense urban sprawl.

A narrow street lined with residential buildings, bicycles, and overhead wires, with a modern house and high-rise buildings visible in the background.

Inside, interiors are bathed in warm wood, an ode to the natural undulations and growth patterns divined by nature. Large skylights add a beautiful brilliance to the wood, catching the confluence of chatoyance and sun. Wood slat floors retain a sense of loftiness to the top floors, a treehouse that somehow exists within the trunk.

Modern wooden interior featuring natural wood walls, a slatted floor, a desk with a plant, and a desk lamp near a window with soft natural light.

A view through a wooden-framed doorway into a minimalist white room with a desk, chair, shelving unit, and organized storage boxes on the right.

Interior space with wooden walls and ceiling, a skylight, a metal slatted floor, a white railing, and a window letting in natural light. A plant and a folded ladder are visible in the corner.

Corners that would otherwise be quite unapproachable become places of visual interest – windows are situated close to the floor, with a generous skylight directly above. A curious and delightful upending of traditional placement carries throughout the house, providing more instances for a changing of perspective throughout the everyday. This philosophy could carry far past the built environment, to introduce new ways of thinking to far corners of the mind. Storage is plentiful on the top floors, offering a density of knowledge and reflection, a library of life.

Modern interior with wooden walls and shelves, a staircase in the center, potted plants, framed artwork, and a large bookshelf filled with books.

Modern office interior with wood paneling, a built-in desk, a desk lamp, bookshelves, and a potted plant. Natural light comes through an opening in the ceiling.

A modern interior showing a white staircase with a wooden handrail, surrounded by wooden and concrete elements, with natural light and green plants at the base.

This grand staircase is the axis on which Jonoya House turns – bathed in light, and accented by an almost completely mirrored wall, the staircase echoes the simplicity and clear craftsmanship that extends throughout the project. Joinery is visible and celebrated, a nod to the ancient technologies that have allowed brilliant architecture to take place.

Interior view of a modern building featuring exposed wooden beams, a partial staircase with a white railing, and natural light filtering through slatted ceiling panels.

Modern interior with light wood beams, a central wood column, white staircase, and a dark wall with a small lit room visible in the background.

Modern interior with wooden floors and walls, a dining table with chairs, a staircase with white railing, and a potted plant beneath the stairs. Natural light enters through windows.

A minimalist living room with wood paneling, a built-in bench, a TV on a shelf, a window with bamboo blinds, and a chair near a small table with flowers.

Generous curvatures keep the interiors warm and approachable among more technical design language. A long table signals an invitation to host, an easy eventuality when there’s room for all.

Modern dining area with a large wooden table, mixed chairs, wooden flooring, and open shelving, connected to a living space with natural light and contemporary decor.

Modern house with dark siding and wooden accents on a quiet urban street, with several potted plants along the entrance and sidewalk.

The simple facade belies the depth of interiority underneath, light and privacy two central tenets of the design. No window at waist height, and many corners below a traditional right angle, Jonoya House offers a novel space to create and work, but mosy importantly, relax and live.

A modern, angular house with a gray sloped roof sits at a street corner beside a wooden utility pole with overhead wires in an urban neighborhood.

To learn more about Jonoya House and the work of Masakazu Tsujibayashi, visit instagram.com.

Photography by Yosuke Ohtake.

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Gudtrip: the AI agent vape pen with blockchain

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Gudtrip is, get this: [Gudtrip]

Not just a vape. A connected earning device. Gudtrip combines premium cannabis, blockchain rewards, and AI-powered asset tools in one product.

They somehow didn’t get quantum in there. You’d think we were in a bubble.

If you’re a tech bro, then people just casually smoking their weed when they feel like it has one critical problem — how do you monetise this as a gatekeeper charging a rent?

The Gudtrip app turns every device into an active part of the network. Connect your vape, track activity, receive rewards, and choose how those rewards work for you.

Your rewards are tiny amounts of bitcoin and also Gudtrip’s own crypto token, VAPE — which doesn’t seem to be traded anywhere.

Gudtrip turns smoking weed into a mobile game.

Gudtrip is the latest from Puffpaw, who started out in 2024 gamifying ordinary nicotine vapes — but on the blockchain: [Puffpaw]

Get Paid in Crypto to Quit Nicotine

As you reduce your vaping, you get more cryptos! Anyone joining Puffpaw would start off vaping as much as possible, then slowly reduce how much they vape on the Puffpaw device to get more cryptos. And also use a separate vape. [Protos, 2024]

Puffpaw pivoted to cannabis. Gudtrip does not pretend to reduce your consumption. They launched Gudtrip in October 2025 with a straightforward message: [Twitter, archive]

Smoke weed and earn @Bitcoin

So … where’s the AI in Gudtrip?

Gudtrip’s AI agents are designed to help users deploy eligible rewards across selected opportunities such as DeFi (Decentralized Finance), network incentives, prediction markets, and certain RWA (Real World Asset)-based strategies.

The AI can tell you how to lose money playing the cryptos! That’s it.

Puffpaw got an advertising media agency, Arton Media in Toronto. Arton put the campaign up as a portfolio piece: [Arton]

The goal was to introduce the brand through a consistent system of CGI and AI-based visuals.

Each piece expanded on the idea of technology as an extension of reality — blending the physical and the digital into one visual language.

The result is a clean, future-oriented identity that feels modern, scalable, and true to the brand’s vision.

What that means is Arton made a bunch of AI images and CGI videos in the glossy ad-agency version of a cyberpunk style.

Even crypto Twitter thought this was the scammiest idea they’d seen in a day, and they’ve seen one or two.

Don’t do drugs, kids. You might end up like these guys.

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Bang & Olufsen Brings the Outdoors Inside at Milan Design Week

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Bang & Olufsen Brings the Outdoors Inside at Milan Design Week

Milan Design Week is particularly good for one thing: holistically imagined installations that when conceived well demonstrate the potential use of new products. Where these go wrong is in simply mounting loosely defined, marketing ploy, stylized backdrops for an endless onslaught of replicative social media moments.

Modern interior hallway with marble flooring, lush green plants, moss, and flowers on the floor and walls, and a rectangular stone pedestal with a circular feature in the center.

Falling squarely in the first category are Danish electronics producer Bang & Olufsen (B&O) and Italian premium stone purveyor Antolini. The seemingly disparate yet complimentary brands have joined forces to mount a fully sensorial Milan Design Week installation playing up the opportune coherence of immaterial sound with emphatically material stone, presented in a recreated natural setting brought indoors: Antolini’s centrally located Duomo Stoneroom.

A modern indoor display featuring a reflective water surface with floating lotus flowers, surrounded by greenery, flowers, and a Bang & Olufsen and Annabel’s logo on the wall.

The fully sensorial showcase demonstrates both brand’s capacity, with new and refreshed product ranges cleverly paired together—more explicitly suggesting potential applications. B&O’s new Beosound Haven outdoor speaker anchors on and cuts through slabs of Antolini’s mat-finish Taj Mahal quartzite.

Water lilies float on a reflective pond, surrounded by greenery and flowers, with painted murals of trees and leaves in the background.

Surrounding these totemic combines are tastefully manicured zen gardens; a contextualized, if slightly fantastical evocation of where both device and material might live. At the center, there is a pool of water with a cascade of droplets falling from above.

Modern outdoor speaker mounted on a post among green plants and red flowers in a landscaped garden setting.

“Design at Bang & Olufsen has always been about understanding the relationship between technology, materials, and the spaces people inhabit,” says Kresten Bjørn Krab-Bjerre, Senior Director of Design. “Through Beosound Haven – our forthcoming landscape speaker – we explore sound as an architectural language. It interacts with materials and forms atmosphere, creating a refined sense of place that is both subtle and powerful. It reflects our ambition to find new ways for sound to enrich the experience – not only as something you hear, but as something you truly feel.”

A modern sculpture with concentric metal circles on a rectangular marble base stands among green plants and white flowers against a metallic ribbed background.

A circular metallic speaker with concentric rings is mounted on a marble stand, placed beside glass panels and flowering plants.

Indoor garden scene with a pond featuring water lilies, green plants climbing the walls, and a modern metallic wall-mounted fan above the water.

A metallic sculpture with stacked spheres stands on moss beside flowers, set against a marbled green and gold backdrop with the word "Antolini" visible.

A tall, vertical metallic sculpture with ribbed sides tapers to a point and stands on a square greenish stone base, set against a textured stone wall.

A tall, slim speaker with vertical white slats and a black base stands in front of a marble-patterned wall with gold accents on a marble floor.

Round, metallic speaker with concentric black circles mounted on a vertical slab of light-colored stone, set against a plain white background.

The collaboration extends to a limited run of the Beolab 18 speaker, produced using Antolini’s comprehensive range of natural stone products in matte finish: Amazonite, Retro Black Petrified Wood, Patagonia Original, Dalmata, and Cipollino Grey Wave, as well as Taj Mahal. “In collaboration with Bang & Olufsen, we have moved beyond traditional design to embrace the open air,” Carlo Alberto Antolini, owner of Antolini. “By blending the raw elegance of natural stone with precision sound, we’ve created a bridge between nature and technology. These landscape speakers are not just objects, they are a dialogue between the elements, transforming gardens and terraces into living galleries.”

A round, silver Bang & Olufsen speaker with black concentric circles rests on a square piece of textured light gray stone against a plain white background.

To learn more about the Beosound Haven by Bang & Olufsen in collaboration with Antolini, visit bang-olufsen.com.

Photography by Max Zambelli.

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Saturday Morning Breakfast Cereal - Standard

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Click here to go see the bonus panel!

Hovertext:
Should this be rated NSFW?


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Destrehan, LA

Helena, Jason & Louis

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Michael Kalus posted a photo:

Helena, Jason & Louis



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