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Artemis II Returns From the Moon as Old Conspiracies Find New Life Online

Artemis II Returns From the Moon as Old Conspiracies Find New Life Online

9 April 2026

Paul Francis

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A Mission in Motion, Not Preparation


Artemis II is no longer a promise or a plan. It is a live, unfolding mission.


Having successfully travelled beyond low Earth orbit and looped around the Moon, the crew are now on their return journey to Earth. In doing so, they have already secured their place in history as the first humans in more than half a century to venture into deep space. The mission itself has been widely followed, not just through official NASA channels but across social media, where images, clips and astronaut updates have circulated in near real time.


Among the most striking moments so far have been the views of Earth from lunar distance. These are not abstract renderings or archival references. They are current, high-resolution visuals captured by a crew physically present in deep space. For many, it has been a powerful reminder of both scale and perspective, reinforcing the reality of human spaceflight beyond Earth orbit.


Yet as these images spread, something else has travelled with them.


Earthrise over the Moon's horizon, showing Earth partially lit against the blackness of space. The Moon's surface is grey and textured.

The Return of a Familiar Narrative

Alongside the excitement and global attention, Flat Earth narratives have begun to reappear with renewed visibility. As with previous milestones in space exploration, the mission has acted as a catalyst rather than a cause.


Footage from Artemis II, particularly anything showing Earth as a curved, distant sphere, has been picked apart across various platforms. Claims of digital manipulation, lens distortion and staged environments have resurfaced, often attached to short clips or isolated frames removed from their original context.


This is not evidence of a growing movement in terms of numbers. It is, however, a clear increase in visibility. The scale of Artemis II has pulled these conversations back into mainstream timelines, where they sit alongside genuine public interest and scientific engagement.


Real-Time Content, Real-Time Reaction

What distinguishes Artemis II from earlier missions is the immediacy of its coverage. This is not a mission filtered through delayed broadcasts or carefully edited highlights. It is being experienced as it happens.


That immediacy has a double edge. On one hand, it allows for unprecedented access and transparency. On the other, it provides a constant stream of material that can be reinterpreted, clipped and redistributed without context.


A reflection in a window, a momentary visual artefact in a video feed, or even the way lighting behaves inside the spacecraft can quickly be reframed as suspicious. Once those clips are detached from their technical explanations, they take on a life of their own within certain online communities.


The speed at which this happens is key. Reaction no longer follows the event. It unfolds alongside it.


Scepticism in the Age of Algorithms

Flat Earth content does not exist in isolation. It is sustained by a broader culture of scepticism towards institutions, particularly those associated with government and large-scale scientific endeavour.


NASA, as both a symbol of authority and a source of complex, hard-to-verify information, naturally becomes a focal point. Artemis II, with its deep space trajectory and high visibility, fits neatly into that framework.


Social media platforms then amplify the effect. Content that challenges, contradicts or provokes tends to perform well, regardless of its factual basis. As a result, posts questioning the mission often gain traction not because they are persuasive, but because they are engaging.


This creates a distorted sense of scale. What is, in reality, a fringe viewpoint can appear far more prominent than it actually is.


The Broader Public Perspective

Outside of these pockets of scepticism, the response to Artemis II has been largely one of fascination and admiration. The mission has reignited interest in human spaceflight, particularly among audiences who have never experienced a live crewed journey beyond Earth orbit.


There is also a noticeable difference in tone compared to previous eras. The Apollo missions were moments of collective attention, where a single narrative dominated public consciousness. Artemis II exists in a far more fragmented environment, where multiple conversations unfold simultaneously.


In that landscape, it is entirely possible for celebration, curiosity and conspiracy to coexist without directly intersecting.


A Reflection of the Modern Media Landscape

The re-emergence of Flat Earth narratives during Artemis II is not an anomaly. It is part of a broader pattern that defines how major events are now experienced.


Every significant moment generates its own parallel discourse. One is grounded in reality, driven by science, engineering and exploration. The other is shaped by interpretation, scepticism and the mechanics of online engagement.


Artemis II, currently making its way back to Earth, sits at the centre of both.

The mission itself is a clear demonstration of human capability and technological progress. The conversation around it, however, reveals something different. It highlights how information is processed, challenged and reshaped in real time.


In that sense, Artemis II is not just a journey through space. It is a case study in how modern audiences navigate truth, trust and visibility in an increasingly complex digital world.

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What is a skeuomorph

  • Writer: Gregory Devine
    Gregory Devine
  • Nov 14, 2024
  • 3 min read

When you go to save a document on Word, which button do you press? There are many ways to do it but chances are you select the floppy disk in the top corner of the screen. Ever consider that this is a little odd? Floppy disks have been obsolete for years now, yet we instinctively know that this is the save button.


3d save icon

This is called a skeuomorph—it’s when something new takes on the appearance of what it has replaced. Once you start looking, you’ll realise they’re everywhere.


Open up your smartphone. When you want to make a phone call, you tap on the app that looks like an old fashioned telephone receiver. When you go to send an email, you tap the app with a letter on it. Despite emails being fully digital and them not looking remotely similar to a physical letter, we still know this app’s function and what it replaced.


Various Icons that are Skeuomorph

Skeuomorphs aren’t always physical, they can also be a sound. If you click on your smartphone’s camera app (which looks like a physical camera,) to take a photo, you may notice a shutter sound when you click the button, despite your phone’s camera having no physical shutter to open and close. Real cameras make this noise. However, it’s useful to have some sort of signal that your phone has captured an image. Otherwise, you’d just have to guess that the phone’s camera app worked, which, if you’re taking a posed picture (especially of a large group of people) or you wish to capture a specific moment in time, isn’t very helpful!


The term skeuomorph was coined by archaeologist H. Colley March in 1889, after he noticed that some ancient artefacts retained the design features of older, similar objects, even if these were no longer necessary. Take a look at classical architecture, such as Greek temples—these structures were once built of wood. When building with wood you, of course, need wooden beams. When building with stone, these beams aren’t necessary, yet they’re still incorporated in the stone’s design. Not only is this a homage to the previous way of doing things, it’s also aesthetically pleasing.


Skeuomorphs are a feature of electric cars. These vehicles don’t require cooling vents nor a grill at the front, yet most electric cars still incorporate these in their designs. We’re so used to seeing combustion engine cars with these features that it looks odd to remove them.


There’s no reason for digital keyboards to make a sound when you type, yet, because they represent laptop keyboards and even typewriters (which were really quite noisy), our brains expect a sound to be there. This gives us the illusion that we’re still using a physical keyboard, despite it being on a screen.


a back lit PC keyboard

The notes section in our phones doesn’t need to look like lined paper or a sticky note. The lock screen doesn’t need to make the sound of a padlock, but most do. All these things help us locate and understand them quicker because they bear a direct reference to their previous iteration.


The trend is changing though. We’re moving away from skeuomorphism and instead opting for more minimalist design. The original versions of iOS (the iPhone’s operating system) were incredibly skeuomorphic but newer versions have opted for a simpler appearance. We’re now aware of how to use smartphones, so the need for things to look familiar isn’t as strong.


The Instagram logo used to be that of a Polaroid camera, which captured and printed images instantly; now, the logo is a much simpler representation of a Polaroid—to the point where, if you didn’t know what the logo used to be, you probably wouldn’t guess. Either way, it’s still clear that it represents Instagram.


Skeuomorphs divide opinion…for instance, is there still a need for this kind of design style, or should digital design move on and find its own innovations? Many people haven’t even used the objects skeuomorphs represent, so is there any point to them? Personally, I quite like them, but that might be because I’m not a huge fan of the new super-simplistic designs everyone seems to be using.

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