The Pentagon has published its sixth batch of UFO records, including footage and documents describing groups of alleged unidentified craft moving through the skies across several decades.

Released on Friday morning, the latest collection centers on a well-known 1952 UFO incident near Tremonton, Utah, recorded by a Navy photographer.

The newly disclosed film shows between 10 and 14 bright objects against a clear blue sky. Navy warrant officer Delbert Newhouse, who was vacationing with his family when he made the recording, said the objects appeared to resemble two discs placed one atop the other — the familiar shape associated with a “flying saucer.”

In his incident reports, Newhouse said the UFOs had a gleaming metallic or gunmetal appearance. He described them as moving in a loose circular pattern while generally traveling west.

Project Blue Book, the US Air Force’s former UFO investigation program, spent months examining the footage but was never able to offer a complete explanation for what Newhouse recorded.

More than 70 years later, US military aircraft operating over the Middle East captured another unexplained cluster of UFOs moving in a tightly coordinated formation.

The glowing orbs were seen passing an oil rig at high speed, traveling side by side in an almost flawless horizontal line before separating into smaller groups of three.

The latest files also include dozens of eyewitness accounts, videos of UFO sightings and newly declassified records detailing how a private firm owned by billionaire Robert Bigelow received a Pentagon contract to examine UFO reports and advanced technology.

Among the hundreds of pages of never-before-seen documents released on Friday were expense reports coming from the Defense Intelligence Agency – the Pentagon’s military intelligence service which studies foreign military technology and possible future threats.

The documents detailed how tens of millions of dollars were spent on a program called AAWSAP: Advanced Aerospace Weapon System Applications Program. It ran from 2008 to 2012.

Among the futuristic technology the group secretly contracted researchers to investigate were space-age materials including metallic glass, a faster-than-light method of travel known as warp drive, the ability to make objects invisible using a cloaking device and the creatin of laser weapons for the military.

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Among the files, were drawings of an experimental craft that would, in theory, be able to travel to distant planets by creating a ‘warp bubble’ that could allow the ship to travel faster than light by contracting spacetime in front of it and expanding spacetime behind it.

In simpler terms, defense officials were working on a way to move this wheel-shaped ship through space and time without the craft actually moving faster than light locally – like riding through an invisible expressway in the fabric of the universe. 

The files on cloaking reviewed ideas for making an object harder to see by bending or hiding light, heat or radar signals around it.

Meanwhile, researchers also surveyed high-powered laser weapons and how that technology had developed over the years. The Department of War publicly revealed in May that ‘directed energy weapons’ were now a part of the military’s arsenal.

The group awarded the contract for this work was Bigelow Aerospace Advanced Space Studies (BAASS).

BAASS was a company set up by Robert Bigelow, the businessman behind Budget Suites of America and Bigelow Aerospace. He has also been known to have a strong personal interest in UFOs and government transparency.

In July, UFO researcher and documentary filmmaker Mark Christopher Lee alleged that Bigelow was part of President Trump’s inner circle which convinced the president to prepare a speech which would announce the existence of UFOs and extraterrestrial life.

The Daily Mail has reached out to Bigelow for comment on the UFO files and the claims by Lee.

This is a breaking story. More details to follow. 

They’re taking pouch-maxxing to a whole new level.

Capri Sun, the juice-box alternative that defined countless 1990s school lunches, is rolling out its biggest product ever just as summer winds down. The Capri Sun Big Pouch is a supersized metallic version of the brand’s familiar drink pouch, created to mark the final official days of summer. It is also the largest single product in Capri Sun’s 58-year history.

There is one important catch.

Unlike a standard Capri Sun pouch, the Big Pouch arrives empty. Beginning Monday, Sept. 21, shoppers can purchase the $6 metallic pouch on Walmart.com. It stands nine inches tall and holds up to 24 ounces of liquid.

Once it arrives, fans can fill and refill the nostalgic oversized pouch with whatever they choose, from Capri Sun and filtered water to iced coffee. It could even hold pineapple-infused vodka, provided it is consumed legally and responsibly.

The limited-edition Capri Sun Big Pouches will be sold through Walmart’s website until Sept. 24. Inventory will be replenished daily, though only while supplies last.

“Capri Sun fans have strong feelings about the pouches that shaped their childhoods, and that passion plays an important role in how we think about innovation,” Claire Lukaszewski, Capri Sun’s associate brand director, said in a statement.

“There’s an emotional connection to this brand that spans generations, and we don’t take that for granted. We want our fans to have a meaningful role in shaping what we do and the Big Pouch is one way we’re putting that belief into practice.”

Kraft Heinz, which manufactures and distributes Capri Sun products in the United States, described the Capri Sun Big Pouch as the brand’s “fans’ No. 1 request.”

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According to the company, devoted Capri Sun drinkers sent in thousands of requests for a larger pouch. About 80% of customer feedback specifically called for a reusable pouch, a mega-sized drink, or both.

Because of this demand, the company said they’re exploring making the big, reusable pouch into a permanent Capri Sun offering.

“Fans can share feedback using #CapriSunBigPouch to help determine whether the Big Pouch earns a permanent spot in the Capri Sun lineup,” the company said.

It’s not the first time that Capri Sun has admitted that when it comes to juice packs, size does matter.

Just two years ago, Kraft Heinz dropped its Capri Sun Multi-Serve, a 96-fluid-ounce jug worth about 32 pouches of fruit punch.

Capri Sun has also tested the sugary waters of fashion collaborations.

Last year, designer Christian Siriano released a limited-edition $200 “pouch purse” with the brand and debuted it on his September catwalk. And this spring in London, rising runway star Chet Lo made Capri Sun clutches for his catwalk show, with proceeds from the stylish sippers going to support children caught in global war zones.

At just $6, this new Walmart version could be a chance for the trend to go mainstream.

A few hours spent enjoying Walt Disney World can feel magical enough, but for one family, the enchantment does not end when the park gates close — they actually have a home there.

Cristie Anne of The Traveling Red owns a home in Golden Oak, a residential community inside Walt Disney World Resort. 

The community is very real, not something lifted from a Disney film. Created with input from Disney Imagineers, the neighbourhood features individually styled homes, each with its own personality and storybook appeal.

Cristie Anne, 39, who is originally from Miami, Florida, told the Daily Mail: ‘Our home was inspired by Belle’s cottage in Beauty and the Beast, with details designed by Imagineers incorporated throughout.’

For the past six years, Cristie Anne and her family have divided their time between their main home in Miami and their Disney-inspired cottage.

She said: ‘When you look at the exterior alongside the cottage in the live-action movie, the influence is immediately clear.

‘A lot of Golden Oak homes feature understated Disney references or wonderfully themed rooms, but only a small number are built around a complete Disney narrative in the way ours is.’

Their property is part of one of Golden Oak’s smaller collections of homes, where curving roads and carefully considered details create the feeling of ‘walking into a storybook village.’ Cristie Anne said the atmosphere was among the first things that captured the family’s attention when they visited the Disney World neighbourhood.

So how did the family end up with such an unusual second home?

Cristie Anne explained: ‘It really was not something we had set out to find. We were searching for a vacation property where our family could create memories, and beach houses were mostly what we had been considering. Disney was not even on our radar.’

‘My parents were visiting friends who had recently purchased a vacation home in Golden Oak and happened to tour our house, which had just gone on the market that day. They instantly fell in love with it and FaceTimed both my brother and me to show us the house.

‘Our daughter was only three years old at the time, so the idea of a Beauty and the Beast-inspired home at Disney sounded like perfection. It felt like the perfect place to watch her grow up while creating family traditions together.’

Currently, other homes for sale at Walt Disney World are on the market for around $8million (£5.9million), while reports of Golden Oak homes suggest that prices can range between $2million (£1.5million) and $20million (£14.8million). The price of this specific property is unspecified.

Naturally, a major perk is how close the property is to the Disney parks. 

‘Depending on which park we’re visiting, we’re usually just minutes away by car or our private Disney transportation van, which takes us and drops us right at the front of the park,’ Cristie Anne explained. 

‘It makes it so easy to decide on a whim to grab dinner at a resort, ride a favorite attraction, or watch the fireworks without turning it into an all-day event.’

The family tends to visit more during the winter months when the weather is especially pleasant. 

‘One of the things we love most is that there’s no pressure to do everything in a single visit. We can simply enjoy whatever we’re in the mood for that day,’ she added.

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‘Back then, purchasing a home in Golden Oak included complimentary park admission for the first few years. After that, we had to purchase annual passes just like other guests.’

Unsurprisingly, Cristie Anne has ‘lost count’ of the number of times she’s visited the parks.

‘I’ve been visiting since I was a child, and now it’s become such a big part of our family’s life that it’s easily in the hundreds. Every visit feels a little different, which is one of the reasons Disney never gets old for us.’

‘The convenience is incredible, but I think my favorite part is that it allows us to experience Disney in a completely different way.

‘When you’re on vacation, there’s often pressure to do everything because your trip has an end date. Living nearby takes that pressure away. We can pop into a park for one ride, have dinner at a resort hotel, or simply stay home and watch the fireworks from our house. 

‘It gives us the freedom to slow down, appreciate the little moments, and enjoy Disney at our own pace instead of feeling like we have to fit everything into a single trip.

‘It’s truly a completely different way to experience Disney, and in many ways, even more magical.’

Surely it’s rammed with tourists, though?

‘Never,’ Cristie Anne admits. ‘People are often surprised by how private Golden Oak actually is. Security is exceptional, and only residents and their registered guests are allowed inside the community. It isn’t somewhere tourists can simply drive through to see the homes.

‘That privacy is something homeowners really value. Homes cannot be used as short-term rentals, which helps preserve the neighborhood as a true residential community.

‘As someone who shares our life at Golden Oak online, I’m also very mindful of respecting my neighbors’ privacy. I only ever film or photograph our own home.’

What about daily amenities?

Cristie Anne said: ‘There aren’t supermarkets or schools on Disney property itself, so for everyday errands like grocery shopping, we simply drive a few minutes off property. 

‘At the same time, we have Disney’s incredible restaurants, resorts, golf courses, spas, recreation, and entertainment right at our doorstep. 

‘It really is the best of both worlds… the magic of Disney whenever we want it, with all the conveniences of everyday life just minutes away.’

It’s no surprise, then, to learn that Cristie Anne certainly doesn’t plan on selling the home anytime soon. 

Ethan Hawke has long since moved beyond the precocious-slacker persona of his early career, settling into more mature, weathered roles. In The Weight, though, he may be slightly old to play the father of a girl around five or six. The film takes place in Depression-era 1933, and Hawke, now 55, would be well beyond the average life expectancy for someone born around the turn of the century, as his character presumably was.

Still, Hawke hardly looks 55 in The Weight. Playing Samuel Murphy, a prisoner sent to a labor camp on a bogus assault charge after the seemingly innocent act of knocking on a side door at a building advertising an available apartment, he appears hollow-cheeked but physically resilient enough to endure months of punishing work. His eyes, however, carry the burden suggested by the title. A widower, Samuel is determined to earn time off through good behavior and get back to his daughter Penny (Avy Berry), who faces foster placement after his arrest and offscreen conviction. When warden Clancy (Russell Crowe)—not quite sadistic, but hardly merciful—offers Samuel a dubious deal that could immediately reduce his sentence, refusing is not really an option.

That assignment supplies both the tension and the old-fashioned entertainment of The Weight, a Sundance title arriving in wide but understated release this weekend. It is the sort of polished, adult-oriented thriller viewers may stumble across on streaming six, 12, or 18 months from now, drawn by Hawke and especially Crowe, and wonder why it escaped their attention. Better to find it now and see it on the big screen: it is among the year’s best films so far.

The plot has the sturdy, muscular feel of a Clint Eastwood picture from the mid-to-late 1970s, landing somewhere between Thunderbolt and Lightfoot and Escape from Alcatraz. Clancy orders Murphy to choose a dependable crew—Rankin (Austin Amelio), Singh (Avi Nash), and Olson (Lucas Lynggaard Tonnesen) are seemingly his only viable choices—to transport gold bricks through the wilderness before President Roosevelt’s impending mining seizure. Two more thugs accompany them, and the group eventually takes in Anna (Julia Jones), an Indigenous woman who spots the travelers early and becomes valuable in protecting them. The film largely follows their dangerous trek, with shades of The Treasure of Sierra Madre and Sorcerer, including a nerve-rattling rickety crossing. Its neo-Western ingredients—gold, outlaws, and an Indigenous woman—are shifted into a greener, more enclosed landscape.

Director Padraic McKinley makes strong use of that landscape through carefully staged group shots, positioning the men within the frame and placing the camera to hold them together in a single image. Those compositions gradually enlarge the film beyond its straightforward, meat-and-potatoes premise, allowing the forest setting to take on a quiet poetry. The location need not appear exotic to feel vivid: although filmed in Germany as a stand-in for Oregon, the production makes full use of its outdoor locations. Italian cinematographer Matteo Cocco gives the images a tactile, dirt-under-the-fingernails quality.

The shared bird names of Hawke and Crowe will undoubtedly help bring audiences in. Hawke has shaped his middle-aged screen presence into something unexpectedly flinty for an actor who first became famous as the handsome face of insufferability in Reality Bites. Many performers might push too hard on Samuel’s desperation to reclaim his child. Hawke conveys the character’s love and terror in just a few scenes with his on-screen daughter, then lets that fear remain visible in his eyes throughout the movie. There is something both strange and thrilling about watching him take on a role Eastwood might have played at the same age, while bringing a grounded sensitivity that Eastwood would have deliberately held at a distance.

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Crowe has considerably less screen time, since Clancy’s entire scheme depends on making prisoners do the dangerous work for him. Yet he understands precisely how to make a villainous—or at least deeply flawed—character compelling without turning him into a caricature: charismatic without becoming slick, threatening without going broad. The actors’ relatively few scenes together are expertly played.

It would be easy to oversell The Weight, which is ultimately more interested in telling a gripping story than delivering grand statements about Depression-era America, fatherhood, or prison corruption. But it would be even easier for audiences to overlook a finely made movie like this. Don’t. If Resident Evil is not your thing—or even if it is and you want to keep your moviegoing momentum going—seek out The Weight while it can still be experienced on a big screen.

Jesse Hassenger (@rockmarooned) is a writer living in Brooklyn. He’s a regular contributor to The A.V. Club, Polygon, and The Week, among others. He podcasts at www.sportsalcohol.com, too.