Space

March 12 (UPI) — The recent, new delay in NASA’s moon landing program represents the latest in a string of technical, budgetary, workforce and public perception challenges that plague the space agency, a UPI analysis shows.

When flight officials pulled the Artemis II Space Launch System and Orion spacecraft off the launch pad at Kennedy Space Center on Feb. 25 after a recurrence of helium flow problems and pushed the launch back to April at the earliest, it served as another reminder of the space agency’s current assortment of formidable problems.

Those issues include a moon program whose timeline keeps slipping; recurring technical failures and cost overruns with its flagship SLS rocket; a commercial lander — SpaceX’s Starship — that has yet to demonstrate reliability; the effective grounding of the Vulcan Centaur rocket made by United Launch Alliance; the departures of thousands of NASA workers and turnover in its top leadership positions.

The agency announced March 3 it had identified the latest problem with Artemis II as a faulty helium seal in the SLS upper stage, and that it is repairing the assembly, as well as making other fixes to the spacecraft.

But meanwhile, the lag time since the last crewed U.S. spaceflight has now stretched to three full years. This lengthy drought has prompted outside analysts and NASA officials to worry about how public support for the space program is being affected.

“When missions occur every few years, it is easy for people to lose interest,” said Burt Dicht, a leader of the National Space Society, who added he backs a newly announced NASA effort to increase the frequency of launches.

The latest delay has prompted a fresh look at some of the major challenges facing the space agency’s moon effort, as well as more general problems.

Headwinds with partners, personnel issues

One of the more pressing issues with the Artemis program is its dependence on SpaceX’s Starship Human Landing System, or HLS, as the initial human lander that will put the first U.S. astronauts on the lunar surface.

Elon Musk’s company signed a contract with NASA in 2021 to provide the lander, but struggled in 2025 to perfect the mammoth Starship V3 rocket necessary for a key element of the HLS mission, according to a report issued by NASA’s Aerospace Safety Advisory Panel and released last month.

The Starship V3 incorporates upgraded Raptor engines to provide it with the required performance for low-Earth orbit flight and on-orbit operations, and its development is deemed crucial for transferring fuel to an orbiting tanker.

How it performs will “ultimately determine the number of refueling missions required for the HLS mission,” which is now pegged at roughly 12 fueling flights, the report’s authors wrote.

“The development and test progress necessary for a version of Starship that has not yet flown in time to support a human lunar landing mission within the next few years appears daunting and, to the panel, probably not achievable,” they wrote.

SpaceX announced Feb. 26 that the first Starship V3 had left its build site at Boca Chica, Texas, and had begun prelaunch testing.

In 2023, NASA selected Blue Origin, owned by Amazon founder Jeff Bezos, to develop a second human landing system to compete with the HLS. Its Blue Moon Mark 2, to be launched aboard a New Glenn rocket, is to be tested twice and then carry a crew to the moon in late 2028.

New critical report

But NASA’s Office of Inspector General, in a report issued Tuesday, looked at both programs to carry astronauts to the moon and advised that the agency faces significant technical and programmatic risks that threaten mission timelines and crew safety.

The report said NASA is not fully adhering to “test like you fly” principles, particularly for uncrewed demonstration missions, and has not yet ensured that SpaceX’s Starship lander will meet manual control requirements for astronauts.

The inspector general also noted gaps in hazard‑mitigation planning and insufficient testing of critical systems, especially given the complexity of both SpaceX’s and Blue Origin’s lander architectures.

The report also warned that NASA the capability to rescue astronauts in the event of a life‑threatening emergency during lunar surface operations, echoing limitations from the Apollo era.

And it concluded that SpaceX and Blue Origin face technical challenges likely to cause additional delays, with SpaceX’s schedule slipping beyond its earlier 2027 target and even the revised 2028 goal remaining uncertain.

The report recommends stronger risk‑management practices, more realistic scheduling and more rigorous testing to ensure crew safety and mission success.

Meanwhile, NASA’s larger operations also could be affected by problems encountered in the new Vulcan Centaur rockets made by United Launch Alliance.

Vulcan launches halted

The U.S. Space Force last week temporarily halted all national security launches using the rocket after the same booster malfunction occurred twice, according to comments made by Col. Eric Zarybnisky at a meeting last month in Colorado.

The Vulcan Centaur program was established by ULA to reduce costs and eliminate reliance on the current workhorse Atlas V Russian-supplied RD-180 engine and is primarily meant to meet U.S. military needs.

But the program benefits NASA as well, giving it greater flexibility and transport capability for launching of payloads, the space agency said.

NASA also continues to struggle with an exodus of workers, including thousands of crucial senior staff, which some analysts believe is impacting its moon and Mars exploration goals due to a loss of expertise.

Nearly 4,000 agency employees last year chose to accept “deferred resignations” as part of the Trump administration’s efforts to slash the federal workforce — a move that reduced NASA’s employee roster by more than 20% to some 14,000, NASA spokesperson Cheryl Warner told NPR in June.

Still, even amid all of those issues, the agency was able to dodge the biggest potential bullet of them all — a proposed 24% reduction in its budget issued by the White House, which would have been the biggest cut in agency history.

That threat all but evaporated when Congress agreed on a $24.4 billion NASA spending bill in January, representing a mere 1.7% budget reduction.

The NASA administrator’s job itself remained unfilled throughout 2025, as President Donald Trump withdrew his nomination of Isaacman. Trump ultimately changed course, and Isaacman was confirmed by the Senate on Dec. 17.

Major changes for the Artemis program

Of all the difficulties faced by NASA, the technical problems and cost overruns of the Artemis program itself have emerged as perhaps the most high-profile.

The Feb. 25 postponement was the second recent delay for Artemis II, which is to send four astronauts on a “slingshot” fly-by around the moon. Last month, NASA pushed back the launch to March after engineers discovered what they called a significant hydrogen leak during a wet dress rehearsal.

NASA said Thursday it plans to roll the Artemis II Space Launch System rocket and Orion capsule back out to the launchpad next week, aiming for a launch in April.

The rollout wis to begin March 19, with an eye at launching as early as the evening of April 1, NASA officials said during a press briefing.

The original target date for landing astronauts on the moon — 55 years after the United States first did it — was 2024. When that was announced in 2019, many observers thought the target date was too optimistic.

The effort’s total cost after NASA recently added nine new elements now exceeds $20 billion, the Government Accountability Office reported last summer. Three of those elements have racked up a total of $7 billion in cost overruns.

NASA has made efforts to get a handle on the overruns through its Moon to Mars Program Office, the GAO said, but warned that each new delay to mission dates can create a cascading effect of increased costs across multiple programs that function independently of each other.

Clear warnings

And in its report from last month, the NASA safety panel sounded clear warnings about the “ambitious timeline” for developing the Human Landing System, given its “intricate operational design” and :complex concept of operations,” as well as other serious safety concerns surrounding the Artemis program.

Taken together, the issues posed a “high safety risk,” the panel concluded, which “casts doubt on the current Artemis III timeline and the feasibility of the Artemis III mission goals.”

In the wake of the latest issues, Isaacman announced a major revamp of Artemis under which the expected moon landing was pushed back from Artemis III in 2027 to Artemis IV in 2028.

“We have to rebuild core competencies,” he told reporters Feb. 27, blaming the repeated delays on too-infrequent launch schedules (known as the “launch cadence”), which he said causes “muscle memory” to “atrophy.”

“This is just not the right pathway forward,” he asserted, while revealing that a moon landing with Artemis III in 2027 has been deemed too ambitious and will instead now be attempted with Artemis IV in 2028.

Artemis III will instead now serve as a mission to perform tests on connecting with lunar landers in low-Earth orbit, as well as to test equipment that will go on Artemis IV.

Meanwhile, to bump up the launch cadence to once every 10 months rather than every three years, Isaacman announced a standardization of the SLS rocket fleet to “essentially near ‘Block-1’ configuration.”

The idea, he said, is to reduce the complexity of the massive rocket and to “accelerate manufacturing, pull in the hardware and increase launch rate, which obviously has a direct safety consideration to it, as well. You get into a good rhythm launching with greater frequency, you get that muscle memory.”

To do that, he added, “we need to rebuild and strengthen the workforce here at NASA. … We have to rebuild core competencies. The ability to turn around our launch pads and launch with frequency greater than every three years is imperative,” he said, pointing to the histories of the Mercury, Gemini, Apollo and Space Shuttle programs, when “the average launch cadence was closer to three months.”

The decision to simplify and standardize the SLS starting with Artemis IV also means the agency will no longer need to use the $1.5 billion Mobile Launcher 2 at Kennedy Space Center, which is still under construction and has faced its own cost overruns and delays.

Experts’ reactions

Experts who have been closely following the development of Artemis expressed a range of opinions about whether the latest moves are the right ones for the moon program and the U.S. space program generally.

Kenny Evans, a fellow in science, technology and innovation policy at Rice University’s Baker Institute for Public Policy in Houston, told UPI the glitches and the resulting negative perceptions of the program are indeed tied to the drawn-out launch cadence.

“The extended periods between SLS launches have given NASA fewer chances to test out hardware — and less cover for when things go wrong,” he said. “That has long been a valid criticism of the SLS program and a source of bad press — for example, the fueling issues in prior wet dress rehearsals.

“Working out kinks, as visible and expensive as they are, should be seen as net positives rather than programmatic failures,” he said.

“Frankly I’m relieved to see the timeline revamp,” Evans added. “The Artemis schedule Isaacman inherited had absolutely no chance of meeting its prior targets, and I’ve been impressed by his willingness to address the hard truths about the program.

“In terms of safety, making Artemis III a system test will provide NASA a much needed opportunity to remove as much risk as possible before attempting a lunar landing for Artemis IV,” he said while noting he is “particularly enthusiastic” about the NASA leader’s stated commitment to strengthening its workforce, “especially in light of cuts to agency staff.”

Meanwhile, the National Space Society’s Dicht, said his interactions with students, engineers, long-time space advocates and the public have shown him there is “real enthusiasm for progress in the space program,” but that new momentum is needed.

“I believe NASA Administrator Isaacman’s proposals to improve launch cadence, strengthen the workforce and standardize the SLS are positive steps that can help stabilize the Artemis program and move it toward a sustained return to the moon,” Dicht said.

“Whether it is SLS or any other rocket, these are extraordinarily complex machines,” he said. “Increasing the cadence of launches and ensuring the workforce is well-trained and consistently engaged helps build the operational experience, or ‘muscle memory,’ that improves reliability and the likelihood of mission success.”

While there is steady and palpable excitement over humankind’s first return to the moon since 1972 among committed enthusiasts, “there remains a segment of the public, including some social media influencers, who interpret technical issues as a sign that the program is failing,” he said.

“When missions occur every few years it is easy for people to lose interest,” Dicht said. “If the program can move toward a more regular rhythm, possibly two flights per year, it will attract attention and reinforce the sense that progress is being made.”

Similar to Apollo 9

Spaceflight historian and science author Amy Shira Teitel, creator of The Vintage Space YouTube channel, said the revamp “doesn’t particularly surprise me,” noting the decision to change Artemis III’s moon landing mission into a test flight is reminiscent of Apollo 9 in March 1969.

In that mission, a three-astronaut crew carried out vital tests while in low-Earth orbit to prepare for the historic Apollo 11 moon landing four months later.

“The plan to land Artemis III while still not having the lander ready or even chosen, from what I could tell, seemed like trouble waiting to happen, so the idea of going back to Apollo 9 and testing the hardware/mission in Earth orbit seems both safe and like it should have been the first step before going to the moon,” she told UPI in emailed comments.

The author of Breaking the Chains of Gravity: The Story of Spaceflight before NASA has questioned the overall purpose, cost and broader implications of the moon-to-Mars effort, contending it lacks a compelling justification other than “going for the sake of going” while the highly successful and popular International Space Station is scheduled to be scrapped in 2030.

All of the Artemis changes, Teitel said, are “emphasizing how hard it is, and how insane it is to be looking at canceling the ISS without a replacement and just focusing on the moon-to-Mars pipeline without any kind of long-term infrastructure or planning.

“And the endless issues with SLS — why are we adding more launches?” she asked. “We know this system is flawed. It feels like retrofitting a mission into the hardware to justify the … launch cost.”

By day, you’d be forgiven for walking past the newest theater in downtown L.A.

It isn’t hidden in an alley or obscured via a nameless door. No, this performance space is essentially a theater in disguise, as it’s designed to look like an electrical box — a fabrication so real that when artist S.C. Mero was installing it in the Arts District, police stopped her, concerned she was ripping out its copper wire. (There is no copper wire inside this wooden nook.)

Open the door to the theater, and discover a place of urban enchantment, where a red velvet door and crimson wallpaper beckon guests to come closer and sit inside. That is, if they can fit.

With a mirror on its side and a clock in its back, Mero’s creation, about 6 feet tall and 3 feet deep yet smaller on its interior, looks something akin to an intimate, private boudoir — the sort of dressing room that wouldn’t be out of place in one of Broadway’s historic downtown theaters. That’s by design, says Mero, who cites the ornately romanticized vibe and color palette of the Los Angeles Theatre as prime inspiration. Mero, a longtime street artist whose guerrilla art regularly dots the downtown landscape, likes to inject whimsy into her work: a drainage pipe that gives birth, a ball pit for rats or the transformation of a dilapidated building into a “castle.” But there’s just as often some hidden social commentary.

With her Electrical Box Theatre, situated across from the historic American Hotel and sausage restaurant and bar Wurstküche, Mero set out to create an impromptu performance space for the sort of experimental artists who no longer have an outlet in downtown’s galleries or more refined stages. The American Hotel, for instance, subject of 2018 documentary “Tales of the American” and once home to the anything-goes punk rock ethos of Al’s Bar, still stands, but it isn’t lost on Mero that most of the neighborhood’s artist platforms today are softer around the edges.

Ethan Marks inside S.C. Mero’s theater inside a fake electrical box. The guerrilla art piece is near the American Hotel.

“A lot of galleries are for what can sell,” Mero says. “Usually that’s paintings and wall art.”

She dreamed, however, of an anti-establishment place that could feel inviting and erase boundaries between audience and perfomer. “People may be intimidated to get up on a stage or at a coffee shop, but here it’s right on street level.”

It’s already working as intended, says Mero. I visited the box early last week when Mero invited a pair of experimental musicians to perform. Shortly after trumpeter Ethan Marks took to the sidewalk, one of the American Hotel’s current residents leaned out his window and began vocally and jovially mimicking the fragmented and angular notes coming from the instrument. In this moment, “the box,” as Mero casually refers to it, became a true communal stage, a participatory call-and-response pulpit for the neighborhood.

Clown Lars Adams, 38, peers out of S.C. Mero’s theater inside a fake electrical box. Mero modeled the space off of Broadway’s historic theaters.

A few days prior, a rideshare driver noticed a crowd and pulled over to read his poetry. He told Mero it was his first time. The unscripted occurrence, she says, was “one of the best moments I’ve ever experienced in making art.”

“That’s literally what this space is,” Mero says. “It’s for people to try something new or to experiment.”

Marks jumped at the chance to perform for free inside the theater, his brassy freewheeling equally complementing and contrasting the sounds of the intersection. “I was delighted,” he says, when Mero told him about the stage. “There’s so much unexpectedness to it that as an improviser, it really keeps you in the moment.”

A downtown resident for more than a decade, Mero has become something of an advocate for the neighborhood. The area arguably hasn’t returned to its pre-pandemic heights, as many office floors sit empty and a string of high-profile restaurant closures struck the community. Mero’s own gallery at the corner of Spring and Seventh streets shuttered in 2024. Downtown also saw its perception take a hit last year when ICE descended on the city center and national media incorrectly portrayed the hood as a hub of chaos.

Artist S.C. Mero looks into her latest project, a fake electrical box in the Arts District. Mero has long been associated with street art in the neighborhood.

“A lot has changed in the 13 years when I first got down here,” Mero says. “Everybody felt like it was magic, like we were going to be part of this renaissance and L.A. was going to have this epicenter again. Then it descended. A lot of my friends left. But I still see the same beauty in it. The architecture. The history. Downtown is the most populous neighborhood in all of L.A. because it belongs to everybody. It’s everybody’s downtown, whether they love it or not. And I feel we are part of history.”

Art today in downtown ranges from high-end galleries such as Hauser & Wirth to the graffiti-covered towers of Oceanwide Plaza. Gritty spaces, such as Superchief Gallery, have been vocal about struggles to stay afloat. Mero’s art, meanwhile, remains a source of optimism throughout downtown’s streets.

At Pershing Square, for instance, sits her “Spike Cafe,” a mini tropical hideaway atop a parking garage sign where umbrellas and finger food props have become a prettier nesting spot for pigeons. Seen potentially as a vision for beautification, a contrast, for instance, from the nature intrusive barbs that aim to deter wildlife, “Spike Cafe” has become a statement of harmony.

Elsewhere, on the corner of Broadway and Fourth streets, Mero has commandeered a once historic building that’s been burned and left to rot. Mero, in collaboration with fellow street artist Wild Life, has turned the blighted space into a fantastical haven with a knight, a dragon and more — a decaying castle from a bygone era.

“A lot of times people are like, ‘I can’t believe you get away with that!’ But most people haven’t tried to do it, you know?” Mero says. “It can be moved easily. It’s not impeding on anyone. I don’t feel I do anything bad. Not having a permit is just a technicality. I believe what I’m doing is right.”

Musician Jeonghyeon Joo, 31, plays the haegeum outside of S.C. Mero’s latest art project, a theater in a faux electrical box.

After initially posting her electrical box on her social media, Mero says she almost instantly received more than 20 requests to perform at the venue. Two combination locks keep it closed, and Mero will give out the code to those she trusts. “Some people want to come and play their accordion. Another is a tour guide,” Mero says.

Ultimately, it’s an idea, she says, that she’s had for about a decade. “Everything has to come together, right? You have to have enough funds to buy the supplies, and then the skills to to have it come together.”

And while it isn’t designed to be forever, it is bolted to the sidewalk. As for why now was the right time to unleash it, Mero is direct: “I needed the space,” she says.

There are concerns. Perhaps, Mero speculates, someone will change the lock combination, knocking her out of her own creation. And the more attention brought to the box via media interviews means more scrutiny may be placed on it, risking its confiscation by city authorities.

As a street artist, however, Mero has had to embrace impermanence, although she acknowledges it can be a bummer when a piece disappears in a day or two. And unlike a gallerist, she feels an obligation to tweak her work once it’s out in the world. Though her “Spike Cafe” is about a year old, she says she has to “continue to babysit it,” as pigeons aren’t exactly known for their tidiness.

But Mero hopes the box has a life of its own, and considers it a conversation between her, local artists and downtown itself. “I still think we’re part of something special,” Mero says of living and working downtown.

And, at least for now, it’s the neighborhood with arguably the city’s most unique performance venue.

IT is ten past midnight as I watch a rocket blasting off and lighting up the sky for miles as it begins its mind-boggling journey to space. 

For residents in Florida it is just another day, and many only find the rumble of the sonic boom a minor inconvenience. 

But for Brits like me, even watching it from afar is a once-in-a-lifetime experience. 

Florida is the centre of the world when it comes to space travel. In April, the Artemis II Space Launch System rocket will aim to send astronauts to the moon for the first time since 1972. Right now, it is sat at the famous Launch Complex 39B. 

And nowhere can you delve deeper into the history of space travel than at the neighbouring Kennedy Space Center Visitor Complex. 

A 45-minute drive from Orlando, the centre opened in 1967 and has expanded so much that I couldn’t fit everything into my two-day visit. 

SHIRE POWER

Turf-roofed burrows to cosy waterside cabins… holiday homes for UK escapes

KIDDING AROUND

The best cheap city break for every month that even kids love – from £114pp

But top of my list was the Spaceport KSC attraction, where you head to a futuristic boarding gate and go on one of four motion theatre rides, taking you on a virtual journey to Mars, Saturn and Jupiter. 

It’s a perfect example of what the Kennedy Space Center does well — combining a thirst for knowledge with the demand from thrillseekers. 

There’s a virtual reality game called Hyperdeck and the Atlantis Shuttle Launch Experience, where you feel what a space launch is like.

The complex is a visual spectacle from the beginning, with the Rocket Garden, featuring towering spacecraft of the past, a must-do. 

I joined one of the regular 15-minute tours, and my guide Richard gave an overview of the space race with the Soviet Union and the significance of each of the rockets. 

From there, there are exhibits on everything you could want to know about Nasa, SpaceX, Blue Origin and what’s next. 

The Heroes & Legends building tells the story of Nasa’s early programmes and the astronauts who paved the way, while Race To The Moon explores everything that led to the 1969 Apollo 11 space landing — and features one of the 111-metre Saturn V rockets, which was used for missions to the lunar surface. 

That building is accessed via the bus tour of the area, included in the ticket price, where you can pass the monumental VAB building, where rockets are still built to this day.  

It was where the Apollo 11 rocket was built and features the largest doors in the world. It is so vast, you could fit the Empire State Building in it three and a half times. 

Back on the main lot, one of the most interesting exhibits is Nasa Now + Next. 

It’s one of the newest attractions and gives information about what is next in our exploration of the solar system — and the very real likelihood of mainstream space tourism.  

You’ll also have the chance to hear directly from those who have made it into space. Bill McArthur, an astronaut who went on three space shuttle missions, did a live Q&A during my visit. 

For me, it was well worth the additional $50 price tag, which came with refreshments and a signed photo. 

We talked to him about everything from how you go to the toilet in zero gravity — the logistics are fairly complex — to how he thinks we will be sending people up in rockets for years to come. 

There’s so much to see and do, with live science shows, two different IMAX shows and an Astronaut Training Experience.

And for the youngsters, there is Planet Play — a three-storey interactive soft play centre, where parents can relax at the bar while the kids let off some steam.  

The space centre has an app to plan your day, with an event calendar and show notifications as well as alerts about forthcoming launches, so it’s well worth downloading. 

 It is located on Merritt Island, a wildlife refuge area of 140,000 acres, which is popular with raccoons, bobcats, tortoises and yes, alligators, which I saw plenty of on the short drive from my hotel. 

The Courtyard by Marriott Titusville has spacious rooms and views over the Indian River, as well as a pool, gym and plenty of space goodies to keep the theme going. 

You can rent telescopes and binoculars and each room features solar system projectors to bring the night’s sky inside. 

But the real star is the Space Bar, complete with space-themed cocktails. It is the perfect location to watch launches from. 

As well as being about as close as you can get to the action, the hotel live-streams the launches so you can hear exactly what is going on at the launch pad in the lead-up. 

That’s an out-of-this-world experience I won’t forget. 

For the trendiest tenants in Hollywood office buildings, it’s the latest fad that goes way beyond designer furniture and art: mini studios

To capitalize on the never-ending flow of stars and influencers who come through Los Angeles, a growing number of companies are building bright little corners for content creators to try products and shoot short videos. Athletic apparel maker Puma, Kim Kardashian’s Skims and cheeky cosmetics retailer e.l.f. have spaces specifically designed to give people a place to experience and broadcast about their brands.

Hollywood, which hasn’t historically been home to apparel companies, is now attracting the offices of fashion retailers, says CIM Group, one of the neighborhood’s largest commercial property landlords.

“When we’re touring a space, one of the first items they bring up is, ‘Where can I build a studio?’” said Blake Eckert, who leases CIM offices in L.A.

Their studio offices also serve as marketing centers, with showrooms and meeting spaces where brands can host proprietary events not open to the public.

“For companies where brand visibility is really important, there is a trend of creating spaces that don’t just function as offices,” said real estate broker Nicole Mahalka of CBRE, who puts together entertainment property leases and sales.

Puma’s global entertainment marketing team is based in its new Hollywood offices, which works with such musical celebrity partners as Rihanna, ASAP Rocky, Dua Lipa, Skepta and Rosé, said Allyssa Rapp, head of Puma Studio L.A.

Allyssa Rapp, director of entertainment marketing at Puma, is shown in the Puma Studio L.A. The company keeps a closet full of Puma products on hand to give VIP guests. Visits to the studio sanctum are by invitation only, though.

(Kayla Bartkowski / Los Angeles Times)

Hollywood is a central location, she said, for meeting with celebrities, stylists and outside designers, most of whom are based in Los Angeles.

The office is a “creation hub,” she said, where influencers can record Puma’s design prototyping lab supported by libraries of materials and equipment used to create Puma apparel. The company, founded in 1948, is known for its emblematic sneakers such as the Speedcat and its lunging feline logo, and makes athletic wear, accessories and equipment.

Puma’s entertainment marketing team also occupies the office and sometimes uses it for exclusive events.

“We use the space as a showroom, as a social space that transforms from a traditional workplace into more of an experiential space,” Rapp said.

Nontraditional uses include content creation, sit-down dinners, product launches, album listening parties and workshops.

“Inviting people into our space and being able to give them high-touch brand experiences is something tangible and important for them,” she said. “The cultural layer is really important for us.”

The company keeps a closet full of Puma products on hand to give VIP guests. Visits to the studio sanctum are by invitation only, though. There’s no retail portal to the exclusive Hollywood offices.

Puma shoes are on display in the Puma Studio L.A.

(Kayla Bartkowski / Los Angeles Times)

Puma is also positioning its L.A studio as a connection point for major upcoming sporting events coming to Los Angeles, including the World Cup this summer, the 2027 Super Bowl and 2028 Olympics.

In-office studios don’t need to be big to be impactful, Mahalka said. “These are smaller stages, closer to green screen than a massive soundstage.”

Social media is the key driver of content created by most businesses, which may set up small booth-like stages where influencers can hawk hot products while offering discounts to people watching them perform.

Bigger, elevated stages can accommodate multiple performers for extended discussions in front of small audiences, with towering screens behind them to set the mood or illustrate products.

Among the tricked-out offices, she said, is Skims. The company, which is valued at $5 billion, is based in a glass-and-steel office building near the fabled intersection of Hollywood Boulevard and Vine Street.

The fashion retailer declined to comment on the studio uses in its headquarters, but according to architecture firm Odaa, it has open and private offices, meeting rooms, collaboration zones, photo studios, sample libraries, prototype showrooms, an executive lounge and a commissary for 400 people.

Pieces of a shoe sit on a workbench in the Puma Studio L.A.

(Kayla Bartkowski / Los Angeles Times)

The brands building studios typically want to find the darkest spot on the premises to put their content creation or podcast spaces, Eckert said, where they can limit outside light and sound. That’s commonly near the center of the office floor, far from windows and close to permanent shear walls that limit sound intrusion.

They also need space for green rooms and restrooms dedicated to the talent.

Spotify recently built a fancy podcast studio in a CIM office building on trendy Sycamore Avenue that is open by invitation-only to video creators in Spotify’s partner program.

“Ambitious shows need spaces that support big ideas,” Bill Simmons, head of talk strategy at Spotify, said in a statement. “These studios give teams room to experiment and keep pushing what’s possible.”

Now you can pair your big show with dinner and a more intimate listening experience. The Hollywood Palladium, an Art Deco music venue graced by performers like Frank Sinatra, Richard Pryor, Jimi Hendrix, Lady Gaga and Jay-Z since 1940, has debuted a swanky lounge known as Vinyl Room.

Inspired by 1970s Japanese high-fidelity (hi-fi for short) listening rooms and operated by entertainment company Live Nation, it’s a space where concertgoers can have dinner, grab drinks and catch a vinyl DJ set before or after their ticketed event in the same venue.

With a name like Vinyl Room, you can expect to see vinyl records everywhere.

“You’re in [for] a whole night of music,” says Geni Lincoln, president of the California region for Live Nation, adding that her team put “so much thought” into the sound and design of the space, which was in development for more than two years.

“I’ve been coming to the Palladium since I was a teenager, so it’s really special to see,” she says.

Entering Vinyl Room feels like you’re stepping into a secret speakeasy for music lovers, one with iconic music memorabilia, a thoughtful food menu and premium sound quality. Want to check it out? Here are five things to know.

Everything inside of Vinyl Room is inspired by the sounds and the musicians who’ve played at the Hollywood Palladium since 1940.

1. Vinyl Room is exclusively open to members and concertgoers with an upgraded ticket

Vinyl Room is open only on Hollywood Palladium show nights, starting 90 minutes before doors open, and remains open one hour after the concert. Admission is limited to concertgoers who purchase a ticket upgrade, which starts at $35. Early reservations are recommended.

Vinyl Room also offers annual membership packages, which start at $2,000 and come with various benefits such as complimentary guest passes to Vinyl Room, access to an exclusive menu, valet parking, table reservations inside the lounge, a dedicated private entry, complimentary coat check and concert ticket credits.

Tip Dunn, also known as DJ tenSpeed, played records during opening night at Vinyl Room at the Hollywood Palladium.

2. Hi-fi is having a moment in Los Angeles — and Vinyl Room delivers on sound quality

From Common Wave Hi-Fi in Boyle Heights to Slow Jamz Gallery in the Arts District and Gold Line bar in Highland Park, hi-fi — a 1950s term used to describe the high-quality reproduction of sound — venues and experiences have been slowly popping up around L.A. over the last few years. Vinyl Room joins a short list of places where audiophiles can go to listen to music on hi-fi equipment, which many argue is the best way to experience it.

Much like the Hollywood Palladium, which is known for its top-tier sound, Vinyl Room also makes sound a priority. The lounge utilizes hi-fi sound equipment including Master Sounds Clarity-M speakers to ensure that the records sound as crisp as possible. Live DJs spin records on a set of turntables, which helps to create a richer and more analog sound that is closer to the original track than compressed versions such as MP3s.

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

3. All of the decor ties back to music and the Hollywood Palladium’s rich history

With a name like Vinyl Room, you can expect to see vinyls everywhere. Records line most of the walls and shelves, drinks are served on vinyl-shaped coasters and tables and light fixtures are designed to the theme. There’s even vinyl wallpaper in the photo booth. In one corner of the lounge, you can dig through records under a neon sign that reads, “But have you heard it on vinyl?”

Ruthie Embry, vice president of architecture and design at Live Nation, says the records and other memorabilia inside the space “connects you directly to the venue’s history the second you walk in the door.”

Some standout items include a Red Hot Chili Peppers show flier, a Hollywood Palladium postcard signed by late musician and host Lawrence Welk and a photo of late singers Bonnie Baker and Orrin Tucker at the venue. Even the bathroom creates a memorable photo moment: The stalls are filled with photos of musicians and an “on air” studio sign lights up when a stall is occupied.

Vinyl Room’s menu, created by Chef Ryan DeRieux, is inspired by Asian flavors and includes items like the “Vinyl Roll,” which is made with spicy tuna.

4. Don’t worry about dinner plans before or after the show. Vinyl Room has got you covered

Eliminating the need to find a pre- or post-show restaurant, Vinyl Room has a full Asian-inspired menu created by Chef Ryan DeRieux.

Think sushi tots (like crispy tuna but with tater tots instead of rice), tuna poke nachos, chili crunch chicken wings and shiitake tempura burgers. There’s also a mouth-watering 100-ounce American wagyu skirt steak served with shishito peppers, pickles and charred carrots. For dessert, try the taiyaki, a popular fish-shaped Japanese street food, which is served with a delicious passion fruit cream that I wanted to take to go because I liked it so much.

Signature cocktails at Vinyl Room, inspired by popular songs, include the Superfly, Escape (if you like piña coladas) and Smoke on the Water.

5. The craft cocktails aren’t just delicious — they each have a story

Vinyl Room’s old-fashioned is made with Nikka Yoichi whisky, which is made in Japan.

The cocktail program, developed by third-generation bartender Sean Kenyon, is inspired by the songs created by musicians who’ve graced the Hollywood Palladium stage. A nod to the 1970s, the Superfly is a fizzy, citrus-forward play on Curtis Mayfield’s 1972 track and is made with Roku Gin and yuzu and sencha syrup. Other signature drinks include the rum-based Escape (if you like piña coladas) with coconut oolong syrup, pineapple juice and miso, and the tart yet sweet Smoke on the Water, which is reminiscent of Deep Purple’s 1972 song. The bar also offers an espresso martini (called the MT Joy), a signature old-fashioned (made with Nikka Yoichi whisky) and a Japanese whiskey highball (made with Hibiki Harmony whisky). The bar offers a number of non-alcoholic options as well.

Hear the name the Witch’s Cottage and you might conjure a mystical vision. And inside the new North Hollywood space, here there be witches, yes. But that’s just the start of it.

In one area of the two-story cafe, restaurant and bar, constellations beckon. A guide to crystals calls forth in another. An azure booth is flanked by an abstracted mermaid sculpture, and elsewhere howling wolves are engraved into the bar tops.

Witch’s Cottage co-founder Celina Lee Surniak, left, with investor/partner Ana Lovelis and co-founder Danielle Ozymandias. The three envisioned a welcoming space that views the world through a magical lens.

Hidden wonders are everywhere. Circle the cottage’s hand-constructed tree trunks, and maybe, if you’re lucky, you’ll spy a tiny door hiding a little witch. Sit at one of the tables, and don’t be surprised to hear the sounds of birds chirping from the man-made trees. Branches spring forth from paintings and every nook is a nod to something born of a fable.

A decade-long vision of the founders, the Witch’s Cottage has transformed the old Federal Bar into a colorful, whimsical fairy-tale-like forest of a gathering spot. A place where one can come for the fantasy, and stay for the chicken etouffee and the Hex Breaker, a tiki-style, rum-heavy drink for grown-up sorcerers.

“I wanted this to feel lived in,” says Danielle Ozymandias, who dreamed up the space with business partner Celina Lee Surniak, a fellow creative who like Ozymandias very much identifies as a witch. “I wanted this to be a visual feast because I think maximalism is just so interesting. That may be the ADHD talking, but I knew I wanted a lot.”

The dining room of the Witch’s Cottage aims for a fantasy forest-inspired look.

While they certainly designed the Witch’s Cottage to be family-friendly, Surniak and Ozymandias say part of their creative intent was to bring joy to adults.

“Everybody tries to shame you,” Surniak says. “Like, ‘You can’t buy that coffee. Save your money.’ No, let them have the coffee they really love. Let them get that annual pass to Disneyland. Let them have a weekly night at the movies, even if they go alone. The world is so weird right now. What we can do is find joy in tiny things.

A fairy at a media preview for North Hollywood’s new Witch’s Cottage.

“Being able to give adults the opportunity to say ‘I’m a fairy,’ is the best feeling ever,” Surniak continues. “And it’s not just at Renaissance fairs. Be a fairy here.”

Or be anyone. A sign near one of the restaurant’s restrooms makes it clear it doesn’t matter which one guests use. It asks that they simply wash their hands. “You can walk in as a witch, or a dragon, or just a FedEx worker,” Ozymandias says. “There’s no judgment.”

The Witch’s Cottage had its grand opening this weekend, and the community immediately responded with lines out the door. That wasn’t entirely surprising — the project was built by a collective. More than 200 volunteers donated more than 3,000 hours to bring the space to life, and the two founders attracted more than 100 investors via an online crowd-funding campaign that raised more than $167,000.

“We’re regular people,” Surniak says. “We don’t have a lot of money. We don’t have a nest egg. We don’t own property. If we were going to do anything, we would need help.”

Surniak says within three days of creating their campaign, they found an angel investor who offered them the funds to secure the building. Other investors followed, including Ana Lovelis and her husband Kenny Enea, known in the area for the elaborate haunted houses they have hosted at their home. The two joined as creative partners and helped with construction. Lovelis says she recognized in the Witch’s Cottage a similar outlook on life as hers. She recalled once years ago dating someone who had a skeptical and practical view of the world.

“And then there was me, being like, ‘That butterfly is a sign from my grandma,’” Lovelis says. The Witch’s Cottage, she says, is reflective of viewing the world through a magical lens. At a time of much stress for many, such a place may be needed. As Lovelis says, “What’s the harm?”

The Witch’s Cottage is a two-story space that serves as a cafe during the day and a restaurant at night. Dinner service begins at 5 p.m.

Surniak still has a day job, working as a stunt and intimacy coordinator on theatrical and Hollywood productions. Ozymandias, who previously worked in the local theater world, is focusing primarily on the Witch’s Cottage at the moment, helping to devise recipes and ensure the bakery can accommodate as many dietary restrictions as possible.

Beyond new menu items, there’s more in the works, including community events like sound baths, comedy nights and classes on composting, native plants and parenting. Or even some workshops that are more lighthearted, such as a hoped-for night on how to make a broom.

Hidden behind the upstairs bar is what’s called the Tempered Flask Tavern, and it’s an elaborate tabletop role-playing game room. Here, one will find a smoke-puffing dragon, but also digital windows that game masters can use to trigger various effects. A long table sits at its center, flanked by a knight, a digital fireplace and weaponry. Not open yet, the plan is for the room to be rented out by the hour.

The Tempered Flask Tavern is a hidden room dedicated to tabletop games inside the Witch’s Cottage. It will be available soon for guests to rent out.

Though Surniak and Ozymandias say they’ve been building vision boards for more than a decade of what the spot could look like, recent cultural shifts gave them the confidence that the timing was right. They point to “Stranger Things” and how it spawned a conversation around “Dungeons & Dragons,” or the success of Disney+ series “Agatha All Along.” More locally, they watched the rise of a game-focused bar such as the Roguelike Tavern, which is relocating to Studio City, as well as the news that experiential art firm Meow Wolf would be building an exposition in the city.

Taken as a whole, they felt bolstered that North Hollywood could support a heavily themed cafe, a home for those who have rolled a 20-sided die, once looked up the meaning of the Tower card or just enjoyed a viewing of “The Lord of the Rings.”

But one need not know the inner workings of RPGs, tarot or Middle-earth to feel at home in the Witch’s Cottage. This is a space, after all, for anyone who has ever been touched by a fairy tale, dreamed of the fantastical or wanted to believe in the power of wishing upon a star.

Views from inside North Hollywood’s the Witch’s Cottage.

So spend a little time in the Witch’s Cottage, and maybe you’ll start to imagine that cocktail is a potion, and those deviled eggs did in fact hatch from a dragon. Diners may debate between the “iron forged fondue melt” (a patty melt) or the “meze heartwich” (a white bean purée on sourdough), but childlike wonder is the specialty of the house.

“Everybody is somebody’s kid,” Ozymandias says. “And I just want a safe space for people’s kids. Even if you’re 50, or 80, you’re my kid. I want you to feel loved, and to have a cup of something warm or magical. I want you to know that whatever is outside those doors, when you’re in here, I got you.”

Feb. 24 (UPI) — NASA has delayed the first crewed launch of its Artemis program after encountering a problem with its rocket system.

The space agency said it plans to roll the Artemis II Space Launch System and Orion spacecraft off the launch pad and back into the vehicle assembly building to address the problem Wednesday. The Artemis II SLS rocket has been on launch pad at NASA’s Kennedy Space Center in Florida for more than a month, undergoing testing and rehearsals.

On Tuesday, NASA determined there was an issue with the flow of helium to the upper stage of the rocket. They’ve scheduled the rollback for Wednesday due to high winds Tuesday.

The agency said workers observed the interrupted flow of helium to the interim cryogenic propulsion stage of the rocket on Saturday. The upper stage uses the helium to maintain environmental conditions in the engine and to pressurize liquid hydrogen and liquid oxygen propellant tanks.

NASA said the helium system worked during its wet dress rehearsal earlier this month.

“Teams are reviewing potential causes of the issue, including in the interface between ground and rocket lines used to route helium, in a valve in the upper stage, and with a filter between the ground and rocket,” a NASA blog post said. “They are also reviewing data from Artemis I in which teams had to troubleshoot helium-related pressurization of the upper stage before launch.”

NASA said the rollback means Artemis II will miss its previously planned March launch window. The agency is now eyeing a possible April launch window pending the results of troubleshooting.

Artemis II is NASA’s first crewed mission aboard the SLS rocket and Orion spacecraft. It’s the second flight of the SLS and the first crewed mission near the moon since 1972.

Over 10 days, Artemis II will travel around the moon and back to Earth as the crew tests whether the spacecraft operates as it should in deep space. The long-term goal of the Artemis program is reestablish a human presence on the moon in preparation for the ultimate aim of putting a human on Mars.

The Afghanistan crisis is generally spoken of as a crisis of the hour in terms of the Taliban, outside power intervention, or an unsuccessful election season. Such framing is not as profound as the problem. The state and province conquests, bargaining, and coercion united Afghanistan, the state, but not a civic transaction between peoples. Although the significance of an actual national flag was yet to arrive, Tajiks, Uzbeks, Hazaras, Pashtuns, and minorities occupied different regions, related to regional leaders, tribal councils, and local trade routes. The power was not national but local and individual. The contemporary state emerged later, and at the inception of its emergence, it was naturally skewed in a manner that remained to fulfil the definition of politics.

The birth of Ahmad Shah Abdali, recalled as Ahmad Shah Durrani in the middle of the eighteenth century, could be recalled as one of the foundational legends. It was also when the military alliance of one community had become the core of the state’s strength. The shell of a state was built by Ahmad Shah through warfare, and the coalition of Pashtun tribes consolidated the territory and gained more lands, with the foundation of a heterogeneous and broad territory. The logic, however, was not inclusion. It was piety, preference, and blackmail. Peripheral territories like the non-Pashtun were to be ruled as they were expected to submit, pay, or surrender when the center was strong and to ignore when it was weak. That model had never killed with Ahmad Shah. It was a practice that has been emulated by other leaders who have come after and tried to play a stage of unity without building institutions that can be regarded as belonging to all groups.

The trend was established following the demise of Ahmad Shah. Kabul was rarely what it purported to be. Power moved around among leaders, but the leadership was generally stopped at metropolises, armies, and major highways. Large areas were something like semi-autonomous states, which cooperated with the state, fought it, or alternated in each of the seasons. When they say that Afghanistan has never had full rule of its own land, people are not hurting the country; they are saying a structural truth, which is that the center has never had sovereignty and has never received legitimacy on the full map. The actual authority was left to the ethnic groups, strongmen, clerics, and commanders. In that perspective, any change in Kabul became existential to the non-residents of the city, as the state was no competition referee but a prize.

Even the geography and the demography make this worse. Pashtuns have been estimated to be approximately 42 percent, Tajiks approximately 27 percent, and Hazaras and Uzbeks approximately 9 percent, and the rest are made up of Turkmen, Baloch, and others. Two official languages exist: Pashto and Dari, but the status of any language could never be a purely cultural one since it was always a political one. Even the name of the country, Afghanistan, is perceived by most Afghans as a loaded word, and that practice is tied to the Pashtun identity and leadership even when they are being applied as a national one. People are angry because of the gap between the way the label instructs us to feel and the way that people feel. Pleas of togetherness are empty when the name of a state is doubted even in real life.

The south, northeast, and many of the cities are then the Pashtun, Tajik, Uzbek, and Hazara distributions, respectively. These areas are not eliminated by violent migration, displacement in war, or careful political manipulation. Rather, the blurring would contribute to some new fault lines, and communities would need to be pushed into the interspace of their neighbors without an established system of solving disagreements without favoritism. The cross-border relationships include the Tajiks and Tajikistan, Uzbeks and Uzbekistan, and Pashtuns and Pakistan, and there is a stable tug-of-war that the neighbors and patrons can make use of. A low external and high center connection is a formula for continued disintegration.

This is the sphere where the aspect of security cannot be neglected. The decades of controversial control and open borders have transformed parts of Afghanistan into an attractive location for militants that occupy uncontrolled space. When the state cannot provide some kind of protection over territory, the armed networks take its position and deliver protection, taxation, ideology, and logistics. These networks do not have a localization. Training, financing, and planning have border-crossing characteristics, subjecting the region to an environment of a shared threat. At that, the question is not only a moral or historical one, but one of expediency: what are the political structures that may be implemented to make sure that Afghanistan will no longer remain a jihadist temptation to armed groups that can break the peace of its neighbors?

The solution is suggested in a provocative manner, and that is the territorial restructuring, a peaceful partitioning of the state along ethnic and regional lines: Uzbek majority areas become Uzbekistan, Tajik majority areas become Tajikistan, Pashtun majority areas become Pakistan, another separate state is established called Hazaras, etc. The appeal is obvious. It will eliminate the sovereignty of a group, a distinct line of power, and smaller political units, which might be more efficient to govern. It also tries to compare borders to lives in stating that when people believe that the state is an extension of them and not the rulers of the state, then stability is achieved.

Artemis 2 is a precursor to the US space agency’s planned astronaut moon landing with Artemis III scheduled for 2028.

NASA chief Jared Isaacman says Artemis 2 – the first crewed flyby mission to the moon in more than 50 years – will not launch next month because of technical problems.

Workers detected an issue with helium flow to the massive Space Launch System (SLS) rocket that will “take the March launch window out of consideration”, Issacman said in a post on social media Saturday.

Solid helium flow is essential for purging the rocket’s engines and pressurising its fuel tanks.

“I understand people are disappointed by this development. That disappointment is felt most by the team at NASA who have been working tirelessly to prepare for this great endeavor,” Isaacman said.

NASA’s next opportunity for the launch would be at the beginning or end of April.

The US space agency hopes to put humans back on the moon as China forges ahead with a rival effort that is targeting 2030 at the latest for its first crewed mission.

China’s uncrewed Chang’e 7 mission is expected to be launched in 2026 for an exploration of the moon’s south pole, and testing of its crewed spacecraft Mengzhou is also set to go ahead this year.

Multiple postponements

NASA surprised many late last year when it said Artemis 2 could happen as soon as February – an acceleration explained by the administration of US President Donald Trump’s wish to beat China to the punch.

But the programme has been plagued by delays. The uncrewed Artemis 1 mission took place in November 2022 after multiple postponements and two failed launch attempts.

Then, technical problems in early February – which included a liquid hydrogen leak – cut short a so-called wet dress rehearsal for the Artemis 2 launch. That was finally completed earlier this week.

The wet dress rehearsal was conducted under real conditions – with full rocket tanks and technical checks – at Cape Canaveral in Florida, with engineers practising the manoeuvres needed to carry out an actual launch.

The space agency revealed the latest technical problem just one day after targeting March 6 for the launch of the Artemis 2 mission.

The towering SLS rocket and Orion spacecraft will be rolled back into the Vehicle Assembly Building at the Kennedy Space Center in Florida to investigate the technical issues and make any necessary repairs, Isaacman said. He said a bad filter, valve, or connection plate could be to blame for the stalled helium flow.

Isaacman added that a complete briefing will follow in the coming days.

The goal of the Artemis 2 mission, a 10-day flight around the moon and back, is to “explore the Moon for scientific discovery, economic benefits, and to build the foundation for the first crewed missions to Mars”, according to NASA.

The planned Artemis 2 crew includes three US astronauts – Reid Wiseman, Victor Glover, and Christina Koch – and Canadian astronaut Jeremy Hansen. The mission is poised to be the farthest human flight into space ever, and the first crewed moon mission since the US Apollo programme more than half a century ago.

Artemis 2 is a precursor to NASA’s planned astronaut moon landing with Artemis 3, which is scheduled for 2028.

US president’s announcement comes amid a surge of interest following comments on aliens by ex-President Barack Obama.

United States President Donald Trump said he is directing federal agencies, including the defence department, to begin “identifying and releasing” government records related to unidentified flying objects (UFOs) and alien life forms.

Trump did not specify whether classified documents would be released to the public, but added that the files should include “any and all other information connected to these highly complex, but extremely interesting and important, matters”.

“Based on the tremendous interest shown, I will be directing the Secretary of War, and other relevant Departments and Agencies, to begin the process of identifying and releasing Government files related to alien and extraterrestrial life, unidentified aerial phenomena (UAP), and unidentified flying objects (UFOs),” Trump said late on Thursday in a post on his Truth Social platform.

The move appears to stem from a surge in public attention following recent comments by former US President Barack Obama, who suggested in a podcast interview that aliens are “real”, but that he had not personally seen one, and none were being kept in secret government facilities.

On Sunday, Obama released a statement on Instagram, clarifying what he meant by his comments, which have since gone viral.

“Since it’s gotten attention let me clarify. Statistically, the universe is so vast that the odds are good there’s life out there,” he said.

“But the distances between solar systems are so great that the chances we’ve been visited by aliens is low, and I saw no evidence during my presidency that extraterrestrials have made contact with us. Really!”

Earlier on Thursday, Trump had criticised Obama for his remarks regarding aliens, telling reporters that Obama “was not supposed to be doing that” and implying that the former president’s comments bordered on classified information.

“He made a big mistake,” Trump said of Obama.

No evidence has yet been produced of intelligent life beyond Earth, and the Pentagon in 2024 released a report stating that it had no proof that UFOs were alien technology, most being spy planes, satellites and weather balloons.

Nevertheless, messages of support poured in swiftly on social media and from Capitol Hill following Trump’s announcement to release all documents.

“Thank you POTUS!” wrote Republican Congresswoman Anna Paulina Luna, who chairs a congressional task force on unidentified aerial phenomena.

“As the Chairwoman of the Task Force that investigates these subjects, we are incredibly grateful for you doing this! I look forward to going through all the footage, photos, and reports with the public!” she wrote.

Democratic Senator John Fetterman also voiced support during an appearance on Fox News, calling Trump’s decision “fantastic” and saying that “America and the world deserve this”.

Feb. 15 (UPI) — The International Space Station is once again fully staffed with the arrival of astronauts from NASA, the European Space Agency and Roscosmos on Saturday afternoon.

A SpaceX Dragon carried the four Crew-12 members docked to the Harmony module on the ISS at 3:15 p.m. EST and, after leak checks and pressurization between the craft and the station, the hatch was opened about two hours later.

NASA astronauts Jessica Meir and Jack Hathaway, ESA astronaut Sophie Adenot and Roscosmos cosmonaut Andrey Fedyaev entered the ISS at 5:14 p.m. EST Saturday afternoon, joining NASA astronaut Chris Williams and Roscosmos cosmonauts Sergey Kud-Sverchkov and Sergei Mikaev who are already about the orbiting outpost.

“We say welcome to Crew-12 today and we are happy they all arrived safe and sound, Kud-Sverchkov, ISS Expedition 74 commander, said during an arrival event after the hatch opening. “We have been waiting for this moment for a very long time. So we are very happy and proud to work as a team here.”

Meir said she was excited to be back on ISS and that the crew is “excited to be here and get to work with Expedition 74.”

Adenot, who is a first time crew member on the ISS, said that seeing the Earth was space was “mind-blowing,” calling it “a very big moment.”

Crew-12 launched from Kennedy Space Center’s Space Launch Complex 40 in Cape Canaveral, Fla., on Feb. 13 for the 34 hour ride to reach ISS and bring the station back to full staffing levels.

Crew-11 returned to Earth early on Jan. 15 because of an undisclosed medical issue with one of the astronauts in the first-ever evacuation of a space crew from the ISS.

During Crew-12’s eight-month-long mission on ISS, the crew will conduct studies on how penumonia-causing bacteria can lead to long-term heart damage, improve on-demand IV fluid generation to verify a system that uses potable water to make saline and will investigate automated plant health monitoring to help develop methods to grow food during space missions, according to NASA.

The crew also has several spacewalks planned during their mission, the agency said.