Space

It’s not only easy to get lost in the Los Angeles County Museum of Art’s new David Geffen Galleries, it’s inevitable, intentional — and one of the best things about the place.

The museum has deconstructed the traditional, boxy narrative of art history and rendered the story itself a matter of curves and continuities. Art in the collection is freed from its departmental silos and put into conversation across genre lines, place and time.

The museum has physically invalidated the binaries of center and periphery, major and minor arts. In a startling and largely gratifying way, LACMA has done what the poet Audre Lorde, alluding to a different but not unrelated aspect of patriarchal dominance, deemed impossible: used the master’s tools to dismantle the master’s house.

The change goes far beyond a remodel. It’s a reinvention, a recalibration, a revisionist fever dream.

The vision conceived by museum director and Chief Executive Michael Govan and architect Peter Zumthor is not perfect, and brings with it a modest set of frustrations, but as a whole, the installation registers as ravishing and bracingly fresh. It thrusts us midstream into the ageless, ceaseless flow of makers worldwide reckoning with life, earth and being.

It prompts us, as we bob about, to reflect on our own proclivities and preconceptions, our patterns of reception and perception.

It compels us to recognize that what matters is not just what we see in the museum but how we see, what pulls us close and why, what private histories we bring to the occasion, what expectations, what tools.

Over two visits to the new building, getting my physical bearings mattered less and less as I surrendered to the generative sensations of not knowing. The museum has produced a dense guidebook to the new galleries, whose title, “Wander,” doubles as invitation and imperative. Even at 430 pages, the book is only minimally useful as an orientation device. For help with that internal navigation, Rebecca Solnit’s moving 2005 book, “A Field Guide to Getting Lost,” proved a better compass.

LACMA’s guidebook to the David Geffen Galleries, called “Wander,” doubles as invitation and imperative.

(Museum Associates / LACMA)

Solnit, citing the cultural critic Walter Benjamin, writes, “to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty and mystery.” She goes on to recall how roaming freely as a child was key to developing self-reliance, which feels apt to the LACMA strategy. We are put in charge of making our own way, through tapestries and tea sets, past ancient jug and contemporary sphinx, without heavy-handed authoritative direction.

The history of art reads here as one long, free verse poem-in-progress, gorgeous and absorbing. Even so, many of the most memorable moments come in the form of cogent micro-essays, smartly curated ensembles of work bearing a legible, lucid premise. Some of these are contained within four (rectilinear) walls; some occupy less demarcated spaces. “Tonal Variations: Photography and Music,” for instance, gathers images by Paul Caponigro, William Eggleston, Lisette Model and others. These artists were also serious pianists, attuned, no matter which instrument they were using, to the qualities of rhythm, pattern and progression.

Lisette Model, “Window at 5th Avenue,” 1940, Los Angeles County Museum of Art

(Museum Associates / LACMA)

In a section headed “The Global Appeal of Blue-and-White Ceramics,” a long display case houses a timeline articulated sculpturally. The sequence advances from a 9th century bowl made in Iraq to a 13th century vessel from China, a 14th century example from Thailand, another from 15th century Syria, up to work by a 20th century German artist who transformed a functional vessel into personal adornment by cutting a string of beads out of the planar surface of the bowl.

Dish, Turkey, Iznik, c. 1530-35, Los Angeles County Museum of Art

(Museum Associates / LACMA)

On the wall facing this display is a huge vitrine containing an 18th century Talavera jar from Mexico, paired with a 2025/26 color photograph by Brooklyn-based Stephanie H. Shih. In the still-life composition, a cheeky visual lesson on the collision and convergence of cultures, the jar holds flowers, cactus and edible Mexican treats influenced by Chinese and Filipino flavors.

Top, Stephanie H. Shih, 梅國 “(Still life with chamoy and Dirty T Tamarindo),” (2025- 26); bottom, Jar (c. 1700-50)

(Museum Associates / LACMA)

Shih is one of a handful of artists commissioned to create new work using the museum’s collection as muse. L.A.-based Lauren Halsey is another. Her formidable, untitled 2026 sphinx regally commands its space among ancient Egyptian and Roman sculpture, a marvel of the cross-temporal and cross-spatial, spiked with specific references to Black self-determination.

Setting recent works among older ones is an effective element of LACMA’s overall plan to shed outworn hierarchies. It recasts every piece of art by every artist throughout the single-story space as equally relevant. The seamless integration of old and new feels stealthy, and a touch subversive, a doubling-down on the museum’s approach to time as nonlinear, sinuous and delightfully slippery.

Lauren Halsey’s untitled 2026 sphinx.

(Museum Associates / LACMA)

That said, a few words readily available would help connect the dots without undermining the provocation. Text — where and how it appears, or doesn’t — is my only major complaint about the installation of the new galleries.

Text panels announce, in one or two paragraphs, the themes of each given section: “Images of the Divine in South Asia”; “The Evolution of Abstract Painting in Modern Korea”; “Textile Conversations: Africa and Black America.” Individual object labels are kept minimal, containing only basic identification about each work, no commentary. When asked about this decision during my first walkthrough, Govan replied that more time reading means less time looking — “and we have the internet.” Every thematic text panel has a QR code that links to the Bloomberg Connects app, an aggregate guide to museums and other cultural sites that offers selected, augmented entries.

Determining how much didactic information is insightful and sufficient, and how much constitutes excessive artsplaining, is a delicate, ongoing challenge for museums. Where LACMA landed on this contested plain strikes me as unfortunate and counterproductive.

A few lines of explanation or context on a wall label can add perspective for even the most informed visitor, and provides crucial support to those with less foundational exposure and access to art.

You can take or leave text on a wall without breaking your stride, but text accessed via QR code is another matter. (Never mind that connectivity is spotty inside a sprawling concrete shell, and several times when I tried to get information from the app, I couldn’t.) Encouraging us to shift our gaze from the wall to our devices — to assume that accursed downward tilt of the neck when splendors abound before our eyes — is simply detrimental. It breaks the spell of being fruitfully lost in the present, and retethers us to the digital distractions that dominate our days.

Wall text beside Francis Bacon’s “Three Studies of Lucian Freud” (1969), at Los Angeles County Museum of Art.

(Museum Associates / LACMA)

Shouldn’t the imaginative minds that created this space, this opportunity to revel in direct sensual experience, want us to keep our attention where our bodies are? Why this fallback to current convention, when the rest of the experience is about radical reinvention? This feels like a missed opportunity. I’m hoping a more experimental, exploratory approach to providing information, context and interpretation, in keeping with the rest of the enterprise, might yet come.

Does the new structure serve the art? Mostly, very well.

The lighting is varied, treated as another texture in the space, palpable and rich. There’s a generous amount of natural sunlight, but some spots are noticeably dim. Some gallery walls are glazed in deep hues (reddish and eggplant), and the intensity of the color is jarring at first. But neutral, white-box viewing spaces (with even, predictable lighting) can be found elsewhere on LACMA’s campus and pretty much anywhere art is shown. Here, the very irregularity of the interior environment, including the concrete surfaces — richer and more textured than I expected — heightened my alertness. And keener senses tend to make for more consequential experiences.

In deciding how to organize roughly 2,000 works of art across 110,000 square feet of exhibition space, LACMA devised a conceptual schema that isn’t apparent in the galleries themselves. The “Wander” guide maps out the division of the space into four regions correlating to bodies of water: the Indian, Atlantic and Pacific oceans, and the Mediterranean Sea. While the zones and their boundaries aren’t indicated by obvious signage, and I caught one laughable categorization (Ansel Adams’ photographs of the Pacific shoreline landing in the Atlantic section), this schema at least doesn’t get in the way.

And what does work about the propositional structure is its comprehensive realignment. It moves to retire art historical frameworks of the past, dependent on borders between places and times.

Throughout this installation, we are repeatedly reminded of the impact of trade and migration, the fluid movement of resources and belief systems. We’re reminded of porousness and simultaneity, and that all art histories are, in the end, propositional structures.

Here’s a new one, the Geffen Galleries say. Try it out. You might get lost. Indeed, you will get lost. And what wonders await you in the uncertainty and mystery.

April 20 (UPI) — The Federal Aviation Administration grounded Blue Origin‘s New Glenn rocket after it botched the release of a satellite following its successful launch two hours earlier.

The third launch of New Glenn and second landing of its reusable booster stage “Never Tell Me The Odds” on a drone ship in the Atlantic Ocean was a success in those terms, but the spacecraft delivered AST SpaceMobile’s BlueBird 7 satellite to an orbit too low for it to operate properly.

Blue Origin said Monday that it is leading an investigation into one of New Glenn’s engines producing insufficient thrust to reach the mission’s target orbit.

“While we were pleased with the nominal booster recovery, we clearly didn’t deliver the mission our customer wanted, and our team expects,” Blue Origin CEO Dave Limp said in a post on X.

The FAA, NASA, the National Transportation Safety Board and the U.S. Space Force also have been monitoring the situation and will require Blue Origin to complete its investigation and report on the engine anomaly, the Orlando Sentinel reported.

“A return to flight is based on the FAA determining that any system, process or procedure related to the mishap does not affect public safety,” the FAA said in explaining why it grounded the rocket.

The New Glenn-3 rocket launched around 7:30 a.m. EDT on Sunday morning, nailing the flight and landing portion of its mission, and successfully released the BlueBird 7 satellite once it reached orbit.

Because one of the two BE-3U engines that power New Glenn’s upper stage didn’t produce sufficient thrust on its second engine burn, which is meant to boost the spacecraft to its target orbit above Earth, it never got there.

Although the satellite was released and powered on properly, the off-nominal orbit — which was too low for it to be useful — AST said it would be jettisoned.

BlueBird 7 is one of 45 satellites that AST SpaceMobile hopes to get in orbit by the end of 2026 as part of a satellite-based cellular network designed to operate with standard smartphones.

The satellite would have been the companies eighth to reach orbit, and it’s share price Feller by more than 6% on Monday, The BBC reported.

Limp said Blue Origin is analyzing data as it conducts the investigation and is “in steady communication with the team at AST SpaceMobile.”

“We appreciate their partnership, and we’re looking forward to many flights together,” Limp said.

April 19 (UPI) — Blue Origin successfully launched its New Glenn rocket and landed its booster stage, but it delivered a communications satellite into an orbit too low to be useful.

New Glenn-3, the third launch of the company’s rocket, cleared the tower just before 7:30 a.m. EDT on Sunday morning and roughly six minutes later its first stage touched down on the “Jacklyn” drone ship in the Atlantic Ocean.

The fully reusable booster, called “Never Tell Me The Odds,” was making its second landing as the mission hit its second stage engine cutoff, entered orbit and released AST SpaceMobile’s BlueBird 7 satellite successfully.

The release was successful and the satellite powered up properly, but had been placed into “an off-nominal orbit,” Blue Origin said in a post on X.

“During the New Glenn 3 mission, BlueBird 7 was placed into a lower than planned orbit by the upper stage of the launch vehicle,” AST said in a press release.

“While the satellite separated from the launch vehicle and powered on, the altitude is too low to sustain operations with its on-board thruster technology and will de-orbited,” the company said. “The cost of the satellite is expected to be recovered under the company’s insurance policy.”

AST’s BlueBird 7 satellite is part of a space-based cellular broadband network the company is building that will be accessible using normal smartphones.

The satellite would have been the eighth the company has put in orbit for the network, has satellites number through 32 in production and expects BlueBird 8, BlueBird 9 and BlueBird 10 to be completed in the next month.

AST said that it plans to continue launching satellites roughly every other month for the rest 2026 using “multiple launch providers,” with a goal of 45 satellites in orbit by the end of the year.

Blue Origin, in addition to launching satellites for commercial and government entities, is also building a prototype MK1 “Endurance” lander as a test vehicle in an uncrewed moon landing later this year, Space.com reported.

The prototype is a test run for its MK2 lunar lander that will be used in NASA’s Artemis program to explore the moon and establish a permanent human presence there.

April 17 (UPI) — Nearly one-third of the United States — the northern-most third of the country — could be among areas the National Oceanic and Atmospheric Administration said could see the aurora borealis in the sky.

The northern lights are expected to be most visible, for the second night in a row, across 18 states that fall within the expected viewline this evening, USA Today and Space.com reported.

The solar winds hitting Earth at up to 430 miles per second will cause geomagnetic storms that could be visible as far south in the United States as Illinois and Oregon, according to predictions.

NOAA can most closely forecast the aurora borealis within 30 to 90 minutes of the storm’s location and intensity, but offers maps on its website to help people who would like to see it.

“Aurora can often be observed somewhere on Earth from just after sunset or just before sunrise,” NOAA said in its forecast notes.

The northern lights are an indicator of geomagnetic conditions, NOAA said, and awareness of them matter for a number of essential human technologies, including HF radio communication, GPS satellite navigation and, sometimes, ground-induced currents that affect electric transmission.

The states that are most likely to see the aurora are Alaska, Idaho, Iowa, Illinois, Maine, Michigan, Minnesota, Montana, Nebraska, New Hampshire, New York, North Dakota, Oregon, South Dakota, Vermont, Washington, Wisconsin and Wyoming.

“For many people, the aurora is a beautiful nighttime phenomenon that is worth traveling to arctic regions just to observe,” NOAA said, noting the rarity that it could be visible as far south as it has been forecast.

“It is the only way for most people to actually experience space weather,” the agency said.

The California Science Center announced Monday that construction has been completed on its new Samuel Oschin Air & Space Center, bringing the highly anticipated expansion one step closer to its public debut.

The culmination of a master project plan adopted in 1993, the sleek 20-story, 200,000-square-foot new building rising over Exposition Park will nearly double the museum’s exhibit space and anchor a $450-million campaign to permanently house the retired space shuttle Endeavour.

“I keep saying this, and it sounds cliché,” said Jeffrey Rudolph, the Science Center’s president and chief executive. “But it’s better than we ever dreamed.”

The Samuel Oschin Air & Space Center will be split into three galleries — air, space and shuttle — containing aerospace artifacts and hands-on exhibits demonstrating scientific principles.

At the heart of the new addition is Endeavour itself, displayed in a vertical “ready-to-launch” configuration that’s never been replicated with real hardware outside of a NASA or Air Force facility. The display includes rocket boosters from manufacturer Northrop Grumman and a massive external fuel tank from NASA.

Artifact installation is underway at the new Samuel Oschin Air & Space Center.

(Myung J. Chun / Los Angeles Times)

A veteran of 25 missions from 1992 to 2011, Endeavour arrived in L.A. in 2012 during a widely watched journey atop a modified Boeing 747, followed by a slow procession through city streets. For over a decade, the retired orbiter was exhibited horizontally in a temporary, tent-like structure known as the Samuel Oschin Space Shuttle Endeavour Display Pavilion.

In early 2024, Angelenos watched as the shuttle was carefully lifted and placed into its final upright position in an intensive overnight operation.

With several observation areas spanning the nearly 200-foot tall shuttle stack, Rudolph said the new installation will offer visitors “views that almost no one’s ever seen.”

A cutting-edge building design by architectural firm ZGF Architects contributes to that awe-inspiring experience with a 2,000-ton curved structural framework of diagonally intersecting steel beams called a diagrid, which eliminates interior columns and allows visitors unobstructed views of the shuttle stack.

The idea is that “you don’t have a sense there’s a building at all,” said Ted Hyman, partner at ZGF Architects. Instead, you’re meant to feel like you’re standing on a launch pad outside. The dimness of the shuttle gallery also assists in the immersive fantasy, both as an artistic choice and a practical one due to the shuttle’s sensitivity to light.

Yet while the structure is designed to be undetectable from the inside, it’s a full-blown metallic colossus on the outside — visible from the surrounding L.A. freeways. Its colors are most magnificent at sunset.

When asked whether he’d had any doubts about the feasibility of the intricately choreographed construction project, Hyman replied, “I think up until about last week.”

Nonetheless, he said, “you forget about the challenges when you see the building done.”

Lynda Oschin, wife of the new air and space center’s titular philanthropist Samuel, called the project a “dream come true.”

“This space shuttle is everything rolled into one that my husband loved: astronomy, innovation, exploration, science, math and especially children,” Oschin said. “What this is going to do for the children is just incredible.”

The donor said her husband, whose picture is in the cockpit of the Endeavour, would have been very proud — if a little embarrassed — that his name is on the new building.

The Samuel Oschin Air & Space Center is 20 stories tall.

(Myung J. Chun / Los Angeles Times)

With the construction phase in the rearview, Rudolph said the center is now focused on completing installation of the galleries’ artifacts and hands-on installations. The Samuel Oschin Shuttle Gallery, which houses the Endeavour shuttle stack, is nearest to completion. In the two others, artifact installation is well underway.

The Korean Air Aviation Gallery explores the mechanics of flight and will display approximately 25 aircraft, from historical relics like the WWII “Vampire” jet to modern supersonic jet fighters. The Kent Kresa Space Gallery will feature a wide array of spacecraft, planetary probes, telescopes and more. Rudolph was especially excited about acquiring a SpaceX Cargo Dragon, which will further the air and space center’s goal to “show people that this isn’t all history.”

“There’s a lot of amazing things going on in aviation and space, and a lot of it happening in California,” the executive said.

The interactive installations complementing the artifacts include a 747 flight simulation and a 45-foot-long slide carrying visitors down to the bottom of the shuttle stack, which Rudolph himself has already ridden. His goal with these novelties was to both educate visitors about scientific principles and get children excited about the subject, which can get flattened in the traditional school system.

“Kids get turned off to science very early,” Rudolph said, but when they come to the science center, it’s like a whole new world opens up to them.

Rudolph said he expects to announce an opening date for the Samuel Oschin Air & Space Center this summer. He added that while it’s his intention to open by the 2028 L.A. Olympics, “we’re not really building this for a two-week athletic event.”

“We’re building this for the next 50 years to serve our community and inspire people,” he said.

As Rudolph made his way across the science center campus in March, he chuckled at the children bumping into him on their way to the exhibits.

“Future scientists, right?” he said.

In 2019, the Bob Baker Marionette Theater needed a lifeline. Forced out of its edge-of-downtown home of more than 55 years, the beloved troupe with its thousands of handcrafted puppets — a saucy black cat in heels, a fish out of water that can’t help but wiggle — ultimately found a new location in a Highland Park theater.

Signing a 10-year lease was a sigh of relief for the company, the result of a lengthy search that included more than 80 spaces and ensured its playful, fanciful shows would continue to be a multigenerational, SoCal tradition. But yearly rises in rent, as well as the looming end of the contract, remained a cause of stress for the nonprofit.

The Bob Baker Marionette Theater can exhale once again.

The saucy black cat puppet in a performance at the Bob Baker Marionette Theater.

(Chloe Rice / Bob Baker Marionette Theater)

The theater’s executive team said it has entered into an agreement to purchase its current location at the corner of York Boulevard and North Avenue 50, which had former incarnations as a movie theater and a Korean church. Once completed, the $5 million acquisition will ensure the theater has a permanent home, a place where skateboarding clowns and leek-haired onions can continue to frolic and dance for decades to come.

“This is monumental for us,” says Alex Evans, the theater’s co-executive director. “It’s been decades of us struggling to survive. Now we’re at this moment where it’s not a struggle. It’s a blossoming moment where our future is set up forever.”

Bob Baker’s Highland Park home was originally built as the York Theater in 1925, hosting movies and vaudeville performances during that era. It most recently housed the Pyong Kang First Congregational Church. Over the years it has also been a barbershop and the site of an organ sales and repair store.

The purchase comes at a celebratory time for the troupe. While its annual Bob Baker Day Festival at the Los Angeles State Historic Park had to be postponed from April 12 to the fall due to a forecast of rain — the historic and fragile puppets cannot be exposed to water — the company still took its show on the road to the Coachella Valley Music & Arts Festival. Its adults-only May fundraising event the Puppet Prom, which typically raises more than $30,000, is nearly sold out, and the theater, which also hosts film screenings and concerts (with puppets, of course), continues to pack in full audiences — partly due to its location in a walkable neighborhood with young families.

And in the coming weeks the theater will launch its first new show in 40 years, “Choo Choo Revue.”

“Now is the time,” says Evans, who notes that while they have built new puppets and tweaked existing shows, this is the first proper new production since 1981’s “Hooray LA!” “We have the staff to implement it. We have a sustainable business to be able to pull off what is going to be close to a half-million-dollar production to mount a new show.”

In going public with its intent to secure the York Boulevard theater, the company is initiating a new round of fundraising. Bob Baker over the last year has raised $4.5 million of the $5 million purchase price. It is seeking $500,000 to close the gap as well as an additional $2 million for what it describes as critical renovations, such as repairing the building’s roof and restrooms.

Some of the eccentric canines puppets.

(Chloe Rice / Bob Baker Marionette Theater)

Mary Fagot, Bob Baker’s co-executive director, says the theater has in place a $500,000 loan to ensure the deal closes. Yet Bob Baker does not want to to begin its new era with debt.

“We think it’s an achievable gap,” Fagot says, pointing to community fundraising the theater had to enact to stay afloat during the COVID-19 pandemic. During the days of the shutdown, for instance, the company was able to raise $365,000 in 365 days.

Rising rent, say the co-executive directors, was a key driving factor in the decision to approach the building’s ownership to purchase the space. This year, Bob Baker will pay close to half a million in rent, an amount, says Evans, that is double the theater’s budget when it was in its prior space near downtown L.A. That, coupled with the lease’s impending expiration in a couple of years, acted as a sort of deadline to craft a proposal that could appeal to its building owners.

“We started to have discussions in 2023 with the owners of the building, and those evolved into this becoming a real possibility,” Fagot says. “Then we started the hard work of talking to our biggest supporters about getting behind us.”

Bob Baker, founded in 1963 by its namesake puppeteer, now attracts more than 145,000 audience members per year, including about 20,000 students via school field trips. Funding for the building purchase was secured, in part, by gifts from the Perenchio Foundation, the Kohl Family Foundation, the Ahmanson Foundation, the late Wallis Annenberg, and celebrity donors such as Jack Black and Tanya Haden.

A sidewalk performance outside the Bob Baker Marionette Theater featuring ladybug puppets.

(Genaro Molina / Los Angeles Times)

“I’m proud to have played a small part in helping safeguard such a beloved institution that has enriched Los Angeles for decades,” says Brian Mikail of Capstone Equities, which rents the space to the troupe. The hope when signing the lease, says Mikail, was that Bob Baker could someday be set up to purchase the venue.

The agreement, says, Fagot, is a win-win for both sides.

“I think we were the ideal owners for this space,” Fagot says. “If it’s for any other purpose, it would need a giant transformation, and for us, it’s exactly what we need.”

“Choo Choo Revue” is set to open May 16 and will feature more than 100 brand new, handcrafted puppets. Look, for instance, for a conductor with a clock as a face, dancing luggage and a cicada jug band, among a host of other oddities. Expect, perhaps, a crescent moon in pajamas to be a new favorite. Or maybe audiences will instead fall for the singing mushrooms.

“The show invites audiences to go on a train ride, where the show is looking out of a train window and seeing flights of imagination,” Evans says. “It’s daydreams outside of a window. Windmills run around. It’s weird, fantastical abstractions of what’s possible. The hope is by the end of the show people are inspired to be more creative and to look at the world more beautifully.”

There’s also a clear hunger for the type of whimsical, family-friendly entertainment that the theater provides. Gross revenues topped $3.1 million in 2025, up from $699,211 in 2018, according to its most recent annual report. Fagot says the COVID pandemic only increased the demand for the “special brand of magic” that Bob Baker creates.

“People needed community,” she says. “They just need joy. They need inspiration and creativity and want to do it together, and that is what we do.”

“All Hippos, the drone is in the control room, give us your all.”

Vanessa Bonet of the installation art group Dedo Vabo watched over a mission-control monitor deck, as the buzzing craft climbed into room full of braying hippos in rumpled suits. The beasts were, ostensibly, running a menacing communications conglomerate in a satellite tower looking over the main field of Coachella, but now they were spooked. They scampered around the office looming above the Outdoor stage, while delighted fans on the ground watched them flail behind glass.

“When you put a hippopotamus in a 10 foot enclosed space for 12 hours, they tend to go a little crazy,” Bonet said, picking up her CB radio to tell one hippo their mask had slipped off. “It takes a lot of work to keep this running.”

Coachella veterans were chuffed to hit the grounds and see “Network Operations,” the long-awaited return of Dedo Vabo’s hippos. It’s a years-long installation gag on the polo fields where actors (and Coachella performing artists) in hippo masks pantomime working at evil-ish corporations before the operation blows up in their faces by Sunday evening.

Festival goers observe ‘hippos’ at exhibit, ‘Network Operations’ at the Coachella Valley Music and Arts Festival at the Empire Polo Club in Indio on Saturday, April 11, 2026.

(Christina House/Los Angeles Times)

While the project began in a room at the infamous Cecil Hotel in downtown L.A.’s Art Walk in 2008, they’re now synonymous with Coachella and back on the field for the first time since 2019. Artists from the young punk band Die Spitz and Janelle Monáe’s crew have taken spins in the costumes (they’re hoping famed animal rights activist Moby might be up for a turn this year.) Past installments have seen the hippos found a power company, join the space race and tank the stock market.

“Network Operations” is a little slice of the arty anarchy that defined Coachella’s early, pre-influencer era. In a season of Hollywood marked by mega-mergers from well-funded nepo children, there is something timely about these oblivious creatures smashing up a printing press and a broadcast studio.

“The hippos are mimetic. It’s little bit of a reflection of society with dark, absurdist humor,” said Dedo Vabo’s Derek Doublin. “This is your friendly global neighborhood multi-conglomerate telecommunications and broadcast company. They hold enormous power but they’re also clueless about where they’re going with it.”

If any of the Skydance/Paramount brass are on the field, they might find the situation a bit resonant.

April 10 (UPI) — The crew of the Artemis II crew returned to Earth after a splashdown in the Pacific Ocean after travelling farther from Earth than any humans in history.

The Orion capsule carrying the four-person crew is expected to make a water landing just after 8:07 p.m. EDT on Friday evening, capping their 10-day mission to test NASA’s new spacecraft while taking the next steps to returning humans to the surface of the moon.

Thus far, the mission has been successful in most ways, but NASA engineers have noted that the most important part is the return to Earth.

“Every system we’ve demonstrated over the past nine days — life support, navigation, propulsion, communications — all of it depends on the final minutes of flight,” Amit Kshatriya, NASA’s associate administrator, told reporters on Thursday.

“We have confidence in the system, in the heat shield, and the parachutes and the recovery system that we’ve put together,” he said.

One of the main concerns after the Artemis I uncrewed launch was unexpected charring on the heat shield of the Orion capsule, which protects astronauts from the heat created as the spacecraft reenters Earth’s atmosphere at 40 times the speed of sound.

A combination of adjustments to the heat shield and late mission burns to adjust the angle that the capsule reenters the atmosphere is expected to resolve NASA’s concerns after the first flight of the Artemis Space Launch System and Orion crew capsule.

This is a developing story. Please check back for updates.

NASA’s Artemis II astronauts were seen being helped across the deck of a US navy recovery ship, after splashing down on Earth from their mission around the moon.

NASA’s Artemis II astronauts have returned to Earth after completing the first crewed lunar mission in more than 50 years, reaching the greatest distance ever travelled by humans. The crew successfully completed a parachute landing in the Pacific Ocean, after a high-speed re-entry through Earth’s atmosphere.

The Artemis II crew landed in the Pacific Ocean under parachutes after a high-speed re-entry that tested its heat shield.

NASA’s Artemis II astronauts have safely splashed down on Earth, completing a landmark mission that carried humans around the Moon and back for the first time in more than 50 years.

The crew successfully completed a parachute landing on Friday in the Pacific Ocean, after a high-speed re-entry through Earth’s atmosphere. Recovery teams were off the coast of California, waiting to retrieve them after their arrival at 5:07pm Pacific time (00:07 GMT).

The four astronauts will now undergo medical checks before returning to NASA’s Johnson Space Center in Houston.

NASA crew members Reid Wiseman, Victor Glover and Christina Koch, together with Canadian astronaut Jeremy Hansen, began a 10-day voyage from Florida’s Kennedy Space Center last week, travelling farther into space than any human ever has.

They looped around the far side of the moon, testing equipment in deep space, before propelling back to Earth on Friday.

Their mission was the first to the moon since the 1972 Apollo 17 mission, and their return caps a mission packed with technical milestones.

A new perspective on Earth

Artemis II is widely seen as a critical test flight for future Moon missions, particularly Artemis IV, which aims to land astronauts on the lunar surface for the first time since the Apollo era.

Engineers will now analyse key data from the mission, including the performance of the Orion capsule’s heat shield as well as navigation systems and life-support technology, all essential for safely carrying humans deeper into space.

The return also included one of the most challenging phases of the journey: a brief communication blackout during re-entry, caused by intense heat building up around the spacecraft.

But on top of its record-setting distance, the mission also marked other historic firsts. Glover became the first person of colour to travel around the moon, Koch the first woman, and Hansen the first non-American.

During their journey, the crew reported in vivid detail features of the lunar surface and later witnessed a solar eclipse as well as meteorite impacts.

Mission commander Wiseman reflected that “what we really hoped in our soul is that we could, for just a moment, have the world pause — and remember that this is a beautiful planet in a very special place in our universe”.

“We should all cherish what we have been gifted.”

Every morning since the astronauts’ departure, NASA has sent a song to Artemis II to start the day. On Friday, the astronauts awoke to the tune of Live’s song Run to the Water and the country hit Free, by Zac Brown Band.

NASA’s Artemis II astronauts have safely splashed down on Earth, completing a landmark mission that carried humans around the Moon and back for the first time in more than 50 years.

April 10 (UPI) — The Artemis II crew on Friday reached the last part of their mission to travel past the moon, farther than any human has traveled from Earth before circling back home — splashdown day.

The Orion capsule carrying the four-person crew is expected to make a water landing just after 8:07 p.m. EDT on Friday evening, capping their 10-day mission to test NASA’s new spacecraft while taking the next steps to returning humans to the surface of the moon.

Thus far, the mission has been successful in most ways, but NASA engineers have noted that the most important part is the return to Earth.

“Every system we’ve demonstrated over the past nine days — life support, navigation, propulsion, communications — all of it depends on the final minutes of flight,” Amit Kshatriya, NASA’s associate administrator, told reporters on Thursday.

“We have confidence in the system, in the heat shield, and the parachutes and the recovery system that we’ve put together,” he said.

One of the main concerns after the Artemis I uncrewed launch was unexpected charring on the heat shield of the Orion capsule, which protects astronauts from the heat created as the spacecraft reenters Earth’s atmosphere at 40 times the speed of sound.

A combination of adjustments to the heat shield and late mission burns to adjust the angle that the capsule reenters the atmosphere is expected to resolve NASA’s concerns after the first flight of the Artemis Space Launch System and Orion crew capsule.

Pastry chef, baker and champion of whole grains Roxana Jullapat opened Friends & Family in East Hollywood nine years ago, a forerunner among a new wave of artisanal bakeries in Los Angeles. Her first book, “Mother Grains,” served as an introduction to baking with freshly milled ancient grains such as rye, barley, buckwheat, corn, oat, rice, sorghum and local wheat. Her follow-up cookbook, “Morning Baker,” centers the same whole grains with an emphasis on incorporating them into easy, everyday bakes and weekend projects, from muffins and scones to viennoiserie and naturally leavened and yeasted breads, along with French toast, pancakes, waffles, doughnuts and quiche. With the first book, “I didn’t anticipate that people were so ready and hungry for cooking and baking with grains,” she said recently. “They were ingredients they already had in their kitchen.” The follow-up book is also a snapshot of Friends & Family’s morning bake, the daily production of several dozen kinds of pastries that fill the pastry case to overflowing. There are recipes that are easy to jump into, and there is a chapter devoted to whole-grain croissants, made with spelt and whole wheat. A primer on her favorite flours and recommended millers is a vital resource.

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‘It’s a historic day… but don’t forget to enjoy the view.’
Four astronauts from NASA’s Artemis II mission have broken the record for the farthest human travel from Earth. The record of 400,171km was set by Apollo 13 in April 1970.

April 6 (UPI) — The four crew members of the Artemis II mission entered the moon’s sphere of influence early Monday, marking the start of their lunar flyby.

The Orion spacecraft reached what is called the lunar sphere of influence at about 12:41 a.m. ET Monday, meaning the moon’s gravitational forces on the capsule were greater than those of Earth.

The mission launched Wednesday from Florida, and it took the spacecraft four days, six hours, two minutes and 54 seconds to cross the important gravitational milestone, the first crewed mission to enter the moon’s sphere of influence since Apollo 17 in 1972.

About 13 hours later, at 1:56 p.m., the four-person crew of NASA astronauts Reid Wiseman, Victor Glover and Cristina Koch, and Canadian Space Agency astronaut Jeremy Hansen will have surpassed the record for the farthest humans have traveled from Earth, which was previously set by Apollo 13 in 1970.

The spacecraft is expected to start its flyby of the moon at about 2:45 p.m. Monday, when a seven-hour lunar observation period will begin.

NASA said the crew will see both the near and far sides of the moon during this period. As window space is limited, the crew will be divided into pairs that will conduct between 55- and 85-minute observation shifts, it said.

Mission control sent the crew the final list of lunar surface features to be observed and photographed during the flyby early Sunday, according to NASA.

The astronauts will be tasked with observing about 30 targets, including the Orientale basin, a nearly 600-mile-wide crater that spans the boundary between the moon’s near and far sides, NASA said.

“The crew will study Orientale’s features up close and from multiple angles as they pass by,” the space agency said in a Sunday evening blog post.

Orion is expected to reach its closest approach to the moon at 4,070 miles at 7:02 p.m. only to reach its maximum distance from Earth during the mission minutes later.

The lunar observation period is expected to come to an end at 9:20 p.m.

At about 1:25 p.m. Tuesday, Orion will have exited the lunar sphere of influence en route home.

The 10-day moon flyby mission is to conclude with a splashdown off the coast of San Diego at about 8:07 p.m. Friday.

April 5 (UPI) — The four astronauts of the Artemis II mission were woken on Sunday by the sounds “Working Class Heroes (Work)” by CeeLo Green, and they will go to sleep as their spacecraft enters its sphere of gravitational influence.

Day 5 of NASA’s first journey to the moon in more than 50 years remained on course Sunday morning after maneuvering the Orion space capsule in its precise course to ricochet around the far side of the moon before heading back to Earth.

The crew is roughly half-way through its ten-day mission to test the abilities of the Orion space capsule and make direct observations of the far side of the moon, all of which will take them farther from Earth than any human has previously traveled.

The crew’s work for Sunday includes a full sequence of space suit operations and preparations for their approach to the moon, as well as their responsibilities during the five-hour trip around its back side, NASA said.

“We’re going to work!” NASA said in a post on X around 12:30 p.m. EDT on Sunday that the astronauts were hearing the day’s wake-up song, which the agency has been announcing each day of the mission.

In addition to the wake-up song, the astronauts were greeted this “morning” with an audio message from Apollo 16 astronaut Charlie Duke, who in 1972 became the 10th person to walk on the moon at age 36.

“Below you, on the moon, is a photo of my family,” Duke said in the 46-second recording, which the crew posted to X. “I pray it reminds you that we, in America, and all of the world, are cheering you on. Thanks for building on our Apollo legacy with Artemis.”

The suits are designed to protect astronauts during “dynamic” phases of space flight, can keep them alive should the Orion’s cabin depressurize and are designed to provide life support after splashing down in the ocean when they return to Earth.

The demonstration, like many of the other tasks the Artemis II crew is conducting, are meant to inform later Artemis missions to land on the moon and eventually build a human base there.

Although the crew was able to skip two other planned correctional burns on the way to entering the moon’s gravitational influence, an outbound trajectory correction burn is still planned for later today.

The final lunar science targets that the astronauts will be inspecting, photographing and analyzing will be sent from mission control and the crew will prepare to actually enter the moon’s gravity.

Canadian Space Agency President Lisa Campbell expresses her pride as the Artemis II moon orbiting mission carries the first Canadian to the moon along with three Americans. She also discusses the significance of this mission.

April 4 (UPI) — NASA announced Saturday that the four astronauts of the Artemis II mission were closer to moon than to the Earth.

NASA shared photos from the mission on X, declaring that the astronauts were officially “moonbound.”

“Artemis II astronauts are more than halfway to their destination, and preparations for lunar flyby are underway,” NASA said. “During the trip around the far side of the moon, they will capture imagery to share with scientists (and you, too!).

The photos included two images of the moon and one of the interior of the Orion capsule as the astronauts worked and looked out at space.

“We can see the moon out of the docking hatch right now. It’s a beautiful sight,” an earlier NASA post quoting the astronauts said.

On Sunday, Artemis II is expected to reach the lunar sphere of influence, meaning the moon’s gravity will be stronger than Earth’s on the spacecraft.

The astronauts are expected to make their flyby of the moon on Monday, coming to within 6,000 miles of the lunar surface. They’ll fly around the far side of the moon for about 6 hours, taking photos and making observations. During this time, the astronauts will lose communication with Earth for about 30 to 50 minutes.

Tuesday marks the start of Artemis II’s four-day return to Earth, and splashdown is scheduled for Friday.

April 3 (UPI) — NASA’s Artemis II crew left Earth orbit Thursday evening en route for the moon, marking a milestone not reached in more than 50 years.

The Orion spacecraft began a scheduled 5-minute, 50-second burn at 7:49 p.m. EDT, successfully propelling it and its four-person crew out of Earth orbit.

“Nominal translunar injection burn complete. The Artemis II crew is officially on the way to the moon,” NASA Administrator Jared Isaacman announced on social media.

“America is back in the business of sending astronauts to the moon. This time, farther than ever before.”

The crew of NASA astronauts Reid Wiseman, Victor Glover, Christina Koch and Canadian Space Agency astronaut Jeremy Hansen launched Wednesday evening from Florida’s Kennedy Space Center.

It is the first crewed mission to travel farther than low-Earth orbit since Apollo 17 in 1972.

The long-awaited exit from Earth orbit signaled that humankind is now on a trajectory to its closest celestial body, the moon at an average of 238,855 miles away.

“I got to tell you, there is nothing normal about this: sending four humans 250,000 miles away is a Herculean effort, and we are just realizing the gravity of that,” Reid said in a press conference after exiting orbit.

Asked what they are most excited about when they near the moon, Koch simply said it was views.

“Having just experienced incredible views of planet Earth and seeing the entire planet out the window in one pane, knowing that we’re about to have some similar views of the moon in that same way is definitely getting me more excited for it,” she said.

“I knew that that is what we would see, but there is nothing that prepares you for the breathtaking aspect of seeing your home planet both lit up bright as day and also the moon glow on it at night with the beautiful beam of the sunset and knowing we are going to get similar views of the moon, I’m just really excited for that.”

The Orion spacecraft is now on its way to the moon where the crew will perform a flyby, during which they will take high-resolution photographs and provide personal observations of the lunar surface, including the far side of the moon, NASA said.

After the flyby is completed, the four-person crew will begin their return to Earth, completing their 10-day deep-space journey with a splashdown in the Pacific Ocean on April 10.

The mission, in essence, is a crewed rehearsal for a future lunar landing, targeted for early 2028.

April 2 (UPI) — The Artemis II astronauts have completed their perigee raise burn as part of a planned orbital adjustment and are headed back into a four-hour rest period, NASA said.

After an earlier rest period, the astronauts were awakened at 7:06 a.m. EDT for the perigee burn. NASA played the song “Sleepyhead” by Young and Sick to wake them up.

In the perigee burn, the spacecraft lit its main engine for 43 seconds, which raised the lowest point of its orbit. This helps prevent the craft from re-entering the Earth’s atmosphere. It also refines the trajectory of the craft as it circles Earth. It put Orion into a stable high-Earth orbit, which aligns with its path to the moon.

The crew will now have another four-and-a-half-hour rest period, then they will be awakened to start their first full day in space.

Later today, the mission management team will have its first meeting of the mission to assess the spacecraft’s systems and will give its approval for the upcoming translunar injection burn. That burn will send astronauts out of Earth’s orbit and toward the Moon for the first time in 50 years. It will last just over six minutes and will speed the craft to escape Earth’s gravitational pull.

The launch on Wednesday evening began at 6:35 p.m. EDT from the Kennedy Space Center in Florida.

Soon after launch, Wiseman told operators on the ground, “We have a beautiful moonrise, we’re headed right at it.”

There was a small glitch in the craft’s space toilet, Space.com reported.

“The toilet fan is reported to be jammed,” NASA spokesperson Gary Jordan said during live mission commentary. “Now the ground teams are coming up with instructions on how to get into the fan and clear that area to revive the toilet for the mission.”

NASA Director of Flight Operations Norm Knight told reporters that the problem was a controller issue on the toilet in urine collection. The astronauts were able to use a backup system until the engineers fixed the problem before their first rest period.

About 9 minutes after the launch, the crew entered Earth’s orbit, traveling about 15,000 mph. They are expected to enter the moon’s orbit in about six days, travel around it and then return to Earth.

The four-person crew are: NASA’s Commander Reid Wiseman, Victor Glover and Christina Koch, and Canadian Space Agency’s Jeremy Hansen.