Space

March 30 (UPI) — NASA officials on Monday started the two-day countdown to the Artemis II mission launch, which will send a crew of four around the moon as they test the Space Launch System rocket and Orion spacecraft.

After canceling a launch attempt in February because of a helium valve concern, officials said that the only thing they are worried about ahead of Wednesday’s launch is the weather — and the forecast offers an 80% chance for the right conditions.

The 10-day mission, which will take the crew farther from Earth than any human before, is the next step in the agency’s goal of returning humans to the surface of the moon and establishing a permanent presence there.

With mission engineers starting the clock, the crew — Mission Specialist Jeremy Hansen, Mission Specialist Christina Koch, Commander Reid Wiseman and Pilot Victor Glover — are getting some rest and spending time with their families before starting their own pre-launch activities, officials said.

“The team concluded that everything continues to look good and there are no issues preventing us from pressing ahead,” NASA’s Associate Administrator Amit Kshatriya said during a media briefing from Kennedy Space Center in Florida.

“At this point, as we enter the pre-launch phase, we are in a strong posture and the mission remains on track,” he said.

Countdown to launch

The Artemis II launch window starts at 6:24 p.m. EDT on Wednesday, giving NASA two hours if the cumulus cloud cover is too heavy, which mission engineers said is the only thing about the weather forecast they are worried about.

The SLS and Orion was initially rolled out to the launch pad in February but engineers discovered an issue with a helium valve during a wet dress rehearsal and decided to bring the rock back to the Vehicle Assembly Building to check it out.

After replacing the valve, and checking on other systems, the rocket was rolled back out on March 19.

Monday’s mission management team meeting is similar to the flight readiness review but is a faster rundown than that comprehensive effort as each group updates others on their pre-launch progress.

Charlie Blackwell-Thompson, launch director for the mission, said the launch countdown officially started at 4:44 p.m. EDT on Monday, which corresponds with NASA starting to configure ground facilities at the launch pad.

She noted that, while most people are familiar with a 30-minute or 10-minute countdown, launch countdowns are generally linked to the preparation needed for launch — shuttle countdowns started three days before launch, while commercial launches may often need a countdown of one day or less.

Crew awaits launch

The Artemis crew arrived in Cape Canaveral “on Friday, getting an opportunity for some rest before we work them very hard,” Emily Nelson, the mission’s chief flight director, said of the foursome, which has been in quarantine already for a couple of weeks.

Like many crews of astronauts before them, the Artemis crew has been staying at The Astronaut Beach House, which NASA has owned since 1963 and where space mission crews have spent time ahead of launches for decades.

Before the start of their final meetings and prep for launch, the crew was expected to eat dinner and spend time with their families, all of whom also have been required to comply with some sort of quarantine before getting there.

On launch day, after fuel tanking and last-minute items by a closeout crew around 1:00 p.m. EDT, the crew will board the Orion at 2:00 p.m. EDT to conduct communication system checks, configure the crew module and run the countdown to a 10-minute hold for about 30 minutes, Blackwell-Thompson said.

During that 30-minute hold, mission engineers will run through one more system-by-system before starting the final countdown to NASA’s first crewed mission to the moon in more than 50 years.

March 24 (UPI) — NASA on Tuesday announced plans to spend $30 billion on a permanent lunar base and send astronauts to the moon every six months after the Artemis V mission.

Speaking at a so-called “Ignition” event at NASA headquarters in Washington, D.C., Administrator Jared Isaacman discussed plans to accelerate construction of a moon base.

“There will be an evolutionary path to building humanity’s first permanent surface outpost beyond Earth,” he said.

“NASA is committed to achieving the near-impossible once again: to return to the moon before the end of President [Donald] Trump’s term, build a moon base, establish an enduring presence, and do the other things needed to ensure American leadership in space.”

NASA’s plan was initially to focus on what it called the Gateway program — a space station that was going to orbit the moon. Then the agency would build a base on the moon.

Carlos Garcia-Galan, the program executive for NASA’s Moon Base program, said the systems and hardware already established for the Gateway program would be repurposed to build the moon base.

Isaacman said the moon base plan will comprise three phases.

The first phase would include a series of missions to send small robotic landers and vehicles astronauts can drive on the surface to the moon. It would also encompass communications and scientific instruments.

The second phase would involve the construction of a “semi-habitable infrastructure” for astronauts on the lunar surface.

The third phase would start construction of a more permanent structure.

The first two phases would involve an investment of $20 billion over the next seven years and dozens of missions to the moon. The third phase would cost another $10 billion.

“The moon base will not appear overnight,” Isaacman said.

Isaacman said NASA also plans to launch a nuclear-propelled spacecraft to Mars by 2028.

NASA’s launch window for Artemis II is set to open April. The crewed mission is expected to send the Space Launch System and Orion spacecraft to orbit the moon over 10 days and return to Earth. The crew will test whether the spacecraft operates in deep space.

The long-term goal of the Artemis program is to re-establish a human presence on the moon in preparation for the ultimate aim of putting a human on Mars.

The agency will increase robotic missions to the moon and launch a spacecraft called Space Reactor 1 Freedom.

NASA has unveiled a major overhaul of its moon and Mars strategy, scrapping plans for a lunar-orbit space station and instead committing $20bn over the next seven years to build a base on the moon’s surface, while also advancing plans to send a nuclear-powered spacecraft to Mars.

NASA Administrator Jared Isaacman outlined the changes on Tuesday during a meeting in Washington, DC, with partners, contractors and government officials involved in the Artemis programme, saying the agency will increase robotic missions to the moon and lay the groundwork for nuclear power on the lunar surface.

Isaacman, appointed by US President Donald Trump and who took charge in December, said the changes form part of a broader overhaul of NASA’s long-term Moon-to-Mars strategy.

The planned moon base is intended to support long-term human presence on the lunar surface, with robotic missions expected to help prepare the site, test technologies and begin building infrastructure before astronauts return later this decade.

The agency also disclosed plans to launch a spacecraft called Space Reactor 1 Freedom before the end of 2028, a mission designed to demonstrate nuclear electric propulsion in deep space on the way to Mars.

The spacecraft will deliver helicopters on the Red Planet, similar to the Ingenuity robotic test helicopter that flew with NASA’s Perseverance rover, a step the agency said would help move nuclear propulsion technology from laboratory testing to operational space missions.

The Ingenuity helicopter was the first aircraft to achieve powered, controlled flight on another planet. It travelled to Mars attached to NASA’s Perseverance rover and landed in February 2021.

Pausing the Lunar Gateway station

The Lunar Gateway station, a planned space station in lunar orbit being developed with contractors including Northrop Grumman and international partners, was meant to serve as a base where astronauts could live and work before heading to the Moon’s surface.

But NASA now plans to repurpose some Gateway components for use on the surface instead.

Repurposing Lunar Gateway to create a base on the moon’s surface leaves uncertain the future roles of Japan, Canada and the ‌European Space ⁠Agency in the Artemis programme, three key NASA partners that had agreed to provide components for the orbital station.

“It should not really surprise anyone that we are pausing Gateway in its current form and focusing on infrastructure that supports sustained operations on the lunar surface,” Isaacman said.

The changes to NASA’s flagship Artemis programme are reshaping billions of dollars’ worth of contracts and come as the United States faces growing competition from China, which is aiming to land astronauts on the moon by 2030.

The Artemis programme, begun in 2017 during Trump’s first term as president, envisions regular lunar missions as NASA’s long-awaited follow-up to its first moon missions in the Apollo programme that ended in 1972.

Space isn’t a forgiving place to be stuck. There’s no air, no pulling over for directions and no margin for error. When something goes wrong, you’re left with whatever you have on hand for however long you can make it last.

That fear drives the new sci-fi epic “Project Hail Mary,” opening in theaters Friday, with Ryan Gosling as Ryland Grace, a middle school science teacher who wakes up alone on a spacecraft light-years from Earth with no memory of how he got there. Gradually he realizes he’s been sent on a mission to figure out why the sun is dimming and how to stop it. What begins in isolation turns into something closer to a buddy movie, as Grace ends up working with an alien he names Rocky, another traveler trying to solve the same problem.

The film, directed by Phil Lord and Christopher Miller, comes from sci-fi author Andy Weir, whose earlier, similarly survival-themed breakthrough novel “The Martian” was adapted by director Ridley Scott in 2015. That movie put Matt Damon alone on Mars and made the act of thinking through one life-or-death problem after another the engine of the story. The result was a critical and commercial hit that earned seven Oscar nominations, including best picture.

Put someone out in space long enough and the story can go in many directions. Sometimes it’s about survival. Sometimes it turns inward. Sometimes it gets more horrific or even darkly comic. Here are eight of our favorite movies about people lost or stranded in space. Watch them somewhere with plenty of oxygen.

A POPULAR holiday destination just a few hours from the UK is getting a huge new £960million airport expansion.

Mohammed V Airport in Casablanca, Morocco is currently expanding its airport with a new terminal which will be able to handle up to 20million passengers a year.

The new terminal will be ‘H’ shaped and is expected to be operational by 2029, in time for the 2030 FIFA World Cup.

It will have three levels with shops, green spaces and an airport hotel.

In addition, the terminal will be connected to Morocco‘s high-speed rail (LGV) network with links to Kenitra and Marrakech.

According to Architects’ Journal, the terminal will feature “sweeping undulations of the roof [evoking] the waves and movement of the Atlantic”.

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The project also includes a 3,700-metre runway, which will run alongside taxiways and a new 42-metre-tall air traffic control tower.

British architecture firm, RSHP – who designed London’s Millennium Dome and Heathrow Airport’s Terminal 5 and control tower – will design the new terminal at Mohammed V Airport.

Ivan Harbour, senior design director at RSHP, said: “The airport will be a celebration of light, warmth and human scale, undulating from grand central spaces to intimate and calming oases, a memorable experience for all travelling through it.

“It will be a state of the art, responsible, building that interprets and celebrates the landscape of its place to create a graceful threshold between Casablanca and the world beyond.”

The airport currently has two terminals and serves around 11.5million passengers each year.

Royal Air Maroc flies direct to Casablanca from London Heathrow with flights starting from £178 one-way.

Though, with the airport expansion there could be more services to the UK in the future.

Casablanca’s main attraction is the Hassan II Mosque, one of the largest mosques in the world.

It also has a popular seaside promenade with lots of hotels and restaurants as well as Habous Quarter (known for its Moorish-style architecture, olive souks and bookstores) and the Old Medina with traditional markets.

The city is pretty cheap as well – a three-course meal for two usually costs around £23.74, while a beer is less than £3.

And the famous 1942 film Casablanca was also set in the city during World War II.

Despite mostly being filmed in studios in California, the film depicts the bustling city of Casablanca when it was used by people fleeing Nazi-occupied Europe.

In other airport news, a major London airport has hiked its drop off fees to £10 – the second highest in the UK.

Plus, these are all the new routes launching from the UK’s biggest and busiest airport this spring and summer.

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.