SpaceX's 'All-Civilian' Crew Represents the Dawn of a Second Space Age

Alan Boyle, GeekWire

GeekWire contributing editor Alan Boyle is an award-winning science writer and veteran space reporter. Formerly of, he is the author of "The Case for Pluto: How a Little Planet Made a Big Difference." Follow him via, on Twitter @b0yle, and on Facebook and MeWe.

SpaceX's 'All-Civilian' Crew Represents the Dawn of a Second Space Age

Are they space tourists? Citizen spacefliers? All-civilian astronauts? Whatever you call them, the four teammates who are due to go into orbit today in a SpaceX Crew Dragon capsule require creating a new category.

"I know there's controversy over what you should be called," retired NASA astronaut Scott Kelly told the foursome today in a tweet. "But when you strap into a rocket and launch into orbit, you can call yourself anything you want: astronot, astronut, astronaut — whatever."

There's Jared Isaacman, the billiionaire CEO of Shift4 Payments, who's paying for the launch and is the mission commander … Hayley Arceneaux, the 29-year-old cancer survivor who's due to become the youngest American to go into space … Sian Proctor, the professor and artist who'll back up Isaacman as America's first Black space pilot.

And then there's Chris Sembroski, a former Air Force missile technician and Lockheed Martin engineer from Everett, Wash. Sembroski got his chance to train for the mission and climb onboard the Dragon when an old college buddy of his won a charity sweepstakes — and then gave the reservation to him.

"I think that just really puts me in a very special spot, where not only do I feel very lucky to be here, but I have a huge responsibility to pay that forward," Sembroski said during a pre-launch briefing.

Liftoff atop a SpaceX Falcon 9 rocket is set for 8:02 p.m. ET (5:02 p.m. PT) from the historic Launch Complex 39A at NASA's Kennedy Space Center. But although the three-day Inspiration4 mission starts out from a NASA-owned facility, the space agency has minimal involvement.

This will be the first non-governmental crewed flight to orbit, and the first crewed SpaceX flight to pass up going to the International Space Station. Instead, the foursome will go into an orbit higher than the space station — higher than humans have flown since the space shuttle missions to the Hubble Space Telescope.

During the flight, Isaacman and his crew will conduct science experiments, teach classes from space and conduct auctions and other charity activities aimed at benefiting St. Jude Children's Research Hospital. Sembroski will even play a tune on his ukulele, although he admitted to "a little bit of stage fright." If all goes according to plan, the Dragon will descend to a splashdown in the Atlantic Ocean on Saturday.

Streaming coverage of the countdown, launch and in-space operations is due to begin about four hours before launch via SpaceX's website.

On one level, the Inspiration4 mission is a billionaire's attempt to turn the crew's personal space adventures into a fund-raising campaign for St. Jude. Isaacman's objective is to raise $200 million for the hospital, and he's already committed $100 million of his own money. That's on top of what he's paying SpaceX: Although Isaacman isn't saying how much the launch is costing, the fare is thought to be in excess of $100 million (but not as high as $200 million).

On another level, the first essentially non-governmental, "all-civilian" flight to orbit is meant to blaze a trail for wider access to space — not just by trained test pilots and other professional astronauts, but by regular folks.

And on yet another level, Inspiration4 could be seen as one more not-so-small step toward SpaceX CEO Elon Musk's vision of establishing beachheads for humanity on other worlds.

"This is the organization that is going to, in large part, get us to the moon, certainly with eyes toward Mars, right?" Isaacman said. "And there are a lot of risks on a six-month journey like that. So it's better to start taking some steps now, in a very well thought-out, mitigated way, so that we can continue to reach toward those extraordinary goals, like making life multiplanetary."

For all those reasons, one of Inspiration4's mission managers, Todd "Leif" Ericson, argues that the flight could mark the true beginning of a second space age. And Ericson isn't some starry-eyed space geek: He's a former Air Force test pilot who's also a veteran of Virgin Galactic's suborbital space program.

Ericson talked about the mission and its significance during an interview on the eve of the launch. Here's an edited transcript of the Q&A:

Ericson: "This mission is a great example of what a commercial entity like SpaceX is capable of doing on short notice. Dragon had never been higher than ISS, at about 420 kilometers, and we told them that for this mission, we want to do something significant. We want to start taking those first steps out toward becoming an interplanetary species — which means we've got to start working our way above low Earth orbit. They went through the analysis, and we were able to come up with an orbital altitude of 575 kilometers. That is the highest humans have been since, really, Apollo — save two missions, which are basically the shuttle's Hubble deployment and repair missions. That's a pretty significant thing.

"And then, SpaceX decided to create this cupola for viewing the Earth and deep space. The time from inception to flight-ready hardware was basically six months. Try to do that on a government contract!"

GeekWire: Were there any things that needed to be changed in terms of the training because this is a non-NASA mission?

Ericson: "That's a huge theme for everybody on this mission. We're building on the backs of giants. All that NASA has done is being leveraged for this. The training is as intensive as what any NASA crew would get for flying Dragon, but it's tailored to our mission. We're not going to the ISS, so there's no requirement for worrying about proximity operations or docking, but there are things like the cupola and mitigating the risks there."

GeekWire: Everybody wants to know how it's been for non-professional astronauts to go through that training, and what this portends for the future.

Ericson: "I've been very interested in that myself. I think this mission marks the dawn of what I'd call the second space age. It's the space age where space is accessible, no longer just for nation states, but for corporations and normal individuals. Up to this time, NASA has had the luxury of being able to hand-select the best of the best, physically and academically. But the next generation is going to require us to put up a lot more than the 600 people we've put in orbit over the last 50-plus years.

"You need to figure out how average people fare in space. What restrictions are really there? It's easy for a medical team to put in stringent requirements when you've got the world's population to pick from. But as you start opening that aperture and allowing more and more people to come, you surely can't be as selective. And I think there are also some interesting benefits when you start opening that aperture."

GeekWire: You get people with different perspectives.

Ericson: "Right. Up to this point, it's been a lot of test pilots, scientists and engineers. It's been a very left brain-focused thing. But from the perspective of benefiting humanity, how do we do this in a way that opens up other aspects that are less tangible? I think those aspects are equally important, and in some ways more important, to this goal of exploration and becoming an interplanetary species."

GeekWire: I wanted to ask about your own experience going through the mission — for example, being in a Netflix documentary series. I'm betting that's a bit more than you would have bargained for.

Ericson: "Here's what I think is so wonderful about this mission: It's the emphasis on St. Jude's. Jared has said many times that it's one thing to go to space and have the opportunity to do what he's doing. There are so many amazing things are going to happen because of that. But if we do that without remembering what's going on back here on Earth, we've missed the boat. Jared's 'bumper sticker' is, "Hey, if we can go to space, we need to be able to cure childhood cancer back here on Earth and take care of some of these other problems.'

"I think that's what's been so cool about being part of this: the outward focus. Jared is not focusing this on himself. He doesn't want to, because he recognizes that's not the important part. You know, with the flights of Sir Richard Branson and Jeff Bezos, there's been this focus on 'billionaires in space.' And there's been kind of a negative connotation to that. I hope that the Netflix documentary highlights the fact that this is really about much more than just four people going into space. If you look back at the history of humankind, we've only advanced because we've taken the time and the capital to go beyond where we've gone before.

"Space exploration is expensive, right? Initially, it's going to take people like Jared, who have the financial means to do so, to start pushing that envelope. Aviation is a great example. It initially followed a very similar course, right between World War I and World War II. The industry transitioned from being essentially the domain of government to finding civil applications. This thing that was a military instrument can now benefit humankind as a whole. That's where I think we're at with space travel right now.

"I applaud guys like Jared who are willing to take the resources that they've worked hard to obtain and put them toward something that will ultimately benefit all of humankind. I think it's a very noble endeavor, and I'd hate for that to get lost in the narrative. It's so easy to just chalk it up as a 'billionaire joyride to space,' and as you know, this is so much more than that.”

This story originally appeared on GeekWire.

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How Token and Tixr Plan to Take on Ticketmaster in L.A.

Andria Moore

Andria is the Social and Engagement Editor for dot.LA. She previously covered internet trends and pop culture for BuzzFeed, and has written for Insider, The Washington Post and the Motion Picture Association. She obtained her bachelor's in journalism from Auburn University and an M.S. in digital audience strategy from Arizona State University. In her free time, Andria can be found roaming LA's incredible food scene or lounging at the beach.

How Token and Tixr Plan to Take on Ticketmaster in L.A.
Evan Xie

When Taylor Swift announced her ‘Eras’ tour back in November, all hell broke loose.

Hundreds of thousands of dedicated Swifties — many of whom were verified for the presale — were disappointed when Ticketmaster failed to secure them tickets, or even allow them to peruse ticketing options.

But the Taylor Swift fiasco is just one of the latest in a long line of complaints against the ticketing behemoth. Ticketmaster has dominated the event and concert space since its merger with Live Nation in 2010 with very few challengers — until now.

Adam Jones, founder and CEO of Token, a fan-first commerce platform for events, said he has the platform and the tech ready to take it on. First and foremost, with Token, Jones is creating a system where there are no queues. In other words, fans know immediately which events are sold out and where.

“We come in very fortunate to have a modern, scalable tech stack that's not going to have all these outages or things being down,” Jones said. “That's step one. The other thing is we’re being aggressively transparent about what we’re doing and how we’re doing it. So with the Taylor Swift thing…you would know in real time if you actually have a chance of getting the tickets.”

Here’s how it works: Users register for Token’s app and then purchase tickets to either an in-person event, or an event in the metaverse through Animal Concerts. The purchased ticket automatically shows up in the form of a mintable NFT, which can then be used toward merchandise purchases, other ticketed events or, Adams’s hope for the future — external rewards like airline travel. The more active a user is on the site, the more valuable their NFT becomes.

Ticketmaster has dominated the music industry for so long because of its association with big name artists. To compete, Token is working on gaining access to their own slew of popular artists. They recently entered into a partnership with Animal Concerts, a live and non-live event experiences platform that houses artists like Alicia Keys, Snoop Dogg and Robin Thicke, and has “access to Roc Nation.”

“You'll see they do all the metaverse side of the house,” Jones said. “And we're going to be the [real-life] web3 sides of the house.”

In addition, Token prides itself on working with the artists selling on their platform to set up the best system for their fanbase, devoid of hefty prices and additional fees — something Ticketmaster users have often complained about. Jones believes where Ticketmaster fails, Token thrives. The app incentivizes users to share more data about their interests, venues and artists by operating on a kind of points system in the form of mintable NFTs.

“We can actually take the dataset and say there’s 100 million people in the globe that love Taylor Swift, so imagine she’s going on tour and we ask [the user], ‘Would you go to see her in Detroit?’ And imagine this place has 30,000 seats, but 100,000 people clicked ‘yes,’” he explained. “So you can actually inform the user before anything even happens, right? About what their options are and where to get it.”

Tixr, a Santa-Monica based ticketing app, was founded on the idea that modern ticketing platforms were “living in the legacy of the past.” They plan to attract users by offering them exclusive access to ticketed events that aren’t in Ticketmaster’s registry.

“It melts commerce that's beyond ticketing…to allow fans to experience and purchase things that don't necessarily have to do with tickets,” said Tixr CEO and Founder Robert Davari. “So merchandise, and experiences, and hospitality and stuff like that are all elegantly melded into this one, content driven interface.”

Tixr sells tickets to exclusive concerts like a Tyga performance at a night club in Arizona, general in-person festivals like ComplexCon, and partners with local vendors like The Acura Grand Prix of Long Beach to sell tickets to the races. Plus, Davari said it’s equipped to handle high-demand, so customers aren’t spending hours waiting in digital queues.

Like Token, Tixr has also found success with a rewards program — in the form of fan marketing.

“There's nothing more powerful in the core of any event, brand, any live entertainment, [than] the community behind it,” Davari said. “So we build technology to empower those fans and to reward them for bringing their friends and spreading the word.”

Basically, if a user gets a friend to purchase tickets to an event, then the original user gets rewarded in the form of discounts or upgrades.

Robert Davari by Austin Neil

Coupled with their platforms’ ability to handle high-demand events, both Jones and Davari believe their platforms have what it takes to take on Ticketmaster. Expansion into the metaverse, they think, will also help even the playing field.

“So imagine you can't go to Taylor Swift,” Jones said. “What if you could purchase an exclusive to actually go to that exact same show over the metaverse? An artist’s whole world can expand past the stage itself.”

With the way ticketing for events works now, obviously not everyone always gets the exact price, venue or date they want. There are “winners and losers.” Jones’s hope is that by expanding beyond in-person events, there can be more winners.

“If there’s 100,000 people who want to go to one show and there's 37,000 seats, 70,000 are out,” he said. “You can't fight that. But what we can do is start to give them other opportunities to do things in a different way and actually still participate.”

Jones and Davari both teased that their platforms have some exciting developments in the works, but for now both Token and Tixr are set on making their own space within the industry.

“We simply want to advance this industry and make it more efficient and more pleasurable for fans to buy,” Davari said. “That's it.”

Here’s Why Streaming Looks More and More Like Cable

Lon Harris
Lon Harris is a contributor to dot.LA. His work has also appeared on ScreenJunkies, RottenTomatoes and Inside Streaming.
Here’s Why Streaming Looks More and More Like Cable
Evan Xie

The original dream of streaming was all of the content you love, easily accessible on your TV or computer at any time, at a reasonable price. Sadly, Hollywood and Silicon Valley have come together over the last decade or so to recognize that this isn’t really economically viable. Instead, the streaming marketplace is slowly transforming into something approximating Cable Television But Online.

It’s very expensive to make the kinds of shows that generate the kind of enthusiasm and excitement from global audiences that drives the growth of streaming platforms. For every international hit like “Squid Game” or “Money Heist,” Netflix produced dozens of other shows whose titles you have definitely forgotten about.

The marketplace for new TV has become so massively competitive, and the streaming landscape so oversaturated, even relatively popular shows with passionate fanbases that generate real enthusiasm and acclaim from critics often struggle to survive. Disney+ canceled Luscasfilm’s “Willow” after just one season this week, despite being based on a hit Ron Howard film and receiving an 83% critics score on Rotten Tomatoes. Amazon dropped the mystery drama “Three Pines” after one season as well this week, which starred Alfred Molina, also received positive reviews, and is based on a popular series of detective novels.

Even the new season of “The Mandalorian” is off to a sluggish start compared to its previous two Disney+ seasons, and Pedro Pascal is basically the most popular person in America right now.

Now that major players like Netflix, Disney+, and WB Discovery’s HBO Max have entered most of the big international markets, and bombarded consumers there with marketing and promotional efforts, onboarding of new subscribers inevitably has slowed. Combine that with inflation and other economic concerns, and you have a recipe for austerity and belt-tightening among the big streamers that’s virtually guaranteed to turn the smorgasbord of Peak TV into a more conservative a la carte offering. Lots of stuff you like, sure, but in smaller portions.

While Netflix once made its famed billion-dollar mega-deals with top-name creators, now it balks when writer/director Nancy Meyers (“It’s Complicated,” “The Holiday”) asks for $150 million to pay her cast of A-list actors. Her latest romantic comedy will likely move over to Warner Bros., which can open the film in theaters and hopefully recoup Scarlett Johansson and Michael Fassbender’s salaries rather than just spending the money and hoping it lingers longer in the public consciousness than “The Gray Man.”

CNET did the math last month and determined that it’s still cheaper to choose a few subscription streaming services like Netflix and Amazon Prime over a conventional cable TV package by an average of about $30 per month (provided you don’t include the cost of internet service itself). But that means picking and choosing your favorite platforms, as once you start adding all the major offerings out there, the prices add up quickly. (And those are just the biggest services from major Hollywood studios and media companies, let alone smaller, more specialized offerings.) Any kind of cable replacement or live TV streaming platform makes the cost essentially comparable to an old-school cable TV package, around $100 a month or more.

So called FAST, or Free Ad-supported Streaming TV services, have become a popular alternative to paid streaming platforms, with Fox’s Tubi making its first-ever appearance on Nielsen’s monthly platform rankings just last month. (It’s now more popular than the first FAST service to appear on the chart, Paramount Global’s Pluto TV.) According to Nielsen, Tubi now accounts for around 1% of all TV viewing in the US, and its model of 24/7 themed channels supported by semi-frequent ad breaks couldn’t resemble cable television anymore if it tried.

Services like Tubi and Pluto stand to benefit significantly from the new streaming paradigm, and not just from fatigued consumers tired of paying for more content. Cast-off shows and films from bigger streamers like HBO Max often find their way to ad-supported platforms, where they can start bringing in revenue for their original studios and producers. The infamous HBO Max shows like “The Nevers” and “Westworld” that WBD controversially pulled from the HBO Max service can now be found on Tubi or The Roku Channel.

HBO Max’s recently-canceled reality dating series “FBoy Island” has also found a new home, but it’s not on any streaming platform. Season 3 will air on TV’s The CW, along with a new spinoff series called (wait for it) “FGirl Island.” So in at least some ways, “30 Rock” was right: technology really IS cyclical.

As TikTok Faces a Ban, Competitors Prepare to Woo Its User Base

Kristin Snyder

Kristin Snyder is dot.LA's 2022/23 Editorial Fellow. She previously interned with Tiger Oak Media and led the arts section for UCLA's Daily Bruin.

As TikTok Faces a Ban, Competitors Prepare to Woo Its User Base
Evan Xie

This is the web version of dot.LA’s daily newsletter. Sign up to get the latest news on Southern California’s tech, startup and venture capital scene.

Another day, another update in the unending saga that is the potential TikTok ban.

The latest: separate from the various bills proposing a ban, the Biden administration has been in talks with TikTok since September to try and find a solution. Now, having thrown its support behind Senator MarkWarner’s bill, the White House is demanding TikTok’s Chinese parent company, ByteDance, sell its stakes in the company to avoid a ban. This would be a major blow to the business, as TikTok alone is worth between $40 billion and $50 billion—a significant portion of ByteDance’s $220 billion value.

Clearly, TikTok faces an uphill battle as its CEO Shou Zi Chew prepares to testify before the House Energy and Commerce Committee next week. But other social media companies are likely looking forward to seeing their primary competitor go—and are positioning themselves as the best replacement for migrating users.


Last year, The Washington Post reported that Meta paid a consulting firm to plant negative stories about TikTok. Now, Meta is reaping the benefits of TikTok’s downfall, with its shares rising 3% after the White House told TikTok to leave ByteDance. But this initial boost means nothing if the company can’t entice creators and viewers to Instagram and Facebook. And it doesn’t look promising in that regard.

Having waffled between pushing its short-form videos, called Reels, and de-prioritizing them in the algorithm, Instagram announced last week that it would no longer offer monetary bonuses to creators making Reels. This might be because of TikTok’s imminent ban. After all, the program was initially meant to convince TikTok creators to use Instagram—an issue that won’t be as pressing if TikTok users have no choice but to find another platform.


Alternatively, Snap is doing the opposite and luring creators with an ad revenue-sharing program. First launched in 2022, creators are now actively boasting about big earnings from the program, which provides 50% of ad revenue from videos. Snapchat is clearly still trying to win over users with new tech like its OpenAI chatbot, which it launched last month. But it's best bet to woo the TikTok crowd is through its new Sounds features, which suggest audio for different lenses and will match montage videos to a song’s rhythm. Audio clips are crucial to TikTok’s platform, so focusing on integrating songs into content will likely appeal to users looking to recreate that experience.


With its short-form ad revenue-sharing program, YouTube Shorts has already lured over TikTok creators. It's even gotten major stars like Miley Cyrus and Taylor Swift to promote music on Shorts. This is likely where YouTube has the best bet of taking TikTok’s audience. Since TikTok has become deeply intertwined with the music industry, Shorts might be primed to take its spot. And with its new feature that creates compiles all the videos using a specific song, Shorts is likely hoping to capture musicians looking to promote their work.


The most blatant attempt at seducing TikTok users, however, comes from Triller, which launched a portal for people to move their videos from TikTok to its platform. It’s simple, but likely the most effective tactic—and one that other short-form video platforms should try to replicate. With TikTok users worried about losing their backlog of content, this not only lets users archive but also bolsters Triller’s content offerings. The problem, of course, is that Triller isn’t nearly as well known as the other platforms also trying to capture TikTok users. Still, those who are in the know will likely find this option easier than manually re-uploading content to other sites.

It's likely that many of these platforms will see a momentary boost if the TikTok ban goes through. But all of these companies need to ensure that users coming from TikTok actually stay on their platforms. Considering that they have already been upended by one newcomer when TikTok took over, there’s good reason to believe that a new app could come in and swoop up TikTok’s user base. As of right now, it's unclear who will come out on top. But the true loser is the user who has to adhere to the everyday whims of each of these platforms.