In the new spot highlighting "For All Mankind," Moore says that the space program "captured the world's imagination" when it first happened. "There's something about putting people in spaceships and going places. It's an idea of this optimistic feature where we not only travel in space, but it's been a good thing for all of mankind," he said about the show.
Watch Apple’s trailer for its show about the Apollo 11 mission, For All Mankind
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Getting cathode-ray tube displays, for example, was a nightmare that the production team cheated by using flat-screen TVs and putting a piece of curved glass to simulate the old-school screens. The NASA logo was another difficulty. In watching the trailer, fans may notice the logo is just a little off, like the Bizarro version of the real-life NASA symbol. That's because, as the trio explained, NASA has a policy to only lend support and use of emblems if the piece of media portrays the events of the space program exactly as they happened. Not really a possibility for an alt-history show.
The show's first trailer showed us the motivation for continuing the race: what if, at the height of the Cold War, the Soviet Union was first to put a man on the moon? What if Apollo 11, rather than a great leap for mankind, was a footnote in the history books? What would that mean, and what would happen next?
Mankind begins during the early months of the Nixon administration, locked into the Manichean worldview of the Cold War. But in the same way Battlestar was grappling with a post-9/11 world, Mankind is in every way, inescapably, a show made in and about the Trump era. Moore and company ask us in the subtext of almost every single scene not only to grapple with the what ifs underlying US politics and the history of NASA but also something much more profound.
All of this would be interesting enough in the abstract, but the show anchors these political shifts by focusing on the men and women directly affected by them - the NASA employees and their families, from astronauts to flight controllers to engineers to a custodian trying to build a better life for his daughter and inspire her to pursue her own passion for space exploration. For All Mankind would be worth watching just for the character dynamics at play in this high-pressure environment at this particular moment in history anyway, but its ability to play devil's advocate and explore all the roads not taken elevates it to something far more enticing, a window into what our world might've been, both for better and for worse. And despite the fact that the USA suffers a serious setback in their ambitions when the show begins, For All Mankind still manages to exude a sense of optimism and adventure about space travel that seems to have dimmed in our own world.
All of this would be interesting enough in the abstract, but the show anchors these political shifts by focusing on the men and women directly affected by them - the NASA employees and their families, from astronauts to flight controllers to engineers to a custodian trying to build a better life for his daughter and inspire her to pursue her own passion for space exploration. For All Mankind would be worth watching just for the character dynamics at play in this high-pressure environment at this particular moment in history anyway, but its ability to play devil's advocate and explore all the roads not taken elevates it to something far more enticing, a window into what our world might've been, both for better and for worse. And despite the fact that the USA suffers a serious setback in their ambitions when the show begins, For All Mankind still manages to exude a sense of optimism and adventure about space travel that seems to have dimmed in our own world.\n
As this handsomely retro drama series begins, the reaction of the astronauts of NASA's Apollo space program is one of shock and anger as they sit at their local bar in Houston, watching video of a Soviet cosmonaut beamed live from the moon. The devastation is most keenly felt by Edward Baldwin (Joel Kinnaman), the commander of the Apollo 10 mission, which had orbited the moon just a few miles above the lunar surface in a "dress rehearsal" for Neil Armstrong's Apollo 11. Baldwin could have gone off-mission and attempted a landing, but he didn't, so the Soviets slipped through to win by a nose and immediately begin crowing about the superiority of their Marxist-Leninist system.
As this handsomely retro drama series begins, the reaction of the astronauts of NASA's Apollo space program is one of shock and anger as they sit at their local bar in Houston, watching video of a Soviet cosmonaut beamed live from the moon. The devastation is most keenly felt by Edward Baldwin (Joel Kinnaman), the commander of the Apollo 10 mission, which had orbited the moon just a few miles above the lunar surface in a \\\"dress rehearsal\\\" for Neil Armstrong's Apollo 11. Baldwin could have gone off-mission and attempted a landing, but he didn't, so the Soviets slipped through to win by a nose and immediately begin crowing about the superiority of their Marxist-Leninist system.
One particular serendipitous aspect was the fact that I got to know the real Alexi Leonov quite well along with his daughter who lived for a while in Los Angeles. Alexi was unwell during the filming of our TV show and would pass away just before it aired, but I really enjoyed telling his daughter that her father was the first man on the moon, in our show anyway, and last summer we watched the trailer together which depicted Alexi stepping on the moon. She told me that she would let her father know, and I hope that he was able to get a good chuckle out of it. 2ff7e9595c
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