But part of it was fear, and part of it was just a sense of competition and not wanting to be beaten. So it sort of went for this more hopeful goal. People were freaked out that there was a piece of Russian hardware flying over their homes every night. it started with the Russians taking this technological leap forward, and it scared the United States profoundly. "So you have all that going on, but at the same time, I think the sense of competition propels it forward in the same way that the space race did from its inception. "There's a huge backlash in the, and recriminations, and Congress looking for scapegoats and who to blame, and Nixon doesn't want to take the blame," Moore previews. This show is trying to paint a portrait of NASA on the ground and in space, this large family within the space agency of all the different people that work together to do these amazing achievements." But as much as the show will embrace the optimism and possibilities of space exploration on the US side, For All Mankind will also delve into the historical and political consequences of such a dominant move from the Soviets. We've got a mixture of real characters and fictional characters: There's Deke Slayton, head of the astronaut office who was a real historical figure, and Gene Kranz, who is a flight director, who is also a real historical figure as well as Wernher von Braun. In addition to that, we play the people on the ground in mission control. And then it's also about their families, their wives, their children. "Then there's his copilot and friend Gordo Stevens, played by Michael Dorman. And in the pilot you come to realize why he's instrumental to our story, but the show really is about all the various people," Moore says. Joel is our lead, the character of Ed Baldwin, an American astronaut who is one of the Apollo astronauts.
On paper, the premise - that the Russians beat the Americans to the moon landing by a matter of weeks - might sound incendiary, given our current political climate, but Moore, along with co-creators Matt Wolpert and Ben Nedivi, envisioned For All Mankind not as a dystopian alternate reality in the vein of The Man in the High Castle, but as an exploration of "the space program that we never got," Moore says, "the one that, when I was growing up as a kid in the seventies, you thought we were going to do all these big things colonies and space stations and going to Mars and beyond." Moore admits that the real story of NASA in the years following the Apollo 11 moon landing "was kind of a depressing one - it was a time of budget cutbacks and less and less ambitious projects," but by presenting an alternative history in which the US doesn't outright win the race, it also allows for a renewed sense of competition, determination, and creativity amongst not just the engineers, astronauts, and politicians involved with putting a man on the moon, but people from all walks of life who are just as eager to reach for the stars.
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