An interesting take from Alan Sepinwall on what a nice job the writers did in season 2 of For All Mankind of bringing together various storylines come the season’s climax:
“I started jogging again.” This sentence is uttered by astronaut Gordo Stevens (Michael Dornan) midway through the Season Two finale of For All Mankind, the Apple TV+ series depicting an alternate history where the Soviets landed on the moon first, triggering a never-ending space race. Gordo’s statement will likely not go down in the annals of quotable dramatic television with “I am the One Who Knocks!” or “That’s what the money is for!” It seems an utterly banal statement of fact, not nearly as colorful as those iconic declarations. But in the context of this FAM season, it feels just as potent, and serves the same purpose that all serialized television ideally should: It makes the viewer feel as if, to borrow another famous line, all the pieces matter.
I can’t shake the notion that delivering a season of TV where we can look back and see that most, if not all, of the the pieces fit into an overall story shouldn’t be that remarkable. Isn’t that what a writers’ room is supposed to deliver, unless external pressures1 get in the way or there’s uncertainty about where the story is going or how long it’s going to continue. We’re assured that our showrunners have their story mapped out for seasons to come; I do hope they’re not going to be forced to admit that that plan was ‘Do whatever it takes to keep Apple funding us and find a way to keep Joel Kinnaman in the story. Maybe in season 5 we’ll have his digitised face and voice being used as the front end for the AI that runs the Callisto colony.’ rather than ‘By season 6 humans will be mining the asteroid belt and building a permanent station on Callisto.’
[Apologies that I’m expending so many words on a show that’s trapped on Apple TV+, which is to say somewhere most people aren’t watching. What can I say: I am watching and I’m finding it interesting, so I’m writing about it here. In the medium or long term, will Apple – or Sony, who I believe are making the show for Apple TV+ – end up selling repeat rights to another streaming network? Will we all one day be able to buy, or even rent, For All Mankind on Amazon? I’m sure right now Apple’s answer to that would be “Hell No, come and watch it on Apple TV+”, but five or ten years from now will all that content remain buried on the 10th-most-watched-streaming-service?]
Interesting that Sepinwall makes passing reference to Halt and Catch Fire, another favourite in these parts that got better as the focus was shared with the equally talented and ambitious female characters who found ways to make their careers alongside the men who had been the show’s focus at the outset. For All Mankind has from the start been about how in this alternate timeline NASA had been pushed by the White House to bring women astronauts into the space programme,2 and about how they proved to be as capable as the male military/test pilot contingent they served alongside. The thing is, the storytelling of For All Mankind has (so far) focused less on how American society has changed in a society where the space race went on much longer than in our timeline, and much more on how in NASA results seem to trump expectations being based on gender roles. Is that reflected in wider society, and are we going to see evidence of that?
By and large the astronauts the storylines have been following are living in a bubble: all the signs are that the wider society they live in may be enjoying a somewhat faster introduction of technology – electric cars, a global videophone and d-mail3 network – in part because the space race kept on pushing technology forward. However, the general impression is that there’s still plenty or racism out there in wider society, and an assumption that everyone is aiming for a heterosexual marriage (or at least, isn’t flaunting any other lifestyles.) Ellen, our astronaut-turned-NASA-Administrator-and-Reagan-favourite still can’t contemplate a political career AND an out lesbian relationship.
As of season 2’s end, the main story is coming to the end of alt-Reagan’s second term of office in 1985. It’ll be interesting to see where things stand come 1995. My guess would be that we are set going to continue with a story where we focus on a small group of astronauts and NASA staff who are living in a bubble where gender is no barrier to advancement, provided you really are twice as good as the next (white, heterosexual) guy.
- “You can’t change that character’s job to one that would move him out of the group the storyline is focused on: he’s by far the biggest name we’ve got when it comes to promoting the show. Keep his character in the same job and slap on another couple of layers of make-up to keep his character in place through yet another time-jump.” ↩
- Purely for image purposes, given that in this timeline the Soviets put a woman astronaut on the moon before the Americans had so much as put a woman in space. ↩
- That’s Digital Mail, not Electronic Mail. I have to confess, I’m a little relieved that Apple don’t appear to be pressuring the showrunners to insert more Apple technology in this future. Give it a couple of seasons. By the time we get our storyline to 2015, everyone will have gone through the stage where they listened to music on their dPods and will be listening to music via their dPhone and walking around with dPads, and we just won’t mention that their d-devices all have an Apple logo. ↩