This post contains spoilers For "for all mankind".

After astronauts Neil Armstrong and Buz Aldrin stepped on the moon as part of the Apollo 11 mission, the commemorative plaque of stainless steel was left on the lunar surface. The plaque's inscription says: "Here people from planet Earth first stepped on the moon July 1969, an advertisement, we came in peace for all mankind." These permanent plaques, which have become the chief in subsequent lunar missions (to Apollo 17), are intended to be expressed in peace and goodwill in the name of mankind as a whole. But what would happen if history had to change, leading to a global space war that never ended? This is the essential question posed by the show "Apple TV+" "for all mankind", which reviews the moon that has landed from an alternative history of history (one explored with vibrant details).

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"For all humanity" takes place in a world where Soviet cosmonaut Alexei Leonov becomes the first man to land on the moon, causing the displaced people in NASA to try to level. Forced to match and open the Russian space program, the NASA green lights mission after the mission, all the time, have expanded the ambience of competent astronauts who have the right to travel into space. Thus, the stunning domino effect is put on the move, which affects everything from great historical events to the franchise "Star Trek". The scope of the show's imagination is boundless, because NASA reveals a way to establish colonies on the moon shortly afterWith plans to move to Mars next). Meanwhile, the Soviet Union seems to be advancing in the parallel timetable in the series thanks to a combination of socio-political factors.

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While the alternative history of fiction is not a novel sub-genre ("man in the high castle" and "guards" are also popular examples), requires incredible accuracy to be attractive; After all, you cannot create a divergent version of history without having in -depth knowledge of real events. That's the case, the show "For All Humanity" Ronald D. Let's take a closer look at Reisman's involvement and how exactly the show is in its display of an alternative space race, along with its socio -political consequences.

During the 2019 interview with ColiderMoore explained that the basic idea of ​​the play (ie an alternative reality where NASA was not the first to land on the moon) came from the conversation with Reisman. This, in turn, encouraged Moore to explore how the "moment of the butterfly effect" would affect history, including "an impetus for the space race to continue out of Apollo 17". Showrunner continued to explain the subtle but essential changes made by the series of fate in the real life of Sergei Korolev, chief designer of the Soviet space program:

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"He (Korolev) died and, as a result, the Soviet program really was never the same. The rocket they designed for their moon attempt literally never got off the ground and there were explosions. So our deeper premise, though it is not really listed in our pilot episode, is that Korolev lives.

NASA Flight Director Gary Griffin was also called up to oversee aspects related to mission control, including the aesthetic accuracy of the space missions display panels. Griffin praised the spectacular mission control center, built for the series, which says the goal is to remain "extremely real" even within the alternative history mold. Reisman also had the following to tell the challenge of trying to get the technical aspects properly, without jeopardizing the creative integrity of such a promising story:

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"What is really fantastic is how much everyone is really passionate about getting the details of the correct, and the technical parts of it are correct. At the same time, I have been trying a lot not to let any of the truth find in a good story. One of the things I am very connoisseur is that what this show resonates with people is,

As it turns out, "for all humanity" has managed to achieve the perfect balance between scientific accuracy and creative freedom, resulting in a show that is not afraid to take some wild, unexpected changes. (The movie review can be read /film about the brilliant fourth season of the show here.) In addition, most of the series's character dynamics stems from their passionate, return work, yet these professional spaces still feel rich and complicated as well as all personal relationships divorced by work -related settings.

"For all mankind" uses a mixture of archive footage and recreated footage to bring its alternative world to life. Of course, it is difficult to recreate spaces that faithfully reflect the era of the past. For example, it is almost impossible to acquire TV sets that were made in the 1960s (Apollo's era of season 1), because the period-ends CRTS (cathode rays of pipes used in TVs) are rare today.

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These practical obstacles were forced by Moore and Co. To improvise a little, how to simulate what these CRTS look and feel. But in addition to these petty aspects, most things we see on the show are periodic, including Apollo's replicas used inside the spacecraft sequences. However, it is tricky to get everything Right and find out what works from a technical point of view. This is where Reisman's expertise was at hand.

In the same interview with Colider, Reisman talked about the challenges that appeared to show the weightlessness in the spacecraft in season 1, as the show and the crew had to retain the laws of physics and the nuances of a closed mind:

"Getting All of the Physics Right, In All Those Shots, and Getting Tethers to Not Just Fall Down in One-G, but to Simulate Like They're Floating in Zero-G, Was Really Challenging. To make it better (...) for me, personally, the other thing that was challenging was, I have set in the apello era, and it was a real education for I in the memory.

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It is important to keep in mind that the play is the labor of the Loveum as possible for close collaboration, with expert consultants such as Reismer (among many others) working closely with Moore, writers and visual effects teams and set designs. The later seasons of the show, including pretty recent season 4, handle different periods of timecalling for fresh approaches to the concept of a space race, while changing things enough to transfer an alternative timetable. There is no doubt that as long as "for all humanity" is going on, he will continue to balance functional aesthetics and scientific precision, while allowing us to have an excellent eK.

"For all mankind" is currently moving to Apple TV+.