For All Mankind: Season 4


Apple TV+;
Not rated.
Stars Joel Kinnaman, Krys Marshall, Coral Peña, Cynthy Wu, Edi Gathegi, Toby Kebbell, Tyner Rushing, Daniel Stern, Svetlana Efremova, Wrenn Schmidt.

One fascinating aspect of the alternate history series “For All Mankind” is tracking how much more the show delves into its science-fiction elements as the stories move further away from the fictional timeline’s divergence from our own reality.

The original “what if” premise of the series was to explore what would have happened with the American space program had the Soviet Union somehow won the race to land on the moon. The first season, taking place primarily in the early 1970s, pushed forward an answer that we simply would have raised the stakes of the Space Race, to not just land on the moon, but establish permanent bases there. The result was a sort of “Mad Men” in space that featured a mixture of fictional characters and real historical figures, while providing subtle social commentary by using the speculated changes in world events and political attitudes to shine a light back upon our own reality. The depiction of technology wasn’t too far astray from what actually existed at the time.

Season two, set in the early 1980s, and season three, set in the mid 1990s, continued to put this formula to excellent dramatic effect. Season two transferred escalating Cold War tensions to each side expanding their presence on the lunar surface, leading into season three’s race to be the first to land on Mars. In the show’s timeline, advancements in space sped up technological innovation by years if not decades, while ship and space station designs reflected ideas that in our reality never made it past the drawing board due to funding cuts.

But with its space hotels and Martian landers, the “For All Mankind” reality began to resemble what sci-fi movies and TV shows from 50 years ago such as 2001: A Space Odyssey had imagined the future would look like.

Season four thus gives the show a chance to pay off not only three seasons’ worth of story and character development, but 30 years of in-universe historical advancement. Set in 2003, the season finds the various spacefaring nations of the world and the mega-corporation Helios involved in a cooperative effort to manage Happy Valley, the first human settlement on Mars. The discovery of a mineral-rich asteroid passing through the solar system spawns an objective to attempt to capture it, but the intricacies of planning the mission expose years of dormant tensions between numerous factions on both planets.

Culture on Mars has developed a social hierarchy separating the administrators and the labor force, giving the season something of a Metropolis vibe.

The strength of the show’s writing is how it presents a situation, and then throws its established characters into the room to bounce off each other to see how the plot finds a resolution. It makes for compelling drama that pays off in a number of unexpected ways.

The season finale, which becomes available Jan. 12, provides not only a satisfying capper to the first four seasons of the show, but sets up exciting possibilities for the series should it continue into season five and beyond.

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Doc ‘It’s Quieter in the Twilight’ Headed to Theaters and On Demand May 19 From Gravitas Ventures

Gravitas Ventures has acquired worldwide rights to Weigel Production’s documentary It’s Quieter in the Twilight.

The film, which premiered at the 2022 SXSW Film Festival and is helmed by first time director Billy Miossi, will be distributed theatrically and on demand May 19.

The Voyager mission, launched in 1977,  enthralled the world as the dual man-made spacecrafts blasted off. They have since traveled farther than humankind ever has. The film memorializes the people who guide this spacecraft on its incredible path — engineers from rural South Korea, the Jim Crow South, the U.S./Mexico border and across the globe, who overcame enormous obstacles to pilot two aging spacecraft into the depths of the universe. Together, they battle outmoded technology and dwindling sunlight to pursue unparalleled discovery in the twilight of their own careers and lives.

“The world should know these unsung explorers and  the essential role they’ve played in humanity’s most ambitious adventure,” Miossi said in a statement.

The project features members of NASA’s Voyager Flight Team, Todd Barber, Jefferson Hall, Sun Matsumoto, Enrique Medina, Fernando Peralta and Chris Jones, and includes project manager Suzanne Dodd and Ed Stone, Voyager’s long-standing Project scientist.

At its launch in March 2022, as part of the feature documentary competition at SXSW, the film helped build the wave of current documentaries popularizing feats of exploration in space. It’s Quieter in the Twilight celebrates the celestial journey of the aging Voyager spacecrafts as they timelessly transcend earthly boundaries and inspire human potential.

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The film was produced by Matt Reynolds and Executive Produced by Alissa Shapiro.

“We are thrilled to partner with Gravitas Ventures to bring Voyager’s cosmic adventure and yet uniquely human tale of their guardian angels to audiences everywhere,” Shapiro, executive producer at Weigel Productions, said in a statement.

“Gravitas is excited for audiences to experience It’s Quieter in the Twilight in theaters and on VOD this spring, and beyond,” Bill Guentzler, senior director of acquisitions at Gravitas Ventures, said in a statement. “We believe those who see the film will connect to this group of extremely passionate people who have dedicated their lives to oversee this unimaginable voyage and because of their passion, allow the human race to explore farther than ever thought possible.”

Apple TV+ Premiering ‘For All Mankind’ Season 3 June 10

The first episode of the third season of space drama “For All Mankind” will make its global debut on the Apple TV+ streaming service June 10. A new installment of the 10-episode season will follow every Friday.

The series explores an alternate reality in which the Soviet Union landed on the moon first, forcing NASA to seek a new path in establishing supremacy in space technology. The new season is set in 1995 and focuses on the race to land a person on Mars. Returning cast members include Joel Kinnaman, Shantel VanSanten, Jodi Balfour, Sonya Walger, Krys Marshall, Cynthy Wu, Casey Johnson, Coral Peña and Wrenn Schmidt. They will be joined by new series regular Edi Gathegi as a charismatic visionary.

“For All Mankind” was created by and is executive produced by Emmy Award-winner Ronald D. Moore, with Ben Nedivi and Matt Wolpert serving as showrunners. The show is produced by Sony Pictures Television.

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The Right Stuff (2020)


Premieres 10/9/20;
Not rated;
Stars Jake McDorman, Patrick J. Adams, Colin O’Donoghue, Aaron Staton, Michael Trotter, Micah Stock, Eloise Mumford, Shannon Lucio, Nora Zehetner, Mamie Gummer, Patrick Fischler, Eric Ladin, Jackson Pace, Sacha Seberg.

Tom Wolfe’s brilliant 1979 book about the early days of America’s space program, The Right Stuff, and its 1983 film adaptation are held in high regard by space enthusiasts. So this eagerly awaited new series from National Geographic and Leonardo DiCaprio’s Appian Way Productions would have its work cut out for it in terms of meeting the expectations set not just by those earlier projects, but also subsequent space-related re-creations such as Apollo 13 and From the Earth to the Moon.

And for the most part it succeeds as a nice companion to those earlier works, and is an entertaining look at the dedication, determination and motivations of the men who first represented America’s entry into the space race — as well as their foibles.

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Right off the bat, it must be pointed out that this is not just a retread of the movie. Of the eight episodes of the show’s first season, Disney+ made the first five available for advance screenings, and from these the most evident difference between the new “Right Stuff” and the original book and movie is that the new version puts its focus entirely on the Mercury program and the seven astronauts chosen to fly the United States’ first manned missions into space, removing the subplots about Chuck Yeager and the other test pilots not recruited by NASA.  (Thus making the show more like William Goldman’s original drafts for the film version, which also excised the Yeager half of the story.)

While the book and movie were more an examination of the derring-do of test pilots that inspired them to fly experimental jet planes at many times the speed of sound, or sit in a tin can atop a flaming rocket they’d have no control over, the series is much more about the personal lives of the astronauts and NASA’s process of preparing for spaceflight.

In that regard, the show comes across more like a conventional period drama, depicting interpersonal rivalries between the astronauts, family drama, and salacious adultery only hinted at in previous depictions of the astronauts’ stories. And to satisfy modern sensibilities, much screentime is given to Trudy Cooper (Eloise Mumford), wife of astronaut Gordon Cooper (Colin O’Donoghue) and a pilot herself with aspirations for promoting including women in the astronaut corps. alongside noted female aviator Jerrie Cobb (Mamie Gummer).

Pushed much further into the background is a very minor subplot that seems to be the origin story of Glynn Lunney (Jackson Pace), a young assistant on the Space Task Group who would become one of NASA’s most distinguished flight controllers during the Apollo program (he’s played by Marc McClure in Apollo 13).

Speaking of flight controllers, Eric Ladin plays Chris Kraft here, after playing another famous flight controller, Gene Kranz, on the Apple TV+ alternate history series “For All Mankind.”

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As could be expected, the show plays a bit fast and loose with the timeline of actual events for dramatic purposes, such as showing rocket tests a year before they actually happened. The show also depicts Alan Shepard in 1960 dealing with the early stages of his Ménière’s disease, a disorder of the inner ear that causes dizziness and hearing issues, when most accounts suggest he didn’t begin to experience it until 1963, well after he made his suborbital flight as the first American in space on May 5, 1961. For the most part, though, the show does a good job depicting incidents that haven’t been covered much before.

What’s clear is that in putting more of a spotlight on the astronauts, that the series is drawing inspiration not just from Wolfe’s book, but also the variety of tomes about the space program that have popped up in the past 30 years or so. A scene of John Glenn (Patrick J. Adams) lecturing his fellow astronauts about minimizing their womanizing for the sake of the program’s public relations seems to come straight from his autobiography.

This expansion of source material should help if the show continues for multiple seasons, when it would reportedly focus on later aspects of the space race, such as the Gemini program and the Apollo moon landings, that went beyond the scope of Wolfe’s original book.

The first two episodes of “The Right Stuff” become available on Disney+ Oct. 9, with new episodes weekly after that.



Not rated.
Stars Hilary Swank, Josh Charles, Vivian Wu, Mark Ivanir, Ato Essandoh, Ray Panthaki, Talitha Bateman.

The earnest but ultimately underwhelming “Away” takes viewers on a journey to Mars from the perspectives of both the crew on board the spacecraft and the families they left behind on Earth.

The show focuses on a ship called the Atlas undertaking the three-year round trip in the not-to-distant future. The five-member crew consists of representatives from five different countries, with Hilary Swank playing their American commander, Emma Green. While they supposedly trained together for two years, the team barely seems to trust each other, as evidenced by an incident en route to a lunar base that motivates the Russian and Chinese members of the crew to call for her to be replaced.

Emma’s having her own second thoughts about leaving her family behind for three years, as the day before Atlas launches from the moon base her husband, Matt (Josh Charles), suffers a stroke related to the genetic disorder that led to his removal from the astronaut corps. Emma wants to return to her 15-year-old daughter, Lex (Talitha Bateman) but Matt wakes up just in time to tell Emma to blast off. So she does.

And that’s just the first episode.

The rest of the 10 episodes are filled with various interpersonal conflicts between the members of the crew and flashbacks to their lives on Earth (complete with bad wigs for when they’re supposed to look “really” young). Usually the crew is fighting over the fact that their ship is falling apart, apparently designed by the worst engineers the various space agencies could assemble.

In its depiction of the fictional mission, the series has traded verisimilitude for melodrama, allowing the crew members’ hang-ups over the lives they left behind on Earth to sow self-doubt and sentimentality in ways rarely seen in actual astronauts. Talk about the wrong stuff.

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To further the space soap opera vibe, a significant portion of the show focuses on Emma’s family’s dealing with her being gone, as Lex blows off school to cope with her father’s physical therapy recovering from the stroke that has left him in a wheelchair. Matt, for his part, doesn’t have much time for Lex since he’s working with mission control to try to figure out how stop the poorly designed spacecraft from malfunctioning.

The show’s efforts at depicting a diverse, multi-national crew are understandable and appreciated. And space enthusiasts will enjoy poring over the details of the fictional mission.

It’s just that it will be hard for audiences to watch “Away” without comparing it to The Martian or the Apple TV+ alternate history of the space race series “For All Mankind,” the latter coming out just last year. And “Away” has a hard time measuring up to those. Plus, it’s hard to escape the conclusion that, with the scenario for the mission the show came up with, it just suffers a bit from bad timing.

For one thing, what’s being depicted is a fairly typical joint venture between various government space agencies, with nary a mention of commercial launch capabilities despite the recent, and newsmaking, successes of SpaceX in not only putting astronauts into orbit, but testing larger rockets meant for longer-duration missions.

And then there’s the influence that China is depicted as having on the Atlas mission, to the degree that the other countries apparently agreed to allow the Chinese member of the crew to be the first human on Mars. Given China’s role in the current global pandemic, it’s hard to imagine any Chinese involvement in an international joint venture such as this wouldn’t be heavily scrutinized if allowed at all. (The show even depicts a viral outbreak on board the spacecraft, which only exacerbates the issue of the show being contextualized through the lens of current events that the show’s creators could not have anticipated.)

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But at least the acting is solid, the performers are likeable, and anyone looking for a diversion for a few hours who doesn’t get too hung up on the depiction of space travel will likely be highly entertained by the emphasis on human drama.

From the Earth to the Moon


$39.99 Blu-ray;
Not rated;
Stars Tom Hanks, Lane Smith, Nick Searcy, Stephen Root, Mark Harmon, Tony Goldwyn, David Andrews, Tim Daly, Bryan Cranston, Dave Foley, Paul McCrane, Daniel Hugh Kelly, Cary Elwes, Daniel Hugh Kelly, Brett Cullen, Tom Verica, Tom Amandes, Adam Baldwin, Gary Cole, Dan Lauria, Dan Butler, Joe Spano, Rita Wilson, Elizabeth Perkins, David Clennon, John Slattery, Tchéky Karyo, Jay Mohr.

With shows and movies about America’s space program getting a minor boost from the celebration of the 50th anniversary of the Apollo 11 moon landing, the timing was perfect for HBO to finally release 1998’s From the Earth to the Moon on Blu-ray.

The 12-part miniseries is a docudrama covering the inception and implementation of the goals of the Apollo Program to land a man on the moon and return him safely to the Earth, all the way through Apollo 17, the final lunar landing mission.

Even more than 20 years later, From the Earth to the Moon remains one of what I would term the “big three” movie depictions of the space program, along with The Right Stuff and Apollo 13 (a group First Man could have added too had it not been so uninspiring and myopic in its scope).

In fact, the success of Apollo 13 is probably the main reason the miniseries even exists, as it was made under the same production house as the film, with director Ron Howard producing. Tom Hanks, who starred in Apollo 13, also serves as one of the producers of the miniseries, in addition to writing and directing a couple of the episodes. He also serves as a host, providing a brief introduction to each episode.

At the time it first aired, the landmark miniseries was so impactful that it went on to easily capture the Emmy and Golden Globe for Outstanding Miniseries, as well as lay the groundwork for Hanks in 2001 to spin the World War II miniseries Band of Brothers (and, in 2010, The Pacific) out of his time working with Steven Spielberg on Saving Private Ryan.

From the Earth to the Moon is unusual as far as a typical miniseries format goes. Instead of a long narrative broken into chapters, it plays more like 12 mini-movies about specific missions or moments in the space program, each distinct in its style and structure, but designed to fit together to tell the story of project Apollo as a whole. This is accentuated by the fact that, while there are a number of recurring characters throughout the episodes, and most are played by the same actor, there are a few examples where a part is played by someone else. A number of actors from Apollo 13 appear here as well, although in different roles than the film. There are also a few recurring elements to tie the various episodes together, such as Lane Smith playing a fictionalized newscaster in the vein of Walter Cronkite.

While the previous DVDs of From the Earth to the Moon don’t look terrible when upscaled to an HD monitor, a Blu-ray version was still highly anticipated by fans of the show and space enthusiasts alike. However, the product we ended up with has turned out to be something of a mixed bag, for a variety of factors.

Foremost among them was that the show was made in the mid- to late-1990s, on the cusp of the transition to high-definition. As such, the show and its extensive visual effects were originally mastered in standard-definition for the old 4:3 television aspect ratio. Thus, a true high-definition presentation of the miniseries would require a possibly expensive re-construction of the visual effects, which likely explains why the Blu-ray took so long to produce. Episodes weren’t even available through HBO’s on demand platforms until they were remastered.

The upgrade turned out to be somewhat controversial among fans of the show, with HBO opting to create new CGI visual effects in most of the sequences. The new shots are a step up in brightness and clarity, but inconsistent in terms of quality and accuracy compared with the real-life spacecraft. Rather than give the show a modern visual update, the CG team’s goal seems to have been more to re-create the feel of the model shots from two decades ago, which makes them feel a bit hokey in their movements at times.

From the Earth to the Moon was re-framed for 16:9 for its 2005 DVD re-release, and that decision has carried over to the Blu-ray as well. What that means, though, is that some of the top and bottom of the original image has been lost in the re-framing, which doesn’t affect too much of the presentation but does stunt the impact of a couple of shots. The footage has been remastered for HD and the results are mostly beautiful.

However, the footage hasn’t been completely remastered, and there are still a few spots were it shows its age with upscaling on a few of the old VFX shots. At times, these shots are also marred by a visible tracking band as if from an old videotape. Most of the upscaled footage seems to occur where the visual effects were composited with live-action elements (for example, transitions that fade from a person looking at a model to the ship in space, or men looking out windows).

Reconstructing these with new visual effects would have complicated the process of recompositing and editing the remastered footage back together to match what was originally done, so it’s one of those things that’s both easy to gripe over and easy to understand why it wasn’t done, depending on which side the viewer wants to come down on.

Ultimately, it’s better to have the Blu-ray than not, all things considered. For example, outside of how it’s presented in the episodes, HBO still hasn’t done right by the show’s excellent music with a proper soundtrack release. A multitude of composers were used to give each episode its own unique score, but the only official album that has ever been released consists of just the main theme and a handful of vintage songs used throughout the show.

Finally having a digital copy of the show is pretty cool, too.

The only extra carried over from previous DVD releases is a half-hour behind-the-scenes featurette. There’s also a new 11-minute featurette about the remastering process. Most of the lost bonus materials were gimmicky database-type files or videos of speeches that can be pretty easily found online.

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Since the hourlong episodes work fine as standalone pieces as well as within the context of the whole, here’s a capsule review of each one:

1. Can We Do This?
At the height of the Cold War, the need to beat the Soviet Union to the moon requires a rapid expansion of NASA’s manned space program, which kicks off with Alan Shepard’s sub-orbital flight in 1961. The depiction of Shepard’s flight is pretty much the only content repeated from The Right Stuff, as the miniseries was designed to work as a companion to previously released space movies (and establishing Shepard’s flight here becomes important for a later episode). The bulk of the episode is devoted to the Gemini program, with particular emphasis on the Gemini 8 and 12 missions, the latter mostly because it was the final flight before kicking off the Apollo program. Gemini 8, which was also depicted in First Man, was the first docking of two spacecraft, though the mission ended early after a stuck thruster caused a nearly uncontrollable spin that could have killed the crew of Neil Armstrong and Dave Scott. The depiction of the mission here makes it easier to understand what’s going on than the visceral you-are-there approach chosen for First Man. The most memorable shot of the Gemini 8 sequence is a nice pan out of the window that keeps the ship stationary while the background is spinning, but on Blu-ray the shot is hampered both by being cropped for widescreen and because it appears to be one of the upscaled shots, making it a bit fuzzy.

2. Apollo One
This is one of the more dramatic episodes as it deals with the fallout from the deadly Apollo 1 fire in 1967. The death of three astronauts brings a lot of pressure on NASA to justify the pace of the Apollo program, and the political ramifications are enormous, as Sen. Walter Mondale (played by a pre-“Mad Men” John Slattery) would rather direct funds to causes he sees as more worthwhile. We also see the tolls taken on the support teams who have to come to grips with the causes of the fire.

3. We Have Cleared the Tower
Mark Harmon plays astronaut Wally Schirra preparing for the launch of Apollo 7 to put the space program back on track after a year and a half, while a documentary crew chronicles the efforts to make sure the first manned Apollo mission is a success. However, the episode doesn’t stick around for the mission itself, where in real life the crew became sick and irritable and never flew in space again.

4. 1968
The episode departs from a conventional narrative to frame the voyage of Apollo 8, the first manned flight to lunar orbit, as the highlight of an otherwise turbulent year marked by war and assassinations.

5. Spider
The mini-series veers a bit into the more technical aspects of the lunar missions by focusing on the options for flying to the moon and the engineering and construction of the lunar module, culminating in the Apollo 9 and 10 flights to test it out. The opening credits of the episode are accompanied by the theme song for the Gerry and Sylvia Anderson supermarionation sci-fi series “Fireball XL5,” which I mention only as a means to say that the song appears to have been re-recorded for the Blu-ray, possibly as a requirement for the new fuller sound mix. The episode as originally aired and on DVD used the actual theme song from 1962.

6. Mare Tranquillitatis
This episode covers the historic landing of Apollo 11, with training for the mission presented as a flashback framed by a pre-flight news interview from astronauts Neil Armstrong (Tony Goldwyn), Buzz Aldrin (Bryan Cranston) and Michael Collins (Cary Elwes). This episode, along with the Gemini 8 bits from the first one, are likely now to be most compared with the depiction of the events in First Man, and aside from the technical realism of the visual effects I think they compare favorably. The music by James Newton Howard in inspiring and uplifting, and the episode spends a lot more time on the training, particularly in Buzz Aldrin’s ambiguous lobbying to be the first man on the surface and his angst over being relegated to No. 2 (a perceived slight that might still fuel the real Buzz to this day in both his relentless ambassadorship of the space program and a self-promotion streak that has seen him punch landing deniers, shout at the moon on “30 Rock,” and meet Optimus Prime on the big screen). Aldrin is played here by a then-unknown Bryan Cranston before not only “Breaking Bad,” but “Malcolm in the Middle” as well. Also, for all the talk of however First Man did or did not depict the American flag on the moon, it should be noted that this episode ends with the explicit shot of Neil and Buzz planting the flag.

7. That’s All There Is
This is probably my favorite episode, which recounts the mission of Apollo 12 with a lighter tone and a healthy sense of humor. As close to a comedy as the miniseries can muster, the episode is told from the perspective of Al Bean (Dave Foley). His close friendship and rapport with crewmates Pete Conrad (Paul McCrane) and Dick Gordon (Tom Verica) gives the episode a real “good ol’ boys in space” vibe that’s just ends up being a lot of fun. McCrane as mission commander Conrad is the most notable of the miniseries’ casting switches, as old Hanks buddy Peter Scolari played Conrad in the first episode (and was reportedly unable to reprise the role due to scheduling conflicts with his “Honey I Shrunk the Kids” TV series). McCrane’s easygoing irreverence is such a great fit for the episode that it’s hard to imagine Scolari and his more straightman nature having the same chemistry with the other members of the crew here.

8. We Interrupt This Program
Since Apollo 13 had just come out a few years earlier, and was made by the same people, the natural question arose of how the miniseries would handle its retelling of the ill-fated mission. Rather than retread the drama depicted in the film, however, the miniseries focuses on the media coverage of the event. The result is the weakest episode in the bunch, and easily skipped on rewatch. The decision to make the episode more of a companion to the film was really more a matter of necessity, as the Apollo 13 story was pretty definitively told in the 1995 movie (so much so that it’s easy enough to just watch the movie at this point in the miniseries before, or instead of, this episode). The miniseries version has some nice bits of trivia about the mission that the movie didn’t have time to delve into (such as considerations about disposing of nuclear fuel that was supposed to be left on the moon), and it works fine as a standalone dramatic story about the changing nature of the media in the 1970s. But as an episode of a miniseries about the Apollo program, it falters because it ultimately becomes more about the story of a generational rivalry between fictional newsmen (one played by Jay Mohr) using Apollo 13 as the backdrop, instead of the other way around.

9. For Miles and Miles
This is a solid episode about what happened to Shepard after his 15-minute sub-orbital flight and circumstances that led him to command Apollo 14 and eventually walk on the moon (and play golf there, too). Grounded by an inner-ear disease, Shepard takes a behind-the-scenes role at NASA helping other men prepare to fly to the moon, before a groundbreaking new surgical technique gives him the hope of a cure and a shot at his own lunar mission. Shepard is played with gravitas by Ted Levine, aka Buffalo Bill from The Silence of the Lambs, with the always-welcome Gary Cole as Ed Mitchell, his lunar module co-pilot.

10. Galileo Was Right
Another episode for the science geeks, this one focuses on how astronauts who were pilots by nature trained to be geologists and lunar explorers standing in as the eyes of the scientific community that remained back on Earth. David Clennon gives a standout performance as geology professor Lee Silver, who trains the crew. The emphasis is on the training for Apollo 15, the first mission to use the lunar rover. Of course, left unsaid in the episode and the miniseries is the scandal the crew caused by taking unauthorized postal covers on the mission that were later sold by stamp dealers, leading to their dismissal from NASA.

11. The Original Wives Club
Sally Field directed this detour about the wives of the nine men in the second group of American astronauts, and the struggles of their home lives as their husbands were away training and flying missions (not to be confused with the 2015 The Astronaut Wives Club miniseries that dealt with the wives of the original Mercury astronauts). The wives are constantly dealing with the twin pressures of fame and the potential that their husbands may never come home, a circumstance that becomes all too real in the wake of the Apollo 1 fire. The episode is placed here because it uses a framing device involving Apollo 16.

12. Le Voyage Dans La Lune
The finale is appropriately epic in scope as it breaks from the established format and abandons the Hanks introduction in favor of a documentary-style recap from Blythe Danner. From there, the episode is structured to contrast the innovative French director Georges Méliès (played by Tchéky Karyo) directing his 1902 masterpiece Le Voyage dans la Lune (aka A Trip to the Moon, or the old silent movie that everyone’s seen in which a spaceship hits the man in the moon in the eye) with the Apollo 17 mission, which involved the only trained geologist-astronaut to walk on the moon. Hanks pops up playing Méliès’ assistant. What makes this episode particularly interesting in retrospect is that the Méliès scenes make for a nice precursor to Martin Scorsese’s 2011 film Hugo, which depicts the director as an old man.

The denouement of the episode (and the series) includes some updated visual effects depicting the landing sites after the missions, with all the equipment resting in place. The new effects offer a nice Easter Egg about the Apollo 11 flag.

The miniseries offers a nice recounting of America’s adventures on the moon, but it’s a shame there wasn’t a follow-up that explored some of the other aspects of the space program hinted at in the episodes. Like, maybe what the Russians were planning for their own lunar voyages. Or a companion movie about the Skylab and Apollo-Soyuz flights, which marked the real end of the Apollo era.

A depiction of Apollo-Soyuz, a 1975 mission involving craft from the two Cold War powers docking in space, would have provided a particularly apt epilogue given it would have shown Deke Slayton (played by Nick Searcy throughout the miniseries) finally getting into space. This would have paid off one of the most underplayed arcs of the miniseries, as Slayton, selected for the Mercury program but grounded by medical politics, ends up becoming the man who picks the crews, and helps Al Shepard bounce back from a situation not dissimilar to his own.

Even years after the original miniseries, there’s no reason HBO couldn’t do such a follow-up now. After all, it worked for “Deadwood.”

HBO Releasing Remastered ‘From the Earth to the Moon’ on Blu-ray

HBO is celebrating the 50th anniversary of the first moon landing with a re-release of its Emmy-winning 1998 miniseries From the Earth to the Moon.

The 12-part docudrama told the story of the NASA and the space program in the 1960s and 1970s, from the Mercury and Gemini missions, to the tragedy of the Apollo 1 fire, the Apollo 11 landing, and the subsequent lunar landings ending with Apollo 17.

The episodes have been remastered for high-definition, and the standard-definition visual effects have been replaced with new CG effects based on reference models from NASA.

The 12 remastered episodes will be available on HBO Go, HBO Now and HBO On Demand beginning July 15, the first time the series has been available through the apps. In addition, HBO2 will air a marathon of the miniseries beginning at 8:45 a.m. July 20, the 50th anniversary date of the Apollo 11 landing.

A Blu-ray edition of the remastered episodes will be released July 16 with Dolby ATMOS audio and an exclusive “Inside the Remastering” featurette.

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The miniseries was produced by Imagine Entertainment following the theatrical success of Apollo 13 in 1995, and went on to win the Emmy for Outstanding Miniseries.

Executive producer Tom Hanks hosts the episodes, and the cast includes David Andrews, Adam Baldwin, David Clennon, Gary Cole, Matt Craven, Brett Cullen, Tim Daly, Cary Elwes, Sally Field, Dave Foley, Al Franken, Tony Goldwyn, Mark Harmon, Tom Hanks, Peter Horton, Chris Isaak, Tcheky Karyo, Daniel Hugh Kelly, Ted Levine, Ann Magnuson, DeLane Matthews, Jay Mohr, Elizabeth Perkins, Kevin Pollak, James Rebhorn, Stephen Root, Alan Ruck, Diana Scarwid, Peter Scolari, Nick Searcy, Grant Shaud, Lane Smith, Cynthia Stevenson, Jobeth Williams and Rita Wilson.

Apollo 11


Street Date 5/14/19;
Box Office $8.56 million;
$22.98 DVD, $34.98 Blu-ray;
Rated ‘G.’

In preparing this 50th anniversary retrospective of the first moon landing, director Todd Douglas Miller and his team uncovered troves of previously unreleased film from the NASA archives.

Much of the footage was in 70mm, making the project a natural fit for an Imax presentation. And while the impact of the large-format screen is undeniable, the high-definition re-creation of the historic mission is just as stunning in a home-viewing setting.

According to the three-minute behind-the-scenes featurette included on the Blu-ray, this well-preserved footage was scanned at 8K and 16K using brand new equipment to remaster it at the highest resolutions yet possible.

The 93-minute documentary lets the footage itself tell the story of the Apollo 11 mission in July 1969, using no narration or retrospective interviews. Exposition is similarly handled through whatever someone might have said to explain it at the time, primarily through the audio feeds of the technicians and astronauts, or newscasts from famous voices such as Walter Cronkite.

Miller does provide bits of animation to demonstrate key mission details, as well as on-screen graphics denoting mission times and spacecraft speeds when such information would be most pertinent to understanding what is going on.

The clarity of the newly found footage really puts the audience in the moment, be it at mission control, at the launch pad or among the millions of onlookers camped out along the Florida coast to get a glimpse of the massive Saturn V rocket blasting into space.

The film is as much a tribute to the men and women working at all levels of the space program to put a man on the moon, giving audiences a view beyond the grandeur, at all-too-human moments that seem like almost a footnote today, and details that even many space enthusiasts may be surprised by.

For example, as the world focused on astronauts Neil Armstrong, Buzz Aldrin and Michael Collins heading to the launch pad, technicians were working to fix a leak in one of the rocket’s engines, just a few hours before lift-off.

Then, a few days into the mission, we’re reminded that the Apollo missions weren’t the only source of major news in the world, as we overhear some NASA engineers discussing the Chappaquiddick incident, when Teddy Kennedy drove his car off a bridge and left his female passenger to drown. That happened two days after Apollo 11 launched.

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The documentary also enlightens us with some otherwise mundane information, such as the heart rates of the astronauts during the more stressful phases of the mission — Armstrong’s pulse during the lunar landing passed 150 beats per minute — that continues to ground the events in a common humanity.

There’s also some lip service to the cosmic radiation the astronauts would have been exposed to — often brought up by conspiracy theorists who don’t believe humans could survive long durations in space. The truth is, passing through the Van Allen radiation belt surrounding Earth, the speed of the Apollo capsule would have been sufficient enough so that its occupants would have absorbed a radiation dose equivalent to a typical X-ray scan.

Aside from the spectacular launch footage, another highlight of the film is the presentation of the landing sequence in real time, using mission audio synced to camera footage taken from a camera mounted on the lunar module during its descent.

Rounding out the documentary is a mixture of still photographs and archival footage from a variety of sources, some familiar and some offering new perspectives on known events.

For fans of the space program, history buffs in general, or just plain people who could use a reminder of the technological achievements man is capable of, Apollo 11 is a documentary that should not be missed.

Apollo 11

First Man

(Review) Director Damien Chazelle’s visually impressive biopic about the first man to walk on the surface of the moon challenges viewers’ expectations about what a film about the space program is supposed to be by focusing on the man instead of the mission, presenting an intimate and not always flattering portrait of an American hero that most Americans actually know very little about.






Street Date 1/22/19;
Box Office $44.94 million;
$29.99 DVD, $34.99 Blu-ray, $39.99 UHD BD;
Rated ‘PG-13’ for some thematic content involving peril, and brief strong language.
Stars Ryan Gosling, Claire Foy, Jason Clarke, Kyle Chandler, Corey Stoll, Christopher Abbot, Ciarán Hinds, Lucas Haas, Shea Whigham, Patrick Fugit.

Space program enthusiasts thinking this biopic about Neil Armstrong would be as awe-inspiring treatment as The Right Stuff and Apollo 13 might want to temper their expectations.

Director Damien Chazelle’s First Man is not altogether about the Apollo 11 moon landing. Strictly speaking, it’s not even about the space program. As the title would imply, it’s a film about Neil Armstrong the man, what drove him to join NASA, and what motivated his efforts to become the first man to walk on the moon. Depictions of spaceflight achievements take a backseat to the character study of the most famous of astronauts that, ironically, most of the public really knew nothing about.

Chazelle’s re-creations of various missions are dazzling visually, but his aim is not to celebrate the achievements of the space program the way other portrayals have. That disconnect between filmmaker objective and audience expectation may be the primary reason the film underperformed at the box office despite massive critical buzz (though, really, how much of the acclaim was simply drafting from the aura of Chazelle’s Best Director Oscar for La La Land is anybody’s guess).

First Man is moody. It’s gritty. It’s lyrical and often plays like a dream, a tone set by a haunting musical score from Justin Hurwitz that often shifts between elegant and droning. And sometimes it’s just depressing. The first two-thirds of the movie feels like a 1970s independent film rather than what one might expect from a big-budget outer space blockbuster.

First Man

Ryan Gosling plays Armstrong as a sullen family man who takes on risk as a means of distracting himself from the grief over the death of his young daughter in the early 1960s. This is a portrait of a man constantly confronted with death, with several of his astronaut friends killed training for missions. Yet Armstrong presses on, despite questions about whether going to the moon is even worth it. As an engineer and pilot, Armstrong is absorbed by the challenges of spaceflight to the seeming detriment of his personal life and relationship with his wife (Claire Foy) and two sons. He even conducts a discussion with his children over his chances of surviving the moon mission with the cold stoicism of a press conference.

The depicted missions are presented mostly from the point-of-view of Armstrong, with the final part of the film taken up with Apollo 11. Most of the major events were covered much more comprehensively in HBO’s From the Earth to the Moon, and anyone familiar with that miniseries will be struck by just how much is missing from the depictions here.

That’s not necessarily to the movie’s detriment, since it needs to portray the missions just enough to show how they fit into Armstrong’s story, not America’s. The result of this narrative direction, however, seems to be a choice to portray the missions in a matter-of-fact way more akin to 2001: A Space Odyssey or Interstellar, as opposed to an inspirational achievement the way most audiences would be used to.

The film is less interested in technical details and glosses over several of them, such as an alarm that went off several times during the lunar landing that indicated the navigational computer was being overwhelmed with data (which doesn’t get explained until the bonus materials, for anyone who isn’t otherwise aware of what happened). The film flubs a few details, too, but only the hardcore enthusiasts are likely to notice.

Once viewers can get past such challenges, it’s easy enough to appreciate the film for its technical and artistic merits, which may take several viewings to fully take in.

Notably, First Man was the first big-screen dramatization of an actual Gemini mission, with the depiction of Armstrong and Dave Scott performing the first orbital docking during Gemini VIII. The mission was cut short when a stuck thruster sent the capsule spinning out of control before Armstrong could stabilize the craft. But here’s a prime example of how the decision to stick with Armstrong’s perspective could hamper the audience’s understanding of what was really going on, aside from a colossal malfunction taking place.

Personally, the knowledge I already had of the incident helped me follow what the scene was trying to portray, so I’d recommend checking out the first episode of From the Earth to the Moon for a more omnipresent look at what happened (aside from actual research on it, of course).

Likewise, with the way the film rushes through the lunar landing sequence, the way it’s handled in From the Earth to the Moon’s sixth episode will probably be more to a lot of viewers’ tastes. (HBO would be wise to re-release the From the Earth to the Moon DVD boxed set, assuming they aren’t willing to remaster the visual effects for high-definition to finally release it on Blu-ray).

First Man

Judging by an otherwise excellent audio commentary track of Chazelle, screenwriter Josh Singer and editor Tom Cross, the filmmakers weren’t really interested in how their movie would be compared to previous examples of the genre, other than stylistically. That’s kind of a shame, as the decision to present the Gemini VIII launch from the viewpoint of within the capsule the whole time works well to simulate Armstrong’s experience for viewers, but robs us of what could have been a glorious external view of the rocket launching that hasn’t really been dramatized yet.

Instead, Chazelle saves the inspirational launch for the liftoff of Apollo 11, and while a fully fueled Saturn V rocket is a sight to behold, and First Man manages to craft a solid launch with some good shots of the spacecraft, the filmmakers were going to be hard-pressed to top what we’ve already seen from the Apollo 13 depiction of a Saturn launch, which is the standard-bearer for such sequences.

In addition, the remarkable shot from the trailers of a Saturn launch that’s reflected in a window as Armstrong watches was cut out of the movie. It’s available as one of the two deleted scenes on the Blu-ray, while the film’s trailers haven’t been included with the disc.

The other deleted scene is a sequence of the Armstrong house burning down, which really happened in 1964.

The Blu-ray also includes about 34 minutes of behind-the-scenes featurettes, which in conjunction with the commentary provide a lot of insights into the process of adapting the film from James R. Hansen’s book First Man: The Life of Neil A. Armstrong.

What’s particularly fascinating is the level of practical visual effects employed with models and in-camera opticals rather than an abundance of CGI. In fact, it’s almost as if the filmmakers used technological advancements to improve upon old-school methods, filming models and cockpits in front of a giant LED screen that displays images at a resolution high enough to look like the real deal in the final product (with some digital enhancements).

This results in several visually stunning sequences that look great on the high-definition presentation of the disc. Scenes on Earth were shot with different grain levels to give the film a retro feel that serves its tone well. Of course, Chazelle is saving most of the razzle-dazzle for the final lunar sequence, which was shot with Imax cameras and appropriately shifts aspect ratios to capture the grandeur of it on home video.

To re-create the moon, filmmakers built a giant lunar set at a quarry, filmed at night with an actual full-sized lunar lander mock-up and a giant light in the distance to stimulate the sun (as opposed to the greenscreen and CGI approach most films would likely take today). The results pay off in a visually impressive lunar sequence that provides a real stylistic contrast with how such scenes have been handled before.

First Man