For All Mankind Season 3 debuts on Apple TV+ on June 10, 2022, with new episodes weekly. Below is a review of the first eight out of 10 episodes.
History has a habit of remembering who was first, whether it be a scientific achievement or conquering a previously impossible exploration goal. Apple TV+’s alternate history drama For All Mankind opened with Soviet Union cosmonauts making that giant leap on the moon's surface rather than NASA astronauts Neil Armstrong and Buzz Aldrin. Now, a crewed mission to Mars is the goal, and a privately owned tech firm has turned this into a three-horse race. The blend of new advancements in this “What If?” scenario with recognizable dreams, desires, and fears is why For All Mankind continues to hit giddy heights in its third year.
Yes, it is fun to spot how this timeline has deviated from our own, but what really makes Ronald D. Moore, Matt Wolpert, and Ben Nedivi’s ambitious series sing is a connection to the characters. Season 3 doesn’t take its foot off the pedal, and it remains one of the most exciting shows on Apple TV+’s growing roster — and all streamers.
Nearly a decade has passed since the devastating events on the Jamestown base in the Season 2 finale, and the premiere opens with a montage of cultural, political, and space-race moments that mainly differ from our reality. As with last year’s opener, this fun sequence features some blink-and-you’ll-miss-it similarities alongside “Sliding Doors” moments. It also briefly introduces tech billionaire Dev Ayesa (Edi Gathegi) via a magazine cover, indicating the power and influence this new character exerts.
The storylines involving Ellen’s (Jodi Balfour) political aspirations and Danny Steven’s (Casey W. Johnson) following in his parents’ footsteps are also significant. For All Mankind does not waste time with clunky exposition, and this highlight reel fills in some of the gaps while leaving the door open to expand on what has unfolded. It is a lot to take in (hence why I watched this montage twice), but it effectively sets the scene and establishes the competitive spirit of another high-octane mission. The Red Planet is the goal, but there are also old scores to settle that will impact this Martian adventure.
Legacy is a recurring theme winding its way through this story, from the regrets regarding the Soviets landing on the moon first to the sacrifice made by Tracy (Sarah Jones) and Gordo Stevens (Michael Dorman) to save the Jamestown base from a nuclear meltdown. Losing two characters who brought so much to the series was devastating as a viewer (I still cannot look at duct tape), and they are far from forgotten. A ripple effect is felt in several Season 3 storylines, from the children they left behind to the real chance that anyone can die on this show.
Space exploration is a dangerous business, and in the blink of an eye, a situation can flip from cruise control to genuine peril. For anyone who has somehow forgotten how risky new ventures are, “Polaris” is quick to remind us that no one is safe in space. Even the most decorated and experienced astronauts cannot foresee or prevent wildly unpredictable events. Taking a big swing with a high-stakes event in the opening episode is a quick way to pull us back in, and suffice to say, I was clapping my hands with glee while simultaneously yelling at my screen within seconds of each other. No show cranks up the tension and then continues to press its foot on the pedal quite as well as this one.
Dev’s arc is nuanced, and he is neither a straight-up hero nor a villain.
For All Mankind excels at big set pieces accompanied by Jeff Russo’s gorgeous score that is equally adept at elevating a poignant scene as it adds to breathless sequences. Similarly, the song budget continues to impress with its nods to defining grunge bands of the era that are a reminder of the ‘90s backdrop. Technology in this universe is more advanced than our own, including some nods to Apple products — although it isn’t an all-Steve Jobs monopoly as Sony electronics are also featured.
The conflict between Capitalism and Communism remains in play as the Soviet Union still exists. Dev’s company Helios Aerospace might be something that would exist if Jeff Bezos, Elon Musk, or Richard Branson were several decades ahead of where they are now. Dev’s arc is nuanced, and he is neither a straight-up hero nor a villain. Collaboration is a goal, and there is an element of WeWork (but without the scam) or a Silicon Valley startup in the office setup. Dev is also one of several characters with deep-rooted daddy issues, and this recurring theme adds to some of the soap opera moments.
Laura Prudom gave the premiere of For All Mankind a 9/10, writing that it "may not have the marquee names of The Morning Show or the big-budget genre auspices of See, but it's by far the most confident, fully-realized, and best-executed effort in the Apple TV+ launch slate." Read the full review here.
On the subject of melodrama, there is plenty of that percolating alongside character growth. Space tourism is part of the conversation, and Karen Baldwin (Shantel VanSanten) is an important player. Thankfully, they haven’t tried to make the astronaut wife-turned-bar-owner this timeline’s version of a Girlboss, and her journey has been one of the most satisfying from the first season to now– well, that is if you don’t count the Danny romance misstep. Without giving too much away, this storyline does factor in Season 3; however, it is more successful in its execution across the eight episodes (out of 10 total) available to press — some of Danny’s choices remain frustrating. The final two installments cranked up the heat last year, and somehow this writing team keeps finding new extreme scenarios for these astronauts to handle.
Long-buried conflicts are revisited, which adds to the lived-in quality of these characters, and even if you can’t quite remember specifics, the performances do the heavy lifting. The female space program was central to the first season, and each woman has gone onto bigger things (except Tracy, RIP) within NASA. We rarely get to see a group of characters evolve over this much time, and the aging makeup and wigs are far from distracting. Some might quibble that they don’t look old enough to be in their 50s and 60s, but who is to say that this timeline hasn’t got more advanced skincare and cosmetic procedures? Maybe all those months on the moon did wonders for Dani (Krys Marshall) and Ed’s (Joel Kinnaman) pores.
With the Mars mission on the horizon, time is on many characters’ minds. Dani and Ed are wrestling with the concept of legacy and what it means to be first. A healthy rivalry helps fuel progress, and it is impossible to untangle their pasts. “Hi, Bob” has such a specific meaning on For All Mankind, and these two words are a time capsule that symbolizes survival and teamwork. It is a secret greeting that no one else is privy to, and it feels even more poignant now that it is only the two of them. The third season digs into this dynamic and notions of loyalty in new fascinating ways that give Marshall and Kinnaman some meaty moments to navigate. The next generation also has a role to play, which sees Danny and Kelly (Cynthy Wu) navigating their “nepo baby” status while trying to make a mark on the space program that is already part of their family brand.
Dani and Ed’s leadership styles are not the only ones at odds, and the conflict between the equally stubborn Margo (Wrenn Schmidt) and Molly (Sonya Walger) is revisited early on. Margo’s relationship with protege Aleida (Coral Pēna) explores legacy from another point of view — and shows how difficult work-life balance is in NASA — and there is also the small matter of Margo’s ongoing conversations with her Soviet counterpart.
For All Mankind’s ambitious journey into the ‘90s is incredibly satisfying.
For All Mankind continues to juggle multiple locations on Earth and in space, leaving some storylines a little stretched (particularly Ellen’s political journey). However, the balance between special effects spectacle and grounded human moments ensures the series never loses sight of what made it so refreshing in the first place. Ambition fuels these characters, and For All Mankind is not afraid of making bold leaps.
Continue reading...
History has a habit of remembering who was first, whether it be a scientific achievement or conquering a previously impossible exploration goal. Apple TV+’s alternate history drama For All Mankind opened with Soviet Union cosmonauts making that giant leap on the moon's surface rather than NASA astronauts Neil Armstrong and Buzz Aldrin. Now, a crewed mission to Mars is the goal, and a privately owned tech firm has turned this into a three-horse race. The blend of new advancements in this “What If?” scenario with recognizable dreams, desires, and fears is why For All Mankind continues to hit giddy heights in its third year.
Yes, it is fun to spot how this timeline has deviated from our own, but what really makes Ronald D. Moore, Matt Wolpert, and Ben Nedivi’s ambitious series sing is a connection to the characters. Season 3 doesn’t take its foot off the pedal, and it remains one of the most exciting shows on Apple TV+’s growing roster — and all streamers.
Nearly a decade has passed since the devastating events on the Jamestown base in the Season 2 finale, and the premiere opens with a montage of cultural, political, and space-race moments that mainly differ from our reality. As with last year’s opener, this fun sequence features some blink-and-you’ll-miss-it similarities alongside “Sliding Doors” moments. It also briefly introduces tech billionaire Dev Ayesa (Edi Gathegi) via a magazine cover, indicating the power and influence this new character exerts.
The storylines involving Ellen’s (Jodi Balfour) political aspirations and Danny Steven’s (Casey W. Johnson) following in his parents’ footsteps are also significant. For All Mankind does not waste time with clunky exposition, and this highlight reel fills in some of the gaps while leaving the door open to expand on what has unfolded. It is a lot to take in (hence why I watched this montage twice), but it effectively sets the scene and establishes the competitive spirit of another high-octane mission. The Red Planet is the goal, but there are also old scores to settle that will impact this Martian adventure.
Legacy is a recurring theme winding its way through this story, from the regrets regarding the Soviets landing on the moon first to the sacrifice made by Tracy (Sarah Jones) and Gordo Stevens (Michael Dorman) to save the Jamestown base from a nuclear meltdown. Losing two characters who brought so much to the series was devastating as a viewer (I still cannot look at duct tape), and they are far from forgotten. A ripple effect is felt in several Season 3 storylines, from the children they left behind to the real chance that anyone can die on this show.
Space exploration is a dangerous business, and in the blink of an eye, a situation can flip from cruise control to genuine peril. For anyone who has somehow forgotten how risky new ventures are, “Polaris” is quick to remind us that no one is safe in space. Even the most decorated and experienced astronauts cannot foresee or prevent wildly unpredictable events. Taking a big swing with a high-stakes event in the opening episode is a quick way to pull us back in, and suffice to say, I was clapping my hands with glee while simultaneously yelling at my screen within seconds of each other. No show cranks up the tension and then continues to press its foot on the pedal quite as well as this one.
Dev’s arc is nuanced, and he is neither a straight-up hero nor a villain.
For All Mankind excels at big set pieces accompanied by Jeff Russo’s gorgeous score that is equally adept at elevating a poignant scene as it adds to breathless sequences. Similarly, the song budget continues to impress with its nods to defining grunge bands of the era that are a reminder of the ‘90s backdrop. Technology in this universe is more advanced than our own, including some nods to Apple products — although it isn’t an all-Steve Jobs monopoly as Sony electronics are also featured.
The conflict between Capitalism and Communism remains in play as the Soviet Union still exists. Dev’s company Helios Aerospace might be something that would exist if Jeff Bezos, Elon Musk, or Richard Branson were several decades ahead of where they are now. Dev’s arc is nuanced, and he is neither a straight-up hero nor a villain. Collaboration is a goal, and there is an element of WeWork (but without the scam) or a Silicon Valley startup in the office setup. Dev is also one of several characters with deep-rooted daddy issues, and this recurring theme adds to some of the soap opera moments.
What We Said About the First Episode of For All Mankind
Laura Prudom gave the premiere of For All Mankind a 9/10, writing that it "may not have the marquee names of The Morning Show or the big-budget genre auspices of See, but it's by far the most confident, fully-realized, and best-executed effort in the Apple TV+ launch slate." Read the full review here.
On the subject of melodrama, there is plenty of that percolating alongside character growth. Space tourism is part of the conversation, and Karen Baldwin (Shantel VanSanten) is an important player. Thankfully, they haven’t tried to make the astronaut wife-turned-bar-owner this timeline’s version of a Girlboss, and her journey has been one of the most satisfying from the first season to now– well, that is if you don’t count the Danny romance misstep. Without giving too much away, this storyline does factor in Season 3; however, it is more successful in its execution across the eight episodes (out of 10 total) available to press — some of Danny’s choices remain frustrating. The final two installments cranked up the heat last year, and somehow this writing team keeps finding new extreme scenarios for these astronauts to handle.
Long-buried conflicts are revisited, which adds to the lived-in quality of these characters, and even if you can’t quite remember specifics, the performances do the heavy lifting. The female space program was central to the first season, and each woman has gone onto bigger things (except Tracy, RIP) within NASA. We rarely get to see a group of characters evolve over this much time, and the aging makeup and wigs are far from distracting. Some might quibble that they don’t look old enough to be in their 50s and 60s, but who is to say that this timeline hasn’t got more advanced skincare and cosmetic procedures? Maybe all those months on the moon did wonders for Dani (Krys Marshall) and Ed’s (Joel Kinnaman) pores.
With the Mars mission on the horizon, time is on many characters’ minds. Dani and Ed are wrestling with the concept of legacy and what it means to be first. A healthy rivalry helps fuel progress, and it is impossible to untangle their pasts. “Hi, Bob” has such a specific meaning on For All Mankind, and these two words are a time capsule that symbolizes survival and teamwork. It is a secret greeting that no one else is privy to, and it feels even more poignant now that it is only the two of them. The third season digs into this dynamic and notions of loyalty in new fascinating ways that give Marshall and Kinnaman some meaty moments to navigate. The next generation also has a role to play, which sees Danny and Kelly (Cynthy Wu) navigating their “nepo baby” status while trying to make a mark on the space program that is already part of their family brand.
Dani and Ed’s leadership styles are not the only ones at odds, and the conflict between the equally stubborn Margo (Wrenn Schmidt) and Molly (Sonya Walger) is revisited early on. Margo’s relationship with protege Aleida (Coral Pēna) explores legacy from another point of view — and shows how difficult work-life balance is in NASA — and there is also the small matter of Margo’s ongoing conversations with her Soviet counterpart.
For All Mankind’s ambitious journey into the ‘90s is incredibly satisfying.
For All Mankind continues to juggle multiple locations on Earth and in space, leaving some storylines a little stretched (particularly Ellen’s political journey). However, the balance between special effects spectacle and grounded human moments ensures the series never loses sight of what made it so refreshing in the first place. Ambition fuels these characters, and For All Mankind is not afraid of making bold leaps.
Continue reading...