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For All Mankind Trailer - Apple TV- SPOILER

Ron Moore did an interview awhile back (I can't remember if it was right before or right after the last season) that his vision for the show is seven seasons with Aleida as the central throoughline.

Makes sense. She's the one best poised to be the common factor in every season due to her age -- just old enough to have been around for the first generation, just young enough to be the audience's focal point as it goes further into counterfactual history. If they keep doing these roughly 10-15 year jumps from season to season, I could picture an 80-something Aleida being there for an eighth season set in the 2040s.
 
I hadn't realized the show wasn't coming back this month, although it was kinda dumb to think it was since pretty much every season is like a 14-16 month gap. So probably the fall.
 
I mean, yes and no? Things like that are always a combination of cultural conditioning and personal choice. Ed is a character who both made choices to embrace ideals of masculinity that were normative but toxic, but he's also a guy who worked to open his mind and overcome some of that toxicity. He hasn't entirely succeeded in that, but he's also not some kind of cartoon character.



Absolutely not. Ed is just as responsible for the toxic choices he's made as Karen. Neither of them are perfect people; both made choices that reflected toxic gender norms of their cultures, both inflicted abuse on others at times, but both also changed over time to transcend many of those toxicities. Karen is as much responsible as Ed for the Baldwins' decision to adopt and raise Kelly with a great deal more sensitivity and open communication than that with which they raised Shane, for instance. And she herself is a victim of emotional neglect from Ed. Which doesn't excuse her decision to sleep with Danny! But also she is not a villain and is no more responsible for enforcing toxic gender roles than Ed.



I think Aleida is going to drive the show for at least the next two seasons, yeah. I suspect Ellen will make a return to NASA too. And I think Kelly will also be a key driver of the emerging Space Aristocracy that we're starting to see develop.

They outright *show* Ed being one way, wanting to be something he isn’t allowed to be, and then *told* to be another by Karen, and him doing so via that final video call, because of the home being her domain. It’s subtle distinction between that and your surety of theoretical sociological reading through a Marxist lens.
I did not say Karen was the villain, but that she was ‘basically the villain of the piece’ the ‘piece’ being that specific storyline sequence. She is then in some ways written as the instigating antagonist in Danny’s story, and her role with the independent space program could again be seen as antagonistic as an instigating force. Largely to show the double edged sword of the established roles, and those being in flux, particularly vis a vis gender.
But you miss things all the time — the tragedy of Gordo isn’t that he was selfish, but that he became *unselfish* and that it was that which led to his final heroism and death. Yes, it had an effect on his sons, to whom he had improved some bones with prior, but it wasn’t a selfish act that caused it.

Not sure Ellen will return to NASA, I think that’s going to be one of the stories within that have a tragic end. Everything is very much about living up to some example, some ideal, thematically, and then we see the characters fail and struggle with that.
Margot will at least give us the other side of the curtain.
 
Ron Moore did an interview awhile back (I can't remember if it was right before or right after the last season) that his vision for the show is seven seasons with Aleida as the central throoughline.
I've been assuming that from the get-go, since she's the only character that we've been following both from childhood AND before she or her family had anything to do with the space program. I mean why else focus on some random Mexican kid watching the first moonlanding unless she has some kind of destiny?
Admittedly I assumed she'd end up being an astronaut instead of an engineer (and presumably eventual NASA administrator), but this way around is actually more interesting.
Honestly I won't be shocked if it turns out this whole thing is a story being told by a very elderly Aleida, sometime in the 2060's.
 
I've been assuming that from the get-go, since she's the only character that we've been following both from childhood AND before she or her family had anything to do with the space program. I mean why else focus on some random Mexican kid watching the first moonlanding unless she has some kind of destiny?
Admittedly I assumed she'd end up being an astronaut instead of an engineer (and presumably eventual NASA administrator), but this way around is actually more interesting.
Honestly I won't be shocked if it turns out this whole thing is a story being told by a very elderly Aleida, sometime in the 2060's.
And then the Vulcans land.
 
They outright *show* Ed being one way, wanting to be something he isn’t allowed to be, and then *told* to be another by Karen, and him doing so via that final video call, because of the home being her domain.

Sure, but that doesn't mean we didn't see plenty of other bits of toxic masculinity in his parenting before that scene which were not the result of pressure from Karen. Ed is notably colder to Shane throughout Season One than he subsequently became with Kelly.

It’s subtle distinction between that and your surety of theoretical sociological reading through a Marxist lens.

I have no idea what the fuck you're talking about here, since nothing I said had anything to do with Marxism.

I did not say Karen was the villain, but that she was ‘basically the villain of the piece’ the ‘piece’ being that specific storyline sequence.

1) Nothing about your original post explains that you're referring to the context of the very particular sequence in which Shane gets in trouble while Ed is at Jamestown Station, Karen pushes him to be harsher on him, they're both harsh on him, and then he runs away and gets hit by the car. You spoke in generality about them parenting, not in terms of that very specific sequence.

2) Your post also didn't make much sense since you wrote in response to me talking about the Stevenses' parenting, not the Baldwins' parenting.

3) Again, calling Karen a villain of that particular sequence is still false. Both parents were emotionally abusive at times to Shane as a result of normative parenting and gender roles of their eras, and both are are complex people who love their children but make bad mistakes at points. That's not villainy; that's a complex protagonist who does something bad.

She is then in some ways written as the instigating antagonist in Danny’s story,

Well that's not a question about the Baldwins' parenting anymore so I'm not sure why you keep branching off into different topics.

Karen should have recognized that sleeping with Danny would inflict psychological harm on a young man who had grown up seeing her as a surrogate mother figure. But Danny is also responsible for his cohices in response. He spends over a decade fixating on Karen. He enters into a relationship under false pretense and then marries this woman he does not love; he stalks Karen; he spies on Ed's communications with Karen; he refuses to seek mental health treatment even though he knows he's not in a healthy state of mind and then through negligence allows people to die; and he attempts to evade responsibility for his manslaughter.

I don't think Danny or Karen are antagonists. I think they're both protagonists of their own stories, and they both make terrible choices that harm others sometimes. But Danny's also are clearly much more harmful than hers.

and her role with the independent space program could again be seen as antagonistic as an instigating force.

I mean, if you posit that NASA is the protagonists' organization and any organization acting in opposition to them is an antagonist organization, then sure Helios and Karen are antagonists. But I think of Karen are being as much a protagonist as Ed, so to me this is two protagonists in conflict, not a protagonist and an antagonist.

But you miss things all the time

Condescension is not a structurally sound argument.

— the tragedy of Gordo isn’t that he was selfish, but that he became *unselfish* and that it was that which led to his final heroism and death.

No, part of Gordo's tragedy was that he was, indeed, somewhat selfish. All of the astronauts are, because they prioritize their desire to go to space above their loved ones' need for a live in-person relationship with them. As Molly talks about in Season One. And that fact has consequences; for Gordo and Tracey, one of the consequences was that their children grew up with absentee parents and that was deeply traumatic, particularly for Danny (who, it must be noted, lost his best friend and nearly lost his mother at almost the same time).

Yes, it had an effect on his sons, to whom he had improved some bones with prior, but it wasn’t a selfish act that caused it.

No, it absolutely was. If you're choosing to pursue a career that takes you away from your family for extended periods of time because of a deep-seated personal desire, you are by definition prioritizing that desire over your relationships with your family, and that is by definition a selfish choice. It may be the only choice you can make to achieve happiness and fulfillment. But it is still a selfish choice.

That is, indeed, part of the tragedy of so-called "Great Men and Women."
 
Sure, but that doesn't mean we didn't see plenty of other bits of toxic masculinity in his parenting before that scene which were not the result of pressure from Karen. Ed is notably colder to Shane throughout Season One than he subsequently became with Kelly.



I have no idea what the fuck you're talking about here, since nothing I said had anything to do with Marxism.



1) Nothing about your original post explains that you're referring to the context of the very particular sequence in which Shane gets in trouble while Ed is at Jamestown Station, Karen pushes him to be harsher on him, they're both harsh on him, and then he runs away and gets hit by the car. You spoke in generality about them parenting, not in terms of that very specific sequence.

2) Your post also didn't make much sense since you wrote in response to me talking about the Stevenses' parenting, not the Baldwins' parenting.

3) Again, calling Karen a villain of that particular sequence is still false. Both parents were emotionally abusive at times to Shane as a result of normative parenting and gender roles of their eras, and both are are complex people who love their children but make bad mistakes at points. That's not villainy; that's a complex protagonist who does something bad.



Well that's not a question about the Baldwins' parenting anymore so I'm not sure why you keep branching off into different topics.

Karen should have recognized that sleeping with Danny would inflict psychological harm on a young man who had grown up seeing her as a surrogate mother figure. But Danny is also responsible for his cohices in response. He spends over a decade fixating on Karen. He enters into a relationship under false pretense and then marries this woman he does not love; he stalks Karen; he spies on Ed's communications with Karen; he refuses to seek mental health treatment even though he knows he's not in a healthy state of mind and then through negligence allows people to die; and he attempts to evade responsibility for his manslaughter.

I don't think Danny or Karen are antagonists. I think they're both protagonists of their own stories, and they both make terrible choices that harm others sometimes. But Danny's also are clearly much more harmful than hers.



I mean, if you posit that NASA is the protagonists' organization and any organization acting in opposition to them is an antagonist organization, then sure Helios and Karen are antagonists. But I think of Karen are being as much a protagonist as Ed, so to me this is two protagonists in conflict, not a protagonist and an antagonist.



Condescension is not a structurally sound argument.



No, part of Gordo's tragedy was that he was, indeed, somewhat selfish. All of the astronauts are, because they prioritize their desire to go to space above their loved ones' need for a live in-person relationship with them. As Molly talks about in Season One. And that fact has consequences; for Gordo and Tracey, one of the consequences was that their children grew up with absentee parents and that was deeply traumatic, particularly for Danny (who, it must be noted, lost his best friend and nearly lost his mother at almost the same time).



No, it absolutely was. If you're choosing to pursue a career that takes you away from your family for extended periods of time because of a deep-seated personal desire, you are by definition prioritizing that desire over your relationships with your family, and that is by definition a selfish choice. It may be the only choice you can make to achieve happiness and fulfillment. But it is still a selfish choice.

That is, indeed, part of the tragedy of so-called "Great Men and Women."

My original post that your replied to talked about the Baldwins. I refer to ‘the piece’. I.e not the whole show, nor narrative, but the specific events with Shane. Karen is written as much more of a traditional conformist character, particularly at the beginning, than Ed is. It is in fact a recurring theme that the Astronauts are *all* a little bit different to the norm. Ed is written against type, almost from the beginning — in fact, his instigating moment is ‘not landing on the moon’ when his archetype, and Gordo’s, at the beginning is that of the boundary pushing risk taker. It’s why he’s an astronaut, but in that one moment he goes with the other aspect of his character — obeying orders. His arc is one of rejecting that aspect, and he later repeatedly (a) does why he thinks is best rather than simply taking orders and (b) does not act in the ways that suit his archetype. His whole gig is he is a ‘man of the future’ and it takes a while for the rest of the world to catch up.

A Marxist Lens is an academic term using specific theory/ideology (Marxist in this case) to examine a given example. In your case, it’s how you so firmly interpret the gender roles, almost as though it makes things an inevitability. Which to an extent, I also am doing or at least touching on in so much less ideologically a fashion, though I would suggest I am using a feminist or contemporary lens. Karen in fact regularly behaves in a selfish manner, defined in relation to her own wants or station in life, rather than anything concerning gendered expectations — she is not ‘baddie’ and makes an interesting comparison to her friend, and Molly’s Husband, the one earth-based character who fully rejects traditional gender roles. This is just one of her characters functions in the story.

Karen is the antagonist *at* Helios, when she takes over the company. Not in the competition with NASA. We are presented that as protagonist behaviour, because we have been following her character. But like many of the characters, they fulfill different roles and different points. It just happens that *most* of Karen’s seem to be as grit for the Oyster. As De Lancie once put it.

You have missed the point with Gordo specifically — whilst he starts as you describe, ignoring his family, living his archetype, it is only after he *can’t* do that anymore, and *after* he builds a better relationship with his sons, that he and Tracy (who goes on her own arc from too unselfish, to too selfish, and whose final act is a realisation that she has swung too far) meet their fates. His whole purpose in being there is not a *selfish* act, but an act of repair he sees as necessary for his family. An unselfish act both in that way, and in the fact he is saving Jamestown. Both characters redeem their earlier selfish acts, but Gordo’s is the longer journey, whilst Tracy’s is perhaps the most needed *at that point* from a certain perspective.

We see some of that mirrored in their sons. The ‘weak’ son, is actually the strongest, who has to be deceived to do something ‘wrong’ and is motivated by a demonstrated morality. The ‘strong’ son, is actually anything but, and is in the end undone by his own hidden weakness, and the fact that people (Ed particularly) both keep helping him get further than he should, and treat him as something he isn’t and largely pretends to want to be — to be like his father.

One of the underlying themes in the whole show, is to do with reflection or shadow. The Soviets and NASA. The story we see, and our reality in the real world. Expectation and reality. Sexuality. Gender. Escape versus exploration. Steadfastness versus mutability. The need for change, but the need to maintain.
Going left, when someone else went right.
It’s baked into the concept, and what it’s using that to do.
 
My original post that your replied to talked about the Baldwins.

Yes -- in reply to my post about the Stevenses, which made your jump from one couple to another weird.

I refer to ‘the piece’. I.e not the whole show, nor narrative, but the specific events with Shane.

And nothing about your original post specified that you were talking about that particular sequence of events rather than broadly about their overall patterns of behavior.

A Marxist Lens is an academic term using specific theory/ideology (Marxist in this case) to examine a given example. In your case, it’s how you so firmly interpret the gender roles, almost as though it makes things an inevitability.

Nothing about the way I described the gender roles Karen and Ed chose to take on is Marxist.

You have missed the point with Gordo specifically

No, I understand your point. I just don't agree.

— whilst he starts as you describe, ignoring his family, living his archetype, it is only after he *can’t* do that anymore, and *after* he builds a better relationship with his sons, that he and Tracy (who goes on her own arc from too unselfish, to too selfish, and whose final act is a realisation that she has swung too far) meet their fates.

That's cool. I am not talking about his ultimate fate. I am talking about the broad parenting pattern he engaged in throughout the time that his and his children's lives overlapped. However much of a better relationship he might have later built -- and I question how much better that relationship was, since he was clearly still wrapped up in his feelings about the mental health crisis he suffered at Jamestown Station ten years earlier -- the fact remains that he spent most of their lives as an absentee parent because of his desire to go to space. That was selfish, and it caused both his children profound trauma. That did not change just because of his actions in the final years of his life.

One of the underlying themes in the whole show, is to do with reflection or shadow. The Soviets and NASA. The story we see, and our reality in the real world. Expectation and reality. Sexuality. Gender. Escape versus exploration. Steadfastness versus mutability. The need for change, but the need to maintain.
Going left, when someone else went right.
It’s baked into the concept, and what it’s using that to do.

I don't disagree. But it's also almost completely unrelated to what I was actually talking about, so I would suggest you should not frame this as a response to me.
 
Yes -- in reply to my post about the Stevenses, which made your jump from one couple to another weird.



And nothing about your original post specified that you were talking about that particular sequence of events rather than broadly about their overall patterns of behavior.



Nothing about the way I described the gender roles Karen and Ed chose to take on is Marxist.



No, I understand your point. I just don't agree.



That's cool. I am not talking about his ultimate fate. I am talking about the broad parenting pattern he engaged in throughout the time that his and his children's lives overlapped. However much of a better relationship he might have later built -- and I question how much better that relationship was, since he was clearly still wrapped up in his feelings about the mental health crisis he suffered at Jamestown Station ten years earlier -- the fact remains that he spent most of their lives as an absentee parent because of his desire to go to space. That was selfish, and it caused both his children profound trauma. That did not change just because of his actions in the final years of his life.



I don't disagree. But it's also almost completely unrelated to what I was actually talking about, so I would suggest you should not frame this as a response to me.

I frame it as a response because I don’t think you missed ‘my’ point about Gordo, so much as missed ‘the’ point in the show.

A Marxist Lens is a Marxist Lens, it’s not saying ‘you said this and you only said it because you are a Marxist’ I grant that it’s been a while since I had to pay attention to such things.

Even a direct reply to a post is still part of the broader discussion. When talking about parenting in the show (a big theme) it’s always going to be worth looking at how it’s shown with other characters too. I don’t think you are seeing what’s there, in this case — Gordo fundamentally is *less* of an absentee parent than Tracy. He was doing a job, had a family while doing that job, and the society shifted underneath him as was happening at that time — same as in this world. He actually got closer to his sons as a result, whereas Tracy moved further away.
 
I frame it as a response because I don’t think you missed ‘my’ point about Gordo, so much as missed ‘the’ point in the show.

No, dude, I get the point of the show. But the theme of reflections or shadows also is an entirely different aspect of the show from what I was talking about. If someone is talking about the theme of race in Casablanca, you don't reply by telling them they don't understand the point of the film and then spend a bunch of paragraphs talking about the theme of love. Works of art encompass multiple themes, and focusing on one theme in one conversation does not mean that the person is unaware of other themes.

A Marxist Lens is a Marxist Lens, it’s not saying ‘you said this and you only said it because you are a Marxist’ I grant that it’s been a while since I had to pay attention to such things.

A Marxist lens would focus on the role of class, class conflict, or the role of wealth inequality, and would probably pay particular attention to how the narrative depicts capitalism and the U.S. on one side vs. how it depicts communism and the USSR on the other.

Nothing about what I said re: Ed's gender roles and parenting styles was said with a Marxist lens, because nothing I said had anything to do with class, class conflict, wealth inequality, capitalism-vs-communism, or the U.S.-vs-the-USSR. The gendered behavior Ed exhibited could exist under any economic structure.

Even a direct reply to a post is still part of the broader discussion.

Yes, but it is helpful to give an indication to other posters that you are not replying to someone directly when you change topics, because randomly jumping topics without such indicators gives an inaccurate impression of what your rhetorical goal is.

I don’t think you are seeing what’s there, in this case — Gordo fundamentally is *less* of an absentee parent than Tracy. He was doing a job, had a family while doing that job, and the society shifted underneath him as was happening at that time — same as in this world. He actually got closer to his sons as a result, whereas Tracy moved further away.

No, I am seeing what's there. I fundamentally disagree with you. Gordo may have superficially become closer to his children in the sense of being more dependent on them for support in his final years, but he wasn't there. He was fundamentally fixated on his mental health crisis at Jamestown, his desire to go back to space, and his desire to be with Tracey. He was not there for them. He was as distant and selfish as he had ever been, only now he was emotionally distant rather than being physically distant.
 
Any word on when we can expect to see For All Mankind Season 4? And maybe some scoop on what we’re in for when it returns?
An Apple TV+ premiere date continues to elude us, but co-showrunner Ben Nedivi told us (in pre-strike times) that more change is ahead in Season 4. “We always knew by jumping ahead decades that we wouldn’t be able to really just hold onto the original cast the whole way through, but I think we also didn’t want to do a thing where you completely swap out casts between seasons,” Nedivi said. So expect Season 4 to “bring in newer characters that kind of maybe show another side of the space program, another side of the world, to really expand the storytelling capabilities.”

Source https://tvline.com/lists/evil-season-4-release-date-spoilers-david-kristen-the-entity/
 
As sad as i will be seeing actors like Joel Kinnaman and Shantel VanSanten go in the context of the show it is necessary. It will be tough to phase out fan favorites but holding onto them beyond a certain point would hurt the show in the long run and i do want to see them build the first interstellar spaceship in the series finale ( with our without a FTL drive, i think that would be too much SciFi).
 
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