Andy Greenwald

But even to use that as a set piece in the third episode where something goes wrong, there wasn't a single moment watching the launch sequence played out over the back half of the third episode where I didn't know something was going to go wrong.

Yes.

Especially once the one character...

space swims to the back to release the pressure.

As soon as he did that, my brain went into like the top, you know, you can like change the camera angle and I'm watching the all 22.

I'm mixing my sports metaphors.

But I was like, I know what's going to happen now because I have watched television before.

But I'm curious how they play it.

And the way they played it is right down the middle and perfect with the cuts when you stop hearing from the back and the elation mixed with a sudden discovery and then the slow realization that something has gone wrong.

This is textbook.

There's nothing particularly novel about it.

It's just executed at such a high level.

And I felt the same way throughout that episode where it's like, let us explore story in every corner of the world that we created.

Because also remember, it is a rare, rare opportunity for producers and TV makers to be told by a rich-pocketed benefactor like Apple, yeah, we want more.

So what could they have done with this?

Especially when the fact that the Russians' job in the narrative of the other show, For All Mankind, is established.

They're the antagonists.

They're the rabbit the greyhounds are chasing the whole time.

So it was kind of either plug and play or let's dive in and create rich, rich characters to make the show as much about them as possible.

And then just put them in conflict, see what happens.