Kathryn VanArendonk

And sure, there are always parts of those transitions that do and do not work.

But there are a number of things that a show in the ER era had working for it that FAM is really challenged by.

You do not have that same, as we were talking about in Outlander, you don't have as many episodes to build in all of these people.

Every season is driving to one particular ending.

And so you don't have time for as much of that

sort of directionless but important character development stuff.

And the thing that makes the show so compelling, these incredibly intense stakes that you end up in by the end of each season where the whole structure of whatever civilization that you've built is teetering on collapse.

also then makes it so that you don't allow characters to ever get comfortable enough to just be people in the world doing a regular job.

It's a Buffy problem a little bit.

They have to save the world over and over again.

And eventually you're like, I just kind of need to see him be a bartender for a bit.

I have seen many an episode of Foundation.

Lee Pace does not have a belly button.

Yeah, I mean, the thing about a foundation is ultimately it's mostly vibes, right?

Like they're like, we are out here in the future and we have to preserve all of everything and he's drowning for some reason, but nobody knows why.

And you're just like, oh, it looks... I think I wrote this in a review of foundation at some point, but it is almost indistinguishable from when an Apple TV goes to sleep and then you get these beautiful landscapes that play over.

Like that's just kind of where you are.

The thing with For All Mankind is...

it cannot let itself be in that, like, we're just in space having a good time or bad time, but we're making it day to day kind of a thing.

They are doing full on, like, the intergalactic trade war is laid out in these seven regions and you have to be able to follow which countries are aligned.