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Rating: 3.5 stars (out of 5)
Verdict: “Star City” trades the soaring optimism of early “For All Mankind” for a darker, more paranoid Cold War spy-thriller vibe. It doesn’t hit the same emotional highs as its predecessor (at least not yet), but the tense atmosphere and strong performances make it an intriguing addition to the franchise.
Release schedule: Episodes 1-2 now streaming
Where to watch: Apple TV
Apple TV has spent the last few years quietly building one of the strongest sci-fi libraries among the best streaming services, but as the longest-running, “For All Mankind” remains the crown jewel. Ronald D. Moore’s alternate-history drama turned the space race into prestige television, blending Cold War politics, family melodrama and stressful engineering disasters into one improbably addictive package.
Over time, though, the series drifted further away from its grounded roots and deeper into sprawling sci-fi spectacle. So there’s something immediately appealing about “Star City,” a spinoff that rewinds the clock back to the late ’60s and asks: What if “For All Mankind” was less inspirational NASA drama and more paranoid Soviet spy thriller?
After watching the premiere's first two episodes, I’m cautiously on board. “Star City” doesn’t hit with quite the same emotional force as early “For All Mankind” as the premise naturally loses some impact the second time around. But shifting the story behind the Iron Curtain gives the franchise a fresh, darker energy.
Kelly recently reviewed "The Other Bennet Sister," "The Testaments," "For All Mankind" season 5 and "Jury Duty Presents: Company Retreat."
‘Star City’ trades optimism for paranoia
Like the early seasons of "For All Mankind," “Star City” is set in the ’60s and early ’70s, taking us inside the Soviet space program following the USSR’s victory over the United States in the moon race.
At the center of it all is the mysterious, unnamed Chief Designer (Rhys Ifans), the architect behind the Soviet Union’s space dominance and a man treated with equal parts reverence and suspicion by the state. Around him orbits a sprawling ensemble of cosmonauts, engineers, KGB operatives and deeply unhappy spouses, because apparently emotional repression is just part of the Soviet identity.
The biggest tonal difference between this and “For All Mankind” becomes obvious immediately. The parent series, especially early on, had a sense of optimism and adventure underneath all the Cold War tension. “Star City,” meanwhile, feels actively allergic to hope. The sets are gray. The lighting is gray. The clothing is gray.
The grainy cinematography and drab Soviet aesthetic make the show feel oppressive, as likely intended. At times, it’s almost comically bleak — I half expected someone to announce that joy had officially been outlawed — but that makes the atmosphere all the more immersive.
The strongest part of the show involves Irina Morozova (Agnes O’Casey), a young KGB surveillance recruit tasked with listening in on cosmonauts and their families. Her storyline is the show's essence: a claustrophobic world where everybody is spying on everybody else and even minor personal failures can become state-level catastrophes.
"Star City" is smart to lean harder into espionage-thriller territory instead of simply recreating “For All Mankind” beat for beat. Yes, there are still nail-biting space sequences and last-minute engineering fixes that will trigger nostalgia for the original show’s early seasons. But the focus here is much more internal: secrets, betrayals and the psychological toll of life inside such a tightly-controlled society.
Verdict: ‘Star City’ is an intriguing, if emotionally chilly, pivot for the franchise
The biggest issue with “Star City,” at least based on the first two episodes, is that the characters haven’t fully come alive yet. There are compelling dynamics throughout the ensemble, particularly involving cosmonauts Sasha (Solly McLeod), Valya (Adam Nagaitis) and Anastasia Belikova (Alice Englert). But for now, the show currently feels more invested in mood than emotional depth.
That’s where comparisons to early “For All Mankind” get tricky. The characters were what made me so obsessed with the show early on. "Star City” hasn’t quite gotten there with its ensemble.
Still, there’s enough here to keep me watching. The performances are strong, particularly O’Casey and Ifans, and the darker spy thriller vibe gives the franchise a welcome change of pace instead of feeling like a tired retread.
No, “Star City” doesn’t feel as fresh or emotionally devastating as “For All Mankind” did when it first launched. But as a moodier, more paranoid companion piece to the original series, it’s a compelling mission so far.
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