The show is one of the first series appearing on the (now named) Apple TV+ streaming service, a multibillion-dollar push that includes projects from Steven Spielberg and Oprah Winfrey. Apple may have a near-trillion-dollar market cap, but it still leases soundstages like everyone else in Hollywood.) Dryness maintained, we walked into the control room of NASA's Manned Spacecraft Center circa 1969.įor all its attention to the little things, though, For All Mankind is bigger and riskier than anything Moore has created. (The Sony complex is also home to HBO's Insecure and Showtime's Ray Donovan. We were going to find out if Apple, maker of so many devices that have redefined the way we consume content, could finally make content-good content-of its own.Īfter the journalists handed their phones to Apple staffers to be taped up with camera-blockings stickers, the vans shuttled the group to Stage 15. After what felt like years of anticipation, Apple was about to take us behind the scenes of a show it was making for its still mysterious, still unnamed subscription streaming service. The downpour was bad luck for the dozens of journalists there that day, but it was also a touch allegorical. On a particular Saturday in February, while an atmospheric river settled over Los Angeles, those vehicles were a necessity. If you need to get from, say, the Jimmy Stewart Building to Stage 15, golf carts and Sprinter vans are the customary mode-even on sunny days. That's a lot of windowless oblongs, and even more distance between them. More than 50 buildings and soundstages sprawl across the 44 acres of the Sony Pictures lot.
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