What if the United States hadn’t won the Space Race in 1969? What if the first flag planted on the Moon had been the Soviet Union’s hammer and sickle instead of the Stars and Stripes? Across five seasons, science-fiction drama For All Mankind has explored that alternative history, imagining a world shaped by decades of escalating space rivalry that ultimately propels humanity towards Mars. Now, in spin-off Star City, showrunners Matt Wolpert and Ben Nedivi go back to the 1960s to revisit the premise from the Soviet side, offering a fresh perspective on a familiar “What if?”.
“The real Soviet space programme was shrouded in secrecy,” explains Wolpert, “but the more we learnt about it while writing For All Mankind, the more we became fascinated by the potential to do a completely different show. It is much more of a 1970s Cold War spy thriller. As dangerous as it is in space, it’s more dangerous on the ground.”
Beyond the challenges of putting a man on the Moon, the Chief Designer must contend with Anna Maxwell Martin’s terrifying KGB agent Lyudmilla Raskova, who spies on everyone at Star City (the name of Russia’s cosmonaut training centre near Moscow). “She is the leading cause of paranoia,” says Nedivi. “What I love about Anna’s performance, though, is that she isn’t just a villain. Lyudmilla has so much humour, depth and texture.”
Wolpert and Nedivi describe the choice to eschew Russian accents in favour of British actors speaking in their native accent as one of their most difficult decisions. “We talked extensively about different versions,” says Wolpert. The pair even consulted TV supremo Craig Mazin, who made a similar stylistic choice in 2019 HBO thriller Chernobyl. “We wanted it to be accessible,” says Nedivi. “Craig made us realise that it doesn’t matter what language they’re speaking. All that matters is that we are capturing the authenticity of the world.”
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