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If they want to portray a diverse mission control I have no problem with that, but leaving out the American Flag is completely historically inaccurate.
If you want a truly historically accurate movie, they'd need to show the American flag falling over into the lunar dust when the lunar module ascended. How'd you like to see that in your movie?
Oh wait... did we go to the moon? I thought that event got erased by the History Nazis. Wasn't it supposed to be racist or insensitive or American colonialism or something?
The event got erased by Alex Jones and his tinfoil-hat wearing, mouth-breathing, slackjawed band of morons.
There were 3 AA women involved in Hidden Figures-out of some 400,000 people involved in the mission...
Yet to far left Hollywood they are the most important part of the endeavor. At some point getting back at Whitey for the past is going to get old. I think it already has.
Nah, there was quite some debate on the point. The Committee on Symbolic Activities for the First Lunar Landing (not making that title up) also considered a UN flag or no flag at all - it ended up being enough of an afterthought that it had to be carried strapped to the egress ladder.
The plaque I posted upthread was originally intended to show a US flag, but was converted to its final design.
NASA was run by eggheads who wanted to do science and engineering, they were surprisingly tone-deaf at times.
Strapping the flag assembly to the egress ladder was no "afterthought":
The movie was made for people who want to experience space flight from the personal perspective of the pilot.
Quote:
In “First Man,” Chazelle restricts the action almost entirely to the point-of-view of the astronauts themselves: the things they literally see and hear during their missions (the movie eschews panoramic shots they aren’t privy to), along with what they’re thinking and feeling. From the dizzy and volatile opening sequence, in which Armstrong, as a test pilot in 1961, rides an X-15 up into the black clouds, ripping through the air to the point that he almost can’t get back (mission control: “Neil, you’re bouncing off the atmosphere”), the movie is tethered to everything the men experience: the random shards of sky looming up out of cramped windows, the topsy-turvy angles, the whole existential inside-the-cockpit zooming-into-the-void craziness of it all. Propelled by Linus Sandgren’s raw-light cinematography and Tom Cross’s hypnotic editing, “First Man” is so immersive in its glitchy, hurtling, melting-metal authenticity that it makes a space drama like “Apollo 13” look like a puppet show.
The fact that space travel, viewed from the inside, could look and feel so much more abrasive and hazardous than we might ever have thought is part of the raw dramatic power of “First Man.” Yet what ultimately gets to you about the movie, and makes it as haunting an experience as it is gripping, is that the quivery peril of being aboard a rocket ship incarnates something indelible about what the space program was about: not just a “new frontier,” but a culture’s way of defying death. The movie captures that death was always part of it. The steep risk factor, the sheer number of pilots and astronauts who lost their lives, the scary macabre thrust of the voyages — it was all a dream poised on the edge of an abyss. “First Man” bears the same relation to the space dramas that have come before it that “Saving Private Ryan” did to previous war films. The movie redefines what space travel is — the way it lives inside our imaginations — by capturing, for the first time, what the stakes really were.
I think Scientists think bigger than being patriotic. Hence with the ISS, scientists did not care about the tension between Russia and the U.S., they just wanted to do science.
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