Episode 173 - First Man

In Episode 173 of *Blast Zone: Movies That Bombed*, hosts John Drake and Ian Dukes dissect *First Man* (2018), Damien Chazelle’s biopic of Neil Armstrong, the first man to walk on the moon. The episode explores the film’s underperformance at the box office—earning $49 million domestically despite a $70 million budget—despite strong critical reception and meticulous production. The hosts analyze how the film’s emotionally restrained tone, period authenticity, and focus on personal grief (especially Armstrong’s loss of his daughter Karen) contrasted with the era’s expectations for inspirational, patriotic space dramas. They debate whether the film was too introspective for mainstream audiences in 2018, a time of political cynicism and declining faith in institutional nobility. The discussion dives into Ryan Gosling’s restrained performance, Claire Foy’s powerful portrayal of Janet Armstrong, and the film’s technical achievements, including its use of LED screens instead of green screen and its harrowing depiction of spaceflight dangers. The episode also touches on the film’s controversial inclusion of Gil Scott-Heron’s 'Whitey’s on the Moon' as a critique of societal priorities, and reflects on the lasting emotional impact of the film’s quiet, character-driven storytelling. Despite its commercial failure, the hosts agree it’s a high-quality, thought-provoking film that lingers long after viewing. Key takeaways include: 1) *First Man* succeeded artistically but failed commercially due to its emotionally muted tone in a post-2016 cultural climate skeptical of grand narratives; 2) Ryan Gosling’s performance is a masterclass in restraint, conveying deep grief through silence and subtle gestures; 3) The film’s use of practical effects and LED screens created an immersive, authentic space experience; 4) The portrayal of Armstrong’s personal isolation and emotional repression offers a nuanced counterpoint to the myth of the heroic astronaut; 5) The inclusion of Gil Scott-Heron’s protest poem adds timely social commentary that resonates even more today. The episode ends with a look at the post-*First Man* careers of its creators and cast, including Chazelle’s later box office bomb *Babylon* and Gosling’s resurgence with *Project Hail Mary*.