The Old Negro Space Program

NASSA stands for the National Association for the Advancement of Space Travel by African-Americans. It is a fictional Black space program formed in the 1960s by grassroots activists in Washington D.C. and Illinois, created in response to the segregated NASA space program. The organization represents the movie's central fictional premise: a parallel Black space initiative that challenged racial barriers in the real NASA program.

The film establishes early on that official NASA excluded Black scientists and astronauts during the 1960s space race, setting the context for NASSA's formation.

The film takes place across the United States during the 1960s, with key scenes in Washington D.C. and Illinois where grassroots activists form NASSA. The story culminates on the Moon as the ultimate testing ground for their ambitions, symbolizing equality beyond institutional barriers. The setting places the 1960s space race within everyday American life, using local towns and schools as stages for change.

The mockumentary style documents the activists barnstorming across towns, emphasizing the grassroots nature of the movement.

The movie is set in the 1960s, during the real U.S. space race and civil rights movement. It traces the rise of the fictional Black space initiative NASSA alongside these historical events, highlighting the segregation in national programs and the persistence of activist communities challenging the status quo. The narrative concludes with a 1966 Moon landing that gets buried by a national information blackout.

The film establishes the era's context through archival-style interviews and footage that mimics Ken Burns' documentary approach.

Sullivan Carew, played by Jordan Black, is the charismatic leader of NASSA who dreams of making space accessible to all people. He relentlessly pursues NASA involvement despite the era's racism and helps found the organization, inspiring others with his optimism. His arc culminates in a heroic death when his rocket-powered school bus fails during a test, leaving a heartfelt letter to his wife that anchors the film in personal sacrifice.

Carew's determination and personal journey are introduced early as the emotional core of the movement's story.

Wallace 'Suitcase' Jefferson, played by Johnny Brown, is a practical and resourceful optimist who uses charm and wit to win hearts and mobilize others. He co-founds NASSA with Louie Hays and becomes the driving force behind the movement's public appeal. His determination keeps the project alive even when progress stalls and political risks rise.

Jefferson's charm and persuasion skills are shown early in the barnstorming scenes that recruit members across towns.

Dr. Warren Fingerroot, played by Andy Bobrow, is the brilliant scientist who provides the technical backbone for NASSA's space program endeavors. He translates bold dreams into plausible engineering plans and supports the group with practical know-how. While not always in the spotlight, his expertise is essential to the team's experiments and ambitious goals.

Fingerroot's technical contributions are shown in early scenes demonstrating the feasibility of the group's space concepts.

The film uses NASSA to directly challenge the racial barriers of the 1960s, showing how Black scientists and dreamers pushed into a whites-only space program. It exposes systemic discrimination in media coverage and NASA's recruitment practices. Through perseverance and collective action, the characters argue that space belongs to everyone, making the equality theme a central message of the mockumentary.

The opening segments establish the segregated nature of the real NASA program as context for NASSA's formation.

Sullivan Carew's heroic death and his final letter to his wife anchor the film in personal sacrifice amid public forgetfulness. The letter serves as a poignant memory of his contribution and echoes the broader theme of historical memory, the film treats sacrifice as a quiet counterpoint to the era's larger political battles. It represents the cost of pursuing progress when the broader society seeks to erase such achievements.

The letter appears late in the film, providing emotional closure after the 1966 Moon landing and subsequent information blackout.

The film uses a mockumentary format that broadly satirizes Ken Burns' documentary style, particularly his work on the Negro Baseball Leagues. It employs archival-style footage, talking-head interviews, and historical narration to tell its fictional story of a suppressed Black space program. This format allows the movie to be both comedic and bittersweet, using a light, whimsical presentation to deliver a story with serious underpinnings about historical erasure.

The opening sequence establishes the mockumentary approach with period-appropriate interview styles and archival aesthetics.

NASSA succeeds in landing on the Moon in 1966, but their achievement is largely buried by a national information blackout. The ending represents a classic bittersweet mix of historic success and subsequent erasure, showing that despite the group's perseverance and achievement, the broader historical narrative suppresses their contribution. This reflects the film's commentary on how certain histories get forgotten or deliberately removed from mainstream accounts.

The information blackout is hinted at earlier through references to media suppression and the challenges faced by the movement.