Why this series did not get off the ground.
“Masters of the Air” premiered on Apple TV on January 26th, 2024. Based on the book of the same name by Donald L. Miller, it follows the actions of the 100th Bomb Group, a Boeing B-17 Flying Fortress heavy bomber unit in the Eighth Air Force during World War II. Apple TV partnered with Playtone and Amblin to produce this nine-episode series. There had been many delays in “MoTA” getting to the screen as filming had been delayed due to COVID. But finally, it landed on Apple and the world went to watch.
The world went to watch, but I didn’t. Why? Well, let me tell you. I could not get Apple TV on my plasma TV and felt that this was a series that warranted a big screen. I felt that watching it on an iPad would not do it justice. Then in December 2024, Apple TV+ began to play through Amazon prime and I could finally watch the series, so it was time to grab the popcorn and settle in. I managed three episodes, and I quit! For me, it just did not get off the ground.
Pacing and structure of the series
The series felt uneven and at times just slow. While taking time to build a story can be a good thing, I found myself comparing to “Band of Brothers,” where at the end of episode one, we had a core group of characters that we could identify with. This was not the case in “MoTA.”
Characters
While the historical accuracy was as good as other Spielberg/Hanks productions, the characters in this series felt one dimensional. The emotional range and depth that I had expected, did not seem to be there, and made the characters hard to connect with. The story arcs of the characters did not seem to be as gripping as other shows. It was hard to get to know them.
Visual style & cinematography
While the cinematography in “MoTA” was undeniably stunning, the overall design of the show leaned heavily (in my opinion) into a different aesthetic. (I know, I know—stop comparing it to “Band of Brothers,” but hear me out!) Unlike its predecessors, “MoTA” lacked the raw realism and gritty portrayal of war that made “Band of Brothers” and others so compelling. The aerial combat scenes, no doubt, were breathtaking, but their visual style, though impressive, felt somewhat out of place. It was as if the sheer spectacle of the action overshadowed the more grounded, visceral experience that might have anchored the show in a deeper sense of realism.
Comparing to earlier Hanks/Spielberg collaborations
While the earlier two series that Hanks and Spielberg worked on, set a high bar for this type of drama, “MoTA” failed to reach it. In my opinion, it lacked the emotional weight, intensity, and the camaraderie that the others had.
Theme and Tone
The tone of a war drama is crucial to its success. “MoTA” focused on the strategic bombing campaign in WWII, a tough and at times brutal subject. While focused on the aerial combats, we lost the complexities of war, the emotional and the ethical. It did not give me a chance to connect with it.
Expectation v Reality
I’m not going to deny it; I expected the standards I had seen in “Band of Brothers” and ‘The Pacific.” However, with the war being fought in the air, as opposed to the ground offensive, it put a slant on the series that was hard to connect to. I can sum it up in one word. Underwhelmed.
In conclusion, “MoTA” never fully took flight due to its failure to balance spectacle with substance. While the series boasted stunning visuals and a strong historical foundation, it lacked the emotional depth, character development, and gritty realism that made earlier Hanks/Spielberg collaborations like “Band of Brothers’ so impactful. The pacing felt uneven, the characters were one-dimensional, and the glamorous Hollywood style of its cinematography often overshadowed the raw intensity of the story. Ultimately, the series struggled to provide the complex emotional and ethical layers necessary to connect with its audience on a deeper level. For all the anticipation, “MoTA” didn’t soar—it felt more like a missed opportunity, one that failed to live up to the lofty expectations set by its predecessors.
