The opening scene of Space Force shows Steve Carell’s General Mark Naird staring at a giant, half-built rocket on the screen in his office, a metaphor for the show itself—a well-intentioned but ultimately directionless endeavor. Created by Greg Daniels and Steve Carell for Netflix, this workplace comedy-drama attempts to satirize the U.S. military’s newest branch, the Space Force, but stumbles into a void of tonal inconsistency and unfocused storytelling.

At its core, Space Force follows Naird as he leads a team tasked with establishing the sixth branch of the United States Armed Forces. The premise is ripe for satire, given the absurdity of militarizing space, but the show struggles to find a consistent voice. It oscillates between earnest workplace comedy and biting political commentary, never fully committing to either. This tonal whiplash is evident in scenes like Naird’s futile attempts to get “boots on the Moon” by 2024, which are framed as both a ridiculous government mandate and a genuine challenge for his team.

Carell, usually a reliable comedic force, feels miscast here. His performance lacks the sharp wit and physical comedy that made him a standout in The Office. Instead, he seems to be playing a straight-laced general trying to keep his eccentric team in line, which leads to moments of deadpan humor but rarely anything truly laugh-out-loud funny. John Malkovich, as Dr. Adrian Mallory, the Space Force’s chief scientist, fares better. His character is a delightful oddball, and Malkovich’s deadpan delivery adds a much-needed layer of absurdity to the show.

The supporting cast includes a mix of talented actors, but their characters often feel one-dimensional. Ben Schwartz as F. Tony Scarapiducci, the social media director, is the closest thing the show has to a traditional comic relief character, but his antics quickly become tiresome. Tawny Newsome’s Captain Angela Ali shows promise, especially in her later development into an astronaut, but she’s often sidelined by the show’s focus on Naird and Mallory.

One of the few standout elements is the show’s attention to detail in its portrayal of military bureaucracy. The naming schemes for weapon systems, such as using Norse mythology for orbital warfare or mythological creatures for cyber warfare, add a layer of authenticity that grounds the absurdity of the premise. However, these moments are fleeting and do little to salvage the overall narrative.

The show’s pacing is another issue. Episodes often feel like they’re treading water, with repetitive jokes about funding cuts and political interference. The humor relies too heavily on these tropes, making it predictable and formulaic. The second season improves slightly, with more cohesive storytelling and character development, but it still struggles to find its footing.

In the end, Space Force is a missed opportunity. It has the potential to be a sharp satire of military excess and political ineptitude, but it’s hamstrung by its lack of focus and tonal inconsistency. The performances are hit-or-miss, and the humor often falls flat.

Tags: Netflix, comedies, John Malkovich, Steve Carell, Ben Schwartz, Space Force