For Joel Kinnaman, the process of saying goodbye to Ed Baldwin on Apple TV+‘s For All Mankind was more than just a scripted exit; it was a meditation on mortality. Over a 43-episode run, Kinnaman transformed the straight-backed, smirk-prone astronaut from a NASA commander into a Martian revolutionary, eventually playing the character through the ages of 40, 50, 60, 70, and 80.
The arc concludes in the fifth season, where an 81-year-old Ed—battling stage-three cancer—sacrifices his remaining time to rescue his longtime friend and fellow astronaut, Lee Jung-Gil (C.S. Lee), from unfounded homicide charges on the Happy Valley base. It is a conclusion that Kinnaman says put the inevitability of life directly in front of his eyes, as he played a man the same age as his own father on his deathbed.
Although many actors dread the aging process, Kinnaman found a unique creative thrill in the challenge. He describes a deep affection for the “moral center” of the show, noting that the role allowed his “little inner rebel” to thrive. However, that passion was often tested by the grueling physical demands of the production, including hours of prosthetic application that he describes as one of the hardest psychological challenges of his career.
The Physicality of Aging: From Toe-Folding to Prosthetics
Kinnaman’s approach to playing an octogenarian was rooted in a mix of technical study and physical improvisation. He credits Swedish actor Ernst-Hugo Järegård as a primary influence, studying master classes Järegård recorded before his death. One specific technique Kinnaman adopted involves folding the toes under the feet inside the shoes, which creates a natural instability and a labored, “old man’s walk.”
The vocal transition was equally deliberate. Kinnaman noted that the environment of a Martian base—with its recirculated, dry air—would naturally affect the vocal cords over decades, leading him to shift Ed’s voice as the character aged. He also focused on the contrast between “inward” and “outward” tempo, keeping the character’s internal thoughts racing a mile a minute while slowing his physical movements to remain natural.
However, the transition was not always seamless. Kinnaman admits that playing Ed in his 60s and 70s during season four was “heavy lifting” and felt like there was room for improvement. The psychological toll peaked during that season, where he spent over five hours in the makeup chair, often starting at 1 a.m. For 20-hour workdays. He describes a “beard wig” that caused constant itching and nightmares, requiring hours of meditation to maintain his composure on set.
A Moral Compass and a Martian Identity
Beyond the makeup, the evolution of Ed Baldwin mirrored the show’s broader themes of collective action and systemic change. In his youth, Ed was driven by ego and a lust for glory. By his 80s, he had transitioned into a leader for the “Sons and Daughters of Mars,” a separatist group seeking autonomy for Martian workers.
Kinnaman views this shift as a reaction to the “old world” of Earth becoming the colonizer. Ed’s journey was one of finding a moral compass that moved him further away from the Establishment as he aged. This “inner rebel” was fostered through a close relationship with the writers, who incorporated Kinnaman’s improvisations—such as specific cursing habits and a passionate obsession with Parmesan cheese—into the character’s DNA.
This collaborative spirit extended to the cast. Kinnaman worked closely with Cynthy Wu (Kelly Baldwin) and Sean Kaufman (Alex Baldwin) to depict three generations of the Baldwin family. He recalls the emotional weight of “passing the torch” to Kaufman and the joy of reuniting with former co-stars Michael Dorman (Gordo) and Shantel VanSanten (Karen) in final, heartbreaking flashback sequences.
The Final Descent: Bookending a Legacy
The final episodes of Ed’s journey were designed to provide a full-circle narrative. A long-discussed “Korea episode,” which the writers had scrapped several times over four years, finally made it to screen. This allowed Kinnaman to play the youngest and oldest versions of Ed in the same episode, filmed at Ronald Reagan’s old ranch near Malibu Creek State Park.
The emotional climax of the series saw Ed in a state of delirium, imagining himself back in his NASA space suit, surrounded by the friends and family he had lost. For Kinnaman, the experience was profoundly draining. He describes himself as a “total mess” during the final week of shooting, struggling to process the end of a character who had been with him for nearly eight years.
The production of these final scenes coincided with a major personal milestone for the actor; immediately after wrapping the emotional shoot, Kinnaman drove an RV to Northern California to marry his wife at Burning Man, carrying the heavy emotional residue of Ed Baldwin’s death with him.
As For All Mankind continues to explore the complex sociology of a multi-planetary species, the legacy of Ed Baldwin remains as the show’s moral anchor. While the character has exited the narrative, the ripple effects of his rebellion and his family’s trajectory will likely define the coming seasons of the Martian struggle.
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