Soon enough, however, the show reveals itself to be a workplace drama above all else, and a fairly sharp one at that. In the world of “For All Mankind,” female astronauts become a presence at NASA far earlier than in the real world, causing ongoing ripples of change. These characters, each distinct in their own ways, jolt the series with a necessary shock of narrative energy. Standouts include Sarah Jones as Tracy, the restless wife of Ed’s partner in space (a very good Michael Dorman), Krys Marshall as Danielle, a consummate professional and NASA’s first black woman astronaut, and Sonya Walger as an ornery facsimile of Geraldyn Cobb, a very real pilot whose chance to become one of the United States’ first female astronauts was dashed when NASA unceremoniously ditched her program. All experience workplace sexism in different and equally infuriating ways, though it’s a shame that “For All Mankind” seems less equipped to deal in depth with how Danielle would have to withstand the unique and perpetually difficult intersection of both sexism and racism as a black woman. (It makes some attempts, and an occasional subplot about a Mexican teenager immigrating to Texas with stars in her eyes for the cosmos implies that the show isn’t actively shying away from race — but at least in the first season, the show moreso sticks to sexism in the workplace, period.)