Chasing the Moon: The Story of the Space Race - from Arthur C. Clarke to the Apollo landings

© NASA/Marshall Space Flight Center

Wernher von Braun photographed in the early 1950s holding a model of the V-2 rocket.

Despite holding a high position in the Third Reich, von Braun had been in serious danger. He told Ley how he had run afoul of Heinrich Himmler’s SS, which had been competing with the Army for control of the rocket program. After frankly admitting to Himmler that he preferred working under General Dornberger, von Braun was arrested by the SS. For two weeks he was held under suspicion of being a defeatist, a communist sympathizer, and a potential defector. His file even contained a report that during a private conversation he had confessed that if given a choice he would prefer to design spaceships instead of weapons, a comment that was considered dangerously anti-militarist. His release came only after General Dornberger made a personal appeal to Hitler’s minister of armaments and war production, Albert Speer, who, in turn, conveyed it to Hitler.

As Allied forces moved toward Berlin and the first V-2s began hitting targets in London and Antwerp in late 1944, slave laborers in Dora-Mittelbau’s massive tunnel facilities were assembling as many as six hundred V-2 rockets a month. But by March of the following year, the Russian Army was approaching Peenemünde, and von Braun and five hundred engineers and scientists fled south to the Bavarian mountains. Hiding in an alpine hotel, von Braun and Dornberger plotted their surrender to the Allies.

Two days before von Braun told his story to Ley, his picture had appeared in The New York Times in an article about the Operation Paperclip scientists. The Times reported that the technical knowledge of these “former pets of Hitler” would save American taxpayers an estimated 750 million dollars in research-and-development costs. Someone unimpressed by America’s new German brain trust was Ley’s friend, science-fiction author Robert Heinlein, who was disgusted when he learned that Ley had been “fraternizing with a Nazi.” Heinlein wrote to a mutual friend in the Navy that by spending the evening with von Braun, Ley had displayed careless expediency. As a result, Heinlein decided to withdraw his support for Ley’s efforts to find a government job.

Culturally, the new global superpower that had welcomed von Braun and the Operation Paperclip engineers still suffered from a pervasive inferiority complex. The superiority of the European tradition in the arts and sciences went largely unquestioned. To the citizens of a nation still less than two hundred years old, Wernher von Braun personified a cultured, well-mannered, soft-spoken European aristocrat, much like the characters played by Cary Grant, George Sanders, Claude Rains, or Paul Henreid in Hollywood movies. Typical of his upbringing, Von Braun was an accomplished musician who could play the “Moonlight Sonata” from memory. He was perfectly cast for the role he was to play in post-war America.

In Washington, America’s Joint Intelligence Objectives Agency carefully sanitized the troublesome personal histories of von Braun and other Operation Paperclip engineers, much as Hollywood publicists fictionalized the biographies of actors under the studio system. Von Braun arrived in the United States aware that his wartime management experience guaranteed him a position of importance—a position that until very recently had allowed him to be indifferent to the struggles of others or the ethical repercussions of his personal actions. Unlike most of his fellow space visionaries, von Braun was driven less by a personal desire to make a better tomorrow than by a personal ambition to accomplish something that no one had done previously.

Early in his career, von Braun realized that to achieve his goals, he had to become a persuasive salesman. He learned how to convince the key decision makers that his vision would confer to those in power precisely what he had deduced they most desired. To generals and dictators, he offered a promise of military superiority and national prestige; to those worried about threats from outside enemies, he promised security; to those searching for a sense of purpose and meaning, he promised a unique adventure and the fulfillment of our human destiny. Along with his persuasive salesmanship, he cultivated a rare talent to inspire others to do their best and to instill in them a sense of loyalty and dedication that seldom wavered.

It was while quartered with the other German rocket engineers at the Army’s Fort Bliss in El Paso, Texas, that von Braun made a personal choice to become an evangelical Christian. His decision followed a visit to a modest white-framed church situated on a parched Texas lot, where, he later said, he came to realize for the first time that religion wasn’t something inherited like an heirloom but a personal commitment requiring effort and discipline. Von Braun’s conversion may have served to compartmentalize his European past from what lay ahead, as did his decision, at nearly the same time, to wed his eighteen-year-old cousin and bring her to Texas as part of his new life.

THE U.S. ARMY had shipped hundreds of crates containing the components for scores of confiscated German V-2s to the United States. Von Braun and his team restored their mechanisms and successfully launched them from a test range at White Sands, New Mexico, sending some as high as one hundred miles above the Earth. Later flights tried out a two-stage launch vehicle, with a second, smaller research rocket positioned on the nose of the modified V-2. After climbing to a height of twenty miles, the smaller rocket separated from the V-2 and, using its own engine, achieved a velocity greater than five times the speed of sound and ascending nearly two hundred fifty miles above the Earth.

But within the offices of the Pentagon, there was little interest in large rockets like the V-2, as either an offensive or defensive weapon. Its performance during World War II had proven the V-2 more effective as a weapon of psychological terror than destructive power. Von Braun’s work at White Sands had yielded interesting scientific information, but how it might be applied to Defense Department concerns was unclear.

The Cold War had become the dominant concern of those overseeing America’s defense planning, and space research had no role in it. Nevertheless, von Braun tried to think of ways in which he might persuade military decision makers to fund his space-flight research and development. He sought out the physicists at the national laboratory in Los Alamos, New Mexico, who had developed the atomic bomb, with a proposal to marry an atomic warhead with one of his ballistic missiles: the genesis of the intercontinental ballistic missile (ICBM). But in the 1940s it was still assumed that conventional bomber aircraft were the most practical and effective way to deliver a heavy nuclear weapon to a target. Von Braun also outlined plans for a large orbiting military space station, which he argued could serve as a bombing platform capable of targeting any location on the globe and a unique surveillance outpost. It was an idea that he continued to refine and lobby for throughout the 1950s.

But his third and most ambitious idea to stimulate space funding didn’t depend on government defense strategies at all. Recalling how reading science fiction had fired his youthful imagination, von Braun decided to engage a new generation of space dreamers by writing a novel about the first voyage to Mars. Unfortunately for von Braun, the publishers who read the manuscript found his dialogue wooden and faulted the lack of a romantic subplot. When writing his manuscript, von Braun had emphasized the story’s technical accuracy; entertaining his reader was of secondary concern. In all, eighteen American publishing houses rejected it.

Four years after Arthur Clarke and the other officers of the British Interplanetary Society narrowly avoided being killed by the V-2 explosion, Clarke thought it time to exploit the experience to their advantage. He sent a letter to von Braun, offering him an honorary society membership. Von Braun graciously accepted, replying, “Despite the grief the work of me and my associates brought to the British people, [your invitation] is the most encouraging proof that the noble enthusiasm in the future of rocketry is stronger than national sentiments.” An exchange soon followed, in which von Braun sent Clarke some scientific details about the recent White Sands tests and Clarke invited von Braun to deliver a paper at an upcoming British Interplanetary Society conference in London.

In the immediate post-war years, von Braun’s U.S. Army minders kept him on a short leash. It was a time of heightened fear about Soviet spies operating within the United States, and the Army considered him a valuable asset. During his brief return to Germany to get married, the Army had von Braun under constant watch to prevent a Soviet kidnap attempt. But the Army had other worries as well. Von Braun gave a well-received speech to the El Paso Rotary Club in January 1947, but not long after, reports appeared in newspapers that revealed that some Operation Paperclip engineers had to be sent back to Germany after troublesome details about their Nazi past had come to light. Most press accounts stressed the Germans’ eagerness to work for the United States—their anti-communist sympathies were often cited—and indicated their hope to become American citizens. Nevertheless, the same month that von Braun addressed the El Paso Rotary, the president of the American and World Federations for Polish Jews said, “It is a sad reflection and insult to the consciousness of humanity [to welcome] these evil representatives of Nazi science … to this country with open arms.” For the next two years, von Braun maintained a modest public profile.

After the Germans had concluded their work with the refurbished V-2s at White Sands, the Army had few new projects to keep them occupied. There was scant military funding for additional rocket research, and their quarters at Fort Bliss were needed to house the Cold War’s growing roster of soldiers. The Army had to find a new permanent home for its restless and underutilized rocket specialists. In 1950, at the urging of Senator John Sparkman of Alabama, the Department of Defense moved the Army’s Rocket Branch of the Ordnance Department’s Research and Development Division to the recently shuttered Redstone Arsenal in Huntsville, Alabama. It was here, near the Tennessee River, that the Fort Bliss rocket men relocated to buildings constructed a decade earlier for the manufacture and storage of chemical weapons and munitions. New signs announced the facility as the Army’s Ordnance Guided Missile Center. The thirty-five-thousand-acre site on which Redstone Arsenal had been built had already witnessed a great deal of history.

The fertile soil on the southern dip of the Tennessee River Valley had been home to Creek, Cherokee, and Chickasaw tribes prior to the arrival of the Euro-Americans, who forcibly removed all the native peoples during the 1830s and 1940s. For a few years before the Civil War, slaves worked the land’s large cotton plantations; however, during Reconstruction the land was subdivided into small tenant farms, many cultivated by the families of the recently freed. But after seven decades, the tenant farmers were forced to relocate when the Huntsville Arsenal and the Redstone Ordnance Plant were built on the land during World War II.

The German engineers who arrived in 1950 found the green landscape surrounding the Tennessee River a welcome change. After sandy and dry El Paso, Huntsville was somewhat reminiscent of Silesia, von Braun thought. When the engineers arrived, Huntsville’s population was only sixteen thousand, reflecting a post-war decline following the closing of the chemical-weapons facility.

Huntsville’s flagging economy began to rebound once the Army’s new Ordnance Guided Missile Center was established at Redstone Arsenal. The city’s new citizens brought a bit of European culture to northern Alabama, and local grocery stores began selling sauerkraut. Huntsville took on the air of a New England college town, albeit with a Dixie flavor: It founded a symphony orchestra, a ballet, and a Broadway Theater League and opened a newly expanded public library.

ONE OF THE most popular books in the new Huntsville library’s collection was Ley and Bonestell’s The Conquest of Space. In New York, the Hayden Planetarium created a popular show based on the book, which subsequently traveled to other cities. As a result of this collaboration, Willy Ley had become friendly with the planetarium’s chairman. In the course of a lunch conversation, Ley asked his friend why it was that the British Interplanetary Society could schedule annual conferences about human spaceflight but no such event had ever been planned in the United States.

Without much further discussion the Hayden’s chairman simply responded: “Willy, go ahead; the planetarium is yours.”

That seemingly minor exchange set in motion a sequence of events that would alter American attitudes toward space travel during the coming decade and turn von Braun into a celebrity of the early television era.

Less than six months after the Hayden Planetarium’s chairman gave his consent, Ley had assembled a roster of speakers for the First Annual Symposium on Space Travel, held, symbolically, on Columbus Day 1951. He conceived it as an event that would generate media interest and public awareness. Invitations were sent to every print and TV outlet with an office in the New York City area, including foreign publications. Among the two hundred attendees who heard talks on space medicine, space law, and upper-atmosphere science were two journalists from Collier’s magazine.

Collier’s assistant editor Cornelius Ryan was unimpressed with the report he received about the Hayden Planetarium conference from the two staffers who had attended. The Irish-born former war correspondent had little patience for all the recent talk about human space travel, believing the subject was more appropriate for children’s television than for a serious magazine. However, at the insistence of the managing editor, Ryan reluctantly attended a conference on space medicine in San Antonio. Collier’s also dispatched Conquest of Space artist Chesley Bonestell to sit in as well. After the first full day of presentations, Ryan was left confused and unimpressed.

Over cocktails, Ryan began a conversation with a tall handsome man also attending the conference. Grasping his highball glass, Ryan confessed, “They’ve sent me down here to find out what serious scientists think about the possibilities of flight into outer space.” As he gestured around the room he admitted, “I don’t know what all these people are talking about. All I could find out so far is that a lot of people get up to the rostrum and cover a blackboard with mysterious signs!” He said Collier’s was considering publishing a major cover story about space exploration, but he doubted readers would find anything presented at this conference of much interest.

His companion introduced himself as Wernher von Braun, and as he attempted to help Ryan understand the day’s presentations, he motioned for two others to join them. One was Fred Whipple, chairman of the Harvard University astronomy department, and the other was Joseph Kaplan, a scientist specializing in the study of the upper atmosphere. Over a lengthy dinner that lasted until nearly midnight, von Braun, Whipple, and Kaplan passionately took turns explaining why they believed humanity’s destiny lay in space.

The latest recipient of the von Braun charm offensive returned to New York a true believer. He convinced the magazine’s managing editor that a unique Collier’s-branded space symposium would generate publicity for the magazine and attract advertising dollars away from the emerging threat of television. Ryan insisted that von Braun should serve as Collier’s key expert, with additional articles written by other specialists from the New York and San Antonio conferences.

At that moment, von Braun and his engineers were spearheading the creation of the Redstone rocket, the Army’s first short-range ballistic missile. The Redstone was a bigger but less streamlined variation on the V-2, designed to carry a payload of nearly seven thousand pounds. Its rapid development was part of a newly unfolding rocket rivalry between two different branches of the armed services. At nearly the same time that the Army decided to develop the Redstone, consultants for the U.S. Air Force began work on their own intercontinental-ballistic-missile development program, which would eventually reach fruition with the Atlas. Though designed to deliver munitions, both the Redstone and Atlas would become far better known to the general public a decade later for their role as the vehicles that transported the first Americans into space.

Having brought von Braun’s entire team to Huntsville, the Army was now more comfortable with him entering the public spotlight. He had not spoken at either of the two American space conferences during the autumn of 1951, though other Operation Paperclip Germans—Dr. Hubertus Strughold and Heinz Haber—had delivered papers. Strughold had risen to prominence as a leading researcher on the physical and psychological effects of human spaceflight, but details about his past had been deliberately obscured. Indeed, it would be another four decades before allegations of his complicity in notorious Nazi-era human medical experiments were widely published. By 1951, public objection to government employment of the Paperclip scientists and engineers had largely subsided, though the Germans’ hopes for American citizenship would remain unfulfilled for a few more years.

In April 1951, journalist Daniel Lang published an extended profile of von Braun in The New Yorker. A former war correspondent who had covered World War II in Italy, France, and North Africa, Lang was intrigued by the ethical choices faced by men of science during the Cold War. Lang described von Braun’s personality as “exuberant rather than reflective” and thought he comported himself like “a man accustomed to being regarded as indispensable.” Unlike the reticence he displayed in later interviews, von Braun was unguarded with Lang, even confessing, “Working in a dictatorship can have its advantages, if the regime is behind you…. We used to have thousands of Russian prisoners of war working for us at Peenemünde.” The profile also revealed that 80 percent of the Germans working at Redstone Arsenal had been members of the Nazi Party or affiliated organizations and that von Braun had been a party member. Pressed by Lang to address the morality of his decision to work for the German Army, von Braun explained, “We felt no moral scruples about the possible future abuse of our brain child…. Someone else would have done the job if I hadn’t.” After the New Yorker profile appeared, von Braun became more cautious when talking to the press.

At the end of the year, Collier’s gathered a symposium of space experts in the magazine’s New York office, where von Braun was joined by Ley, Whipple, Bonestell, and others. In conjunction with the magazine’s forthcoming issue, Collier’s commissioned a series of detailed full-color illustrations of giant spacecraft reaching orbit and showing how humans would live and work in space. These were based on plans and sketches drawn up by von Braun and his team in Huntsville. Von Braun also assigned Gerd de Beek, a former Peenemünde staffer now at Redstone, to construct scale models of the huge rocket and space station. It was de Beek who had painted the Frau im Mond insignia on the first successfully launched A-4 in 1942.

In the weeks before the March publication date, the Collier’s staff concluded that von Braun was such an asset that they chose him as their spokesperson to promote the special issue at media events. After his national television debut on the Camel News Caravan, von Braun appeared several more times on the new medium within twenty-four hours. In Manhattan he traveled from one network broadcast studio to another for scheduled live interviews on the most popular programs. In the morning he was on the Today show on NBC; by the afternoon he was in a CBS studio chatting with entertainer Garry Moore. He even put in an appearance at the end of the day during a broadcast of ABC’s children’s adventure series Tom Corbett, Space Cadet. Whenever he appeared, he brought along de Beek’s models to illustrate his argument.

After working nearly seven years with little national recognition, von Braun was exuberant that his American moment had arrived. “I’m tickled to death about this TV and radio business,” he wrote Ryan. “Space rockets are hitting the big time!”

The Collier’s issue looked like nothing that had been seen previously in a mass-circulation general-interest magazine. Bonestell’s color illustrations provided eye-catching visions of space vehicles heading into orbit and space stations under construction. Equally impressive were the magazine’s cutaway diagrams showing the interiors of von Braun’s huge rocket and the rotating space station. The attention to detail in these images conveyed a convincing sense of accuracy, even though they were based on plans that were entirely imaginary. With a circulation of three million copies and an estimated reach of twelve to fifteen million readers, that single issue of Collier’s was believed to have been seen by 8 to 10 percent of the American public.

The Collier’s publicity campaign included department-store window displays and posters on buses, subways, and newsstands. The cumulative effect not only promoted the magazine, it suddenly transformed von Braun into the world’s most visible public proponent for space exploration. Collier’s introductory editorial emphasized space as a national defense and security concern, though military implications were downplayed in the articles. In von Braun’s feature article, “Crossing the Last Frontier,” he made reference to his orbiting “atomic bomb carrier” space station, but apocalyptic scenarios were kept to a minimum. Not that Collier’s was averse to exploiting Cold War fears to sell issues; two years previously they had commissioned Bonestell to paint disturbing scenes of Manhattan consumed by an atomic mushroom cloud. But with their space issue, Collier’s presented a more optimistic technological vision of the future, which promised both adventure and a new domain for human exploration. It was a welcome relief from concerns about nuclear proliferation, Soviet espionage, and the ongoing Korean stalemate.

So favorable and resounding was the reader and media response to that Collier’s immediately began planning additional space-themed issues. The next one hit newsstands October 1952 and featured articles about the first human voyage to the Moon. Von Braun continued to make public appearances, such as an extended segment on the only network TV program about science, The Johns Hopkins Science Review, which broadcast three separate thirty-minute episodes discussing the Collier’s series.

Culturally, the Collier’s issues had prompted a significant shift in public attitudes toward human spaceflight: The subject was no longer ridiculed or approached with embarrassment. At the San Antonio conference the previous year, the organizers had been reluctant to use the word “spaceflight” in the event’s title, for fear that it would diminish its seriousness. After spring 1952, politicians speaking about space travel seldom encountered the derision David Lasser had experienced on the floor of the House of Representatives a decade earlier.

ON THE EVENING of July 9, 1952, CBS newsman Walter Cronkite sat in a wood-paneled studio in Chicago, covering the opening of the Republican National Convention. It was a decisive moment for the young journalist as well as for the country. Cronkite was anchoring the first live network broadcast of an American political convention. The GOP campaign had begun in New Hampshire the same week that von Braun made his TV debut. Now the field of candidates had narrowed to General Dwight D. Eisenhower, Ohio senator Robert Taft, and California governor Earl Warren.

The former speaker of the House, Joe Martin, Jr., gaveled the convention into session, and in a speech watched by millions, Martin attacked the Democrats in power as “disciples of a dead-end economy” who offered the youth of America nothing more than a “road to nowhere.” Martin then segued to offer a more optimistic vision of the future, and when doing so he appeared to have in mind a recent national magazine. “We have an entire new world about to unfold!” Martin promised. “I listen to the words of scientists and engineers…. They are optimistic! They are visionary beyond our fondest dreams! They say that science and technical skill are uncovering new horizons that all but defy the imagination.” He described new advances in medicine, power, and transportation. Then Martin turned to the heavens. “Travel in space! I mean interplanetary travel—in our solar system—no longer is the figment of a cartoonist’s imagination. It is on the verge of reality! Who knows what wonders lie beyond the limit of our atmosphere, what new worlds will open to us?”

A foreigner who had arrived in the United States on the Queen Mary a few days earlier watched the convention with great interest on the television set in his hotel room. Arthur C. Clarke was in America to promote the publication of his newest book of nonfiction, The Exploration of Space. The judges of the Book-of-the-Month Club had chosen it as a featured selection in the wake of the Hayden Planetarium conference and the enthusiastic response to the Collier’s issue.

Clarke sat up and listened to Joe Martin with astonishment. A politician was on national TV giving a speech that contained passages that could have been written by Clarke himself. “I didn’t expect the Republican Party to take official cognizance of the topics the science-fiction writers love to mull over,” he recalled later. He listened as Martin talked of smart “electronic computing machines” and wrist radios utilizing “a new invention no bigger than a postage stamp, called the transistor.” He was delighted. “After that, nothing could drag me away from the convention.”

This was only the second trip Clarke had taken outside of the United Kingdom, and as he traveled the United States, others aspects of 1950s America caught his attention. At the invitation of Ian Macaulay, a fanzine editor whom he had met at a science-fiction convention, Clarke traveled to Atlanta, Georgia. At that moment Macaulay was active in the fight for civil rights, organizing to end segregation in schools and public transportation and working to increase African American voter registration. Macaulay’s activism prompted some lengthy late-night discussions during which Clarke learned more about America’s long history of racial inequity.

Prior to coming to the United States, Clarke had never met any black people. He stayed with Macaulay again in Atlanta the following year, and during his return visit he was at work on the final pages of his novel Childhood’s End. In the book’s conclusion, an adventurous scientist named Jan Rodricks is selected by representatives of an advanced extraterrestrial civilization to witness the transformation of the human race into a higher form of life: a collective cosmic entity. Clarke’s decision to make Rodricks—his fictional representative of all mankind and “the last person on Earth”—an astronomer of black African descent was a bold and politically provocative choice for 1953.

Since reading a short story about a sympathetic alien in a 1934 issue of Wonder Stories, Clarke had been fascinated by science fiction’s potential to evoke empathy for alien characters and convey to readers the viewpoint and values of those from other cultures. During its formative decades, the genre’s predominantly male readership was hungry for escape from the mainstream culture and curious about emerging technologies and new ideas. Many science-fiction readers were intelligent yet socially marginalized in some way due to a variety of reasons, such as ethnicity, sexuality, religion, or race. Plus, conventional society’s habit of ostracizing and calling those with an interest in technical or intellectual subjects “nerds” or “eggheads” was familiar to a sizable segment of the genre’s readership. Not surprisingly, therefore, science-fiction readers often identified with the alien.

By the early 1950s, some science-fiction authors had begun using mass-market paperbacks as a literary vehicle to subtly question conventional attitudes about race and sexuality. The cover illustration on a 1952 book of short stories by Robert Heinlein featured the first visual depiction of a black astronaut, even though no such character was specifically described within the book, and publishers’ sales directors at the time expressly asked illustrators not to include African Americans on book covers, since it was assumed this would hinder sales south of the Mason–Dixon Line. A year later Weird Fantasy, a science-fiction comic book, published an allegory on American segregation in a story about an emerging civilization on a planet where orange robots are accorded privilege over the less entitled blue robots. In the story’s kicker ending, the space-suited emissary, who sits in judgment of the planet and denies its application for admission to a galactic republic, is revealed to be a black astronaut.

Robert Heinlein, who had also challenged social preconceptions about masculinity and femininity, wrote Tunnel in the Sky in 1955. In the young-adult novel, the race of the central protagonist is not overtly defined, but there are hints that he is black. Heinlein confessed that he used this literary device in an attempt to disarm his white readers, hoping that in the course of the narrative they would gradually come to realize the protagonist’s race after feeling empathy and identifying with him.

Writing in an essay for The New York Times shortly after his visit to Atlanta, Clarke addressed this issue as part of a larger defense of science fiction as literature. “Interplanetary xenophobia [in earlier science fiction] has given place to the idea that alien forms of life would have as much right to their points of view as we have. Such an attitude … can obviously help spread the idea of tolerance here on Earth (where heaven knows it’s needed).”

THE SUMMER THAT Arthur Clarke returned to the United States and was finishing the manuscript of Childhood’s End, he finally met Wernher von Braun, when both were guests at the Washington, D.C., home of the American Rocket Society’s president. In a lengthy diversion from a dinner conversation about humanity’s future in space, Clarke described his love of scuba diving and explained that it was an effective way to simulate the experience of being weightless in space. He then vigorously urged von Braun to take up the sport for the same reason, which von Braun did only a few weeks later, remaining an active diver for most of his life.

Even while overseeing the development of the Redstone rocket and working on a top-secret plan to quickly and inexpensively launch the first satellite into orbit, code-named Project Orbiter, von Braun continued his public advocacy for human spaceflight. An unexpected opportunity arose directly as a result of the Collier’s publications, just as the magazine released its eighth and final space-themed issue, featuring a description of the first human voyage to Mars. In early 1954, Hollywood came calling, in the person of Walt Disney, who was interested in producing a series of well-financed hour-long documentary films based on the magazine series. Disney was in the midst of creating a new prime-time TV program, Disneyland, which would mix recycled older content and new programming in order to promote another new venture, his California theme park, scheduled to open in 1955.

At the suggestion of one of his top animators, Ward Kimball, Disney approved three space-related “Tomorrowland” episodes adapted from Collier’s articles. The first episode, “Man in Space,” had Ley, von Braun, and Heinz Haber discussing rocketry history, orbital science, and the physical challenges facing humans during spaceflight, before concluding with an animated look into the near future as humans first entered space. Disney’s choice to feature three onscreen experts with distinctive German accents became an issue of concern within the studio prior to filming, until it was deemed that their authenticity was more valuable than any possible negative associations. The history portion of the program included World War II–era footage of V-2 launches, yet there was no mention of Nazi Germany’s part in rocket development; the V-2 was merely referred to reverently as “the forerunner of spaceships to come.” Among the featured experts, it was von Braun who commanded the viewer’s attention. Looking into the camera, he confidently asserted, “If we were to start today on an organized and well-supported space program, I believe a practical passenger rocket can be built and tested within ten years.”