Mock Up on Mu presents a fractured, 2019 vision of the future where the boundaries between religious mythology, corporate interest, and aerospace engineering have entirely collapsed. Set against a backdrop of the Mu lunar colony, the world is defined by an intergalactic real estate scam orchestrated by a fictionalized version of L. Ron Hubbard. The film portrays a solar system not of sleek exploration, but of recycled pulp aesthetics and paranoid power struggles over lunar resources and human spiritual sovereignty.

Societal dynamics are driven by the competing interests of the "C-Stellar" corporation and a resistance movement involving historical figures like Jack Parsons and Marjorie Cameron. Earth serves as a site of historical trauma and recruitment, while the Moon is depicted as the ultimate frontier for privatized spiritual colonization. The technological landscape is a "recombinant" one, where high-tech surveillance and space travel coexist with 1950s-era industrial aesthetics, suggesting a future that is perpetually stuck in the feedback loop of its own propaganda.

The film’s 2019 setting functions more as a psychogeographic critique than a literal roadmap. However, its depiction of commercialized lunar ventures mirrors the real-world rise of private space corporations like SpaceX and Blue Origin. Baldwin’s use of found footage to construct the narrative serves as a prescient metaphor for the fragmentation of truth in the digital age, predicting a world where conspiracy theories and brand identities merge into a singular, inescapable reality. While the literal colonization of Mu did not occur by 2019, the film accurately captures the commodification of cosmic aspiration and the weaponization of fringe belief systems in modern political discourse.