Say what you will about Sean Penn — but the guy has charisma.

That’s readily apparent in “The First,” Penn’s first starring role in a small-screen series. Created by and written by Beau Willimon (“House of Cards”), who produces with Jordan Tappis, the eight-episode drama (dropping all at once Friday on Hulu) recounts the story behind the (near-future’s) first manned mission to Mars.

Willimon takes his time establishing the series premise, but that’s not a knock, it’s an asset. With its lush cinematography, an apropos musical score and solid acting all around, “The First” embarks on a journey that will keep viewers interested as the intergalactic mission unfolds and several layers are added to the main characters.

Penn takes the lead as Tom Hagerty, a world-weary ex-astronaut (he’s referred to in a TV news caption as “the 13th man to walk on the moon”) who’s still reeling from the untimely death of his wife — a tattoo artist who owned a shop in the bottom floor of their house — and his wayward 20-ish daughter, who’s come home to roost. As the series opens, we’re not quite sure why Hagerty was relieved of his command by aerospace magnate Laz Ingram (Natascha McElhone) and removed from the first flight to Mars after training the five astronauts sent on the mission. There’s obvious bad blood between Hagerty and Ingram; at the same time, it’s also obvious that Hagerty still loves the space program and everything it represents. He gets his chance to return to NASA after persuading a reluctant Congress to fund another manned mission to Mars after the first attempt goes horribly wrong.

Chronologically, “The First” is set in a future that’s just this-far ahead of where we are now (there’s a reference to the year 2033 in Episode 2). Like “Black Mirror” on Netflix, “The First” doesn’t hit us over the head with its futuristic gadgets; it’s more subtle here (earbuds, video-enhanced eyeglasses, voice-controlled TVs and cars, an automated hotel check-in — no front desk required).

Hagerty and Ingram do, at times, veer toward predictability but it doesn’t impede the series overall feel (and, let’s face it, this is a series that needs viewers to be emotionally invested in its characters.) Willimon’s writing, pacing and sense of place, so evident in “House of Cards” (particularly in Seasons 1 and 2) resonates here. He’s moved seamlessly from one streaming giant to another. Jump on in.