Geekually Yoked

Ok, people. The Farscape blog is back! But please don’t make me review “Taking the Stone” and “Visitas Mortis.” Or “Picture if you Will” for that matter. Ok, also, “Dream a Little Dream.” Ain’t nobody got time for that.

So, we’ll be hitting the highlights of early season 2. Because while there are some … unfortunate one-offs, when season 2 scores a win, it’s usually a solid win. In the interest of full disclosure, my watching got a little ahead of my blogging. I know the next few episodes deserve more reflection than I will give them. But, hang in with me. If I don’t breeze through this set and move on, I’ll never catch up with the blog. I’ll pick up the in-depth commentary with the Princess Trilogy and push on from there.

CRACKERS DON’T MATTER

Crackers Don’t Matter might be THE definitive episode of Farscape. I will admit, though, that I more appreciate why this is such a good episode than that it’s one of my personal favourites. Admittedly, there are some truly amazing moments, as for example:

–“When I’m old and fat [beat] When I’m old, there is one thing I will look back on with tremendous pride and that is killing you.”

–“What do you mean? I’ve got great eyes … they’re better than 20/20 and they’re BLUE!”

–“Shoot her, John. Then we’ll have pizza … and margarita shooters!”

–John humming the Ride of the ValKyrie while dressed in his hodge-podge armour, punctuated by Aeryn’s “We are going to die.”

One also has to applaud a genre show with an ensemble cast for actually having the gumption to explore all the emotions simmering away in the back of these characters’ minds. Crichton and Chiana’s latent sexual attraction. The hint of frustration that underscore’s John and Aeryn’s otherwise positive chemistry. D’Argo’s aggression that leads him to force-feed Rygel crackers. Not to mention the clever play with the title of the episode. Crackers do not, in fact, matter at all. And yet they manage to be the catalyst for so much of the underlying tension of the episode. At the end of the day, the crew cannot just walk away from everything that was said and done while under the influence of T’Raltax’s light. The feelings were true, even if they are able to keep them in check from day to day. All they can do is try their best to move forward.

All that said,  despite the truly hilarious moments in the episode, the brilliant directing, and the gutsy writing … I think I prefer my Moya crew when they are benignly dysfunctional. I appreciate going dark, but the meanness just keeps this from being an episode I full-out love. I admit that might make me a scaper heretic. But so it goes.

THE WAY WE WEREN’T

Now, this on the other hand, is without a doubt in my top 10 (if not top 5) Farscape episodes. First off, let us acknowledge the elephant in the room. “The Way we Weren’t” is a classic example of Farscape ret-conning. I am quite sure none of this was in the works when the character of Aeryn (or Pilot, for that matter) was conceived. Yet, at the same time, the episode doesn’t feel forced, as if the writers are trying to shoehorn in a backstory that makes no sense given the history of the show to date. Rather, the “ret-conning” (for lack of a better word) enriches the characters we have already come to know.

It is a credit to Claudia Black that this episode is as successful as it is. From her first scenes with Aeryn (when she confesses to hate the concept of “compassion”), Black was able to invest her character with a soulfulness and depth that seemed at odds with her cold warrior exterior. The key is in her conversation with John when she confesses that Peacekeepers could have as many “recreational” encounters as they liked:

–Aeryn: But you never connected with anyone openly and never with any longevity. I guess what I’m trying to say is my relationships back then were very … ” John: “Shallow?” Aeryn: “Painful.”

Aeryn the hardened soldier is not devoid of emotions. She is afraid of emotions. She is afraid of pain. She feels acutely and that is precisely why she hates her emotions so much. Was her turning on Valorek just about getting back on prowler detail? Or was it about needing to push back from feelings that had become too deep? At any rate, by this point both the writers and Claudia Black have earned the vulnerability they allow Aeryn to show. Aeryn is a “strong female character” in that 90s girl-power kind of way. But, even more than that, she is allowed weaknesses and flaws. I love Aeryn, and her journey here has a good deal to do with it.

It has to be said, I also appreciate what this episode brings to the John/Aeryn relationship. You just know in John’s mind he’s been thinking that he will be the alpha male who finally teaches the ice queen Aeryn the power of love. Only … she has already experienced love. She is not “virginal” in that sense.

As for the Pilot story–it perhaps does not flow as naturally as Aeryn’s arch in the episode. At the same time, I appreciate that the writers were attempting to build on the beautiful bond that had developed between Aeryn and Pilot. And the conflict is worth if for their touching reconciliation.

Out of Their Minds

I honestly don’t even know what to say about this. Greatest comedic hour of TV ever? If you live inside my mind it it! I feel adding excessive commentary would cheapen the pure delightfulness of Claudia Black, as Crichton, trying to tell Ben Browder, as Rygel, how to use his “equipment.”

Allow me merely to point out that, again, Farscape goes above the bar in what could be a very formulaic sci-fi body swap episode. We actually explore the complexity of what it means for one person to inhabit another person’s body. Sexually … kinda sketchy. Psychologically … disorienting. It works. Really, what more is there to say that:

–“It’s ok. You were in my shoes. I was in your pants …”

There’s a lot that used to annoy me about Lost, not the least of which was its issue with pacing. You’d spend 90% of the season face-palming while characters refused to answer one another’s questions for no reason other than, well … plot. Then five minutes before the end of the season finale you’re still waiting for the climactic action to happen. Not so with Farscape.  For all that Farscape can be a roller-coaster ride of crazy, one thing I’ve always appreciated about the series is that it’s not afraid to take time for quiet moments between characters. We witnessed the dramatic climax of season 1 in Nerve/A Hidden Memory. Scorpius was introduced, Moya’s baby was born, Crais and Aeryn had something of a confrontation, and John’s gradual decline into brokenness reached a peak. Yet two hours of series time remain unfilled. The show is not afraid to give us time to explore where our characters are and how far they have come together.

Bone to Be Wild

I’ve given this episode short shift–not really sure to pair it with the 2-parter it follows or precedes. It is an important breather between these two intense stories. At the very least we get to see how damaged Crichton is after his experience in Crichton’s Aurora chair–a new gun-wielding, shoot-first-ask-later kinda guy. And yet he is not defeated. That indomitable spirit defines Crichton more than anything else. He may not be a hero in the traditional sense of the word … but at the very least he refuses to allow himself ever truly to be beaten. Crichton is complicated, but there is something to admire in that.

It has to be said, I also love the moments Aeryn gets with Talyn. I’ve often said that Aeryn’s journey toward being a more emotionally mature and “human” (for lack of a better word) character has to do with a lot more than just her relationship with John. Aeryn’s quasi-maternal connection with Talyn is one of my favourite parts of her journey.

Family Ties

This might top the list of episodes that take the time to savour quiet character beats. As Farscape will do again in the future (season 3’s brilliant “Dog With Two Bones” comes to mind) here these quiet character beats are the real “A” plot of the episode, with Crichton’s plan to blow up Scorpius’s base as the background “B” plot.

I’ll just highlight some of my favourite moments:

–Aeryn and Zhaan: We don’t really get to see these women interact all that much. But it’s clear from Aeryn’s frustration and anger that Zhaan means something to her. Aeryn’s wants to understand the contradictions that exist within Zhaan, and to share some sense of Zhaan’s serenity and wisdom. I’ll mention here how much I also love Aeryn’s condemnation of Zhaan in Mind the Baby, as she moves from clear discomfort at Zhaan’s declaration of love to a bold statement about the courage and strength that love requires. Have I mentioned lately how much I love Aeryn Sun and that even at this point she has a lot more depth than she knows.

–Aeryn and John: The way Ben Browder rolls his eyes when Aeryn corrects him that the battle-hardened soldier that appears over her bed was her mother, not her father always delights me. Those two always nail the details in their performances.

–Aeryn and Pilot: I’ve said it before and I’ll say it again. At this point in the series, Pilot has as much to do with Aeryn’s emotional growth as John — if not more!

–John and D’Argo: In a moment of true vulnerability, John states to Crais his desire for “human, male to male friendship.” That desire is understandable, given especially that John and D’Argo have some ground to cover together before their friendship comes into its own. That said, the moments the pair share in the transport pod as they face somewhat certain death provides a glimpse into the deep bond these two will eventually share. “Kirk and Spock. Abbot and Costello. First Base.”

–John and Crais: There is little more evidence we need of John’s broken mental state than his moment of intimacy with the man who spent the better part of the last year hunting him down in vengeance. That Crais pales in comparison to the threat Moya et al. now face just emphasizes for John how far from home he is and how little power he has.

Also: “I am a Dominar of Action!

The decision to blow up Scorpius’s base merits mention. As I said before, John Crichton never stops fighting. Whether out of bravado, or optimism, or pure stubbornness, John Crichton is not defeated. There will be time enough for counting the bodies John leave in his wake–to heap guilt upon him and to watch John descend into his own PTSD and depression. For now, it is enough to see Crichton fight back in a way that is clearly insane and, it has to be said, perhaps not totally admirable.

Mind the Baby

While “Family Ties” reflected on the journey our characters have taken over the past season, “Mind the Baby” has the more difficult task of putting the pieces in place for next season. Crais runs off with Talyn (and, sigh, the “hand of friendship”). Moya & Co. are on the run now from Scorpius (conveniently allowing the second-season opening narration to remain unchanged. D’Argo has a vastly improved make-up job (which the writers half-joking attribute to “space burn”) and learns to play paper-rock-scissors.

Most importantly, Mind the Baby introduces us to CRAZY CRICHTON! Clearly, something has snapped in John’s brain. We’ve seen John as the comic relief whipping off pop culture references. But his actions throughout the episode speak to an instability we’ve not yet seen. His way of coping with what has been done to him? Something more sinister? I suppose it remains to be seen. That brings us to the joy of season 2, which others have dubbed “The Season of Insanity.” Good times will be had by all.