Clinamenic
Binary & Tweed
Still awaiting exposition pertaining to Scorpius' gimp getup.
Suspended's thread
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sus
Moderator
Holy cow
sus
Moderator
Yes they're wonderful aren't they.
Scorpius just gets more and more airtime as the show goes on, and he's one of the best parts of it all
Clinamenic
Binary & Tweed
sus
Moderator
You're waiting for Incubator. S3E11.
Clinamenic
Binary & Tweed
Yeah kinda like we're each a monad that contains a reflection/simulacrum of other people/monads.
sus
Moderator
Incubator is also where the endgame of the story arc kicks in. You'll first see it in the botanical life. Don't miss the birds of paradise. They'll become everything, later down the line.
And it's where the first hints of possibility for Scorpius & John's possible alliance kicks in. That's one thing that sets Farscape apart, I think. They way being enemies or allies is provisional. Has more to do with your immediate goals than whether you're "good" or "evil." Change your perception of the game state, change your perception of your goals; change your goals, change your enemies.
sus
Moderator
The end-of-season trilogies are always a little gun-heavy, big Oceans 11-style infiltrations of massive ships and military bases. Nice to have some levity after a buncha character development though. Which is the soul of Farscape, its character development.
The mid-season two- and three-parters are my favorite though. What did you think of "Look At The Princess"? I love all the metaphors for indecision, vulnerability, unable to move forward, stuck in the same place. The weird scifi version of "playing the field" that John and Aeryn both do—her rock-climbing date, when he can't hang (literally), when he plummets to the ground in free-fall just like Aeryn does in "Die Me Dichotomy." Him falling for her. Her falling for John.
sus
Moderator
The trick about Farscape is it's never meant literally.
I think this is true of some fantasy and sci-fi but far from all of it.
It's more a magical realist thing.
The logic is always emotional, metaphorical. "Plot holes" and "scientific incongruities" are a trap for the literal-minded. This world exists as allegory for Earth.
I think this is true of some fantasy and sci-fi but far from all of it.
It's more a magical realist thing.
The logic is always emotional, metaphorical. "Plot holes" and "scientific incongruities" are a trap for the literal-minded. This world exists as allegory for Earth.
sus
Moderator
Like Crais, what a wonderful villain. He starts the show a madman, crazed, bloodlusting. Or that's what we think, anyway. Where he ends up, well—I won't give spoilers, but you're well along his journey.
Clinamenic
Binary & Tweed
Yeah I liked the Look at the Princess story arc, thought it did well at incorporating all the characters into this larger political conspiracy.
sus
Moderator
The other ones I love from S2 are The Locket (alternate reality, stuck on the planet), My Three Crichtons (caveman + Spock Crichton), and The Way We Weren't (flashbacks to PK Aeryn on Moya).
The way that an entire lifetime shared between J&A becomes just a fleeting feeling, like something happened between them. And that's the whole show, ain't it. Something real happens between them, and then they pretend it didn't. But you can never really go back. Experience leaves traces.
Speaking of My Three Crichtons, we get a lot of doubling, splintering, mirroring in this show. Harvey in John, Harvey-as-John, e.g. And it only picks up in S3/4. I think the writers are really interested in the Ship of Theseus thing—the way that sense of identity is an illusion of continuation projected over something that's perpetually changing. Aeryn letting go of her past, "becoming more." John changing in response to his new environment. And jeez, will we see how serious that change has been by contrast, in later time-traveling eps.
The way that an entire lifetime shared between J&A becomes just a fleeting feeling, like something happened between them. And that's the whole show, ain't it. Something real happens between them, and then they pretend it didn't. But you can never really go back. Experience leaves traces.
Speaking of My Three Crichtons, we get a lot of doubling, splintering, mirroring in this show. Harvey in John, Harvey-as-John, e.g. And it only picks up in S3/4. I think the writers are really interested in the Ship of Theseus thing—the way that sense of identity is an illusion of continuation projected over something that's perpetually changing. Aeryn letting go of her past, "becoming more." John changing in response to his new environment. And jeez, will we see how serious that change has been by contrast, in later time-traveling eps.
