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dragonofmemoryA Distant Star:
"So many questions about hyperspace came up over the last year or so that we figured they should be addressed; be assured, we're staying as clear of technobabble as ever, despite my Spousal Overunit's absolute and unshakeable conviction that *everything* is, at its root, a math problem."
I'm really glad that everything is not a math problem. I would be screwed for life if it were.
"To get in and out of hyperspace you have to know where you are and where you're going, otherwise you'll come out even *more* lost, hundreds of light years from home; you jump in, and you're even further gone now.
Once in hyperspace, you can ride the navigational beams between beacons (narrow beam stuff, to cut through the interference, as noted in "Distant Star"), and by corrolating the beacons, know where you have to come out.
That's my story and I'm sticking to it."
That sounds perfectly acceptable to me. I've always liked Hyperspace. It's a bit cooler than a warp drive in that it's a whole separate sort of dimension. Plus, I liked the CG for it. XD
Hm, not a lot on this episode. And I don't really remember much else to say about it, to be honest...
The Long Dark:
"RE: Londo looking "more wicked," we're doing some very small, subtle things to his appearance, his wardrobe, pulling him into a darker range of fabrics. (Honest to god, you wouldn't believe how careful and detailed we are in setting this stuff up.) He'll even be getting a new, slightly darker coat, straighter lines, closer in style to Refa's, before the season's out. It's really interesting when you know where you're going...."
I've never thought Londo looked very wicked, but the darker fabrics make sense. Poor Londo...
"Tom: the quibble you raise is one of the points I'm trying to make. You say someone from 1890 would go crazy. I vehemently don't agree. Go back and read letters from the 1890s. Heck, go read letters from 1776; the language, the emotions, they're all very much the same. The chrome of technology has changed, some social styles and attitudes have changed, but people still go through school (usually), get married, raise kids, hold jobs, and look to a better future one day.
Mariah was also a scientist, sent forth expecting and prepared to see new things; this isn't the same thing as an average person just plucked out of time.
I think people -- Americans in particular -- over-emphasize how much things change with time, in large measure because in a country that's only 200+ years old, we *really* don't understand what time IS here. The Romans who left grafitti all over parts of England are only one step removed from the South Central taggers of today...."
Actually, I'm pretty sure it would be cool. And I notice no one makes this argument about Cap, who is only frozen for thirty less years. It would be difficult, but I think it'd be easy enough to survive 100 years. I don't think I would complain, though I'd have a heck of a lot of Who to catch up on...
"Re: Ivanova and Sheridan going into the Cortez upon it being pulled into B5...this was an Earth vessel, remember, stating it's on a mission of peace, with a cryogenic suspension chamber in use. There was zero perceived danger. Also, if I were the captain of a naval vessel today, and I came across an intact sailing vessel that went missing in the 1890s, you'd have to hold a gun at my head to KEEP me out of that ship. People are, by nature, curious...and this would be a fascinating puzzle to solve. (Editor's note: the Cortez was the ship in "A Distant Star." JMS meant the Copernicus.)"
Yeeeeeeeeah, I'd be the first one on there. Probably without safety checks. Buried treasure. It could be awesome. Plus, I like ships in general, which probably comes from being a navy brat. Curiosity killed the cat, I know, but satisfaction brought it back.
"A couple of thoughts on Sheridan, btw...triggered by messages I've seen or had alluded to in which he's gigged for smiling too much, unlike Sinclair...just checked back in some of my archives, and for the first four or five episodes, the number one complaint about Sinclair was that he either smiled or smirked too much....
Meanwhile, just a little something for the folks on-line to contemplate...remember the first rule of Babylon 5: nobody is what they appear. Not entirely, anyway. There's always something going on, something that somebody's not telling. Some folks are making the error of looking at Sheridan -- as they looked at Sinclair, or Londo, or Vir, or G'Kar -- and thinking "this is all that he is." Except, of course, that they weren't and he's not. I would not create a character that is just what you're seeing.
Aside from that, and this is a separate issue...there are really two ways to deepen a character and give him a dark side. One is to do something to him *before* you meet him, which he's still recovering from (Sinclair). The other is to meet him, and THEN drop him down a well. In a way, Londo is illustrative of the latter; you get to know him, and he's funny, colorful...and then you start to move him.
So suffice to say that Sheridan is going to end up getting more and more conflicts, and getting booted to the head, and as someone noted above, caught in the conflict between being a good officer and being a patriot...which can sometimes be the same, and sometimes VERY different things."
Okay, no one gets to complain about Bruce Boxleitner smiling too much. He has an absolutely adorable smile. I like his smile. It's totally a smile a girl could fall head over heels for. NOT EVERYONE HAS TO BE ANGSTY, DAMNIT. Happy characters happen, you know. Just because they aren't your average angst muffins doesn't mean they aren't interesting. And lots happens to Sheridan later on. He's just well adjusted to most things.
Oh, JMS. Very different things indeed.
Not one of my favorite episodes to be honest, but hey.
A Spider in the Web:
Okay, this is from the Lurker's guide notes, not JMS:
"According to Isogi, Ms. Carter's great-grandfather John piloted the first colony ship to Mars. "John Carter of Mars" is a classic SF story by Edgar Rice Burroughs; the character also appears in other Burroughs stories such as "Princess of Mars." See the Project Gutenberg home page."
How did I not catch that? Sneaky bastard.
"Having lived in San Diego from 1974-81, it's just my way of giving a wink to the old home town. Though there are some important things going on underground, in areas no one goes...the choice of SD is just a bit of fun."
YOU KILLED SAN DIEGO. I liked San Diego. It always saddened me it was destroyed in B5.
"San Diego was nuked by terrorists some time earlier; but if you dig deep enough, you could probably build something with enough money; and who knows how bad it *really* is."
T_T
"Local in-house joke: Abby's last name...Normal."
This does not surprise me in the slightest.
"We hadn't heard of the Bureau 13 game when we did the episode, it was just something we came up with 'cause it sounded neat. Later, we found out there was a game by that name. At which point I decided that it wouldn't be appropriate to use that name again, and had a good conversation with some folks at the game company about it. There was no problem, I just didn't want to walk on their turf intentionally or otherwise. Logically, any secret group is going to change its name from time to time *anyway* (it's not like they're in the yellow pages or anything), so the organization would remain under varying names."
So that's why we never hear from them again. I wondered, cause JMS is usually pretty good about that sort of thing.
"Basically, Garibaldi's third favorite thing...is whatever the member of the opposite sex is having...."
Or tea, in this case. -_- Oh, Garibaldi...
I liked this episode. It starts off the whole conspiracy thing with Sheridan, and we all know how he likes them. A conspiracy buff, my ass. >.> You just keep telling yourself that, Sheridan.
Soul Mates:
This is actually Peter David Speaks, because Peter David wrote the episode and was completely awesome. So.
"Y'know...for the past five years I've been writing Trek novels, and fans kept asking, "When are you going to start doing Trek TV episodes?"
So here comes B5, I do an episode...and what do the fans keep asking? When am I going to do a B5 novel.
NYAAAARRRRRRRGGGHHHH!!!"
Because the irony amuses us. And you did eventually do B5 novels. Three of the most awesome ones, in fact.
"[Re: Talia] My feeling was that it was something that had been building slowly within her ever since the Ironheart episode. That although she had been *saying* she was devoted, well...the difference between the reality of a B5 and the frequent unreality of STTNG is that folks don't always say exactly what's on their mind (kind of like the real world.) As it turned out, my own thoughts on Talia dovetailed with future plans for her."
Poor Talia. Her plotline was always very interesting, especially when you know how it ends. I'm actually really looking forward to more of Nar's reaction on her plotline...
"Daggair is Pestilence, Timov is Famine, and Mariel is Death.
At first I was going to have all their names be reflections of the titles "assigned" them by Londo, but I decided that would be too cutesy. The only holdover from that idea is Timov, whose name backwards is, of course, Vomit. (I'll never forget Jane Carr coming over to me the fifth day of shooting and saying in that accented voice of hers, "Peter...did you *know* that my character's name is vomit spelled backwards?" Uhhhh...well, yeah...)
You all realize, of course, that Londo is--by process of elimination-- War."
It's sad, but I can hear her say that almost exactly. ^_^;;; Also, that last bit... You do realize you will kill us with these metaphors, right? But we love you anyway. So long as you aren't giving Garibaldi terrible puns. Well, I take that back. It was a completely in character pun. Just because I haven't forgiven you for it because it really was that terrible, doesn't mean it wasn't perfect for the scene...
"In response to someone who thought JMS wanted a line of dialogue inserted
This is a total misinterpretation of a statement I made, and yet another example of how the information age can also be the misinformation age. Incorrect "facts" can make the rounds at light speed and stay there.
I did *not* say that Joe wanted one particular line put into the script. What I *said* (in response to a question some time ago of "How much did JMS tell you to put into the script? How much of the events were dictated) was that all I was given was one line of *description* (much like a log line you'd see in TV Guide). The line was something to the effect of, "Londo's wives show up on B5 and, in the way that Londo handles the difficulties that ensue, we learn something about the type of man that he is." I explained this in order to make clear how much latitude JMS gives writers on the show, as opposed to the omnipresent smothering hands-on attitude of other programs.
And somehow this became mutated into "JMS has a line of dialogue that he wanted inserted.""
It feels like a game of telephone, lol. Londo's wives are quite epic though, there is no doubt about that.
"How funny. Other people who stated flatly that they likewise knew Londo loudly proclaimed (over on Usenet) that he would have chosen Daggair. Maybe he's a kind of tough guy to know."
Yeah, but he's made more interesting for choosing Timov, even though he didn't know what she had done. And you like him better for choosing Timov. He wanted someone who didn't scheme behind his back, and Timov was the only one who didn't have ulterior motives. It's not love, no, but it's one of the few truths that Londo can allow himself as he buries himself deeper into the lies.
"*I* didn't get "bitch" past the censors. I just put it in the script.
(What I loved was Daggair's expression on that line. It's the only time she let her facade slip and she looked like she was ready to slug Timov.)"
Haha, I didn't even think of that. Who ever got that line past the censors was a genius, that's all I have to say.
"The second scene between Garibaldi and Stoner was intense
Tension really crackled between the two of them, didn't it? In one of the takes, it was so intense that at the end, the director forgot to yell "Cut." Instead he shouted, "God, that was great!""
You know, being on the set of B5 really must have been awesome. I mean, really, they had some epic actors on there. Plus all the random stuff that you know had to have happened when you get people with that kind of humor together.
And now back to the JMS portion:
"All things considered, the episode went through fairly cleanly, script- wise, not much in the way of revision. Peter has a good ear for dialog (not surprising). So for the most part it was little stuff; for example...Peter came up with, "Either I'm in hell or in medlab," to which I appended, "...either way, the decor needs work." Which is kind of the fun in getting an outside script; you can hear the first part of a line you'd never considered, and knowing the character, you can take it just a little further."
Yes, we all adore Peter David's script. Really, his is one of the few that stands up to JMS' writing in the show. You know it's going to be epic is one is acting as script editor though...
"Timov's "WHO IS THIS?!" in that high-pitched voice would also be a great one for an answering machine."
rofl. Yes, yes it would. It really, really would.
"What I love best about this is that given the time of year [of its North American premiere], "Soul Mates" is basically our Christmas episode.
I mean, are we perverse or what...?"
Perverse? The production crew of B5? Never. That is pretty awesome though. XD
". . . when you say "why wasn't Mariel arrested on the spot by Garibaldi and her quarters searched," you omit both legal procedure and evidentiary law.
You arrest someone AFTER you have reasonable cause and sufficent evidence to justify it. You don't need enough evidence to convict, just to arrest or indict. So the order is reversed for starters.
Second, what evidence *was* there to be found if he HAD searched her quarters? She neither brought nor had ANYthing of an incriminating nature. She bought the figurine in the bazaar...and that's all she had, and all she used. There WAS no evidence in her quarters to find.
(Believe me, I spent 2 years on MURDER, SHE WROTE, and we learned a lot about how this stuff works. You can't just go around arresting people willy nilly, and the evidence must exist, and be sufficient, and locatable.)"
The fact that he wrote for Murder, She Wrote never ceases to amuse me. Really, it doesn't. I loved that show. Also, way to go for a legal procedure fail, random person!
"Peter's [Jurasik] having the time of his life. He loves where his character is going, loves the range of emotions he gets to play...I saw him for a bit on the set today, shooting "Soul Mates," and he's just tickled (particularly since he's acting opposite Lois Nettleton, Jane Carr and Blair Valk as his three wives)."
I am picturing this. I am picturing this, and it is quite frightening and awesome at the same time. Oh, Londo.
Over all, this episode is just epic. I mean, Londo's wives! Plus, you get more Talia plot, which is always good.
A Race Through Dark Places:
"Favorite line in the next new episode, from Sheridan: "I'm not saying what I'm saying. I'm not saying what I'm *thinking*. For that matter, I'm not even *thinking* what I'm thinking.""
It is a very good line indeed. We have used it often int his household.
"BTW, just to note a little something you might not notice in the show...we've adopted the tradition of putting the symbol for a given ship onto the bar in Earhart's, as many real contemporary officers' clubs and airforce/naval base clubs put the logos or markings of big planes or ships that come through there. The Cortez symbol is the most visible among the various emblems you can see in a shot of the bar in "A Race Through Dark Places." It comes at the moment we follow *another* old military tradition."
And that's one of the reasons why B5 is just that cool. You have to love some of the history that goes into it.
"I always have to have a title before I begin writing, since the title always influences the feel of the show. I try to design one that is literary, or refers to a literary influence; it should have a certain rhythm, and avoid coming at the subject of the episode too dead-on. For instance, one could call the recent Psi Cop episode with Bester, "Capture" or "Chase." But I wanted it to be evocative, to conjure up the image of people slipping through the shadows, pursued by others, and to continue this season's trend toward titles that indicate a coming night. Hence, "A Race Through Dark Places.""
I am so glad that I don't work that way. I have so many issues coming up with names sometimes, as seen by the Protest fic that should be up in a few days. JMS does have some amazing titles though. I am frequently jealous.
"Where did Ivanova's outfit in the last scene come from?
I think it came out of the Victoria's Secrets catalog...."
Oh, my.
More Bester! You can't go wrong with more Bester. Bester is awesome. Lots of stuff in this episode, that comes up later on. It's a fun one.
The Coming of the Shadows:
As you might imagine, this is a very important episode. As they say on the site, think twice before reading for spoilers.
"I love "The Coming of Shadows." It's one of those episodes that just knocks the breath out of you. You know those moments when you're in the passenger seat of a car, and the person driving is doing something crazy, and your foot automatically keeps searching for a brake pedal that isn't there because you know something awful's going to happen? That's the feeling you get all through that script. This episode, like "Sky," "Signs," "Chrysalis" and "Revelations" again changes the direction and ratchets everything one notch tighter. It's also a very visual script, and I like that, since I sometimes do rely too much on dialogue from time to time, and it's good to go in a different direction."
And oh, does it. There is so much starting in this episode that it's just like, whoa. How did the fit all of that? But it happens and then BAM. And it's cool like that.
"Kosh's brevity is one of the things I like best about him; in the year two episode "The Coming of Shadows," he has just two words in the whole episode...but they're guaranteed to give just about anyone the willies."
Yup. Cause that's how Kosh rolls.
"I generally don't let the actors know what's coming unless it's important to the current performance. Otherwise you risk having the actor play the *result* instead of the *process*. Had to make one divergence from this recently, so that Peter could understand better a sequence in "The Coming of Shadows," which you'll understand when you see it."
Actually, we know the real reason. The real reason is that you really just like screwing with people. Don't deny it. We know the truth. You majored in psychology.
"We're also taking advantage of some of the recent Hubble photographs to scan them and use them as backgrounds in some far-space shots; there's one in "The Coming of Shadows," for instance. Real space is *very* nice looking in places."
Okay, that's legit cool.
"I may not have been clear in my meaning when I said "accellerating the arc." This doesn't mean doing anything ahead of schedule; it just means that now we begin cranking the story into a higher intensity level. We've been kind of floating toward our destination...now we begin the process of accellerating. If you recall Literary Structure from English Lit 101, there's the Introduction, the Rising Action, the Complication, the Climax, and the Denouement. Year one up through about the first eight episodes of year two are Introduction; we are now in Rising Action stage. Remember that this is structured like a novel, and you'll generally have some idea of where you stand in the progression."
Yeeeeeeeeeeeah, the just about sums it up. I don't think anyone was quite prepared for the level of intensity that was reached though.
"I ended up giving Peter info on "Signs" prior to shooting "Chrysalis" last season; that was the biggie there. For "CoS" in order for the scene to match what's going to happen several years down the road in the series, I had to kinda give him the context of the dream, and what was really happening in that scene, and what caused it, and how he got to that place with G'Kar's hands around his throat.
He seemed quite...astonished."
Yeah. Yeah, that sounds about right. Context of that dream makes all the difference.
"Yeah, on several levels, writing "The Coming of Shadows" was hard; there were times I felt as though I'd just jumped onto the back of a runaway dynamite truck. Halfway through that story you can feel the arc kinda moving underneath you, like some huge, dark fish about to break surface.
The only way to make a viewer feel a character's pain is if you feel it in the writing, and a lot of that came through. I live with these characters running around in my head 24 hours a day...and when I'd finally finished "Shadows," it was as if they all sorta stopped and looked at each other, and at me, and said, "Gee, thank you EVER so fucking much, jeezus, why don't you just go pluck somebody's eye out while you're at it?"
To which the only reply is, "Now that you mention it....""
BECAUSE IT'S ALL FUN AND GAMES TILL SOMEONE LOSES AN EYE. That's Clamp's motto, anyway. It also pretty much outlines why I enjoy my sadism in writing so much. "Now that you mention it..." Never is enough, obviously. And also, JMS, those of us who Know now hate you for that comment. Because, well...
"Not all Centauri dreams come true; however, the ones in which they see their deaths tend to be pretty accurate."
That would just be creepy. I'm so glad that I don't have those sorts of dreams.
"Turhan originally came in to audition for Elric in "Geometry;" we wanted someone with more menace (Ansara), but we were all just blown away by how wonderful and sweet and nice a person he was, and as he left, I told John Copeland, "I'm gonna write a part just for him."
So I did, and we cast him, and everyone on the set loved him...to the point that, at the end of the shoot, they were saying, "You BASTARD, how could you bring this WONDERFUL man in here and then KILL HIM OFF SO WE CAN'T HAVE HIM BACK?!""
This surprises me not in the least. Not in the least, I say.
"Are the Rangers a reference to the Chuck Norris series, "Walker, Texas Ranger," with which you were involved, or to the Rangers in Tolkien's "Lord of the Rings?"
For me, the concept of the Rangers isn't tied to Norris; that isn't the reference I was talking about. Being on that show, I kinda had to look into the history of the Texas rangers in general, and being the curious kind of guy I am, I widened out into the Army Rangers, and other sorts. I'd been looking for a kind of name to attach to this group, and the more I thought about it, the more it fit.
As far as the costume is concerned...it's not medeival based; if you look at the ranger's outfit, than go look at a Minbari warrior outfit, you will discover a LOT of points of comparison. It was *designed* to echo Minbari warrior caste clothes, to reflect the fact that these two sides are working together. Go fire up "Legacies" and look at his uniform, then look at the ranger. You'll see the similarities in silhouette and line in various places.
Of course I've read and enjoyed Tolkein. But as I've said, I have no interest in doing LoTR with the serial numbers filed off. I've dropped references to it in dialogue, but the structure of the story has nothing whatsoever to do with LoTR. Basically, a lot of people have come up and said, "Oh, this is the same as Foundation," or "This is the same as LoTR," or "This echoes a lot of Dune," or "This is obviously a Homeric tale," or "There's a lot of Star Wars here." It uses the same tools as all mythic structure fiction uses. Hence it resonates. But I didn't sit there and think, "Hmm...Gandalf left, so I'll have Sinclair leave." That's just plain silly.
It's really a matter of what you bring to the table, that affects what you see in the story.
The roots of the symbolism and structure of B5 go back a hell of a lot longer than this. Here...I'll give you one free.
G'Kar is in many ways my Cassandra figure, who in the Greek tales was granted the gift of prophecy...all the disasterous things she predicted would come true...but she was cursed by the gods that NO ONE would ever believe her. And later, when the war was at its height, she ended up in the service of....."
You know, sometimes I'm glad I didn't read these when the show was on. I might have smacked him for that.
"The broach worn by the Rangers was designed by me and Ann Bruice, our costumer. I sketched (dopily and badly) what I had in mind, which was a stylized human and minbari on either side of a gemstone, both wokred (worked) into the same metal, and holding the gemstone.
She then took this drawing that looked like it had been drawn by a drunk five year old and translated it into a striking piece."
Heh heh. I always wanted one of those. They are pretty.
"Re: your question...at this juncture, I think I'd have to choose "The Coming of Shadows" as the one episode I'd use to represent the series. That one episode came out so close to perfect, so close to what I saw in my head when I wrote it, that the difference is no difference at all. It has all the elements I'd feature in a B5 discussion...the CGI, the characterization, the complexity, the politics, the language, the performances."
That's actually a very interesting question. And I like what he says are the main points of B5, because that pretty much true.
"Because to some extent the roman civilization is one of the sources for constructing the Centauri, I adapted their handshake (checking for knives) as their greeting; "I offer the hands of friendship.""
That's both interesting and not surprising. Checking for knives during a greeting? Yeah, I can see why...
"There's a difference between what I believe dreams mean, what the Centauri believe dreams mean, and what dreams mean to the Centauri, in that universe, and what they mean to me in our universe.
I suspect the truth lay somewhere between Shroedinger and Jung."
Heh. That's why we like you, JMS.
"Your feelings about the war starting are exactly what they should be, and what I wanted to achieve with "Shadows." In SF TV, very often, as you state, it's "Yeah, let's get a war on! Blow stuff up!" But to hear of a *real* war...it's very, very sobering. When we hear that Gulf troops were being sent into the Mideast, when we heard of soviet troops sent into Prague...your heart stops for a moment. When Kennedy put American ships in a Cuban blockade and the world held its breath ...THAT is what it feels like to step into possible or real war. All you can think of is, "How the HELL did we get into this, and how the hell do we get OUT of it?" And that was at the emotional core of "Shadows.""
Which is why B5 is much more a military drama than a scifi show at times. But hey, totally a selling point.
"The Sanctuary set has ALWAYS been entirely virtual, except for a small grating on the floor as a marker. The walls, the windows, all of it. Virtual. We've actually done this a number of times. I haven't said anything before because whenever I mention there's a virtual set, and where it is, people look at it and say, "Oh, yeah, I could tell it was virtual." Because they knew ahead of time. So I stopped mentioning it.
We're sneaky that way. You've seen, and will continue to see, sets that don't exist ANYwhere. Hell, you know that bazaar shot in the main title sequence? The second floor? Doesn't exist. Digital compositing and virtual set melding."
Yeah, we know you're a sneaky bastard. Sadly, it's also one of your redeeming qualities.
"An aside on the jms/kosh discussion, for whatever interest it may have....when Ardwight comes in to do Kosh, they call me in to direct his performance so that it matches what the intent is now, and how it will be interpreted later. From where I sit in the control room, I can't see him, I can only hear his voice. So it's kinda like talking with Kosh there, and me saying, "Okay, can you try 'In Fire' hitting the second word harder, and with a sense of some anger behind it?" And between takes, he's still in Kosh-speak mode, muttering, "How will this end, how do I know talk to my agent...go on, get out, buzz off ....""
This amuses the hell out of me for some reason.
"I will tell you a true and secret thing, re: Londo's dream, and looking up into a blue sky to see the ships passing overhead.
Ever since I was a kid, I've had that image in my dreams, of standing out in the open and looking up as strange dark ships pass overhead. It's always been an unnerving image, and I really wanted to use it here to see if it would have the same effect on others.
The other single most recurring image is to be standing at the bottom of a long set of stairs, in a basement, and the door at the top of the stairs is thrown open, and there's gunfire, and guards, and flares in the night beyond, and more ships firing down.
Don't be surprised if this shows up as well, someday...."
Hm. Hopefully, this will not mean Shadow ships over Earth. But interesting images, both of them.
"One of the problems we had with the Hugo last year was that whereas only a couple of TNG episodes were good enough to get nominated, eight B5 episodes made it to the final cut. Because folks went for their favorite episodes, and they had a number that year. The result was that the choices got split so much that TNG won, since it had fewer good or great episodes that season. ("All Good Things" won with, I think, 57 votes; the top two B5 episodes on the list had 32 and 27 votes between them, enough right there to have won if combined. That was for "Signs and Portents" and "Chrysalis," with "And the Sky Full of Stars" at 21, "Babylon Squared" at 19, "Believers" at 10, "Mind War" at 9, "Voice in the Wilderness" at 8, and "Soul Hunter" at 6.)
So basically, we lost because we had too many solid episodes to choose from.
As a result, a lot of folks this year have been campaigning to have participants go for "The Coming of Shadows," which is the highest rated episode in all the informal polls on-line and elsewhere from that time period. It's the one nearly everybody seems to agree upon."
And then this episode got the Hugo. Actually, it's kind of sad, for a reason for why they lost the year before. Though, All Good Things is, well... One of the better last episodes of Trek I've seen.
So basically... This is where it starts to get good. Because, ya know, it was good before, but now it's going to start being good. Like B5 does.
Anyway, another marathon starting tomorrow, so hopefully the next round won't take me so long to do. Provided I don't get super-sick again.
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no subject
Date: 2012-06-12 02:39 am (UTC)Oh man, are you kidding, Tom? The 1890s people would be ALL OVER future technology shit. They really, really, reeeeaaaally would have no trouble believing that the future was made of ZOMGgadgets. HAVE YOU NOT READ THE 900 BILLION UTOPIAN STORIES THEY WROTE?
Dude, what did people have against Sheridan smiling?? wtf
still having mind blown by John Carter of Mars reference
lol, Mem is having San Diego angst
Peter David: "NYAAAARRRRRRRGGGHHHH!!!"
**chuckles** YOU WILL NEVER WIN, PETER. YOU WILL NEVER WIN.
Whoa. Did not know Londo's wives were representative of apocalypse figures. That's pretty awesome. And of course Londo would be War! This amuses me.
In a way, I really like that JMS gives other writers a lot of latitude. :-) He's just a pretty cool guy that way, and he knows which writers to trust with his characters.
Victoria's Secret catalogue? O_0
Kosh knows how to run the verbal field, that he does.
It's pretty ironic that they lost the Hugos that one year because they were just too good, too frequently. Life plays odd little tricks like that...
no subject
Date: 2012-06-12 03:38 am (UTC)I'm assuming that Captains should be more serious or something. I happen to really like Sheridan's smile though, so screw them.
Well, Londo did call them Pestilence, Famine, and Death in an earlier episode.
With a few writers, he didn't even bother with a small description. Which is how we got Neil Gaiman's episode of awesome. <3
I know. It's kind of sad that they lost because they were too good. Still, they learned their lesson on that. XD