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Let's
get one thing straight: there are a lot of Muppets in Farscape. However,
these remotely manipulated beings are hardly the cuddly porcine comedians
of Pigs in Space. One is a pompous, exiled ruler of a planet.
Another is a four-armed creature sharing a symbiont relationship with a
living starship. And in the pilot episode, there's a creature with enough
teeth to give Jaws a run for his money.
Of course,
the aliens aren't the only creatures in Farscape. There's one alien
who is very out of his depth, lost far from home, and not understanding
very much at all what's going on—and he's the human.
It goes like
this: astronaut John Crichton (Ben Browder), brilliant and dashing, is
conducting an experiment in his small space-plane when something (let's
call in a wormhole) sucks him in. Suddenly, he's spat out somewhere he
doesn't recognize, and right into the path of a fighter craft. The fighter
ship crashes, but Crichton survives with merely a scratch. He's taken
aboard a nearby ship, the Moya, a living prison ship being attacked by the
fighter craft.
On board the Moya are escaped
prisoners D'Argo (Anthony Simcoe of The Castle), a Luxan warrior;
Zhaan, an 8l2-year old blue skinned priestess; and Rygel, the
aforementioned exiled ruler, all of 26-inches in height.
As Moya escapes the fighter craft,
it captures one pilot: Aeryn (Claudia Black), who, to Crichton's relief,
appears almost human. However as a "Peacekeeper", she's born and
bred to be a soldier and follow orders, and she's not entirely happy to be
stuck with these space fugitives.
Of
course, the Peacekeepers track them down.
Unfortunately for the totally
out-of-his-depth Crichton, the ship that he collided with happened to be
piloted by the brother of the Peacekeeper commander, and vengeance in
space is best served cold. However in order to save her own hide
(Peacekeepers have hygiene standards and shouldn't mix with common
aliens), Aeryn is forced into an uneasy alliance with the escapees and
helps them escape the Peacekeeper clutches.
Learning curve
Despite
a frantic pace of introduced characters and action, viewers don't get
lost. This is mostly due to Crichton, who not only provides an anchor to
"normal" humanity, but is so lost himself that viewers identify
with him and don't necessarily need to understand, because hell, neither
does he.
This is one
of the strongest themes of the pilot episode. Crichton is a human a long
way from home and doesn't understand at all what's happening around him.
An added bonus is that Crichton is a sci-fi fan. The only way he can deal
with some situations is to relate it to something he knows from popular
culture. While this helps him, it does nothing for his fellow fugitives—Star
Wars references don't go down well. However, this relating helps the
audience to understand the situation as well. Smart writing.
Writing is a very important part of Farscape.
And the characters have been written well. Ka D'Argo could have easily
been a Klingon clone and, in the beginning, appeared to be just that.
However the quality of the acting and the careful control of how much is
found out about these aliens keeps a certain air of mystery. D'Argo was
incarcerated by the leaders of his people, but we don't find out why
immediately. He's big, strong, and quick—but not without a brain.
As for Pa 'U
Zhaan, the blue priestess, she could quite easily have remained in
"ethereal" Troi-esque mode. Rather, as the series develops, we
discover that she has a darker, stronger side. While she may appear all
light and fluffy, she has her own agenda and the strength of will to carry
it through.
Rygel XVI, the exiled Muppet,
provides comic relief very well in the pilot episode, however we discover
his depth as times goes on—sad, somewhat lonely, desperate to regain his
throne from his cousin but aware that it's not necessarily going to
happen.
And
then there's the ship itself, Moya, represented among the fugitives by the
creature called Pilot. Four armed, multitasking, Pilot is connected in an
almost mystical way with the living ship.
As for Aeryn,
one moment the viewer is convinced she's going to fall for Crichton, the
next she's going to rip his head off. She's one tough-bred soldier,
packing a pistol and ready to fight.
Each
character has their own agenda, which doesn't necessarily fit with any of
the others. The starship Enterprise this is not. These people
(aliens) don't necessarily get along harmoniously. In fact at some points,
they're at each other throats. When an opportunity arrives in a later
episode for each of them to find their way to their home planets, while
avoiding Peacekeeper space, they are prepared to sacrifice each other (and
one character's arm) to take it.
The journey's the
thing
Crichton is on a
quest, to find his way home. In the same way, Farscape shows that
sci-fi in Australia is also on a new journey. The show is a collaboration
between Hallmark, the Jim Henson Company, and most importantly the Nine
Network here in Australia.
Why is the involvement of the Nine
Network so important? Because it's a big step in Australian sci-fi. In
this country, sci-fi has mostly been a children's genre- The Girl from
Tomorro11-: Thunderstone, Ocean Girl, all high quality programes but
aimed at children and teens. Previous attempts by Australian studios to
create adult science fiction have not been successful -think Time Trax.
However the series is highly rated in the US, and season three has
been commissioned. This series Farscape, aimed at an older
demographic, is definitely taking off. We can only hope it generates a
similar following here.
And don't think the only Australian
involvement is location and financial. In fact, the majority of the main
cast members are Australia, as are most of the extras. And importantly,
episodes are being written and directed by Australians.
So
far the signs are good. Even in the relatively few episodes we have seen
here in Australia (they are a fair way ahead of us in the US), we can see
the development of the series. Writing is getting wittier, characters
stronger, ideas better. There are still a few not-so-subtle social
comments (episodes on drug use and genetic engineering come to mind) but
by all accounts, the series becomes very, very good come the turn of the
season.
No strings attached
So let's not hold the
fact that there are Muppets in Farsape against the series. They
don't look like the Muppets we're used to, and they sure don't act like
it. No flying chicken stunts here. Instead we have the early steps of what
could turn out to be a very fine, science fiction program, with Australian
influences yet. And that can only be a good thing; for Australian TV, for
quality shows in general, and for fans starved of something good to watch.
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