SciFiNow's Top 10 Sci-Fi Vehicles

The Ford Falcons from George Miller's Mad Max are quite simply bad to the bone.

SciFiNow is really winning me over with its Top Ten lists. I'm always inspired by my love of thumbing through a quality sci-fi magazine and feeling the thin paper against my weather-worn fingertips. Mind you, SciFiNow is like a science fiction fan on speed between two covers. This magazine is busier than the Mos Eisley spaceport at rush hour. It throws images and bits of information at you so fast and furious your head could spin straight off your body. But, it's large and colorful and segments like their The Complete Guide To... are always a lot of fun.

Starlog Magazine used to be one of the finest monthly reads filled with terrific, well-penned articles and thoughtful, insightful interviews. Starburst Magazine was a close second for me. SciFiNow, the last man standing and essentially their replacement for me, is filled with colorful photos, photos, pictures, images and photos. The writing may not be as intensive as those now defunct personal favorites, but I am relenting and accepting SciFiNow's strengths at this point. It's a bit like a science fiction film with wonderful special effects, but minor character development. Nevertheless, there are some fine moments in SciFiNow. There are some decent interviews, good retro pieces and lists here and there. I love my lists! I only purchase when I find something I really must see and look longingly at for minutes on end. They do a nice job with their layout! Farscape, Stargate, Star Trek are generally sells for me.
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SciFiNow Issue#10 offered its list of the ten best Sci Fi Vehicles. I thought I'd give you their list and then serve up my far superior list at another time. :^) Seriously, you can't tell me your list wouldn't be better than this one.

These things are always subjective and I didn't care for some of there selections at all. Does the writer watch science fiction? It's a strange list. However, they did include a few I fully support.
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SciFiNow's Top 10 Sci-Fi Vehicles:

1. Millennium Falcon [Star Wars]

2. The DeLorean [Back To The Future]

3. Optimus Prime [Transformers]

4. Planet Express Ship [Futurama]

5. The Tardis [Doctor Who]

6. The U.S.S. Enterprise [Star Trek]

7. The Warthog [Halo]

8. Thunderbird 2 [Thunderbirds]

9. Max [Flight Of The Navigator]

10. Kraken II [Innerspace]
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I'll grant them the Millennium Falcon is a classic, but the bloody DeLorean? Seriously? If we're including cars I'd have to submit James Bond's Lotus from The Spy Who Loved Me over this vehicle any day of the week or just about any James Bond car.

How about the 1974 Ford Falcon Black Pursuit Special Coupe Max Rockatansky had souped up for Mad Max? Now, that is bad ass to the bone. The Mad Max 1974 Yellow MFP [Main Force Patrol] Ford Falcon Interceptor is a close second.

Of course there's the Bat Mobile or Tumbler. Blade Runner's police hover vehicles are cool. But, the DeLorean? Really.

Minority Report's Pre-Crime Hovership rocks it pretty sweet. Just about any craft from Final Fantasy: The Spirits Within qualify as aces.

By the way, while we're on the subject, Transformers sucked! So Optimus Prime is out because he's a creation of Michael Bay and Michael Bay sucks. Most of all, Transformers sucked and my prejudices toward the Michael Bay franchise aside, Optimus Prime is a robot truck so it really should be ineligible for this list. The magazine is clearly playing to the kids with this call.

Gunbuster

If we're going to include robots [and I don't care that it turns into a shiny truck], I would have selected the Evangelion units from Neon Genesis Evangelion over these silly toys. EVA-01 or EVA-02 are completely off the chart monsters! I'd even go with the robot from Gunbuster if we're including robots from the towering-over-man department. How about the patrol labors from Patlabor?

Max is actually collecting rust in the back studio lot at MGM in Florida. I saw it with my own eyes. It's not exciting and it's not impressive. Would this be on your Top 25?

What is up with Max from Flight Of The Navigator and Kraken II from Innerspace. Good grief. Really? These are the best you can come up with for your top ten? We're suppose to take you seriously.

I can't really comment on Planet Express Ship from Futurama, because I've never seen it, but it's Futurama, the same people behind The Simpsons. Should Matt Groenig's cartoon ship count?

Finally, the Warthog from the Halo video game seems an odd stretch. I'm not sure video games are an option without opening up a can of worms. Bottom line: SciFiNow is clearly pandering to an audience here and I really don't think the Warthog should qualify.

I do love the U.S.S. Enterprise and the many variations of said ship throughout the Star Trek franchise. The various incarnations to follow are all distinct and deserve their own place, but selecting the original template that made it all possible is the only real option. This is an absolute decision. If Star Trek: The Original Series ranks as the best science fiction series of all-time, the Enterprise, with all of its thoughtful, lived-in design, personality and character clearly makes the top of any list.

Star Wars has so many ships to pull from it's hard to settle on just one. The Slave 1, Tantive IV, the Sandcrawler, the Clone Turbo Tank and the Republic Gunship are just some examples of the vast selection of vessels that could make the list from Star Wars.

Additionally, the Thunderbirds series has alot to offer, but I think it's fair to say Thunderbird 2 is the queen mother in a manner of speaking. The T2 Pod bay even gives us classics like the Firefly and the Mole. T2 hands down is the right choice beyond the equally cool T1.

SciFiNow is an English publication so you can expect a vehicle like The Tardis to make an appearance. So unsuspecting isn't it?

So, SciFiNow, what the heck kind of list is this? Not to mention you disparage the Serenity from Firefly in your Five Of The Worst list. WOW! How could you discount Serenity? As much as I find your list disconcerting I refuse to burn this issue. Seriously, there's a great section on Space:1999 in the issue and I plan on revisiting the issue for that segment. Not to mention, your import magazine is far too expensive to burn, at least until I run out of firewood this winter.

OMD: History Of Modern

Bright orange is always good. That Peter Saville [New Order] cover art works beautifully for OMD and recalls Very by the Pet Shop Boys.

You have to hand it to OMD for being as clever as ever with their latest effort, History Of Modern [2010]. It's not so much an oxymoron, but rather a musical retrospective applying the techniques of their past, historic classics like Architecture & Morality [1981] with a touch of the modern.

Founders Andy McCluskey and Paul Humphreys have reunited since departing company back in 1989 at the height of their commercial success following the release of The Pacific Age [1986] and The Best Of OMD [1988]. It certainly seemed like a logical point to shake things up. It's been a long road to hoe for both artists. Paul Humphreys dabbled with his own The Listening Pool [with fellow OMD members Martin Cooper and Malcolm Holmes] releasing Still Life [1994]. He later forged OneTwo with former Propaganda singer Claudia Brucken for a CD Instead [2007] and an earlier CD Ep Item [2004]. The Ep turned out one amazing track featuring Paul Humphreys on vocal called Sister. The song was classic Humphreys a la Secret and Forever Live And Die.

Yes, my OMD collection in my Fanboy Cave.
Meanwhile, McCluskey was continuing the tradition of the OMD name with lesser returns but greater success financially than Humphreys. Let's face it, there's much value in a name [example- Tears For Fears' Roland Orzabal carried on without Curt Smith]. McCluskey gave us three successive pop classic recordings sans Humphreys in Sugar Tax [1991], Liberator [1993] and Universal [1996]. He hung up his hat and placed the OMD moniker on hiatus and looked into the production realm for other pop acts [Atomic Kitten] to lesser success. It seemed like the OMD day had dawned and another act [like the wonderful Thompson Twins] had faded into the sunset. But like any retired group, acts are never dead completely [The Eagles].

Revitalized in 2006, OMD got the band back together. Their latest recording, History Of Modern, is classic 80s pop magnificence most of the time. It's McCluskey's first recording with the OMD name since Universal. Unlike the previous three projects created without Humpheys the duo's presence as a unified front is easily recognizable. Just as Roland Orzabal rejoined Curt Smith for Tears For Fears' Everybody Loves A Happy Ending [2004], OMD's reunion is a sweet and welcomed audio tour de force.

Reaching back to the kind of wonder that filled classic OMD works like Architecture & Morality, History Of Modern pays tribute to the aforementioned classic's two part Maid Of Orleans [Waltz Joan Of Arc] and Joan Of Arc with this effort's History Of Modern Part I and Part II, two bona fide originals with their own distinct styles. Like those unforgettable earlier tracks these two songs are infinitely listenable and will hold up.

To be honest, and I'm breaking with formula here [because I wanted to simply focus on classic recordings], The History Of Modern isn't splendid from start to finish, but it does start strong and finish strong. It's often few and far between when a fan of the 80s gets to enjoy a proper band's return to form and OMD's project certainly offers cause for celebration here and the respect of a proper purchase. The last such arrival that was equally strong, and arguably better was Prefab Sprout's Let's Change The World With Music [2009], but OMD is right there thanks to some standout selections. OMD opens up the doors to their glorious past through song and sound and their are some amazing moments here.

Apart from the two part title track OMD lays down one of the best, balls-to-the-wall bass lines I've heard in some time. While certainly not known for bass lines, not since New Order has a group delivered as potent an opener as the one here on The History Of Modern. The high energy show opener will have you jumping out of your car seat. New Babies New Toys is an instant classic. It's the kind of song that makes one pleased as blood pudding that McCluskey and Humphrey's intend on getting a second reunion effort recorded and delivered within the next two years. We can only hope they stay on task.

Sister Marie Says, the second single, is vintage early-era OMD a la Enola Gay and thus a classic OMD pop number. You can't deny its production power complete with operatic, disembodied voices to enhance the pomp and circumstance factor driven by the synth riff of yesterday.

If You Want It is straight up OMD as their lead off single. The song is filled with grand, epic, OMD flavor and despite being the weakest choice for a lead off single it will grow on you following your initial rejection of the song.

Pulse is intriguing and offers OMD in b-side mode, but it is catchy. Speaking of b-sides, be sure to check out the If You Want It single. It features Alone which is a wonderful new b-side to add to the plethora of b-side spectacles from across OMD's long career [1978-present].

RFWK sees OMD riffing on Karl Bartos and Elektric Music. The song is nearly identical to a song from the former Kraftwerk man's Esperanto [1993] project. On that collection, Andy McCluskey applied guest vocals in full to a song called Kissing The Machine. RFWK is nearly that song without being quite as catchy. Still, it's a better audio master and is a decent fill-in.

Finally, History Of Modern ends with the epic eight minute plus The Right Side and its synthetic simplicity will have you grooving right along and never tiring. It's easily one of their strongest closers in memory.

History of Modern isn't perfect, but it's pretty damn close. Two thirds of the project make it a must buy in the way The Human League's Secrets [2001] was worthy addition to the music universe. OMD formed in 1978 and to see them still recording is such a pleasure for me. I hope, along with acts like The Human League, Paddy McAloon [Prefab Sprout] and Roland Orzabal [Tears For Fears], these expressive artists and musicians continue to make music and designing some of the best pop music that ever was, because they don't make music like this anymore. At the very least no one makes new music better than originals like OMD. Now if we could only bring Tom Bailey out of Thompson Twins retirement and hang up his International Observer.

OMD Discography:
Orchestral Manoeuvres In The Dark [1980]
Organisation [1980]
Architecture & Morality [1981]
Dazzle Ships [1983]
Junk Culture [1984]
Crush [1985]
The Pacific Age [1986]
The Best Of OMD [1988]
Sugar Tax [1991]*
Liberator [1993]
Universal [1996]
The OMD Singles [1998]*
Navigation: The OMD B-Sides [2001]
Messages: Greatest Hits [2008]
History Of Modern [2010]*

Star Trek: The Next Generation: The 25 Best

From the Starlog archives and in keeping with the long directory of science fiction lists I am slowly assembling, whether acquired or self-created, I stumbled across another list of interest. I give you The 25 Best Star Trek: The Next Generation [ST:TNG] episodes as chosen by readers of the now defunct Starlog Magazine #195.

The magazine's readers stacked up their personal favorites. The list, however, is sadly incomplete as the voting was based solely on Season One through Season Six [up to and including ST:TNG, Season Six, Episode 15, Tapestry]. The list is missing eleven episodes of Season Six and all of Season Seven. So this is a fairly odd, premature list, but nevertheless an interesting artifact capturing a particular moment in time from a magazine I once loved now put out to pasture.

Here is the rundown, apparently from best to classic.
25. Reunion [Season Four, Episode 7].
24. Brothers [Season Four, Episode 3].
23. A Fistful Of Datas [Season Six, Episode 8].
22. Q-Pid [Season Four, Episode 20].
21. Face Of The Enemy [Season Six, Episode 14].
20. Tapestry [Season Six, Episode 15].
19. Ship In A Bottle [Season Six, Episode 12].
18. The Next Phase [Season Five, Episode 24].
17. The Host [Season Four, Episode 23].
16. Q Who? [Season Two, Episode 16].
15. Remember Me [Season Four, Episode 5].
14. Family [Season Four, Episode 2].
13. The First Duty [Season Five, Episode 19].
12. Rascals [Season Six, Episode 7].
11. Cause And Effect [Season Five, Episode 18].
10. Darmok [Season Five, Episode 2].
9. The Offspring [Season Three, Episode 16].
8. Deja Q [Season Three, Episode 13].
7. The Measure Of A Man [Season Two, Episode 9].
6. Relics [Season Six, Episode 4].
5. I, Borg [Season Five, Episode 23].
4. The Best Of Both Worlds, Part II [Season Four, Episode 1].
3. The Best Of Both Worlds, Part I [Season Three, Episode 26].
2. The Inner Light [Season Five, Episode 25].
1. Yesterday's Enterprise [Season Three, Episode 15].

Cetainly, it is notable there isn't a single showing from Season One. I will note that Season One, Episode 20, Heart Of Glory was indeed my personal favorite from the entirety of that first season followed by Episode 26, The Neutral Zone.

I will have a complete ST:TNG list forthcoming as drawn from all seven seasons. It will be interesting to see which of these episodes fall off the chart as supplanted by the inclusion of the missing Season Six and Season Seven episodes in a full list. One thing is certain, the much maligned actress Denise Crosby escapes with one of the last laughs with the inclusion of Yesterday's Enterprise. Who knew following her ill-fated finale she would return to deliver one of the series' classics?

Star Trek: TNG S1 Ep1 & 2: Encounter At Far Point

"Let's see what's out there..." -Captain Jean-Luc Picard-

Dodgy special effects combined with a weak DVD transfer, connect the slow-moving, preachy, not-so "engage"-ing Encounter At Far Point. That oft-discussed, Remastered Star Trek: The Next Generation complete with new special effects can't come soon enough, but it still can't match Season One of Star Trek The Original Series on substance alone.

David Gerrold [ST:TOS, Season Two, Episode 14, The Trouble With Tribbles] wrote of Star Trek: The Original Series [ST:TOS] in the Foreword: The Trouble With Trek segment of the book Boarding The Enterprise these thoughts: "We search because we're curious-because we simply want to know. Because the asking of the question is insufficient, we want to know not just the answer that the question requires-we also want to know the possibilities that are opened up as a result." Gerrold continued, "We search because that's what we do, that's who we are, that's what it means to be human. We ask questions because we want to know what's on the other side." ST:TOS certainly gave us this world and Star Trek: The Next Generation [ST:TNG] would be its successor. Gerrold's words are entirely fitting. I'm reminded of a scene from an episode of Jerry Seinfeld when he joked he had to go. When he got somewhere else he had to go. When he got there he still had to go. He didn't know why he had to go, but he had to go. He had to move on to something new and we as a people are certainly driven to seek out new things and constantly be on the move. We can't help ourselves. We get bored if we sit in any one place for too long. The central theme of discovery of space and of personal discovery in Star Trek is a beautiful and rare thing in television to be sure. ST:TOS got it right. It got it so right, it was astoundingly good even when it was least successful.

As Norman Spinrad [ST:TOS, Season Two, Episode 6, The Doomsday Machine] put it in the Boarding The Enterprise piece Star Trek In The Real World, ST:TOS charted our "spiritual evolution as a species." Sadly, that is not the case with ST:TNG. It lacks the influence and the impact of its predecessor more often than not. Still, the sense of discovery and those sentiments echoed by David Gerrold earlier propel the series even through its harshest, most tedious story treatments. When you sit through a bad film you often want to get to the other end; discover its conclusion despite all evidence suggesting otherwise. ST:TNG Season One demonstrates a similar refrain at times. It isn't that bad, but it's not entirely good either. With Roddenberry at the helm, fans were eager to take that ride again and stayed loyal to ST:TNG giving it the benefit of the doubt. ST:TOS wasn't as fortunate in duration and never received the same support from its backers that ST:TNG was the choice recipient of. It was something of a small miracle ST:TOS survived three seasons. This new kid on the block, ST:TNG, was able to find its own voice over a much greater, more protracted period of time. ST:TOS achieved amazing feats in science fiction over a condensed period of time.

The cushy bridge of the Enterprise-D doesn't hold a candle to the bridge of the original Enterprise. Furthermore, the setup, including Troi and Yar in their positions as noted, is uncomfortable to me. It's rather stiff. You'll note Yar's rare uniform with skirt.

Norman Spinrad added it was the fans who saved ST:TOS. It was the fans who kept the dream and hope of Star Trek alive for years. It was the fans who heralded the possibility of ST:TNG's existence. The fans delivered The Original Series cast in film and a new cast in ST:TNG. It was indeed an exciting time for Star Trek.

Synopsis: The two-part introduction to ST:TNG, Encounter At Far Point, witnesses the crew of the Enterprise-D investigate strange occurrences at a space station. En route the crew encounters a recurring character named Q [John de Lancie], of a race of beings also known as Q, from a place dubbed the Q Continuum. Q places Picard and company on trial for crimes by humanity. The newly introduced crew ultimately proves why humanity is worthy of existence.

Truthfully, I don't have a whole lot to say about ST:TNG Pilot, Encounter At Far Point. In fact, I don't have a lot to say about ST:TNG, Season One in general. Certainly I could perform a summary-based analysis on each episode in detail. But honestly, I was not inspired to do so. It has its highlights and I plan on covering those entries in detail. Thus, I plan on being a bit more selective regarding the ST:TNG highlights.

Encounter At Far Point is notable for establishing the cast, casting a love-at first sight glance between William Riker [Number One] and Deanna Troi. The introduction of John DeLancie as ST:TNG's ongoing doppelganger is noteworthy, but the episode is poorly paced. The writing for Season One does have its problems. We'll touch on those factors in a moment.

The Pilot does feature one of my all-time favorite Star Trek alum, DeForest Kelley. One could even call the chance meeting of the new crew with his unnamed Admiral THE encounter that symbolizes a kind of proverbial passing of the torch.

Star Trek: The Next Generation Companion book makes note of the appearance of the late DeForest Kelley, formerly Dr. Leonard "Bones" McCoy of ST:TOS. Gene Roddenberry, a longtime friend of Kelley's, invited him to be part of the Pilot in the form of a cameo. Kelley, to Roddenberry's surprise agreed. Justman said the scene "really got me; it was a beautiful, beautiful scene." Kelley said, "I just wanted scale, to let it be my way of saying thank-you to Gene for the many good things he has done for me." Kelley was a tremendous gentleman of the old-fashioned variety. You can read a little more about Kelley's life in the wonderful book, From Sawdust To Stardust.

Kelley's appearance, while brief, is truly one of the most significant moments of this labored, but satisfactory premiere. Encounter At Far Point isn't a complete disappointment thanks to the script by Gene Roddenberry & D.C. Fontana, but the series would have a way to go before finding its legs.

So what exactly qualified as problematic for ST:TNG, Season One? Star Trek: The Next Generation Companion offers some explanation to the season's problems in its introduction to Season One.

1. There was a "Revolving door of writers." This led to a "perceived lack of continuity." Extensive rewriting even pushed out "old guard" writers like D.C. Fontana.

2. There were "Too many ideas being thrown into one script.... There was a tendency to do a real quick wrap-up." All those involved were having difficulty getting their "house in order."

3. There was difficulty fusing entertaining, well-developed stories with Gene Roddenberry's personal vision. This included Roddenberry's desire to strike all inter-personal conflict from the stories of these future explorers. This is truly stunning and quite clear throughout Season One. Conflict and tension are paramount [to use a word] to the creation of exciting character studies and character developments. Without conflict or tension it's just pure, damn boring. I think this lack of creative tension and character tension shines through much of the first season. It's shocking because Roddenberry's ST:TOS was chock full of delicious character conflict. These are human beings. However advanced we might be, wringing all signs of emotion out of these characters is tantamount to killing them. This is a startling tact since its almost like Character Drama 101. This approach would slowly be phased out as the writers realized that was a significant element missing from the energy of this new franchise. As one accurately put it, this was Roddenberry's "Wacky doodle" hope-filled future vision. No matter how evolved or how advanced we aspire to be, sadly humans will always fight.

Stability began to register with the creative staff around Season One, Episode 18, When The Bough Breaks. As the companion book points out, ST:TNG began to find its footing and its "identity" rather than suffering comparisons to ST:TOS for obvious reasons as it did with some episodes in its inaugural season like Episode 2, The Naked Now. The creators were certainly shooting for the stars and with lofty goals came some missteps. TV Guide wrote, "Star Trek depicted us in reckless youth." ST:TNG revealed "the child grown- a little more polished, but also more complacent." This is a terrific observation and essentially fair. Roddenberry was definitely shooting for the Utopian in spirit, but as a result Season One is just a little too sterile for my tastes as a result of those plans. No need to panic, it will no doubt improve. As Gerrold mentioned earlier and Captain Picard put in words in the closing frames of its debut, "Let's see what's out there."

Encounter At Far Point [Pilot]: C+

Writer: D.C. Fontana & Gene Roddenberry

Director: Corey Allen

The Season One Cast:

Patrick Stewart [Captain Jean-Luc Picard]

Jonathan Frakes [First Officer William Riker a.k.a. Number One]

LeVar Burton [Chief Engineer Geordie La Forge]

Brent Spiner [Chief Operations Officer Data]

Michael Dorn [Chief Of Security Worf]

Gates McFadden [Chief Medical Officer Beverly Crusher]

Marina Sirtis [Ship's Counsellor Deanna Troi]

Wil Wheaton [Helmsman/Ensign Wesley Crusher]

Denise Crosby [Chief Of Security Tasha Yar]

I'm reminded of the silly King Missile track Detachable Penis with the daft Enterprise-D saucer separation concept. It never really works and looks positively ridiculous.

Special Guest: John de Lancie [1948-present]. American born. De Lancie appears in ST:TNG [eight episodes], ST:DS9 [one episodes] and ST:Voyager [three episode]. Apart from a long run on Days Of Our Lives [1982-1986, de Lancie is best known to genre fans for his recurring iconic role as Q in the Star Trek franchise and as NID Colonel Frank Simmons on Stargate SG-1. He also appeared in Gene Roddenberry's Andromeda. He has made several film cameos since 1979. He co-owns Alien Voices with Leonard Nimoy, a voice production company.

Director Footnote: Corey Allen [1934-2010]. The late Corey Allen passed away in June 2010 from Parkinson's disease. Allen had a hugely successful career directing in television. His work appears in such series as the Scarecrow And Mrs. King [starring Babylon 5's Bruce Boxleitner], Hill Street Blues, Murder, She Wrote, Magnum P.I., Simon & Simon, Trapper John, M.D., The Rockford Files, Quincy, M.E. and many more. Allen would go on to direct three additional ST:TNG episodes in Final Mission [Season Four, Episode 9], The Game [Season Five, Episode 6] and Journey's End [Season Seven, Episode 20]. He would also direct four installments of spin-off series, Star Trek: Deep Space Nine including Captive Pursuit [Season One, Episode 6], The Circle [Season Two, Episode 2], Paradise [Season Two, Episode 15] and The Maquis: Part 2 [Season Two, Episode 21].

Farscape S1 Ep4: Throne For A Loss

"One of our intentions is to never let the series stay in the same place for any length of time, to change the dynamics." -David Kemper [Starburst #257]-

GULP! Who needs naked green women when you have naked blue women. Star Trek: The Original Series just lost the corner on the market.
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Things are beginning to heat up on Farscape. While it may not be firing on all cylinders yet, Farscape Season One is by far more aggressively entertaining than Star Trek: The Next Generation Season One ever was by a long shot. John Crichton is easily our human representative. He's our eyes and ears as we venture into this weird and wonderful universe. The series has captivated me beyond my wildest expectations. If the initial trio of episodes was the perfect firestarter and introduction to the science fiction supernova that was Farscape, the science fiction deconstructions continue to get interesting with this fourth installment. Farscape, Season One, Episode 4, Throne For A Loss begins to break slightly from convention and shakes things up with some weird and new twists on the genre. In a universe like a place called Farscape, your science fiction mind should expect it to be slightly out there. The Henson team has really created something special. I feel like Farscape was made for me. It may be made for the unconventional 'you' too. In fact, it's the series' ability to wrap the unconventional and conventional into an eclectic mix that keeps one off kilter without alienating [how appropriate] the viewer.

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What fascinates me as I sink deeper into the series is my affection and love for the characters. Most notably, Ben Browder [John Crichton] and Claudia Black [Aeryn Sun] are a sheer joy to watch and develop in a way that I did not experience with them when I watched Stargate SG-1 Season Nine and Ten. I've mentioned this before, but I have to credit the writers and the actors [Browder and Black] for creating two characters on SG-1 that are dramatically different from those portrayed in Farscape. I remember watching SG-1 and hearing critics scoff at the arrival of Browder and Black to the franchise and essentially playing the same roles they graced in Farscape within SG-1 and amusingly referring to the series as Fargate. Nothing could be further from the truth. While the components are there for both series they are uniquely portrayed. I look forward to seeing their work in SG-1 down the road again when I've completed the Farscape journey to note the differences between their respective parts. These actors deserve credit for bringing their distinct roles to life in both series.

*

Throne For A Loss also initiates one of the most exciting aspects of the series with the Jim Henson Creature Shop creations. The aliens in the fourth installment are the first truly interesting looking aliens to be spotlighted. Creature designer Dave Elsey had some vivid, choice words about the series and what the group was achieving each week in Farscape: The Illustrated Companion. "I really like the fact that Farscape is a very alien show, so that everything is weird and bizarre, apart from Crichton." Certainly he has his moments too. "You'd think that sci-fi, being an imaginative thing, would take chances, but most sci-fi shows are very conservative and safe, and there are lots of rules that go along with them. Farscape throws those away. The characters are seriously flawed- they've got some seriously messed up aliens who weren't picked up enough as children!" Off we go with the wonderfully weird and bizarre of Farscape.

*

A shuttle arrives on Moya with a handful of Tavlek warriors. The crew of Moya greets them at an entrance, but not before bickering amongst one another like... like family. The crew is greeted by three hideously deformed Tavlek warriors and they are informed, "move and you die." The diplomatic Pa'u Zotoh Zhaan attempts an intervention, but is fired upon. A rousing skirmish ensues as the alien lifeforms appear impervious thanks to armband-styled weapons that adorn their armor. The devices are capable of firing intense plasma-like laser bursts and can even create force fields. It's an interesting sequence, because the camera is sped up by two-time Farscape Director Pino Amenta [I, E.T.] to give the impression of a race souped up on a steroid-like drug. We're about to find out why. In the ensuing melee Dominar Rygel XVI is kidnapped and clearly by design. Crichton knocks one of the lifeforms down and the creature's arm device is knocked loose as a series of needles recede back inside the device. The arm weapon appears equipped with a liquid tube of bubbling chemicals or some kind of alien drug or steroid. Ka D'Argo attempts to place it on his arm, but nothing happens as he hollers "JUNK!" Crichton yells to Pilot to seal the bay doors, but two creatures escape with Rygel. Farscape is ON!

*

Crichton pleads with Pilot to get a "tractor beam" [no doubt raised and reared on Star Wars] on the escaping vessel, but Pilot has no idea what the hell Crichton is talking about. A tractor beam!? This is the wonderful gift of Farscape and its natural infusion of the fish-out-of-water elements without being annoyingly obvious. Terrific, classic fun. The beam that pulled Crichton aboard in Premiere is actually a "docking wave." Here's that exchange since it's too damn funny to pass up.

*

No, that can't be good at all. That is hilarious! Ben Browder completely channels my every human reaction to the many bizarre scenarios he is thrust into on Farscape. Like any powerful drug, D'Argo's already hot-headed temper is becoming all the more inflamed as he challenges his new found friends for the role of ship leader. Bad tempers lead to on board laser fire to boot. Remember, cooler heads always prevail.

*

Meanwhile, the detained alien warrior is conscious once again after being deserted and left behind on Moya. Sun and Crichton attempt to find out more regarding this weapon-like "stimulant." Crichton calls it a bit more than "cappuccino." Sun and Crichton deduce the weapon can only be removed if the occupier of the weapon is knocked unconscious. This clever turn is meant to protect warriors in battle from losing their arms to the enemy along with the arm weapons. D'Argo is running around the ship kicking DRDs and barking orders like a real Luxan ass. He even threatens to rip off all of Pilot's arms [sadly, no idle threat and a component of which rings of some truth down the road in Farscape].

*

The aliens communicate to Moya from the planet below making their demands for their obnoxious, Hynerian hostage. Getting their boy warrior back isn't quite enough. They want some precious resources, but Sun assures them they won't be able to help. The crew of Moya is given one solar day to comply. Why not just one day? Why not hour instead of arn? Would the Translator Microbes not take care of all of this frellin' nonsense? Just thinking. Zhaan gives Crichton a "water balloon" to take out D'Argo. Unfortunately, the mist balloon starts to work, but then simply can't finish the job or bring down the Luxan. D'Argo's stimulant weapon adapts and makes adjustments injecting him with a punch of adrenaline. He pursues Sun and Crichton through Moya's halls like a Stormtrooper chasing Han Solo through the Death Star.

*

Crichton requests some help from Pilot looking for thrust from Moya, but it's simply not available. This is one of the wonderful elements to the series' concept of the living vessel. Moya is a wonderful ship design, but being alive, nothing is automatic and the group runs into problems with ship systems regularly like the Moonbase Alphans ran into problems finding solutions through Computer on Space:1999. These refreshing angles offer a whole host of unexpected twists and turns. It forces the crew and our hero Crichton to get creative allowing the creative team behind Farscape new avenues for their clever science fiction ideas and designs. Wonderful stuff.

*

Meanwhile, following some impressive special effects that might be considered vintage at this point, Zhaan escorts their prisoner to a containment room. The Tavlek creature tells Zhaan she's "soft and weak." Zhaan quickly handles the chum and informs him, "soft - yes, weak - no." Go Zhaan! Zhaan has some wonderful character bits sprinkled throughout each episode and remains one of the most interesting supporting characters of this fascinating crew. Pilot informs Zhaan Crichton has an "idea." Zhaan is concerned and mutters some Delvian curses under her breath. I didn't understand them because apparently I never received my Translator Microbes at birth.

The second official moment of physical contact between these two handsome leads.

Elsewhere on Moya, Crichton and Sun play a game of cat and mouse to subdue D'Argo and obtain his newly acquired energy weapon. Crichton calls for Pilot's thruster propulsion at just the right critical moment to shift D'Argo off balance. D'Argo is knocked down and unconscious as planned. Sun winds up falling on top of Crichton for a second time since their last physical connection in Farscape, Season One, Episode 2, I, E.T. when they landed in each other's arms. There is something incredibly hot about their relationship, but something tells me my affection for brunettes, in particular Sun, has got me hook line and sinker. She is Sebacean HOT! I'm not sure what that means, but it sounds good.

*

On the planet below, a terrific alien score with grinding guitars signals foreign ground and the encampment of the well-armored alien soldiers. You'll note some impressive production details as the local fauna is bright blue and green. It's positively freaky and it's this level of detail that really sets Farscape apart from a number of alien-based science fiction programs. For example, Stargate SG-1 often appeared to be filming in British Columbia because they were and early on in that series there was little accomplished to hide that fact in external shots with exceptions. Farscape changes up the details and places more interest in the minutia of those set designs. I wholeheartedly approve. Rygel is imprisoned by the "barbarians" as he calls them and he is waste deep in mud! Yes, mud! I am beginning to understand why Rygel hates mud so much as he spoke so eloquently of it in Farscape, Season One, Episode Two, I, E.T.. Rygel hates mud! I suspect the Hynerian race hates mud. It's a clever idea and this bit of information offers a little more insight into why exactly with a tangible example. So, while in prison, Rygel XVI gets into a little cross-alien smack talk with an alien that hails from the Consortium of Trau. Rygel informs the creature- a green-tentacled, gorgeous creation from the Jim Henson Creature Shop- that he oversees 600 billion subjects. The Trau creature betters the arrogant Rygel by emphasizing he oversees 10,000 planets averaging 4 billion Trau per planet. Rygel expresses disbelief, but the creature may potentially be more arrogant than Rygel [if that's possible] himself. Rygel's verbal shock is given the succint Trau arrogance of, "the imperfection is yours." Rygel looks down sadly stuck in the mud. Poor Rygel. I actually felt some sympathy for him. The Rygel character is fascinating that way. You will quickly alternate between disdain and affection for Rygel at any given moment through a Farscape installment.

*

Meanwhile, back on Moya, Crichton and Sun learn Rygel borrowed a vital component of Moya's control circuitry. Rygel wanted to borrow it, but Pilot forbade him. Rygel took it anyway. So much for leaving Rygel behind as suggested by D'Argo. Following Pilot's description of the object, Crichton realizes Rygel took the decorative red ball to adorn his ornate scepter. The crystal is needed to maintain Moya's safe distance from the planet, which is quickly deteriorating. Sun informs John she has a plan. Do shows get any more brilliant in writing and entertainment value than this scene?

*

I love Crichton's reference to the aliens as "Tabloids" rather than Tavleks. What a well-handled, natural scene! What a punch! There is certainly a breezy, fast and loose chemistry between Sun and Crichton that reminsces of fiery relationships like Princess Leia and Han Solo.

Zhaan visits the young alien Tavlek in the holding room who attempts to rattle Zhaan with a sexual game. I love the open and unabashed love for sex and other sexual suggestions in the series. Nothing is overdone or gratuitous, but it's fearless in letting it all hang out. The Tavlek creature derobes and attempts to embarass Zhaan. She merely smiles and simply returns the gesture by exposing her front side to him and exposing her rear to the viewer. As a result, the alien is uncomfortable as Zhaan belittles him by asking him if a naked body is taboo in his culture. Zhaan, played by Virgina Hey, has a wonderful backside. She's gorgeous, blue paint and all.

*

Down on the colorful planet, painstakingly decorated by production staff, Sun has attired herself with the Tavlek gear. She indicates a number of lethal possibilities that may lay ahead on the planet's surface including Moyan Death Spiders. Sounds interesting, maybe we'll run into one along the way. Could they be native to the Leviathan race? As Crichton and Sun make their way to the encampment, Rygel makes every effort to free himself from the mud. His characteristic, insatiable appetite has his stomach grumbling. Rygel is presented with a bowl of grub inside an empty skull. It's notable that behind alll of Rygel's tough talk is clearly a sometimes insecure, frightened little Hynerian. We all have a little Rygel in us.

*

Sun and Crichton happen upon a Tavlek hunting party. Sun dons the Tavlek garb [taken with them and from the Tavlek prisoner aboard Moya] and places the weapon on her arm. The effect is instantly potent as Sun clearly feels the buzz of the armband's stimulant rush within her bloodstream. Clearly the Sebacean's do respond adversely to its effects. With helmet on, Sun makes her play to find out where Rygel is located. She engages in a bit of a physical struggle to extract the information from one of the three Tavleks. Crichton worries for her and picks up her weapon. Not knowing how to use it, the weapon overloads and explodes. Seriously, how often do you find a science fiction series whereby the hero picks up a weapon, but isn't certain how to use it? Sure things never went quite as planned on Star Trek: The Original Series or Space:1999 when it came to technology, but Farscape packs a certain comic zip. It's a rare thing, but makes complete sense. It's one of the brilliant things about Farscape. Nothing goes quite as planned. The Tavleks scatter frightened by the explosion.

*

On Moya, Pilot picks up the explosion and D'Argo grabs a shuttle heading to the planet to find Sun and Crichton. On the planet, Sun can't believe Crichton overloaded the pulse chamber, which caused the explosion. In the encampment's prison, the Tavlek inform the Trau prisoner ransom is enroute and he will be free to go upon its arrival. The Trau expected nothing less. Rygel, though talking tough again, isn't so certain his ransom will come through. There is an aspect of fragility to Rygel's character on display in the scene. There are moments in the series that really touch you and give you pause with these characters. They are all written with true reactions, even a muppet like Rygel. Rygel is authentic and meticulously handled injecting the series with real humor, emotion and vulnerabilities like any live action actor might provide.

*
They even look as smart as Stormtroopers.

On Moya the alien visitor is getting stir crazy. Again, he attempts to attack Zhaan who bleeds blue-white blood. Her empathic tendencies relieve the alien's withdrawl pains. Her abilities remind me of the character Raven from The New Teen Titans comic book circa 1980.

*

On the planet, a Tavlek warrior dumps a bowl of soup in front of Rygel who attempts to use it to free himself by loosening the soil. Meanwhile, Sun and Crichton feud over the armband. Crichton wants it off her arm. Sun, like D'Argo, is expressing a desire to retain it essentially demonstrating its influence over its subject like a habit or drug. D'Argo enters the fray and goads Sun to take him on in physical combat. Sun clearly forgets about that extending Luxan tongue. Now in close proximity, she is knocked unconscious and the gauntlet is released from her arm.

*

In the prison, Rygel breaks free with help from the Trau. Unfortunately in his escape, Rygel is killed. Yes, he's killed, accept the Trau apparently has life-giving powers [whew! lucky for Rygel it wasn't an imprisoned Luxan then] and essentially breathes life back into the Hynerian via tentacle. If ransom is not paid by Rygel's people, the Trau indicates his race will pay for him. The Trau alludes to Rygel's intergalactic acclaim as being something important. Like siblings of a sort, D'Argo, Crichton and Sun bicker as Sun recovers. You can see the competetive streak in these characters.

*

In the prison cell, life isn't going so well for Rygel. Following his revival, he is now buried neck deep in mud. It's so pathetic to see, it's actually funny, but given Rygel resembles a toad and toads have a tendency to hop away, it makes sense to isolate the Hynerian for good measure in mud. At the same time, the Trau informs Rygel he is now a subject of the Trau Consortium, as are Rygel's subjects, since it was he who revived Rygel. It's becoming clear that the Trau are kind of hive-like creature a la the Borg, endlessly absorbing races and forcing compliance. How those races are subjugated remains a mystery. Rygel sort of has the last laugh by giving the Trau the bad news. Rygel tells the creature he was deposed cycles ago and all the Trau actually gets is him. The growling creature is pissed when he learns no one will ransom him, not even his crew who Rygel suspects "hate" him. This illustrates Rygel's very sensitive side. This is brilliantly equal parts pathetic and sympathetic all in one.

*

Crichton spots the encampment and is goes in. D'Argo's sword doubles as a firing weapon. It is a gun-sword hybrid dubbed the Qualta Blade. Back on Moya, the Tavlek prisoner inquires as to what Zhaan is exactly. This question results in a rather interesting answer later. She obviously contains some remarkable healing powers. He wonders how she took his pain away. Zhaan is a Delvian Pa'u, a priest in the 9th level. Zhaan has a special scene with the creature that begs the question of who we are without the influence of others, external factors and environment. It begs the question of nurture versus nature. In this case, the creature is without his gauntlet and Zhaan wonders if he is not more than that, which he believes to be what makes him.
*

*

Crichton and D'Argo move into the encampment while the Tavlek sleep. They enter the prison for one of the knee-slapping, funniest moments in the episode.

*

"Check out the critter!" Is that not the funniest!? Farscape is cool and fun in one. I love it! The critter informs Crichton and D'Argo that Rygel is being relocated to a more secure location thanks to the Trau's efforts. As the two exit, they are encountered by the tricky camera work of Director Pino Amenta, a couple of Tavlek, their savior Sun and an ensuing battle complete with laser fire. It's electric! D'Argo takes a direct hit by a gauntlet's fire. He is bleeding profusely. Sun immediately begins pounding on D'Argo's back applying an intense battering to the wound. Crichton is shocked and halts her actions. She insists, a Luxan's wound must run clear and the only way to stop the infection and the bleeding is to get the wound to drain clear by applying tremendous force. She resumes out of concern.

*

On Moya, Zhaan finishes another meeting with the Tavlek prisoner whom she has relinquished a level of trust. She is called by Pilot to scan the planet for a Tavlek shuttle [the one preparing to leave with Rygel]. She reports the coordinates of the planned shuttle departure to Crichton and company. Upon Zhaan's exit, the young Tavlek is roaming the ship freely and attacks one of the DRDs. Pilot is none too happy given the DRDs act as Moya's red and white corpuscles as part of Moya's natural or synthetic defenses.

*

So Crichton clamps the gauntlet to his arm to expedite his ability to get to the site of the shuttle before its departure. He equates the gauntlet to Green Lantern's ring for the third pop culture reference in the episode.

*

On Moya, Zhaan puts the Tavlek prisoner in his place and stops shy of kicking his ass while teaching him a lesson about drug addiction.

*

Crichton reaches Rygel who is in a bag and escorted by four Tavleks. Crichton takes out three of them with his super gauntlet. When he takes on the final Tavlek, Bakesh, he realizes he's out of stimulant and attempts diplomacy and reason by calling the fight a draw hoping he won't call his bluff. He insists the Tavleks don't want Rygel because he's not a king, but rather an "escape mental patient with delusions of royalty. " Rygel pipes in from his bag, "You're the escape mental patient!" The humor is just off the charts funny. See for yourself!

*

Bakesh calls Moya to ask the young Tavlek if there are "riches" on board. The young Tavlek mutters he won't lie for them, but Zhaan tells him they never asked him to. The young Tavlek tells Bakesh the place is "pathetic" and that they have treated him well. Crichton insists he's telling him the truth. Bakesh delivers one of the most heartfelt lines through his disgustingly ugly prosthetics and I couldn't help think of myself and how I see people in my own life at times. "Been so long since anyone's told me the truth, I don't recognize it anymore." Do you ever feel that way sometimes? I suppose it's a bit of the psychological damage we all suffer as we age. As we grow older, we are more jaded and certainly less open. It's actually hard to remain open, but it's rewarding with the effort. Bakesh releases Rygel with a swift kick sliding him over to Crichton. Crichton asks for the crystal. Rygel, with his tough guy act back in full effect, says he knew they didn't come back just for him. He tells Crichton he swallowed the gem and that he must return to the ship or be disembowelled on the spot. "Don't you tempt me Fluffy," a frustrated Crichton replies. Meanwhile, Sun has got D'Argo's wound running clear. Crichton passes out crashing to the ground from the drug's withdrawl landing straight on top of Rygel, who is clearly the recipient of intense physical punishment this entry.

Back at Moya, Rygel passes the crystal - as in, out his Hynerian pooper! Rygel is so wicked and so gross. You just gotta love him.

*

In the end, Zhaan communicates with the Tavlek. Zhaan clearly established a connection with him and he with her. Despite some breakthroughs, the creature informs her he has returned to his gauntlet-driven lifestyle. No longer clean, he is once again a hostage to external substance. The entry ends fittingly with "No sermons."

*

Throne For A Loss: B

Writer: Richard Manning

Director: Pino Amenta

*

Pop Culture Reference: Crichton: "We do know that they will pay us to hall cargo, which they're not gonna do if you go in there doing your John Wayne impression." Sun: "John Wayne - who's that? A relative?" Crichton: "John Wayne? Oh, the big guy. True Grit. The Searchers. The Cowboys. Ghengis Khan. No, look, forget about Ghengis Khan, everybody makes a bad movie."

*

There are several pop culture references within Throne For A Loss [great Farscape title as always]. The beauty in the pop culture references is that John Crichton says these things for us. The crew of Moya is clueless to any given reference. Beyond us, Crichton makes these remarks for himself. They ground him. They keep him connected to home. They maintain those things we hold dear- the things that keep us all sane.

Cutting Crew: Broadcast

Unfortunately I'm showing my age with my latest entry in what I hope will be the first in a series of retrospectives showcasing the best of the 80s CD classics.

iTunes is certainly an option, but being a fan of the best in audio-visual quality I prefer Blu-Ray films or Remastered CDs to the digital download as my weapon of choice. This applies to those things that I consider classic. I do download from time to time and more so than ever nowadays, but there are certain classic discs that must reside in the personal library. Call it the collection needed for that desert island if you will. I must feel them. I must touch them. I must leaf through the liner notes. I must be able to smell the artwork in all of its glory. It sounds like I have a problem. I don't know, perhaps. Call it old school, but liner notes and vintage classics [obviously subjective] are some of the wonderful things in this life.

To be honest, growth in my CD collection has slowed significantly and has essentially halted with the exception of the occasional remaster that is often unavailable in the United States, but is available by import only through the UK or Europe in general. Most of my CD collection has even lost value as far as ebay potential goes, but such is life.

A little nod to Lazy Thoughts Of A Baby Boomer who inspired me or reignited that fire in me to embrace my love of music for the random post here. Musings Of A Sci-Fi Fanatic is almost exclusively science fiction for obvious reasons, but one cannot live by bread alone. The 80s is part of who I am, why not open it up a bit here?

For my first official look back at the classics of the 1980s I turn to Broadcast [1986] by Cutting Crew. My support is exclusively for Cutting Crew's Broadcast, which is hands down a classic from beginning to end. The original recording was remastered in 2010 and is the one recording by the band that is an absolute library must own. There isn't a bad selection in the collection. The obvious hits included (I Just) Died In Your Arms [US number one], One For The Mocking Bird [US top 40] and the gorgeous ballad I've Been In Love Before [US Top 10]. But to qualify for an entry on this blog you have to be classic from beginning to end [with the exception of maybe one track misstep] and Broadcast achieves this status.

The Cutting Crew is an English-based band led by singer/songwriter Nick Van Eede. The act followed-up Broadcast three years later with The Scattering [1989] also remastered in 2010. It's amazing how a band can lose its rhythm with the passage of just a few years. That recording, apart from Everything But My Pride, essentially a retread of I've Been In Love Before, is a lost opportunity and weak effort for the band. Somewhere between 1986 and 1989 the group lost its way and its knack for melody and formula for a good, old-fashioned, catchy, pop song.

This was followed by their third, straight-to-the-bargain-bin outing Compus Mentus [1992] and much later Grinning Souls [2006]. At this point, fans had scattered and again, Eede had lost his touch.

For one classic moment, the stars had aligned for the group, lightning was captured in a bottle and an unforgettable recording called Broadcast was realized forever. Broadcast is a wonderful selection of songs and is essential. Let's be clear and cut to the chase, Broadcast is the only recording worth repeat listening. The UK Remaster offers the following songs including several bonus tracks: Any Colour, One For The Mocking Bird, I've Been In Love Before, Life In A Dangerous Time, Fear Of Falling, (I Just) Died In Your Arms, Don't Look Back, Sahara, It Shouldn't Take Too Long, The Broadcast + (I Just) Died In Your Arms [12" Mix], I've Been In Love Before [Live In London], The Broadcast/ Any Colour [Live In USA], For The Longest Time [b-side to (I Just) Died In Your Arms].

Sahara is a ballad of spare beauty, but I cannot say enough about the classic production techniques of songs like this one as well as Any Colour, The Broadcast and Don't Look Back. Production always plays a key part in the resulting sound. Producers can make the difference- a kind of unsung hero and extension of the band for an outing. The producers were Steve Thompson, Terry Brown, John Jansen and Michael Barbiero and the final achievement, a rare feat with so many hands in the proverbial pot, was pop perfection.

If you're a fan of the best of 1980s music, Cutting Crew's Broadcast is a classic and ranks up there with the best of Tears For Fears in style a la vintage Songs From The Big Chair [1985]. There were a host of bands that arrived on the scene and whilst Cutting Crew never had that combination of talent, luck and management to pull off a lengthy career, the necessary ingredients were in place to cut a major classic. There was simply something about the period and the recording process of the day that generated something special. Broadcast is simply one of the best of 1986. You'll never tire of these dulcet pop tunes. Remember, this isn't about being a fan of the Cutting Crew or a follower of any of its members. It's really not. I have no idea what they are doing now, but this is about recognizing a classic recording that delivers on repeat play to this day. It's also by the Cutting Crew and they deserve credit for being in the right frame of mind with their talent, energy and ideas at just the right time. Why should a classic from the '80s be relegated to unimportant simply by virtue of its time of arrival? I know it's easy to shrug off bands that are reduced in importance or quickly boxed up as one-hit wonders by the music critics, but acts like Cutting Crew made some good music for a time and carved their place in '80s history. Thanks for the still special Broadcast.

BONUS TRACKS: It's also worth noting, the updated UK remaster addition features five exceptional bonus selections rounding out the classic Broadcast CD at 15 tracks. These bonus selections are also in keeping with the overall sound and style of the Broadcast-era Cutting Crew work. For The Longest Time is splendid as incorporated b-sides go and apart from a solid 12-inch version of (I Just) Died In Your Arms, the true highlights of the bonus selections are three exceptional live tracks from the period including I've Been In Love Before [Live In London], The Broadcast/ Any Colour [Live In The USA]. These live renditions offer three of the outing's finest songs a nice twist and energy apart from the studio. These numbers are one more reason why this is a must own for the pop library.

Cutting Crew Discography:
Broadcast [1986] *
The Scattering [1989]
Compus Mentis [1992]
The Best Of Cutting Crew [2003]
Grinning Souls [2006]