The Incredible Hulk S1 Ep5: Of Guilt, Models And Murder

Despite the success of The Incredible Hulk Pilot and its follow-up Death In The Family, executive producer/ writer/ director Kenneth Johnson has always been candid that the series was never an easy sell.

Of course, there was the business of casting the Hulk himself. Universal was interested in Arnold Schwarzenegger, but he was unavailable. Lou Ferrigno was considered and Johnson liked the man, but wasn't certain of his acting capabilities, despite the fact he was perfectly six inches taller than Arnold at 6 foot four inches.

According to an interview in Starlog Magazine #312 Johnson eventually settled on actor Richard Kiel, who played the villain Jaws, in the classic James Bond film The Spy Who Loved Me [1977] and Moonraker [1979], who came in at a hulking seven foot four inches.

Fortunately for Ferrigno the son of a Universal executive, a comic book fan, allegedly proclaimed that Kiel "doesn't look like the Hulk!" Kiel was ousted in favor of Ferrigno after just a few days of filming. About the only relatively known big guy who never made the cut was Ted Cassidy, who played Lurch on The Addams Family and he received the role of narrator for the opening theme of The Incredible Hulk.

Following the establishment of Johnson's Hulk, the creative team had their issues with the green make-up applications and getting the hair right. Of course, even as viewers, you always got the sense from the eyeball test alone, that creators had their problems with that wiry hair. Johnson felt it looked like a "fright wig."

Then of course, without CGI, there was the business of the eyes. Personally, for me, the eye transformation process was always one of the most effective of the traditional effects that populated the series. The credibility of that transformation between the eye inserts, Bixby's performance, music, editing made for one of the most truly moving moments each week ensuring that the audience accepted this man to monster transformation process.

So there was plenty to get right for the series to establish itself. Clearly, despite some push back from executives, Johnson generated the right ingredients to prove The Incredible Hulk had "potential" as an ongoing series. The Incredible Hulk would inevitably premiere in March 1978 with its first official series episode Final Round almost four months following the second pilot Death In The Family. The men and women that made the series go gave us a winner for five seasons.

Thankfully, here we are with The Incredible Hulk, Season One, Episode 5, Of Guilt, Models And Murder. At this point David Banner has been a maintenance man at a boxing facility [Final Round], a zoo grounds keeper [The Beast Within] and now an industrialist's valet. By now, you begin to get the general rhythms of the series approach.

1. David Banner makes new acquaintances/ friends. 2. Banner lands himself a new job for approximately 50 minutes. 3. Banner makes attempts to help himself at finding a cure or help someone in jeopardy or danger. 4. Banner is harmed by thugs of the week twice. 5. Banner must say goodbye to new found friends in a tearful goodbye. Come on, does it get any better?

All humor aside, we've covered this before and we'll do it again and sometimes episodes certainly diverge from formula like elements found within Of Guilt, Models And Murder whereby Banner must work to clear his name and test himself psychologically.

Werewolf by night. The success of The Incredible Hulk undeniably resides within the nuanced performance provided by Bill Bixby and his self-effacing, seemingly tortured emotional and psychological journey. Without it, The Incredible Hulk would lack the emotional weight that makes the series incredibly, well, credible. After all, as kids we certainly adored those Lou Ferrigno moments, but as children we were also incredibly insightful to the conflicts within Bixby's performance and attuned to the world of a man locked in an emotional struggle. Bixby as Banner gave new meaning to inner demons and we understood that. Johnson and company ensured those stories were somehow understandable for children, but seemingly complex enough on an emotional level that adults could appreciate them then and now.

The latest entry featured guest star Loni Anderson. The American actress and blond bombshell was best remembered as Jennifer Marlow on a TV series called WKRP In Cincinnati. I also remember her hot and heavy, on-again off-again relationship with actor Burt Reynolds. She's the face of the latest Hulk entry filled to the hilt with buxom babes.

The story opens with a moving, sobering sequence of David Banner post-transformation. With his clothes shredded and his eyes receding back to normal, Banner wipes his face in a stranger's bathroom. The opening works brilliantly because Bixby brings the humanity in full to the character. We also haven't seen The Incredible Hulk open post-transformation leaving viewers with real questions.

Banner looks around a room and sees a woman lying on the floor with furniture thrown about. The visual suggestion is clear. The Hulk has been here and as Bixby checks for a pulse on the woman, he believes, as we are led to believe, the Hulk may have died at his hands.

A flashback takes us to Bixby walking the street and hearing a woman screaming for help from a nearby gated mansion. Two dobermans attack David and in bloodied pain he transforms into the Hulk.

As he sits in contemplation he remembers the voices and words of Doctor Elaina Marks from the Pilot of The Incredible Hulk. In his mind he replays those events that assure David that the Hulk "won't kill because David Banner won't kill." What happened in this room just minutes earlier? Banner hurries off in fear horrified at the possibility of what he may have become.

The next day reports of a murder at a cosmetic entrepreneur's home circulates on streets.

Banner is knowingly ashamed and concerned about his alter ego's potential actions, which of course, Banner cannot remember, because Banner never remembers when he transforms back.

Reporters like Jack McGee arrive on the scene.

The cosmetics mogul, James Joslin, informs reporters of the events that transpired. His wife was acting, rehearsing and screaming out the window all for a part in a film. According to Joslin the Hulk entered their home and killed his wife. The Hulk picked up the woman and crushed her. Banner watches the news coverage and closes his eyes in shame and guilt. Cosmetics tycoon Joslin is spotted being consoled by Sheila Cantrell, played by Anderson, and Banner, watching a television news report, begins to question the reality of the story as he assimilates the information.

A quick flashback in Banner's mind reveals another woman spotted behind the screaming woman, Terry, in the window, the night of the murder. What really happened? A manhunt for the Hulk is on.

Once upon a time Loni Anderson was considered the hottest thing in the world. I never did get that one. With the creature on the loose, a young, female hiker, inquires if Banner is a fellow traveller and wonders if they shouldn't travel together? Can you imagine a cute female asking a male stranger to hike together in today's world? There was a stunning innocence and freedom during the 1970s.

This is a terrific little piece of editing as Banner is torn between guilt and something that just doesn't seem to quite add up.

Time to take a position with Joslin. Funny enough, Banner arrives at the man's residence carrying a bag. He informs a guard he's there to apply for a vacant position and the man actually lets him in despite all of the reporters being held at the gate. Can you imagine that today? N-O! With absolutely no identification Banner is allowed ont he property and with no references Banner is hired at Joslin's behest as a valet. Joslin recognizes Banner as the intruder from the evening earlier subscribing to the old adage, keep your friends close and your enemies closer.

Joslin informs Banner that the "fringe" benefits can be a real attraction noting the plethora of models that appear to dart about the residence. Joslin receives a phone call from a man named Sanderson whom Banner has replaced. He is essentially blackmailing Joslin for a payment, but why?

Big Hulks DO cry! Queue Roy Orbison Crying. Joslin leaves Banner in the care of Cantrell. Yet, interestingly, Sheila warns David that Joslin can be "vicious" and warns him to use care essentially stabbing Joslin through the proverbial back or is she?

Banner probes Cantrell for answers and even calls her out regarding her presence in the window with Terry the night of her murder. She's stunned, but confesses Joslin killed Terry.

Cantrell explains the events of the evening earlier as she sees fit to craft them, just as Joslin crafted them earlier. She tells David Banner [Blaine] of the abusive confrontation between Joslin and Terry in classic primetime, retro, classic soap opera-like 70s style. Sanderson also witnessed the killing, which lends insight into the blackmailing. Cantrell believes the Hulk creature picked up Terry and exhibited tenderness - even tears. Could the Hulk have been reliving holding Doctor Elaina Marks in those final moments of the first Pilot film?

Joslin's henchman tries to kill Banner using a silencer but misses. Banner and Cantrell run and grab McGee's vehicle outside the residence to find Sanderson.

Just when we think Cantrell had Banner's best interest at heart we discover the truth.

At a junkyard, Banner asks Sanderson to go to the police with Cantrell rather than blackmail him. He laughs and tells Banner that Cantrell would never betray Joslin as she and Joslin appear holding Sanderson and Banner at gunpoint. Cantrell admits she killed Terry. It's clear, the Hulk's unexpected arrival was the perfect cover for the murder of course.

Time for Banner and Sanderson to disappear, gagged and hand-tied and to be crushed inside a car at the junkyard. This is David Banner of course and the Hulk is never far behind.

The twists are rarely startling, but the episode has its dramatic moments with Bixby delivering the highlights. In fact, the first half is particularly strong. In one cool twist Banner actually steals McGee's hand held tape recorder from the car which he uses to record Cantrell's confession at the junkyard. Miraculously, somehow, through the transformation and the absolute disintegration of clothes, Banner manages to hang onto that recorder. The end is near with the evidence in hand.

Banner slips the tape back to McGee and gleefully plays the hero exhibiting a clear predisposition toward slime and dishonesty.

The closing score by Joe Harnell, The Lonely Man, is perfectly appropriate here as David never shares a tearful goodbye to anyone, but rather accomplishes his mission of clearing his good name and that of his alter-ego. While Banner is believed to be dead by the public-at-large, this is clearly a psychological response. This self-accountability speaks to the character of a man. It's clear that, while Banner may not know of the actions of his alter-ego entirely, Banner holds himself accountable and responsible for his actions and those of the Incredible Hulk. Now that is a hero for the ages and one rarely portrayed in television programming today. Of Guilt, Models And Murder: B-.

Next Blog Issue: Terror In Times Square! Be afraid pilgrims!

Hulk Transformation Reason #1: Hitchhiking leads to a damsel in distress and a dog attack by Doberman Pinschers.

Hulk Transformation Reason #2: Anger at the thought of being crushed inside a car compactor at a junkyard.

Actress footnote: Loni Anderson [1945-present]. Actress best known as jennifer Marlowe in WKRP In Cincinnati [1978-1982]. She also starred opposite Wonder Woman's Linda Carter in Partners In Crime. She also featured in the final season of Nurses [1993-1994]. She also appeared for an episode in the classic Three's Company [1978] and starred in the film The Jayne Mansfield Story [1980] opposite Arnold Schwarzenegger.

Ray Bradbury [1920-2012]

Ray Bradbury's The Illustrated Man [1951] was always one of my favorite books. It featured a selection of wonderful science fiction stories including The Veldt, The Long Rain, The Rocket Man, The City and The Last Night Of The World to name a few. Three of the stories were adapted into a film version of The Illustrated Man [1969] and a new adaptation by Zack Snyder is said to be in the works.

Bradbury also penned the classic The Martian Chronicles [1950], Fahrenheit 451 [1953] and Something Wicked This Way Comes [1962]. His body of work is indeed large, but these were certainly literary highlights and deserve a place on any self-respecting science fiction fan's book shelf. For me, it was The Illustrated Man that left an indelible impression on this particular Sci-Fi Fanatic with stories that were unforgettable.

In television, Bradbury was the man behind writing The Twilight Zone, Season Three, Episode 100, I Sing The Body Electric [1962]. It was based on his own short story and, unfortunately, is not well-regarded in The Twilight Zone pantheon. Nonetheless, he also penned several stories for the long-running Alfred Hitchcock Presents [1955-1965].

The cover of my copy of The Illustrated Man. His timeless work remains and will continue to be revisited and analyzed time in memoriam and should be. His work is science fiction storytelling at its finest. The science fiction world will miss him, but is fortunate to have a wealth of work from which to appreciate, return and forever draw inspiration. I must read them again soon. Ray Bradbury was 91.

Joss Whedon On The Original The Incredible Hulk

"Take, for example, Bruce Banner and his alter ego, the Hulk. The movies have already taken two shots at him, in Hulk [2003] and The Incredible Hulk [2008], and neither one was a hit. Whedon frames the problem succinctly: 'The Hulk is a very hard character to make a movie about because he's not a superhero. He's a werewolf.' In a way, the Hulk is a microcosm of the Avengers - a man divided against himself.

So Whedon and Ruffalo, who plays the Hulk, went back to the last time the character really worked onscreen, which was in the 1970s TV series also called The Incredible Hulk. 'We wanted to go with a Bruce Banner who isn't self-obsessed,' Whedon says. 'When Bruce Banner spends all his time trying to cure himself, he becomes that whiny guy that's getting in the way of your Hulk movie.' So instead Ruffalo plays him like a recovering addict who's trying to get on with his life; meanwhile, his teammates need the Hulk's strength and Banner's scientific expertise, but they're terrified of his anger. 'Is he a superhero or a monster?' Whedon says. 'He's both.'" -Lev Grossman, The Hero Whisperer, Time Magazine, May 7, 2012 on Joss Whedon, The Avengers and Whedon's take on The Hulk-

The Courtship Of Eddie's Father S1 Ep3: And Eddie Makes Three

"The Courtship Of Eddie's Father was originally thought to be a very 'soft' show, the sort that no one would be interested in. Funny thing, it lasted for three years, and has never been off the air in this country since we stopped shooting. It must have been important to a lot of people, and we treated the show honestly and fairly." -Bill Bixby from a rare interview in The Hulk #10 magazine [August 1978]-

Eddie: "Hi Ms. Bardman." Ms. Bardman: "Hi Eddie, I didn't think you'd remember me." Eddie: "I remember all of Dad's girls."

I'm not entirely certain, but The Courtship Of Eddie's Father may be my earliest introduction to loving all things Japanese whether it be Japanese culture, anime, kaiji eiga or a fondness for the beautiful women of Japan. It's quite possible my affection for that country may have started here with Mrs. Livingston when I stop and think about it. If I stop and chronologically place my influences in the 1970s, it could easily be The Courtship of Eddie's Father in syndication, Toho's kaiju eiga via Creature Double Feature, Battle Of The Planets and a deal sealer with Starblazers to name those that instantly come to mind.

While The Courtship Of Eddie's Father was only flavored with a touch of Japanese it was Mrs. Livingston who definitely got my attention along with Bill Bixby. There was something I always loved about Mrs. Livingston's nurturing kindness and cultural reflections that put the Corbett's own situations in perspective.

I actually knew a librarian in college named Mrs. Thomas, an equally delightful Japanese woman, as sweet as they come, who eventually retired back to Japan following the passing of her husband. I always enjoyed visiting Mrs. Thomas at the college library and sharing pleasantries with her. She knew of my love and affection for music and always greeted me at the door with the weekly edition of Billboard Magazine. When I wasn't studying or working in a computer lab, I would grab a stall and spend a good hour pouring over the latest industry talk and releases. That, and I always got to say hello to Mrs. Thomas.

To further make the point she actually went back to Japan one summer and when we returned to school in the fall she brought me back a manga book and a pop CD by a popular Japanese artist because she thought I might like it. It was just that kind of an affection toward one another and it reminded me of The Courtship Of Eddie's Father and Eddie's relationship with Mrs. Livingston - a genuine mutual fondness.

I actually wrote Mrs. Thomas after obtaining an address for her and she wrote back. She was living with her sister in Japan. That's the last I heard from her. One day, when I visit Japan, I hope to say hello again.

For now, welcome to Star Trek: The Original Series... rather, The Courtship Of Eddie's Father, Season One, Episode 3, And Eddie Makes Three.

Oops! Sorry, the confusion comes from the arrival of none other than the lovely Diana Muldaur as Ms. Lynn Bardman. Muldaur, as many know, featured in a number of genre TV shows*.

As the story opens, Tom Corbett has apparently been seeing Ms. Bardman for a time.

As it turns out Eddie is not a big fan of Bardman in much the same way some fans really weren't a big fan of Muldaur on ST:TNG. Eddie's dad begins serious consideration of Lynn as Eddie's potential new mom.

The bad news for Eddie is that Lynn's arrival might potentially supplant the need for the always fantastic Mrs. Livingston. Eddie begins putting two and two together and begins contemplating a world without Mrs. Livingston. A world without Mrs. Livingston is no world at all.

Later, Lynn is summoned in a pinch to help Tom. Eddie is sick. Mrs. Livingston is also sick and can't make it over as a result of the "American flu." Lynn agrees to help Tom with Eddie so he can go to work.

There's one amusing moment where Lynn tells Eddie to roll over so she can take his temperature with a glass thermometer. I mean I about died. Suddenly I had flashbacks to my childhood. If you were one of the unlucky ones back in the day, temperatures were taken by sticking the glass stick into your rear end. Up the shoot it went. Oh the horror of it is absolutely true, but that's how they did it. Can you imagine that glass stick breaking in your rectum? Anyway, nowadays, these things aren't nearly as primitive. But good grief the things generations had to undergo to get where we are today. The fact is, The Courtship Of Eddie's Father, as you might well imagine, like any good show of its time, is like a delightful little time capsule.

Needless to say, as kind and affectionate as Eddie is to Lynn, she is overcome by the efforts required to be a mother and breaks things off with Tom. Yes, it's back to the drawing board for Tom... and Eddie. The Courtship Of Eddie's Father continues to delight as family fare goes. At the very least, we deliver another dose of your Bill Bixby fix.

And Eddie Makes Three: B. Writer: Stan Cutler & Martin Donovan. Director: Hal Cooper.

Actress footnote: Diana Muldaur [1938-present]. Muldaur is probably best known for her work within the Star Trek universe. She guest-starred on ST:TOS, Season Two, Episode 20, Return To Tomorrow [1968] and Season Three, Episode 5, Is There In Truth No Beauty? [1968]. She also featured as a regular cats member on Star Trek: The Next Generation [1988-1989] for Season Two as a not so welcome replacement, to some, for Gates McFadden as the good Doctor Katherine Pulaski of the Enterprise-D.

Muldaur also figured prominently on L.A. Law [1989-1991] for two season as Rosalind Shays. Fans of Bill Bixby's The Incredible Hulk will remember she played the part of Helen Banner in Season Three, Episode 8, Homecoming [1979] and in a different role for Season Five, Episode 4, Sanctuary [1981].

FAB FRIDAY Photo 7: The Future

I know. Right? The future was so bright (and sexy). It's FAB FRIDAY! Gabrielle Drake always makes FAB FRIDAY fab.

Farscape S1 Ep12: Rhapsody In Blue

It's time for another Moya adventure and its crew of far out space nuts compliments of one Brian Henson and company.

Rhapsody In Blue might suggest the obvious that this episode of Farscape is indeed Zhann-centric. Despite my love and affection for Virginia Hey, this was potentially my least favorite entry to date. Still, the latest Farscape does have its moments and the story unveils more regarding the mysteries surrounding Hey's character P'au Zotoh Zhaan.

Ultimately, my adoration for Farscape is boundless. It's an easy show to love in the way one loved and has an affection for Star Trek: The Original Series. Both series have much in common. They both are bold and colorful and the personality of each series is defined by a cast chemistry that ranks second to none. Even the weakest episodes have something considerable to offer or something worthy of your time. Not many shows can make those claims. Undeniably, ST:TOS and Farscape always give us something of quality even in their least successful moments.

Obviously, there's always something for the fangirls. In Farscape The Illustrated Companion, Hey jokes about the many Delvian female characters who appear in the entry having hair. The conceptual design of her character was wise since Zhaan, from the beginning of the series, has essentially subdued her dark forces, found an inner calm and offers a purity and cleansing that her Delvian people appear to be at odds, in conflict or struggle with especially based on the information revealed here. Her bald, pure, good looks truly speak to the centered-nature of her character, one that is philosophically a work in progress. So where did the writers take Zhaan? Let us get lost inside Farscape, Season One, Episode 12, Rhapsody In Blue.

The entry opens with John Crichton sleeping with a bangin' hot blonde, Alex. He plans to ask for her hand in marriage before she informs him she will be relocating to Stamford University clear across the country. He slides the intended ring back under the bed. Nevertheless, while disappointed, a healthy libido thus commenceth once again.

The dream concludes with Crichton hurled from his bed aboard a shaking, Starbursting Moya. Shots pleasantly reveal an undie wearing Crichton to an undie wearing Aeryn Sun for fan girls and boys alike. Fanatics everywhere revel. Aeryn is wearing Crichton's Calvin Kleins.

Rygel reveals to Crichton that he too was dreaming of his many wives before the shakedown. D'Argo even dreamt of his lost love Lo'Lann.

Pilot reveals Moya was sent a distress signal. The deception was sent from fellow Delvians hoping to contact Zhaan.

On the planet below it is discovered the Delvians have established a missionary colony. Crichton and Sun have accompanied Zhaan to the planet. Zhaan is suspicious of the intentions of one Pa'u Tahleen. Zhaan tells her "You invaded my soul last night." Apparently it was the Delvians who influenced the entire crew of Moya. The militant-minded Sun questions the "serenity" of this place.

The trio returns to the Delvian ship that is at once beautiful, unique, incredible and creepy according to Crichton. Despite Aeryn's cautious nature, John is like a wide-eyed little boy open to the discovery of each new surrounding. Our viewing experience is similar and we identify with Crichton's journey. We are awed by the creations that are depicted in Farscape. "Almost everything we see, almost every day is brand new to both of us."

Claudia Black can look at the tag on her underwear and she's sexy. Tahleen asks Zhaan for the secrets to her power. We are given a sense of Zhaan's history. She has somehow managed to overcome hatred, anger and madness suppressing insanity and the dark impulses through control and power of which Zhaan cannot relinquish. Even Zhaan cannot understand how she survived those "early cycles." The Delvians seek to understand how Zhaan co-exists with such feelings. In exchange, the Delvians will teach her great powers. To demonstrate her powers, Tahleen alters Crichton's mind expressing her ability to willingly manipulate. Zhaan demands that Crichton be returned to his original mental state. His reactions are the result of manipulations, but Aeryn is unaware and looks at Crichton telling him, "You are thee most bizarre creature I have ever met."

More terrific mattes from the world of Farscape. On Moya, D'Argo is concerned "Delvian trickery" may be in play.

A old, wizened Delvian named Pa'u Tuzak warns Crichton to be vigilant and that Zhaan is in danger. He warns Crichton despite the fact he is going insane and believes Crichton to be a Peacekeeper. Apart from Crichton being advised not to touch the sanctity root, Aeryn is ushered out of the temple. She flies back to Moya.

Zhaan admits to Crichton she dreamt of her last lover on the eve of their arrival. Zhaan asks Tahleen to show Crichton.

Crichton is presented a vision of Zhaan locked in an embrace with Pa'u Bitaal and Zhaan killing her Delvian leader and lover like some mating mantis.

It was that action that imprisoned Zhaan. Crichton, despite keeping an open mind, is repulsed. "You killed a guy you were having sex with." There it is again - sex! Farscape is synonymous with sex. The series is indeed infused with a healthy sexuality and unabashed exploration of the act. Zhaan pleads with John to understand. She requires judgment from someone she trusts. She needs his help because the Delvians have asked her to do it again.

As it turns out Zhaan killed Bitaal because he would not yield his power to someone else. The conservative Delvian and others entered into an agreement with the Peacekeepers for external security. It changed her homeworld forever. "A Delvian coup d'etat," as Crichton calls it. The Peacekeepers rounded up liberal thinkers and placed them in camps. Zhaan's father was one of those thinkers. Zhaan loved the man she killed. The Delvians in question here are looking to Zhaan so that she might reinstate their power. Zhaan explains the dark impulses can overtake the Delvian like an infection. "Is that what happened to grandpa Looneytoons?" Zhaan submits the madness is threatening Tuzak's followers. Crichton wonders how Zhaan has remained sane as "twisted" as she is. Zhaan explains it is the fusion of two minds through unity. It is the sacred union of two minds, two spirits, two souls. Queue the Rick Springfield track Souls. Well, he was from the land down under too. Springfield and Hey are indeed two of Australia's finest.

Meanwhile, the Delvians learn of Aeryn and D'Argo's intentions to return to the planet. It's the last thing they want.

It's becoming quite clear that the Delvians are equipped with great mental powers as a people. They may manipulate Moya's crew at will. "Their minds are weak. Preoccupy them all as you would children. Attack them with their own hopes and fears." Tahleen orders Lorana and Hasko to handle Zhaan's companions.

Crichton's mind is visited once again by his Earth lover.

Zhaan pays a visit to Tuzak who tends to the Sanctity Root field. Zhaan rightfully suspects Tahleen's intentions to be unjust or ignoble. Zhaan asks Tuzak if she will harm people. "Certainly, but she may also free a planet from tyranny," admits Tuzak. The suggestion of both good and evil as part of the fabric of a people is an interesting one here and certainly speaks to the dichotomies found in human nature. The Delvian people need freedom from the Peacekeepers, but not enslavement through control by one of their own.

As D'Argo prepares for departure he tells Rygel to retrieve them immediately if they do not return. Rygel's reply, "Yes of course, my thought exactly." And from the planet below, the Delvians are messing with Aeryn aboard Moya. Her deepest fears, as a warrior, plague her as her weapon appears disassembled. D'Argo envisions Jothee aboard Moya being chased by Peacekeepers. Meanwhile, Rygel becomes a tiny little Hynerian amplifying his lack of power and stature within his new found family in flight.

Zhaan meets with Tahleen. She is a deceptive one feigning humility before Zhaan. Within mere moments of their union, Tahleen attempts to extract more than "the smallest seed" instead opting to rape Zhaan of her power and capabilities. "You betrayed me" as Zhaan exits from the union. Her eyes are now bright red. "I made a mistake," she decries.

Zhaan's dark impulses are now free. Tahleen stripped Zhaan of her ability to control them. She is a ferocious beast within as she clamps Crichton's head with her hands.

Crichton looks for Tahleen and makes efforts to remain unswayed or unmoved by his former Earth lover. The crew of Moya continues to be affected by The Delvians. Despite groping from his lover Crichton appears the most disaffected by the Delvians' influence.

"This isn't about freedom. It's about power," says Crichton to Tahleen. Crichton quietly, with almost a whisper, urges Tahleen, "You put it right." Crichton expects her to repair Zhaan.

Tahleen informs Lorana to destroy Crichton's mind. She also confesses to her people Zhaan held onto her secret, her secret of controlling the madness. Zhaan didn't relinquish all of herself.

Crichton's quest to make things right as only Crichton can is interrupted by his Earth girl who holds up her hand complete with wedding ring. "I never gave you that," he realizes, but Crichton flashes to another sequence suggesting he did give her the ring. Crichton's confusion grows. His visions are convincing.

Meanwhile Tahleen pays a visit to Tuzak, her father. Tuzak points out that Tahleen, a symbol of today's generations, moves to fast, "pillaging knowledge without the wisdom to control it." Tahleen is willing to bypass that which is important. Tuzak calls her decisions "worse" than the insanity she wishes to control. Tahleen quashes her father's mind silencing him as he falls to the ground. It is an extreme case of power without responsibility of which Tuzak falls prey.

Zhaan plans to join with Tahleen once more. Crichton suspects she will kill Tahleen. Zhaan calls Crichton the "most clever one on Moya." Zhaan is hungry for retribution and calls that drive "intoxicating." Unleashed Zhaan is thirsty to feed her unchecked hatred of Tahleen.

Crichton seems to flip seamlessly between reality and visions of wife Alex. He is lucid in both worlds. Alex reveals herself to be Lorana. Crichton asks the only logical human question, "How in God's name do you call yourself a priest?" Lorana admits the Delvians have lost their way as she refers to their Sanctity Root as a symbol of purity of thought and intent. Crichton references the twisted root as symbol of the twisted nature of their beliefs and the crooked root is the perfect representation of their lost faith.

Hasko contacts Moya to set the crew straight. Pilot delivers perhaps one of the most caustic, sharp observations of Rygel. It's stunning to hear because Pilot, despite his feelings, is a creature built to protect Moya and her crew first. This revelation appears born of the loss of his arm in DNA Mad Scientist. Here Pilot tells Rygel, "Your eminence, you're never any smaller than your current stature." Hasko asks the crew to stay put while they set things straight below.

Lorana confronts Tahleen pointing out her actions as wrong. Tahleen belittles Lorana as "easy" and "pleasurable" referring to their previous unions. Lorana, dubbed "foolish" by her mentor, plants a false seed that Zhaan and Crichton are heading to the surface to reach Moya. Once again, the deceptions continue.

Zhaan finds Crichton in the temple. She feels she would kill Crichton, but he calls her a chicken. Zhaan says she is curious about what goes on inside his mind. Crichton offers one of those classic Farscape retorts. "Not a lot, I'm a guy."

Human and Delvian unite. Zhaan urges Crichton to refrain from absorbing her rage. He sees kindness and a gentleness about her. It's still there. The two disengage and Zhaan's eyes fade from red to cool blue. Crichton has saved one of his own. "Thank you John."

Later, Crichton chops down the Sanctity Root calling the Delvian colony "a bastard sect in any religion." He urges Tahleen to "burn down the temple sister." Tahleen attempts to destroy Crichton, but Zhaan saves him. As a result of Zhaan's union with Tahleen she has moved from 9th level Pa'u to 10th level Pa'u "able to protect." Tahleen implores that they want the same thing, but Zhaan rejects that belief. Zhaan knows that Tahleen embraces the dark side, the dark impulses within that Zhaan chooses to suppress. Tahleen is left with much with which to reconcile within.

There's one thing you can expect from the wonderful writing of Farscape and that is philosophy and its ponderance of existence. Take this lovely closing sentiment between Zhaan and Crichton. Farscape continues to bring some terrific moments of closure to the end of its entries.

The episode is long on complexity, much like the contorted sanctity root, but short on the brisk-paced fun normally associated with a Farscape excursion. Again, it does have its moments, but Rhapsody In Blue left me a little cold and the series goes and its complex weave of Delvian nature was less than engaging for my tastes.

Zhaan is an easy character to love, but to date I have enjoyed the character in portions complementing Sun and Crichton rather than taking central stage. Bringing her character to the fore as the show's focus slowed things down a bit. Character development is fine, but it felt like a dense weave a little too quickly. In fact, in Farscape The Illustrated Companion Director Andrew Prowse discusses his abrupt approach at shocking viewers by exposing Zhaan in this radical transformation. Admittedly, for me, the approach sacrificed pacing for an overly heavy dose of the internal and external struggle within Delvian culture. Rhapsody In Blue may have been necessary to develop character, but it felt a little too clinical to be fully embraced. I would have preferred a more gradual approach in presenting the information. The jolt was a touch distracting to me. Nevertheless, Virginia Hey is stunning in her role as Zhaan. She is not only a beautiful woman, but her delivery of the character is indeed very special. Hey plays such a strong female character also in touch with her feminine self. Despite my lack of appreciation and my reservations toward this particular installment, at the very least, there is still much to consider as the titular work would suggest in its contrast of mood, color and tone. There is indeed a poetic, emotional form to the entry's composition as the rhapsodic might suggest. The episode's emphasis on all things Delvian and Farscape's unabashed approach to female perspectives throughout the series certainly lends itself to the cerebral. It's highly literary style can sometimes be ambitious, if not entirely successful in execution. But in keeping with the spirit of what the writers were probably aiming for, Rhapsody In Blue no doubt hits the mark. Like poetry, it's not for everyone, but you'll be blue with envy.

Rhapsody In Blue: C-. Writer: David Kemper & Ro Hume. Director: Andrew Prowse.