Finally finished Farscape!

Yes, we have finally frelling finished Farscape! 23 years after I first watched most of the first season on BBC2, I can tick this series off. 

Sometime towards the end of last year, I was reminiscing about Farscape. Cathy bought me a copy of the DVD box set for Christmas. Unfortunately, it was on a region-specific DVD and we didn't have a multi-region DVD player. However, these days DVD players are old technology and we could buy a new multi-region DVD player at minimal cost.  So once that had arrived and we had set it up... we could start watching the show from the beginning of the first series again. 

The basic premise of Farscape is an accident befalling an astronaut called John Crichton who is testing a new spaceship, the Farscape Module. The ship unexpectedly causes a wormhole in space, his ship passes through it, and then on the other side of the galaxy he meets a bunch of different aliens who have all similarly been uprooted from their lives. Thrown together, they gradually become his loyal friends. Well, loyal-ish. They often have their own agendas and aren't always trustworthy.  

One of the things I liked about Farscape when I first saw it was its use of puppet creations made by the Jim Henson Creature Shop. While they still had recognisably humanoid tendencies, including two front-facing eyes, noses and mouths in roughly human proportions, the diminutive Rygel and the hulking Pilot who was embedded into the living spaceship, Moya, both looked properly alien. The rest of Moya's alien inhabitants were all people in make up or latex masks as is pretty standard in science fiction series. The one exception is a very human looking character called Aeryn Sun, a female "Sebacean" who becomes the love interest for Crichton as the seasons progress. 

Personally, I felt the puppets still worked. However, there is also plenty of grainy CGI, which was ground-breaking in the late 90s and early noughties but looks distinctly dated now. The quality of each episode is variable. Some are tightly scripted and have a clear story arc. Others are looser in their approach and seem to have characters wandering around for no discernible reason other than to kill a few minutes of runtime. 

However, the show had some neat ideas. When Crichton first arrives on Moya he's immediately injected with "translator microbes" that explain how he can understand all the other aliens. The idea of a spaceship that is mainly organic and genetically engineered is still novel. The show also developed its own vocabulary of swear words. "Frel" was an obvious replacement for an English word beginning with f. There was also "dren" which roughly translated to crap, and "tralk" which correlated loosely with slut. 

The show managed to avoid being too cliched. There are quasi-fascist bad guys (the ironically named Peacekeepers) but that didn't drift into a rebellion versus empire scenario, and there are competing factions and races who are neither better nor worse options. There is also a spiritual element to the show, with an apostate priest called Zhaan as one of the main characters. Throughout the show there are hints of an afterlife and another plane of existence inhabited by the souls of the dead.

I'm not going to do a full plot summary, but the first two series have a lot more self-contained episodes, although the storylines are common to science-fiction series - there's a body-swap episode, an episode where a character gets marooned and ages in comparison to the rest of the shipmates, a planet where one of the characters is revered as a god, a planet where a character accidentally gets married and so on. Just about every science fiction series has some or all of these events occurring in some way. 

Midway through season two a definite story arc emerges. A new principle baddie, Scorpius, comes to the fore and he has a reason for relentlessly pursuing Crichton. The show also begins to focus more on Crichton's quest to get home. Seasons three and four explore this further, with Crichton having to decide whether he dare jeopardise the safety of Earth by returning. Season four ends on a cliff-hanger with Crichton and Aeryn turned into glass beads by an alien weapon. 

However, that was the last episode of the last season. The story could have been left on that very dark note, but two feature length TV movies - The Peacekeeper Wars - followed. These weren't included in the box-set but I was able to pick them up off eBay very cheaply before we got to the end of season 4, so we watched them straight after the season finished. 

I wasn't hugely impressed with the feature length episodes. There was some closure to the main story arc regarding accessing wormholes. However, the plot revolved around using a hidden race of aliens who could create some kind of aura that would make antagonists seek peaceful resolutions and that all just got a bit convoluted and contrived. Along the way one of the main characters died a heroic death which sadly felt a bit meaningless by the end of the film, given the way Crichton eventually forced all the warring races to back down and accept peace or be annihilated by a weaponised wormhole. 

However, overall, I'm glad I can now say I have watched the entire show. There were definitely some good stories, particularly in the first two series. Claudia Black, who played Aeryn Sun, captured the character of a Peacekeeper commando abandoned by her own kind magnificently and was probably the strongest and most interesting character across the entire run of the series. There was a lot of humour throughout as well and it was darkly amusing how every single plan went wrong in some way. Weirdly, that made it feel a lot more realistic than a science fiction TV show with rubber-mask aliens ever should!

The long coat – a popular choice for scoundrel starship captains and space adventurers

It occurred to me the other day as I watched a small bit of Farscape on one of the outlying satellite channels that long coats seem a popular choice in outer space.

This is possibly because they swish behind you a bit like a cape without being as obviously dorky as a cape. In several deep-space adventures capes are only work by bad guys, so there’s that to contend with as well.

So, where did this all start? Thinking about it, Han Solo wears a long coat when he leads the rebel strike team on Endor. Admittedly this is a badly-fitting semi-camo trench-coat that looks like it was bought in a mall somewhere, but it’s the first long coat worn by a sci-fi hero that I can think of.

No one else in the team wears a coat like Han’s. He seems to favour his own gear over military issue. He does the same thing on Hoth, wearing a blue parka, while Luke wears the same uniform as all the other rebels. On Endor, Leia and Luke are dressed like the rest of the team. Han obviously feels the need to be flashy and different, by wearing his own ‘Big Easy’ style trench-coat.

Moving on to the 90s and we have John Crichton, the main lead in Farscape, sporting a black leather coat that in the context of the show is part of a Peacekeeper uniform. Several of the Peacekeepers wear coats like this as well, so the long coat is well established in the series as something worn by heroes and villains.

John isn’t a Peacekeeper; he is a lost Earthman on a living spaceship surrounded by hostile aliens, some of whom become less hostile and eventually become his friends. I don’t know when in his adventures John started wearing this coat, but he looks good in it and that’s the main thing.

Moving on a few years to the early noughties and we have Firefly, a short-lived show that has gained a cult following (I love it to bits). The coat worn by ships’ captain / smuggler / former soldier Malcolm Reynolds is greatly significant – it’s a ‘Browncoat’, part of the uniform of the defeated separatist forces that Mal fought for.

Wearing the Browncoat is Mal’s sartorial declaration that the war may be over but he has not surrendered. The term Browncoat is part of the fan’s lectionary. Rarely has an item of clothing been so important to the functional make-up of a character, or a whole series.

And to bring this bang up to date, we have Star-Lord in Guardians of the Galaxy. Star-Lord has two really neat coats in the film: A long coat, worn in the bombastic opening sequence, and a neat short red leather jacket worn at other times.

Star-Lord’s long coat accentuates his swagger as he attempts to rob an abandoned bank vault at the beginning of the film. It’s a scene that defines the character – unafraid, resourceful, tricksy and fun. The coat helps greatly in the introduction to him.

Looking over the long-coat-wearing characters here, there are some major similarities between them. They are all fiercely independent. They all operate outside the law, while still being relatively moral in their actions. They have an internal code they live up to. They are brave, willing to take risks for a long-shot at rewards. They don’t take crap from anyone. They are handy in a fight, but would prefer to smart-talk their way out of trouble. They inspire loyalty in their followers or crew.

And they all wear long coats.

It’s something I’m going to bear in mind when I next go coat-shopping. 

Burn fast; burn bright

Having had a wisdom tooth out last Wednesday I spent the best part of two days sleeping or watching TV, specifically DVD box sets of Firefly and Seinfeld, and comedy reruns on Fiver.

Having watched the 'roundtable' extra on the last season of Seinfeld, it struck home to me the bravery of the show's creators to walk away while it was still the number 1 American comedy show. Nine seasons = 180 episodes, and to still retain some credibility is difficult. The final days of Friends and Frasier as they limped on to their respective twee finales shows the wisdom in the Seinfeld tack.

In a strange way, a show with a much shorter run also shows the truth inherent in the saying that the stars that blaze brightest burn out fastest. Firefly was axed after just 14 episodes, by network executives who didn't really get the show.

In the sci-fi fanboy / geek community this is still regarded as one of the most criminal acts of TV exec-land (although whoever greenlighted a second season of 'Joey' probably deserves to be spanwhengled too). And yet, I'd say it's given us a gem.

True there are all the 'could have beens', the unanswered questions, many of which were only loosely tied up by the feature film Serenity. But equally, we were spared the painful lurching of genius being lost in the mundanity of season after season. Sci-fi afficionados will remember the way Farscape deteriorated until it was put out of its misery, or how boring The X-Files became with its ponderous story arc, or the sheer dullness of many of the Star Trek spin off series.

Firefly still seems fresh and fun and playful, a few years on from it's ever so brief run in the sun. Maybe it burns the brighter because its life was so short.