It's not Morden.
Same actor, different character.
D'Lenn's face
The command staff's uniforms.
Decompression from jumping into real space.
The wrong PPGs
The Vorlons considering executing the one who was.
It's a mirror universe.
It's not Morden.
Same actor, different character.
But what Babylon 5 lacks in wisdom it gains back in boldness and specificity. The reason I can respect this narrative, as outdated and self-defeating it is at points, is because B5 is never afraid—or embarrassed, even when it should be—to state its positions and their proximity to the world outside its narrative confines.
This specificity of framing is in sharp contrast to Star Trek, which presents a vibrant playground in which to pose infinite number of philosophical moral quandaries but has shockingly little to say about the political architecture of that playground. We all know that the Federation is a glorious Fully Automated Luxury Space Communism paradise, right? I mean, it is—there’s nothing else it could be, but no writer has ever told us this directly. Starfleet Officers are awfully self righteous about a way of life that the franchise seems averse to actual spelling out in explicit terms. And if you don’t say something out loud, it turns out you don’t actually have a whole lot to say about it in the end after all. I find specificity more valuable the older I get. I can have a conversation with Babylon 5, all the parts I find illuminating as well as the ones I find odious. I can interact with its ideas about capitalism and extremism and religion and western interventionism without getting lost in the weeds of polite innuendo post-Cold War Star Trek often malingered in. (NOTE: I also love Star Trek.)
Babylon 5’s willingness to engage heavily with the material conditions of the world it depicts is the reason I get nerd snobby about classifying the show as a Space Opera, not! a science fiction show, despite its many fascinating hard sci-fi elements. B5 has some very obvious fantasy trappings—ripped directly from Tolkien here, quoting Arthurian legends there—but what makes it capital-F Fantasy in my opinion is its preoccupation with communicating story and theme through the evocation of historical verisimilitude in its world-building. Babylon 5 uses its world to tell a mythic tale with contemporary tools rather than to posit questions about our future. With the philosophical and allegorical framework of the “primary world” removed, the story gets a whole lot easier to swallow.
<SNIP>
Babylon 5 has a very particular kind of tonal variety that makes the world inviting—an appealing balance of drama and playfulness. A lot has been said about the show’s occasionally regrettable sense of humour, and there are certainly some epic clunkers in almost every script (the less said about a certain Season 3 episode that effectuates a kooky, sitcom-esque tone while discussing ethnic cleansing the better), but I find myself laughing along with Babylon 5 more often than not. A lot of the humour is character derived, and I love the characters. I really do—I love the contrast between their realistic flaws and depressing personal lives and the cheesy, stage-play poeticism of the dialogue. I know more about the lives of Babylon 5’s senior staff than I know about any Starfleet Officer. They’re all a mess of workaholism, addictions, failed relationships, PTSD, broken paternal bonds—except for shining paragon of All-American Gee Whiz’ism, John Sheridan, who is broken down piece by piece during a war that reveals him to be a ruthless, “means justify the ends”-style General. He grows a beard while being tortured by his own government and never shaves it off. No one’s arc is static. No character ends where they begin. Most characters shed their comfortable roles for new directions on a season by season basis. B5 is a show that flourishes upon rewatch, largely because it’s very satisfying to start over again with all these characters knowing that most of them end up so, so far away from where they begin, in both edifying and tragic ways.
Babylon 5 is a station full of weirdos and failures. It attracts alien ambassadors with lists of sins ten miles long, disgraced nobles that no one else wants, military officers desperate to either escape their demons or build their careers on their own terms, rejecting the path laid out for them by mentors and patriarchs. It’s the staging point of a successful rebellion, the nucleus of several catastrophically failed peace treaties. It bears witness to the extinction of an entire species and the destruction of the key to immortality. Some dark shit goes down in this show, yet the unflagging ’90s-style optimism and local-theater-esque presentation keeps it from dipping into the kind of “gritty” grim-ness that defined TV spec fiction in the post 9/11 era. And oh, don’t get me wrong. I am a big fan of grimdarkness. I don’t inherently reject it the way a lot of people (understandably) have in the last few years, but I do reject the idea that it’s embarrassing for fantasy to be, well… fanciful. Babylon 5 is shamelessly fanciful.
The first truly great episode is Signs and Portents, S1 E13. S1 has some dumb episodes, but once things get going in season 2 there is no going back. There are so many "Oh, man!" moments going forward. Just wait until you get to "Comes the Inquisitor."
It's a mirror universe.
I’d say the worst episode so far is “Believers.”
In Sinclair's words "you better check the temperature in hell first." Franklyn was already on VERY thin ice after having performed surgery on a minor against explicit orders from his CO, without the consent of his legal guardians, or even his own informed consent. He's lucky he wasn't stripped of his medical licence, court martialed and sent home on the next transport. Indeed, had he pulled something like that with a race with actual political clout like the Narn, Centauri or heavens forbid the Minbari; that's exactly what would have happened (also, probably: gunfire.) So no way would Sinclair have reversed direction and backed Franklyn's play.He saved that kid’s life. He should’ve had Sinclair call Alien Child Protective Services to get the kid away from his nutjob parents! I’m fine if people are strongly religious but if it inflicts harm on someone than I am not fine.
I'll second that. It's one of my least favorites.I’d say the worst episode so far is “Believers.”
He saved that kid’s life. He should’ve had Sinclair call Alien Child Protective Services to get the kid away from his nutjob parents! I’m fine if people are strongly religious but if it inflicts harm on someone than I am not fine.
Also yes, Signs and Portents is a great episode!
It’s wrong to let anyone suffer just because their religion demands it. It’s complete negligence and even abuse. If a God values suffering and death over living and happiness then that God is not worth following. It just bothers me, especially because this type of situation is currently happening.
End of rant.
I don't disagree, but the question here is what right does an outsider have to judge and interfere? When does this stray into moral absolutism? Negligence and even abuse aren't objective concepts when applied to different species. For some species depending on their biology, evolutionary history and environmental pressures, it would be negligent NOT to eat the weaker of their progeny; it would be abusive NOT to beat and scar an adolescent until they are indifferent to pain.It’s wrong to let anyone suffer just because their religion demands it. It’s complete negligence and even abuse. If a God values suffering and death over living and happiness then that God is not worth following. It just bothers me, especially because this type of situation is currently happening.
End of rant.
I'm generally fine with religion. People will generally believe what then want to believe, and to try and reason with a zealot is futile. My problem is usually when religion gets to be organised religion. Then it typically becomes metastasised, parasitic, and unworthy of respect, cultural differences or no....but that's a whole other discussion.I LOVE Believers, because I totally hate religion.
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