lurkers-guide/guide/001

<h2><a name="OV">Overview</a></h2>

<blockquote><cite>
When the Narn attack a Centauri colony, Londo and G'Kar nearly come to
blows.  Meanwhile, raiders are attacking transport ships near the station.
</cite>

<a href="http://us.imdb.com/M/person-exact?+Hampton,+paul">Paul Hampton</a>  as The Senator.
<a href="http://us.imdb.com/M/person-exact?+Trencher,+Peter">Peter Trencher</a> as Carn Mollari.
</blockquote>

<pre>
Sub-genre: Action/intrigue
<a href="/lurk/p5/intro.html">P5 Rating</a>: <a href="/lurk/p5/001">6.99</a>

Production number: 103
Original air date: January 26, 1994
<a href="http://www.amazon.com/exec/obidos/ASIN/B00006HAZ4/thelurkersguidet">DVD release date</a>: November 5, 2002

Written by J. Michael Straczynski
Directed by Richard Compton
</pre>


<h3><a name="WF">Watch For</a></h3>
<ul>

<li> <a name="WF:1">The campaign issues</a> in the presidential election,
	especially the pledges of the winner of the election.

</ul>

<p>
<hr size=3>
<p>

<H2><A NAME="BP">Backplot</A></H2>

<ul>

<li> <A NAME="BP:1">Earth's first contact with an alien race was with</A>
	the Centauri. At the time, the Centauri claimed to be the dominant
	species in the galaxy, a "huge empire" - but (according to
	Garibaldi) this hasn't been true for almost a <EM>hundred</EM> years.
	Furthermore, they tried to convince the Terrans that they were
	actually a Centauri lost colony, which genetic analysis proved also
	false.

<li> <A NAME="BP:7">All Centauri foresee the circumstances of their</A> 
	deaths in a dream.  In Londo's dream, it is 20 years in the future
	and he and a Narn have one another by the throat.  When Londo
	first saw G'Kar, he recognized him as the one from his dream.

<li> <A NAME="BP:2">According to G'Kar, the Centauri occupation of his</A> 
	homeworld was a "<EM>hundred</EM> year reign of terror."

<li> <A NAME="BP:3">The Sinclairs have been fighter pilots since the</A>
	Battle of Britain.  Jeffrey Sinclair's father taught him
	everything he knows about flying and combat.

<li> <A NAME="BP:4">The Narn sold weapons to Earth during the</A>
	Earth/Minbari war.

<li> <A NAME="BP:5">The first Mars colony was destroyed by an enemy </A>
	sneak attack.

<li> <A NAME="BP:6">Ivanova's mother was a long-undiscovered telepath,</A> 
	never able to use her powers very well.  When the Psi Corps finally
	caught up to her, they put her on very potent psi-retardant drugs.
	"Every day we just watched her drift further and further away from
	us.  The light in her eyes went out bit by bit.  And when we
	thought she could go no further, she took her own life."  (cf.
	<a href="016.html">"Eyes"</a>
	and
	<a href="017.html">"Legacies"</a>.)

<li> Londo has enough clout to get a member of his family assigned to an
	agricultural colony rather than admitted to the military.

</ul>

<H2><A NAME="UQ">Unanswered Questions</A></H2>

<ul>

<li> <A NAME="UQ:0">There are</A> <A HREF="#BP">two references</A> in
	this episode to a major event in the Centauri empire about a
	hundred years ago.  What happened back then? 
	(cf: <A HREF="013.html">"Signs and Portents"</A>, perhaps)

<li> <A NAME="UQ:1">How did Kosh get into his encounter suit so quickly?</A>  
	When Sinclair visits to ask about his position on the Ragesh 3
	situation, Kosh's suit is in plain view but un-animated, the
	"shoulders" at rest about two feet below the "head" (which they
	normally encircle).  Sinclair can see a large light moving
	behind a translucent screen; Kosh's voice also appears to come
	from behind the screen.  When Sinclair turns his back to go, the
	light flashes across him for a moment, and when he spins around
	the encounter suit is just reaching its full height, with Kosh
	as in it as he ever is.

<li> <A NAME="UQ:2">When Londo tells Garibaldi he couldn't possibly</A>
	understand his situation, Garibaldi replies, "I understand
	better than you'll ever know.  I know it burns, I know the
	things it makes you want to do."  What was he referring to?
	(cf: <A HREF="011.html">"Survivors"</A>, perhaps) 

<li> <A NAME="UQ:3">How did G'Kar know about the Centauri decision to</A> 
	make no response to the Ragesh 3 attack?

<li> <A NAME="UQ:4">Why did Kosh attend the council session?</A>

<li> <A NAME="UQ:5">Is it part of a larger Narn plan to supply the</A>
	raiders with weapons?

<li> <A NAME="UQ:6">What <EM>is</EM> Garibaldi's most favorite thing</A>
	in the universe?

</ul>

<H2><A NAME="AN">Analysis</A></H2>

<ul>

<li> <A NAME="AN:1">From the things they say about each others'</A> 
	races at various times during this episode, neither Londo nor G'Kar
	seem likely to strive for lasting peace:
	<dl>
	<dt> <B>Londo:</B> 
	<dd> "We should have wiped out your kind when we had the chance!"<br>
		"On the issue of galactic peace I am long past innocence
		and fast approaching apathy.  It's all a game, a paper
		fantasy of names and borders.  Only one thing matters:
		blood calls out for blood."

	<dt> <B>G'Kar:</B> 
	<dd> "Your time has come and gone!  It's our turn now.  One night
		you'll wake up and find our teeth at your throat."<br>
		"I will confess that I look forward to the day when we have
		cleansed the universe of the Centauri and carved their bones
		into flutes for Narn children.  'Tis a dream I have."
	</dl>

<li> <A NAME="AN:7">Londo was absolutely consumed by anger and hatred.</A>
  	He would have sacrificed peace and justice for personal vengeance.
	(cf: <A HREF="012.html">"By Any Means Necessary"</A>)

<li> <A NAME="AN:2">The Narn attack a distant easy target with</A> 
	little military value.  This must have been to test the Centauri
	reaction - see how many ships they send in response, how hard
	they're willing to fight to defend any part of their territory.
	The Narn are forced to withdraw for non-military reasons, but they
	learn a great deal about their enemies with that move.

<li> <A NAME="AN:3">Ivanova is surprised to hear Sinclair defend</A> 
	the honor of the Minbari. 
	(cf: <A HREF="000.html#AN:5">"The Gathering"</A>)

<li> <A NAME="AN:4">The EA is not in a strong enough position at home</A>
	to take an ethical stance toward its neighbors.  "The Earth
	Alliance can't go around being the galaxy's policemen," says the
	senator, "They want to fight it out, let'em.  Just keep us out
	of it - at least until after the election."

<li> <A NAME="AN:5">One of the most alien moments was watching Delenn</A> 
	try to understand Garibaldi's cartoons and popcorn.  She is at
	times a sage, and sometimes an innocent.

<li> <A NAME="AN:6">Sinclair claims he confiscated data crystals</A> 
	detailing Narn communications that confirm Londo's claims about the
	situation at Ragesh 3. However, Sinclair has bluffed before (cf:
	<A HREF="../synops/000.html#nanobluff">"The Gathering"</A>).
	There is no proof that the crystals actually contained data.

</ul>

<H2><A NAME="NO">Notes</A></H2>

<ul>

<li> <A NAME="NO:1">Centauri have no major arteries in their wrists.</A>

<li> <A NAME="NO:2">Garibaldi knows about the habitual movements</A> 
	of the senior staff (Sinclair turning off his link during down
	time at C&amp;C, Ivanova going to the bar after work).

<li> <A NAME="NO:3">Garibaldi has had prior experience with the</A> 
	raiders.  ("I knew they'd be back sooner or later.")

<li> <A NAME="NO:4">Ships move to and from the "secondary jump point"</A> 
	through hyperspace via the primary.

<li> <A NAME="NO:15">Starfuries can take multiple hits from Narn heavy</A>
	weapons without losing function.

<li> <A NAME="NO:5">Earth is ruled by a Senate and a popularly elected</A>
	President, though it remains to be seen how much these positions
	resemble those of today's USA.  America, Russia, and China are
	among the "states" in this democracy.

<li> <A NAME="NO:6">A Senate subcommittee can dictate Sinclair's vote</A> 
	on the council.

<li> <A NAME="NO:7">G'Kar's</a> <a href="#JS:spoo">spoo</a> was quite fresh
	that week.

<li> <A NAME="NO:8">Sinclair attributes two aphorisms to his father:</A><br>
	"The best way to understand someone is to fight him, make him
	angry.  That's when you see the real person."<br>
	"Ignore the propaganda.  Focus on what you see."

<li> <A NAME="NO.KS"><B>Kosh speaks:</B></A><br>
	K: They are alone. They are a dying people. 	
	   We should let them pass.<br>
	S: Who, the Narn or the Centauri?<br>
	K: Yes.<br>

<li> <A NAME="NO:10">Shipping companies buy access to the jumpgates</A> 
	in bulk, then sell it on the open market.  However, the
	schedules are kept secret to protect against piracy.

<li> <A NAME="NO:11">All incoming ships log their routes through</A> 
	Ivanova's console.

<li> <A NAME="NO:12">A Narn weapons deal always includes an advisor</A> 
	who instructs the buyer in the weapons' use and insures they aren't
	sold to a third party.

<li> <A NAME="NO:13">All Earth Telepaths are given three options:</A> 
	join the Psi Corps, go to jail, or <A HREF="#BP:6">take drugs</A>.
	Unlicensed telepaths are heavily controlled in the name of 
	protecting public privacy.

<li> <A NAME="NO:14">Luis Santiago wins the presidential election</A> 
	over challenger Marie Crane.  His platform included promises to cut
	the budget and keep Earth out of war.  His agenda for his coming
	term includes cultivating a closer relationship with the Mars
	colony and "preserving Earth cultures in the face of growing
	non-Terran influences" (cf: <A HREF="007.html">"The War
	Prayer"</A>, <A HREF="011.html">"Survivors"</A>)

</ul>

<H2><A NAME="JS">jms speaks</A></H2>

<ul>

<li> The first one-hour episode of the series, "Midnight on the Firing
	Line," does a fair amount of re-introduction, for those who've seen
	the pilot and need to be up to speed, and some introducing for those
	who haven't.  It is, however, largely an action-oriented story, into
	which we weave the characterization.  It manages to convey some of 
	the same info as the pilot, but in a *much* more dramatic fashion.

<p>
<li> No, the show isn't a year and a half late.  As it is, it's less than
	one year since the pilot aired.  It was our initial hope, and my 
	initial belief, that we'd go straight into the series as soon as we 
	finished the pilot.  But the studio, in its infinite wisdom, decided
	that since they HAD a pilot, it kinda behooved them to air it and get
	the ratings before committing to a series.  So we then waited until
	February for the airing, got the go-ahead to production around 
	April/May, began shooting in July, got a whole bunch of episodes in
	the can, and now we're hitting the air.  That is the sum and substance
	of it.

<p>
<li> We'd always figured on going right to series, but once we had done
	the pilot, the studio said, in essence, "Well, we've got a pilot,
	we don't know if the market will sustain more than one space SF
	series, no other SF series has done well lately...maybe we ought
	to air the pilot first, and get the ratings, before committing to
	a series." And that's what happened...much to our consternation at
	first, but in the long run it was a blessing in disguise, because
	that interim period allowed us to really do a lot to make the show
	better.

<p>
<li> Approximately nine months have passed since the time of the pilot and
	the birth of the series.

<p>
<li> I *love*
	<a href="245.html">"Duck Dodgers."</a>
	I have virtually all of the WB cartoons on
	tape or disk, and from where I sit, that's wonderful stuff that'll
	be around for a long, long time.  No omens, just something I
	thought would be fun.  (Again, connecting past/present/future, sort
	of our B5 theme.)

<p>
<li> "Midnight on the Firing Line" as a title was more my feelings about
	the episode and the series.  I knew we'd come under considerable
	fire, figured it was cool.

<p>
<li> <EM>"...and if our future lies on the firing line, are we brave enough
	to see the signals and the signs...."</EM>  <br>
	-- Harry Chapin<br>  
	Just a thought.

<p>
<li> Ah, but you're assuming that the Londo-strangling-scene is as it
	seems to be; maybe it is, but maybe it isn't.  You don't know the
	context yet.

<p>
<li> Down the road, we will be seeing more of Londo, and his people, and realize
	that they aren't as human looking as they first appear.

<p>
<li> The Raghesh 3 claim is only about 20 years old; the Centauri came to
	Narn over a hundred years ago.

<p>
<li> You're correct in your appraisal of the "coincidences" in the first
	episode. Upon finding that Londo's nephew was there, they would of
	course trot him out to try and undermine Londo's credibiltiy (you'll
	note that G'Kar made special mention of this, as if to say, "Is the
	Centauri ambassador calling his own nephew a liar?"). It'd be the same
	thing if the son of an American ambassador was on-hand when hostages
	were taken. As for the choice of the attack's location...Londo wanted
	his nephew "far away from all this." Someplace safe. A fairly safe,
	mundane place is not going to have a major military presence...and
	hence is a perfect target for attack.

<p>
<li> RE: the spotlights, we'd figured that since the transport had been freshly
	attacked, there'd be debris all over the place, and lots of particulate
	matter which would show up in the light. 

<p>
<li> Quick replies to your questions: Spoo is.  What else can one say
	about spoo?

	<p>
	The Centauri station actually was rotating, as I recall, it's the
	camera angle that I believe doesn't showcase it as well as it might.

	<p>
	The scanners on the Starfuries detected no movement, no atmosphere,
	no signals, no warmth of bodies.

	<p>
	The lights on the fighters during the examination of the rubble were
	visible due to particulate matter spewed out during and after the
	attack.

<p>
<li>	What is spoo?   Spoo....is.
	<p>
	(Spoo is also Oops spelled backward.)

<p>
<li> <a name="JS:spoo">Spoo</a>
	is/are (the plural of spoo is spoo) small, white, pasty,
	mealy critters, rather worm-like, and generally regarded as the
	ugliest animals in the known galaxy by just about every sentient
	species capable of starflight, with the possible exception of the
	pak'ma'ra, who would simply recommend a more rigorous program of
	exercise.  They are also generally considered the most delicious food
	in all of known space, regardless of the individual's biology, almost
	regardless of species, except for the pak'ma'ra, who like the flavor
	but generally won't say so simply to be contrary.

	<p>
	Spoo are raised on ranches on worlds with a damp, moist, somewhat
	chilly climate so that their skin can acquire just the right shade of
	paleness.  Spoo travel in herds, if moving a total of six inches in
	any given direction in the course of a given year can actually be
	considered moving.  They stay in herds ostensibly for mutual
	protection, but the reality is that if they weren't propped up against
	one another, most of them would simply fall down.  They do not howl,
	bark, moo, purr, yap, squeak or speak.  Mainly, they sigh.  Herds of
	sighing spoo can reportedly induce unparalleled bouts of depression,
	which is why most spoo ranchers wear earmuffs even when it's only
	mildly cold, damp, wet and dreary outside.  If there is any
	life-or-death struggle for dominance within the spoo herd, it has not
	yet been detected by modern science.

	<p>
	Spoo ranching is one of the least regarded professions known.
	Little or no skill is required, once you've got a planet with the
	right climate.  You bring in two hundred spoo, plop them down in the
	middle of your ranch, and go back to the nearby house.  Soon you've
	got more.  When it comes time to cull out the ones ready for market
	(the softest, mealiest, palest, most forlorn-looking spoo of the
	pack), little physical effort is required since they're incapable of
	rapid movement without falling over (see above).  They do not resist,
	fight, or whine; they only sigh more loudly.  When spoo harvest time
	comes, the air is full of the sound of whacking and sighing, whacking
	and sighing.  Even an experienced spoo rancher can only harvest for
	brief periods of a time, due to the increased volume of sighing, which
	even the sound of whacking cannot altogether erase.  (also see above)
	Some have simply gone mad.

	<p>
	Spoo are the only creatures of which the Interstellar Animal
	Rights Protection League says, simply, "Kill 'em."

	<p>
	Fresh spoo (served at an optimum temperature of 62-degrees) is
	served in cubed sections, so that they bear as little resemblence as
	possible to the animal from which they have just been sliced.  Spoo is
	usually served alongside a chablis, or a white zinfandel.

	<p>
	Further information on the care, feeding, eating and whacking of
	spoo can be found in the second edition of the Interstellar Guide to
	Fine Dining.

<p>
   <li> Re: your desire to make and eat spoo at home...depends on whether or
	not you ever want to have children later....

<p>
   <li>@@@851198016 <em>What does spoo taste like?</em><br>
	Meat Jello.

	<p>
	Served chilled.

<p>
   <li> At the point in which we join the tale of the last of the Babylon
	stations, *everything* is in a state of flux...one government is on 
	the rise, another is declining, Earth is taking some new and disturbing
	directions...so yes, they all feel there is a change coming.  It's a
	little thing, but we keep it alive to keep a sense of something moving
	on a web, and each movement makes the whole thing shake just a little.

<p>
   <li> Re: the "last" of the Babylon Stations...y'all might want to bear
	in mind the syntax of the narration.  It speaks of B5 in the *past
	tense*.  "Bablyon 5 WAS the last of the Babylon stations...it WAS 
	the dawn of the third age of mankind."  The narration is the voice
	of future history, the storyteller, long after the fact, spinning
	for us the tale of the last of the Babylon stations.

<p>
   <li> I never said it was an isolationist president.  The reporter doing 
	the commentary at the election talked about preserving earth culture
	in the face of growing alien influences, which isn't quite the same
	thing as cutting off trade agreements.

<p>
   <li> You'll get a pretty good glimpse into why Sinclair jumps into a
	fighter any chance he can get in "Infection."  Part of it is to 
	escape from stuff...the other goes much deeper, and much darker....

<p>
   <li> Here's what I find curious (not necessarily in direct response to
	anything you said, but in general on this topic)...is that when 
	Ivanova makes her remark to Garibaldi about snapping his hands off at
	the wrists, many people have assumed that she was insulting him, 
	berating him, being bitchy, truly disliking and threatening him.
	<p>
	But the same words, put in the mouth of another male, wouldn't have
	drawn that reaction, and would've been classified under, "kidding
	around" or affable sarcasm.
	<p>
	Which is exactly what it is in this case.  In this place and this
	time, they're comfortable enough to mess with each other without it 
	being taken seriously (among these characters, that is).  There are
	times they kinda like to phuque with each other a bit, justfor the
	hell of it, as comrades will sometimes do.  ("Babylon Squared" has a
	great example of Sinclair and Garibaldi messing with Ivanova.)

<p>
   <li> Sinclair's line, "Cut acceleration," was in regards to forward
	momentum, so he could more easily spin the fighter around.

<p>
   <li> RE: the Raider ships...they turned by a less effective system of
	thrusters put in here and there, not nearly as powerful as the 
	systems used by the Starfuries.  The reason -- verifiable by the 
	shape of the Raider ships -- is that Raider ships are handicapped by
	the fact that they're made to function both in space *and* within an 
	atmosphere (hence the aerodynamic wing shapes), which gives it 
	something of a problem when dealing with the Starfuries, which are
	made ONLY for fighting in space, and are most ideally suited to it.
	The Raider ships make compromises for greater utility, which is 
	generally okay unless they run into superior forces of ships designed
	for spaceborne combat.

<p>
   <li> The symbol Talia wears isn't a Link or any other kind of
	communications system; it is *strictly* a form of identification, 
	tagging her as a telepath and a member of the Psi Corps.  It serves
	no other function.

<p>
   <li> Correct, Christopher Franke designed Kosh's voice.

<p>
   <li> That the Centauri *claimed* that we were a lost colony is not the
	same as indicating that we *believed* them.

<p>
   <li> I like it when people lie in television, and we find out about it
	over time.  The "lost colony" routine was one such.  At one point,
	Garibaldi confronts Londo with this as reason for why he doesn't 
	trust the Centauri.  Londo shrugs it off as a "clerical error."  
	There will be a few points in the series when we'll get information,
	and we'll buy into it...and discover after a while that that 
	character bald-facedly lied to the other character (and, by proxy,
	to us).  And naturally there will be consequences to this....

<p>
   <li> In "Midnight," Sinclair is really not given a chance to show his
	character, since it's basically a reintroduction to the series, and 
	there is a lot to cover.  He functions throughout the episode only in
	his official capacity.  In other episodes, you'll get to see some very
	different sides to his character, particular in "Parliament of 
	Dreams."

<p>
   <li> Re: Sinclair getting into a fighter...there were a number of reasons
	for this, one of which being he wanted a good reason to avoid being in
	on the counsel vote, given his marching orders.  But more than that
	...I would point out that this isn't Star Trek, and Sinclair isn't
	Picard; he is first and foremost a pilot.  He loves to get into a
	fighter and take it out  He's a fighter.  That's when he is most at 
	ease.  That's what his character *is*.

	<p>
	At the same time, however, there are consequences for that kind of
	behavior, as you point out.  And there are deeper reasons for what he
	is doing than even he want to admit.  Tell you what...table that 
	aspect until after you've seen the last part of "Infection," which
	deals *with this exact issue*.

<p>
   <li> My thought, at the time, was that if we play the reality of this for 
	a moment, probably *all* of the ambassadors have some kind of weapon,
	smuggled in via diplomatic pouches.  Garibaldi and Sinclair know
	they're there...question is, is it worth starting a diplomatic incident
	over, as long as they're not being used?  Garibaldi is saying, in 
	essence, "Okay, you know it's there, and I know it's there, but now
	you've made a point about it.  Lose it or hide it, or I'm going to 
	have to charge you, and we're BOTH going to be up to our ears in it."
	If Garibaldi confiscated it, there'd be a whole diplomatic hassle...
	and Londo would just have another one sent to him via diplomatic 
	pouch.

<p>
   <li> It's interesting what we can read into faces...in Delenn's reaction,
	I saw concern, angst, but not that she believed the story.  That
	certainly wasn't the intent of the scene, or the script...faces are
	interesting things.  As for the rest, you're right; not everyone wants
	to do the Right Thing For The Right Reasons.  Some would prefer not to
	get involved.  So some might want deniability, want a reason not to go
	up against the Narns, or have sold out their votes.  A human looking
	at that screen could tell that the person was being coerced...but what
	about the other alien races, to whom a downcast face could be a sign
	of joy?  In any event, suspicion is one thing, but *proof* is another,
	and the legal system works on *proof*.  Nothing could be done until 
	they had the proof that Sinclair got at the end, and chose to use
	behind closed doors to the same effect.

<p>
   <li> You may think it was obvious that the nephew was reading at gunpoint,
	and in fact, he was...but thinking something or suspecting something 
	isn't the same as proving it.  Londo could say, "He was reading at
	gunpoint!"  And G'Kar could say, "No, he wasn't."  Where do you go 
	from there?  (And, in fact, that's *exactly* what Londo said...only
	to have G'Kar deflect it.)

	<p>
	Re: why Londo didn't show the clips...at this point, there's not any
	quesion in anyone's mind about the attack taking place.  The Narns
	say they were invited in to help quell internal strife.  That the
	events took place isn't at issue; it's *why* and whether or not they
	were invited in.   (As with Germany in WWII indicating that some 
	places "invited" them in.)

	<p>
	Had Sinclair shown the evidence, it probably would've just hardened
	G'Kar.  Also, most politics is back-room dealing.  You do this in
	public, and you make a terrible enemy who'll strike back as soon as he
	has a chance.  Let him have his dignity, save face, BUT get what you
	want, and there's room to maneuver in future.  It's the difference 
	between being a punch'em-out hero, and someone who has to be 
	diplomatic, within limits.

<p>
   <li> Sinclair did not -- repeat, did NOT -- "tell Ivanova to defy Earth's
	orders and deceive the council."  He set up a situation in which he
	would say that he was unable to catch up with her and pass along the
	Senator's instructions before he had to leave.  Her line would be 
	that "The Commander never told me," and he would back this up.  (And 
	that he would hedge the truth this way is hardly "perfect.")

	<p>
	Defying the Senator's orders would be telling them that the vote will
	NOT be made as ordered.  That never happened.

<p>
   <li> In "Midnight," Sinclair had to be pretty much in command mode all
	during the episode as a character, so that influences the result.  But
	in later episodes, we get him out of those situations, out of uniform,
	and into other settings where he can be more relaxed.  So that's 
	coming, and you'll see it *very* early on in the first season.

<p>
   <li> Yeah, the Sea Witch is the one that rotates and fires at one of the
	Raiders.  It's a woman's face in a green and blue background.

<p>
   <li> As a matter of fact, in a couple of episodes you'll see a photo of
	the Earth Alliance president.  The photo itself is of Doug Netter, my
	associate on the show and fellow executive producer.  (The woman 
	running against the incumbent president in the election featured on
	"Midnight" is played, in photo, by our wardrobe designer, Ann Bruice.)

<p>
   <li> Yes, Vir is very obsequious in "Midnight."  That's done in order to
	give his character somewhere to go, as gradually he begins to stand 
	up to Londo and talk back.

<p>
   <li> Re: Vir...that was the first episode filmed with his character, and 
	he wasn't directed as well as he might have been.  We pulled him back
	a lot in later episodes.

<p>
   <li> Vir calms down.  Trust me.

	<p>
	He even manages to nail Londo from time to time...as he does when
	Londo suffers a rather nasty hangover in "Born to the Purple."

<p>
   <li> If there's anything about "Midnight" that I would change...ehh...
	that's a tough question to ask any producer or writer.  I can't think
	of anything I've done that I wouldn't want to go back and tweak.  The
	only real drawback we had was that we were still building sets as we
	filmed our first few episodes, so we didn't have access to all of the
	full range of sets.  Not that we really needed them, the story works
	fine in the sets we had, but we could've moved one or two shots around
	into different sets just for variety.

	<p>
	But aside from general tweaking, I don't think there's really
	anything I'd change in it.  My problem is that I'm too close to it,
	and there are a number of episodes we shot afterward that blow it 
	right out of the water in terms of quality, production values and the
	rest; I'd have to say that my favorite shows to date, in order, would
	be The Parliament of Dreams, Mind War, And the Sky Full of Stars, Soul
	Hunter, Born to the Purple, Midnight, Believers, Infection, The War
	Prayer, Survivors and Grail.  Chrysalis, which we're shooting now, will
	probably take over the Favorite #2 spot from Mind War.  We're fighting
	to make every episode better than the one before it.

	<p>
	We're going to have a brass plaque put up here in the offices one of
	these days, before we finish, saying, "If you're not here to kick ass,
	get out."

<p>
   <li> What you and the others seem to be pointing out is what I've been
	trying -- imperfectly, as best I can -- to communicate for some time.
	In the case of "Midnight," can you follow that show and enjoy it 
	absolutely on its own terms?  I believe that is the case.  There's 
	another level there, the "little clues and hints" you mention, which
	will just skate past most casual viewers and not in any way interfere
	with their viewing of the episode...but if you're paying attention, 
	and you catch them, it adds a new level.  The more you see, the more
	you begin to perceive that second level.  It's a cumulative effect
	that doesn't diminish the single episodes as stand-alones.

<p>
   <li> (Lost the last paragraph of my message.)  In any event, what I'm
	striving for is the idea that you can watch the episodes for the
	character stories, OR the story arc, OR the individual stories, OR
	all three at the same time, all in the same exact episodes.  You can
	get out as much as you're willing to find.

	<p>
	It's a very weird kind of writing...but at least on this end, it's
	kinda fun, actually.

<p>
   <li> I agree, most of the plot lines are tied up pretty well (except for
	the telepath issue introduced at the end, which comes back at us
	again...as does, incidentally, the Raghesh 3 incident and other 
	stuff).  In responding to some of the criticism of the pilot, I tried
	to make this one far more self-contained.  Which is why I much prefer
	"Parliament," "Mind War" and "Soul Hunter" over "Midnight."

<p>
   <li> Did we save anything for the rest of the season?  Lemme put it to you
	this way...you ain't seen *nothin* yet.  "Midnight" makes just about
	everything done before for TV look lame...but there's stuff coming 
	down the pike that'll make "Midnight" look pale by comparison.  With
	each show we get better, we learn more, and we can *do* more.

<p>
   <li> In the teaser scene you refer to in "Midnight," you've got a couple
	dozen fighters coming in alongside about 3-4 motherships (or capital
	ships, either term will suffice).  We've always said that big ships 
	can punch through and form their own jump points.  That's how the
	jump gates get there in the first place: a big ship comes through, on
	its own, and leaves behind a jump gate. There's no contradiction.  
	One (or more) of the big ships was creating the point of entry as it
	went.

<p>
   <li> During the con appearance, Jerry told a story that *I* hadn't heard
	before.  There's a scene in the script "Midnight on the Firing Line"
	in which Talia (Andrea) goes into a transport tube, finds Garibaldi,
	and asks some questions about Ivanova.  They rehearsed it several 
	times, this being Andrea's first time on the set, and filmed one 
	take.  She comes down the hall, comes to the pen...and Garibaldi's
	pants are down around his ankles.  Needless to say, that shot did 
	NOT end up in dailies....

	<p>
	There are days I think -- between Jerry, Harlan, me and some others
	involved on the show -- we ought to name this Loose Cannon 
	Productions....

<p>
   <li> Behind-the-scenes humor: because it had been so long since the pilot,
	it took a few of our actors a bit of time to get back into their 
	characters, to find the characters' "fingerprints" for lack of a 
	better term.  This is quite understandable given the long waiting 
	period.  When he needed to find his character for a scene, Peter 
	Jurasik mentioned that he would just stand up straight and yell, 
	"MISter GariBALdi!" and he'd be right back in character.  Sort of 
	the B5 version of "Shazam!"

	<p>
	Minus the lightning bolt, of course.

</ul>

<HR>
Originally compiled by Matthew Ryan <i>mattryan@pobox.com</i>