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649 lines
39 KiB
649 lines
39 KiB
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[1][ISMAP]-[2][Home]
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### GUIDE ### [3][Background] [4][Synopsis] [5][Credits] [6][Episode
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List] [7][Previous] [8][Next]
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_Contents:_ [9]Overview - [10]Backplot - [11]Questions - [12]Analysis
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- [13]Notes - [14]JMS
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_________________________________________________________________
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Overview
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First Season finale. A dying man leads Garibaldi to a discovery
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that could cost him his life. Londo receives help in a dispute with
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the Narns. Something begins to happen to Delenn. [15]Macaulay
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Bruton as Garibaldi's aide. [16]Edward Conery as Devereaux. [17]Ed
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Wasser as Morden.
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Sub-genre: Intrigue
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[18]P5 Rating: [19]9.38
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Production number: 112
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Original air date: October 26, 1994 [20](*)
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Written by J. Michael Straczynski
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Directed by Janet Greek
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Watch for:
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* A convenient departure just before an important event.
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_________________________________________________________________
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Backplot
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* Before the Centauri occupation, Narn was a peaceful, agrarian
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world.
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Unanswered Questions
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* What is happening to Delenn?
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* What does it have to do with Kosh, or with the Vorlons? Why did
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seeing Kosh help Delenn make up her mind?
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* What was the question she had Lennier relay?
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* What is the function of the triluminary in Delenn's device?
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* What is the function of the device itself?
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* Why did Delenn want to tell Sinclair what happened on the Line?
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* Who's behind the plot to kill President Santiago?
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* Why were the jammers and triangulation devices being shipped
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through Babylon 5?
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* Why did Garibaldi's aide kill Devereaux?
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* What are G'Kar's suspicions about the attack on the military base?
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* What do the Shadows want from Londo once he's in a position of
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power?
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* What were the invisible creatures in the room with Morden? If they
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were Shadows, why did they come to Babylon 5 themselves, assuming
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Morden was still on the station? For that matter, _how_ did they
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get onto Babylon 5? On someone else's ship, or is one of theirs
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parked outside, invisible to everyone?
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* How did Morden know that Londo's name was being spoken in the
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highest circles of the Centauri government?
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* How did Kosh know that Sinclair had forgotten something? Does he
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know what Delenn was planning to tell Sinclair, and if so, does
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that imply he was involved in what happened on the Line?
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* Was Garibaldi's friend Lianna Kemmer (cf. [21]"Survivors") on
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Earth Force One when it exploded?
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Analysis
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* The fact that Delenn decided to go ahead with the change after
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Kosh revealed himself to her implies that there may be a much
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closer relationship between the Minbari and the Vorlons than has
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previously been suggested. It is even possible that Delenn is
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turning into a Vorlon somehow, and that Kosh showed her he
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resembled a Minbari. On the other hand, that doesn't explain
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Kosh's interest in humans, who he arguably doesn't consider
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another race (cf. [22]"The War Prayer.")
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* Morden seems to be more than just a representative for the
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Shadows; they seemed to be consulting with him. If he were a mere
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spokesman, why would he reassure his masters?
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* The Vice President is a prime suspect in the plot to kill
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President Santiago. He just happened to leave the President's ship
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shortly before the assassination attempt. He also presumably would
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be able to arrange for an unregistered weapon for Devereaux -- or
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perhaps Devereaux really _was_ an agent working under the Vice
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President, in a capacity so secret Garibaldi couldn't find any
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reference to him.
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* Casting more suspicion on the Vice President, and adding a darker,
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more sinister note, is the newspaper headline from [23]"And the
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Sky Full of Stars" -- "Psi Corps in Election Tangle: Did Psi-Corps
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Violate its Charter by Endorsing Vice President?"
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* It's still not entirely clear where Garibaldi's aide's loyalty
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lies. The killing of Devereaux and his men suggests there may be
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more than one level of deception at work. Or perhaps he was simply
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under orders to tie up loose ends and wanted to ensure Devereaux
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could never blow his cover if apprehended.
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* The Shadows may have been the force overrunning Garibaldi's
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position in the flashforward from [24]"Babylon Squared." They may
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also be what the crazed man in that episode was shouting about
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when he referred to invisible monsters.
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* Chrysalis is the third stage in insect development (egg, pupa,
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chrysalis, and adult form.) There may be some relation to the
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third age of mankind referenced in the opening monologue.
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* Delenn has obviously seen her change coming for quite some time;
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she has been building the crystal device in her quarters almost
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from day one. Her compatriots on the Grey Council appear to
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largely be in the dark about it, though perhaps not all of them,
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as one of them did give her the triluminary (cf. [25]"Babylon
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Squared.")
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* Delenn's ability to breathe the atmosphere in Kosh's quarters with
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only a single whiff of air from a mask is further evidence of some
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connection between Vorlons and Minbari. Or it could just mean the
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Minbari don't need much oxygen (or that both Kosh's air and the
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normal station air contain whatever they _do_ need.)
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* She has been disobeying the Council's order about Sinclair,
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perhaps ever since [26]"And the Sky Full of Stars." That suggests
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she may have intentionally been hiding her upcoming transformation
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from them, as well. Otherwise it would presumably have come up
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when they considered her for the leadership of the Council (cf.
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[27]"Babylon Squared.")
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* Londo's disgust about the deaths of the Narn suggest he may not be
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the iron-fisted leader the Shadows appear to be looking for (cf.
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[28]"Signs and Portents," in which Morden appeared to be looking
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for someone ruthless and ambitious.) In the future he may be
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placed in the position of deciding whether people live or die, and
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may have to act against the Shadows' wishes.
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* G'Kar may be returning home to try to warn his superiors that a
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sixth race exists and is out to get them. Whether he has deduced
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that the intent is to cause war between the Narns and the Centauri
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(if, indeed, that _is_ what the Shadows are up to) is an
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interesting question. It is also not clear what the Narns could do
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about the situation even if the leadership was convinced there was
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another player in the game; the Shadows appear to have an
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overwhelming technological advantage over most of the other races.
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* On the other hand, the Shadows did dispatch four ships to take
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care of the Narn outpost. That suggests that one ship might not
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have been enough, in turn implying limits to their power.
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* "And so it begins," says Kosh. That's the same line spoken by
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Delenn during the ceremony in [29]"The Parliament of Dreams,"
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after Sinclair eats the fruit. Perhaps Kosh was referring to
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Delenn's change rather than the death of President Santiago, and
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perhaps it has something to do with the possible marriage of
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Delenn and Sinclair in the aforementioned episode. (But see
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[30]jms speaks.)
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* When Kosh emerges from his encounter suit for Delenn (assuming
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that's what he was doing,) there's a sound not unlike wings moving
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through the air.
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* In [31]"TKO" (which was originally going to air much later in the
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season, either immediately before or one episode removed from
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"Chrysalis,") Walker mentions that Garibaldi was never any good at
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watching his back, foreshadowing the events in this episode.
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Notes
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* Shot twelfth out of 22 episodes due to the extensive
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post-production work required.
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* First broadcast in the UK on October 3, 1994. PTEN didn't want to
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show it during August, traditionally a month of low viewership, in
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the US, so it was held back until the week before the first
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season-two episodes, becoming, to all appearances, the season-two
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premiere. In fact, PTEN even advertised it as such. But, as
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stated, it was produced halfway through the first year of
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shooting, so definitely qualifies as a season-one episode.
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* The original satellite feed in the US was missing a special
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effect. In the first shot of Londo walking in the hedge maze, the
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scene was supposed to show the maze at the bottom of the frame and
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a view down the center of the station above that. The actual
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broadcast showed the back wall of the soundstage behind the
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hedges, complete with "Exit" sign. Oddly, the correct scene was
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used in the UK broadcast, which occurred much earlier. [32]Bad and
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[33]good pictures of the scene are available.
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* Garibaldi's aide appeared in three previous episodes: [34]"Mind
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War," [35]"And the Sky Full of Stars," and [36]"Eyes" (where he's
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in Ivanova's dream.)
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jms speaks
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* Today, incidentally, I finished the outline for "Chrysalis," which
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will be the last episode of this season, though we'll be shooting
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it much earlier, about 2/3rds through the run. It's a real corker
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in which we absolutely kick over the table and all hell breaks
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loose *bigtime*. This one I'm *really* looking forward to writing.
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* I'm in the strange position of writing the season end episode now,
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to shoot #12, since it's going to require a lot of post production
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work, and it definitely puts one in a very strange state of mind.
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I have to be careful to refer to things that've happened in the
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past episodes, from the perspective of the last episode of the
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season, but which haven't yet been written or filmed in real-time.
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So I'm writing the second half of some stories before having
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written the first half (though I obviously know where they're all
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going)...which really bends your brain around after a while.
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This episode is going to be highly classified; we're going to
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limit distribution of scripts, and parts of scripts, put canary
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traps in all of the scripts that *are* distributed, and otherwise
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keep this one quiet. All I can say is that we're going to kick
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over every table we've got. In any season finale, there are maybe
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4-5 things you know when you sit down to watch the show that
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they'll NEVER ever do. So we're doing all of them. If this one
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doesn't keep you glued to your seats, you've lost your chair.
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* But I'd say that our two *best* so far are still "And the Sky Full
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of Stars" and "Chrysalis." I just watched a cut of "Chrysalis"
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today which finally had all the CGI in it, and had to scrape my
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brain off the opposing wall, it's *that* good.
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* I have just seen the director's cut of "Chrysalis," which will be
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the last episode of this season...and I think it has just
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displaced "Sky" as the most heavy-weight episode of the season.
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Even knowing what was coming, I just sat here, stunned, at the end
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of it. Seeing dailies, bits and pieces, doesn't really prepare you
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for the whole thing. What I like most about it are two things:
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one, by about halfway in, you really begin to understand that
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anything can happen, to anyone, and the rules that normally carry
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you through a television episode no longer apply. It's a very
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dangerous, dislocating feeling. Two: you get the very real feeling
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that, after this episode, nothing is the same anymore. The show
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has taken a very profound and *irrevocable* turn that will have
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lasting effects on all of our characters. Of all the episodes so
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far, this one has the most feeling of being the chapter end in a
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novel. The really hard part will not avoiding the temptation to
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show this to people...because it really can't be allowed to get
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out prior to airing. There are too many twists and turns and
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revelations that spin one off into another. One other thing's
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certain: after you've seen "Chrysalis," you're going to want to go
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back and check out three prior episodes...because something that
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you will have read/interpreted one way, without question or
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hesitation accepting it as what it obviously appears to be, will
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suddenly be turned on its head, and a brand new interpretation
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will emerge. And it's *real* creepy....
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* "Chrysalis" makes "Mind War" look like a still-life painting by
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comparison....
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* We finally delivered "Chrysalis" to Warner/PTEN, and heard back:
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our liaison over there was stunned, describes it as the best
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season-ending cliffhanger he's ever seen, unlike anything done
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before. Suffice to say we're pleased.
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* We have a New Year's celebration in one episode later this season,
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and at some point will probably show other stuff next year.
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* What I like most about it are two things: one, by about halfway
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in, you really begin to understand that anything can happen, to
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anyone, and the rules that normally carry you through a television
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episode no longer apply. It's a very dangerous, dislocating
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feeling. Two, you get the very real feeling that, after this
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episode, nothing is the same anymore. The show has taken a very
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profound and *irrevocable* turn that will have lasting effects on
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all of our characters. Of all the episodes so far, this one has
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the most feeling of being the chapter end in a novel.
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* _Someone complains about the characters not staying the same_
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Losing the characters she's come to enjoy? No. But the characters
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are changing. That's the point, and that's been the intent from
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day one. But what's the alternative? I've heard ST fans complain
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loudly and bitterly that after 7 years of TNG being on the air,
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nobody's really changed, nobody's been promoted into different
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ships or major changes in responsibilities...they've had Riker as
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XO for seven years, which in the real military would mean his
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career is *over*.
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Change is the only other option.
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The goal, from the start, was to create an overall story, but
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which would also require arcs for every single major character.
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They're all going somewhere. In many cases, that "somewhere" plays
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into the larger arc; in some cases, not. If a woman is single,
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then gets married, then gives birth, and she's your friend, have
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you "lost her" just because she's gone through these changes? Of
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course not. She has changed, in good or bad ways, but she's still
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the same person.
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* I just showed "Chrysalis" to a couple of people today, who didn't
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know what was in it. And there's one thing that they had seen over
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and over in prior episodes of the series which they never thought
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twice about, which they just sorta accepted...only to suddenly
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have this understanding totally turned on its head.
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The look on their faces was *priceless*.
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This is probably the longest and most extensive setup/payoff in SF
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television history. And afterward, once you discover what that is,
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if you go back suddenly there's a LOT of different meaning in
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prior episodes.
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* "Chrysalis," a cliffhanger of sorts, leads right into "Points of
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Departure," which picks up some of the tables kicked over by
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"Chrysalis," the balance of which are picked up in the second
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episode, "Revelations." By the end of the second new episode,
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pretty much everything is now in place for the rest of the second
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season...though not everything is in quite the same position as it
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originally was.
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* Except, of course, that where everyone goes is important to the
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rest of the story, and that the purpose of the episode is to
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introduce massive change into the story overall; when Sinclair
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says "Nothing's the same anymore," he's deadly serious, and so are
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we. The changes won't just be transitory or for a season-end hook;
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these are permanent and substantial changes in the arc.
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* Now that you've seen this much, now you can begin putting together
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the other level of the metaphor that is B5...consider: a war that
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did not end satisfactorily for us, not winning or losing, a sort
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of peace with honor....the death of a president...the rise of
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intelligence agencies and military power...start to sound
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familiar? Now what we begin to do is to start moving around the
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pieces, shifting the mirror of the story to reveal different
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aspects of ourselves, as well as tell the other separate story of
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B5 itself. Again, the idea is for this story to function on *many*
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different levels: future-history, myth, adventure story, mystery
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and a metaphor.
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* Re: the staging of Morgan Clark taking the oath of office; I gave
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very particular instructions to re-create the staging of the
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photograph in which Lyndon Johnson takes over from JFK after the
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assassination. The same layout, posture, background, and so on. We
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even had a photo on set for reference. The creepy thing is that
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the day we shot the scene was the anniversary of the day it
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actually took place; very weird atmosphere on set that day.
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* Actually, I was born in 54, so we're about the same age. Oddly, I
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don't remember the day of the shooting; what I *do* remember is
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watching JFK's funeral, and not entirely understanding the depth
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of the event, but fully grasping the emotions around me. That will
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linger forever.
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* President Santiago is dead as a doorknob.
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* Re: being fooled into thinking the crystal construct in Delenn's
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quarters was nothing more than a meditation thing...in general, it
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helps to remember that I subscribe to Anton Chekov's First Rule of
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Playwriting: "If there's a gun on the wall in act one, scene one,
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you must fire the gun by act three, scene two. If you fire a gun
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in act three, scene two, you must see the gun on the wall in act
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one, scene one."
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Waste nothing.
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* _About the marriage ceremony in "Parliament"_
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The marriage was a red-herring, a bit of misdirection. The key for
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any magician is to get the audience to look at your hand so they
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don't see the elephant being wheeled onto the stage in full view.
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The line in "Parliament" is, "It's a rebirth ceremony all right,
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and sometimes doubles for a marriage ceremony." When I wrote that,
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I knew instantly that everyone would focus in on the second half
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(misdirection) and miss the first half. (Note that Delenn's "And
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so it begins" is echoed by Kosh in the last episode.) I put out
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something that I figured everybody would latch onto, ignoring the
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other meaning which is stated twice.
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* _Why did they turn Garibaldi onto his back, where the wound was?_
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I was told by our medical technology consultant that after you
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take care of the basic external wound, you always turn the body
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over and go after the internal damage from the *front*. I was told
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why three times, but still can't retain it. I think it involves
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easier access without cutting around the spine, and makes
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breathing less laborious.
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* The teaser of that episode [Chrysalis] is very much just the sort
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of thing we've seen before; designed to lull you into a sense of,
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"Yeah, yeah, we've seen this." Right down to the tired look on
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Sinclair's face. Been there, done that. Then you yank the viewer's
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blanket. And structurally, it was designed to somewhat mirror the
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events in the first episode; the balance is shifting, things are
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going in the reverse of what we saw before.
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* I don't like loose threads hanging around, so all this will get
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tied up. In some cases, we'll see flashbacks to stuff that
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happened "around the corner," so to speak, and in others we'll
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have dialogue explanations. We get the scoop on what question
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Delenn asked Kosh (via Lennier) before [season 2] is out.
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* _If the Shadows are visible, how did they get onto the station?_
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In "Chrysalis," they are distortions visible in the air when they
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wish to be...and not when they don't.
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* "There is good reason to believe the Minbari Triluminary device is
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an artifact not created by the Minbari."
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DING*DING*DING*DING*DING*DING*DING*DING!
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* Actually, the first Triluminary was found by the Minbari, not made
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by them, in a vessel they ran into about a thousand years ago.
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* _About Walker's lines in "TKO"_
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Re: "Watch your back," and "You never did know how to watch your
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back," yep, that was a bit of deliberate foreshadowing for
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"Chrysalis." When the episode aired, I mentioned at the time that
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there was something in that episode that would later be seen to be
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ironic or ominous, but didn't seem so at first. One or two caught
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it, but most didn't. This show is layered very, VERY carefully.
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* Correct; Garibaldi's aide has *always* been a plant. I seeded him
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in from the beginning, specifically for that purpose. It was the
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aide who got Sinclair out of his quarters in "Sky," was the
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liaison who got Benson on line (also in security, you'll
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remember), and helped dispose of the body. If you watch his
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reaction in "Sky," he's the one who brings info to Garibaldi
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looking to clear Benson; and when Garibaldi sees through it, you
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can see his aide move off looking very worried.
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Originally, it was Laurel Takashima who would have betrayed those
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around her, as this character did. When Laurel was transferred, I
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had a choice: keep that arc for her replacement (Ivanova), or give
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this part of it to someone else. Now, knowing how the folks here
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on the nets and elsewhere think, and knowing that they knew about
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the Laurel- possible-traitor thread, I figured that everyone would
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assume that Ivanova would get that part. (And, sure enough, a lot
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of people did.) This became a wonderfully convenient blind behind
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which to build the *real* plant.
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And thus far, *nobody's* seen it coming. He was right there in
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clear view, we used him many times (also in "By Any Means
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Necessary," for instance), and nobody ever paid him the slightest
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attention.
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It is, in a way, the classic magician's trick of misdirection: you
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try to get everyone to look at your hand so they won't look at the
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huge elephant being wheeled up onto the stage in plain sight.
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* No, the shooting of Garibaldi was always a very strong part of the
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story for the end of first season; that line goes all the way back
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to the pilot, and Laurel Takashima.
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* No, after the thread with Laurel was revealed, lots of people
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*assumed* that that thread had been passed along to Ivanova. It
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had never in fact been intended for her, but when it was broached,
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I simply didn't reply, on the theory that if I said it *wasn't*
|
|
her, it'd narrow it down to who it *was*.
|
|
* "I *liked* Laurel!"
|
|
Well, yes, that's rather the point; tragedy is only tragedy if it
|
|
happens to someone you care about and like.
|
|
* The Shadowmen stuff was all CGI, no models. Spiffy stuff. And yes,
|
|
we'll find out in time what Delenn asked Kosh.
|
|
* "If the Shadows are active on Earth, we need to ask why Psi-Corps
|
|
haven't picked them up."
|
|
Yep.
|
|
* The chrysalis is virtually all prop, with some roto work to
|
|
enhance the glow in "Chrysalis."
|
|
* _Was it credible that President and Vice President would travel on
|
|
the same flight? Their twentieth-century American counterparts
|
|
don't fly together on Air Force One._
|
|
You're forgetting several elements.
|
|
1) It would be in the VP's best interests to go along on the trip,
|
|
to help defuse any suspicion ("Boy, was I lucky.").
|
|
2) Going a few hours out of the country is one thing; you're not
|
|
looking at the aspect that traveling in normal space takes a lot
|
|
of time and expense...a ship as massive as EF1 is hideously
|
|
expensive; two would be a major waste of government money, and
|
|
they'd both be traveling side by side, further wasting money.
|
|
Also, whereas Air Force 1 travels nominally alone, EF1 has a full
|
|
escort of fighters, with a minimum of four in the "air" at any one
|
|
time, plus another batch inside.
|
|
Going between planets is a much different process than going
|
|
between here and London; and if both parties are required at the
|
|
other end, the only sensible way is to have them go together.
|
|
* Remember when I said there are things you learn midway into a
|
|
series that you can learn no other way? Yikes...
|
|
As I've mentioned before, in our season ender, "Chrysalis," we tip
|
|
over every table we've got. I'm talking here *major* stuff, that
|
|
profoundly and permanently affects many of our primary characters.
|
|
Well, you build that as a two parter, and even *try* to resolve
|
|
all of that in the second part. It doesn't work, because the
|
|
repercussions are so substantial. (What it is, really, is
|
|
something that'll be felt throughout the entire second season.)
|
|
You can try to pack all the loose thread-tying into part two, but
|
|
it's like trying to pack 10 pounds of potatos into a 5 pound bag.
|
|
One other option is making it a six parter, but *that's* really
|
|
silly. So what I'm doing, I've decided, is to take the major
|
|
elements and play them out over the first five or so episodes.
|
|
This will give me time to give each of the threads the necessary
|
|
time to play out effectively, rather than rushing things.
|
|
So Chrysalis stands alone as a season ender, and a prelude to the
|
|
Big Stuff in season two. Episode 1 of year two, therefore, won't
|
|
be "Chrysalis, Part Two," but have its own title, allowing me to
|
|
spread the stuff over the next few episodes. (Probable title:
|
|
"Points of Departure.")
|
|
I showed "Chrysalis" to some people the other day, and the
|
|
reaction was across the board astonishment. Just stunned. Which
|
|
was pretty much the desired result. It's an absolute left-turn for
|
|
the series.
|
|
* Since I mentioned it over on Internet (but not where it belongs),
|
|
I give y'all a little gift...Kosh's very last line of the season,
|
|
in "Chrysalis."
|
|
"You have...forgotten something."
|
|
It's not nearly as straightforward as it looks, and that one line
|
|
will carry with it *major* repercussions. (And no, it doesn't
|
|
refer to the 24 hours.)
|
|
* Only two Shadowman vessels hit the Narn base at Quadrant 37, not
|
|
three.
|
|
* Sometimes it gets wonky. We filmed "Chrysalis" twelfth in shooting
|
|
order, to air twenty-second. Part of the setup to "Chrysalis" is
|
|
"Signs and Portents," which shot 4 episodes later. Meaning the
|
|
actors had to act familiar with elements they hadn't performed
|
|
yet, and hadn't seen yet in script form. So in that case, I had to
|
|
sit down and explain what the various aspects of "Chrysalis"
|
|
meant, and where we were going, for it all to play. Later, when
|
|
"Signs" was published in-house, they got to see in more detail how
|
|
the setup fit in with the payoff.
|
|
If asked, I would probably try to refrain from telling any of the
|
|
actors the full story. Let me rephrase: I simply wouldn't do it.
|
|
If they would ask where their individual character is going -- and
|
|
some have -- what I do is give them the general arc, but leave out
|
|
a lot of specifics. For instance, Peter knows *in general* that
|
|
his character is going in a darker direction, but not how he's
|
|
going to get there or what it means to the overall story. And
|
|
that, I think, is as it should be.
|
|
* Every so often, a screwup takes place that is so breathtakingly
|
|
stupid that it defies all logic and reason. I just learned of one
|
|
this evening, and I'm still reeling a bit from it. Consequently,
|
|
this is address to anyone who watched the satellite uplink of
|
|
"Chrysalis" or has seen it in the US in the last day or so.
|
|
Once we deliver an episode, it goes to two places: Modern Video
|
|
and CVC. CVC checks an episode of any series prior to uplink to
|
|
make sure it's okay. Though they've had it for four months, they
|
|
only got around to checking it the day before uplink. During this,
|
|
they found a couple of small audio pops. The kind of thing that
|
|
could be fixed in about five minutes. But since it was the
|
|
evening, Modern Video decided to fix it for us...by *rebuilding
|
|
the entire episode*.
|
|
Without calling us, notifying us, or checking with us, when we
|
|
could've easily had someone on-hand there to supervise at a
|
|
moment's notice.
|
|
Well, when they rebuilt the episode...they didn't use all the
|
|
correct footage. Some of what was used was RAW FOOTAGE. Example:
|
|
when Londo goes to meet someone in the Garden, there's supposed to
|
|
be a great composite shot there of the interior of the Garden
|
|
area, and a hedge maze. (The UK saw this version of it last
|
|
month.) But when the episode was rebuilt, they used the raw
|
|
footage segment showing Londo and a partial hedge IN THE
|
|
SOUNDSTAGE, where you can see the stage wall, and the pipes, and
|
|
the EXIT sign. No composite. Nada.
|
|
We don't yet know what else has been included incorrectly, because
|
|
we won't see a copy until morning. Suffice to say that this is
|
|
being taken care of *our* way overnight, and a correct version
|
|
will be sent out via satellite in time for the Wednesday first
|
|
airings in most markets, and the reruns in those markets where
|
|
it's already aired.
|
|
At this moment, I am preternaturally calm about all this, having
|
|
passed beyond anger earlier this evening into a kind of zen state
|
|
of consciousness, utterly unable to wrap my brain around the
|
|
absolute stupidity of something like this for more than two
|
|
minutes at a time.
|
|
By morning, this will have worn off.
|
|
I'm looking forward to it immensely.
|
|
* As it turns out, we discovered that there were TWO comp shots
|
|
missing (including one in DownBelow), and that's how the "to be
|
|
continued" got added in at the end. We rousted our people out of
|
|
bed and had them at the Modern Video facility at 2:30 a.m. fixing
|
|
other people's mistakes, rebuilding the entire episode so it could
|
|
be birded out this afternoon.
|
|
* If you saw TBC at the end of the episode, it was NOT the correct
|
|
version.
|
|
* Well, we tracked down more on the screw-up, and that's how the "To
|
|
be continued" got in, and there's a second composite shot missing
|
|
(from the DownBelow area). We rousted our post production people
|
|
out of bed last night, and at 3:30 a.m. had them correcting the
|
|
mistakes made by others, reassembling the entire episode. The
|
|
correct version is going out on the bird today, tomorrow, and
|
|
tomorrow night. It will also be hand-delivered to KCOP here in
|
|
town to make sure they get it.
|
|
I encourage anyone who saw "Chrysalis" over the last day or so to
|
|
look at it again on the rerun; I think you'll find parts of it
|
|
much better.
|
|
This has been a complete and utter meltdown, and we're all out for
|
|
blood at the moment.
|
|
* Yeah, it can make you crazy. Y'know that game, where you have a
|
|
mallet and your job is to whack the gophers as they stick their
|
|
head up out of the ground? That's as good a description of my job
|
|
as I've ever seen. And there are always new gophers....
|
|
* _KCOP Channel 13 replaced the *good* version of Chrysalis with the
|
|
messed-up version_
|
|
I know...I know....
|
|
Hand me my chainsaw, I'm going shopping for dinner.
|
|
* The mistake wasn't made by us. It was broadcast correctly
|
|
overseas, in the UK, perfectly. This was done by the video house
|
|
that supplied the satellite feed.
|
|
* Here is Londo's arc through the five year storyline:
|
|
Funny and light; then funny and dark; then dark and tragic; then
|
|
tragic and light.
|
|
* Yeah, there's hope for Londo...but not in the way I think anybody
|
|
will expect, and not in the way Londo would like.
|
|
* Londo is a fascinating character to write; there's layers upon
|
|
layers, and every time I sit down to write him, he surprises me
|
|
with something else. And it's certainly more interesting to watch
|
|
someone you like falling into something terrible than to set up a
|
|
bad guy from day one; no complexity or sympathy there. It's kind
|
|
of like watching an accident in slow motion. But in the final
|
|
analysis, all is not dark for Londo.
|
|
* _What's the story on the god Vir doesn't consider part of the
|
|
Centauri pantheon?_
|
|
Ah, yes...that one wasn't an emperor, that was Zoog, which was
|
|
really just a household god, primarily associated with one noble
|
|
family, that somewhat imposed Zoog where possible, forced the
|
|
religious establishment to recognize the temple they'd built to
|
|
Zoog...it was strictly an act of vanity on their part, to create a
|
|
god, and elevate a household god, which never really carries much
|
|
weight, to something greater, adding to the general pantheon.
|
|
* No, alas, Tech #1, Marianne Robertson has decided that she would
|
|
like to travel next year with her husband Dick Robertson, and has
|
|
some other personal plans in mind, and thus won't be back next
|
|
season.
|
|
* Just FYI...Marianne Robertson, Tech #1, was Swedish, not Russian.
|
|
* "JMS has specifically told us that one MAIN character will die in
|
|
Chrysalis or Points of Departure (I don't remember which)."
|
|
No I haven't.
|
|
Never said it.
|
|
Sometimes, what happens is that people guess about what's going to
|
|
happen in the story...and gradually that becomes the assumption on
|
|
the part of some people that this WILL happen...which in time
|
|
metamorphoses into "JMS said this would happen."
|
|
This is yet another of those. Never said it.
|
|
While I understand how this happens (and it happens a lot), the
|
|
only real complication that I get from it is that suddenly I'm
|
|
being held to promises I never made...and if it doesn't happen as
|
|
I supposedly said, then it's somehow my fault.
|
|
* The Douglas Adams "homage." Nope. Eric Sevareid once wrote that
|
|
"working in television is like being nibbled to death by ducks." I
|
|
think it was in his book "Not So Wild A Dream," itself a line
|
|
borrowed from a poem by Norman Corwin. It's also a fairly common
|
|
phrase.
|
|
* Scenes you should look at differently after "Chrysalis"...one that
|
|
comes to mind offhand is "Sky," in the various Garibaldi scenes
|
|
(can't be more specific than that right now).
|
|
* _Have we learned the fate of Garibaldi's friend Lianna Kemmer,
|
|
from "Survivors?" Was she on Santiago's ship?_
|
|
No, we haven't established what happened to her, but we will in
|
|
time.
|
|
* If we go into what happened, and where she is, it kinda behooves
|
|
us to show her.
|
|
* As with her arrival at B5, she would've been handling the advance
|
|
work on Io prior to Santiago's arrival.
|
|
|
|
|
|
[42][Next]
|
|
|
|
[43]Last update: August 8, 1997
|
|
|
|
References
|
|
|
|
1. file://localhost/cgi-bin/imagemap/titlebar
|
|
2. LYNXIMGMAP:file://localhost/lurk/maps/maps.html#titlebar
|
|
3. file://localhost/home/woodstock/hyperion/docs/lurk/background/022.shtml
|
|
4. file://localhost/home/woodstock/hyperion/docs/lurk/synops/022.html
|
|
5. file://localhost/home/woodstock/hyperion/docs/lurk/credits/022.html
|
|
6. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
|
|
7. file://localhost/home/woodstock/hyperion/docs/lurk/guide/021.html
|
|
8. file://localhost/home/woodstock/hyperion/docs/lurk/guide/023.html
|
|
9. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#OV
|
|
10. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#BP
|
|
11. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#UQ
|
|
12. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#AN
|
|
13. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#NO
|
|
14. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#JS
|
|
15. http://us.imdb.com/M/person-exact?+Bruton,+Macaulay
|
|
16. http://us.imdb.com/M/person-exact?+Conery,+Edward
|
|
17. http://us.imdb.com/M/person-exact?+Wasser,+Ed
|
|
18. file://localhost/lurk/p5/intro.html
|
|
19. file://localhost/lurk/p5/022
|
|
20. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#NO:UK
|
|
21. file://localhost/home/woodstock/hyperion/docs/lurk/guide/011.html
|
|
22. file://localhost/home/woodstock/hyperion/docs/lurk/guide/007.html#UQ:3
|
|
23. file://localhost/home/woodstock/hyperion/docs/lurk/guide/008.html#NO:1
|
|
24. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html
|
|
25. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html
|
|
26. file://localhost/home/woodstock/hyperion/docs/lurk/guide/008.html
|
|
27. file://localhost/home/woodstock/hyperion/docs/lurk/guide/020.html
|
|
28. file://localhost/home/woodstock/hyperion/docs/lurk/guide/013.html
|
|
29. file://localhost/home/woodstock/hyperion/docs/lurk/guide/005.html
|
|
30. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#JS.marriage
|
|
31. file://localhost/home/woodstock/hyperion/docs/lurk/guide/014.html
|
|
32. file://localhost/lurk/gif/022/goof.jpg
|
|
33. file://localhost/lurk/gif/022/real.jpg
|
|
34. file://localhost/home/woodstock/hyperion/docs/lurk/guide/006.html
|
|
35. file://localhost/home/woodstock/hyperion/docs/lurk/guide/008.html
|
|
36. file://localhost/home/woodstock/hyperion/docs/lurk/guide/016.html
|
|
37. file://localhost/lurk/lurker.html
|
|
38. file://localhost/home/woodstock/hyperion/docs/lurk/guide/022.html#TOP
|
|
39. file://localhost/cgi-bin/uncgi/lgmail
|
|
40. file://localhost/home/woodstock/hyperion/docs/lurk/episodes.php
|
|
41. file://localhost/home/woodstock/hyperion/docs/lurk/guide/021.html
|
|
42. file://localhost/home/woodstock/hyperion/docs/lurk/guide/023.html
|
|
43. file://localhost/lurk/lastmod.html
|