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578 lines
23 KiB
578 lines
23 KiB
<!-- TITLE Into the Fire -->
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<h2><a name="OV">Overview</a></h2>
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<blockquote><cite>
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The Army of Light mounts its final assault. Londo learns some surprising
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information about Morden.
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</cite>
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<a href="http://us.imdb.com/M/person-exact?+Wasser,+Ed">Ed Wasser</a> as Morden.
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</blockquote>
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<pre><a href="/lurk/p5/intro.html">P5 Rating</a>: <a href="/lurk/p5/072">9.30</a>
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Production number: 406
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Original air week: February 3, 1997
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<a href="http://www.amazon.com/exec/obidos/ASIN/B0000DGBEY/thelurkersguidet">DVD release date</a>: January 6, 2004
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Written by J. Michael Straczynski
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Directed by Kevin Dobson
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</pre>
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<p>
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<a href="http://www.amazon.com/exec/obidos/ASIN/B00000636G/thelurkersguidet">An
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episodic soundtrack is available.</a>
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<p>
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<hr size=3>
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<h2><a name="BP">Plot Points</a></h2>
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<ul>
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<li>@@@854957043 The first of Lorien's people were effectively immortal,
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but later generations grew old and died.
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<li>@@@854957043 The Shadows and Vorlons never attacked one another
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directly because their goal wasn't to defeat the opposition in a
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military sense, but to convince their charges, the younger races,
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to forsake the opposing philosophy. Along the way, both races
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lost track of who they were and what they wanted.
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<li>@@@854957043 All the First Ones, including the Shadows and Vorlons, are
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gone, ushering in the third age of mankind (which seems to refer to the
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younger races as a group, not just humanity.) In the first age, man
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was too primitive to be considered part of the larger
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picture. In the second age, man was intelligent and aware of the
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greater world, but his fate was manipulated by outside forces. Now,
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with all the older races gone, man has entered an age of
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self-determination.
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</ul>
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<h2><a name="UQ">Unanswered Questions</a></h2>
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<ul>
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<li>@@@854957043 What lies beyond the galactic rim? Why do all the elder
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races want to go there?
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<li>@@@854957043 How far did Lorien's broadcast of the conversations with
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the Vorlons and Shadows extend? Just to the crews of the ships at
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Coriana 6, or more broadly than that?
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<li>@@@854989151 Does Londo sending Vir back to Babylon 5 mean that Vir is
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now the Centauri Ambassador?
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</ul>
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<h2><a name="AN">Analysis</a></h2>
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<ul>
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<li>@@@854957043 The First Ones were of surprisingly little help,
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considering the trouble to which Ivanova and Lorien went to secure
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their assistance. They amounted to little more than strange-looking
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guns, just there to pop in, destroy the Vorlon planetkiller, and
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do little else (though one of them can be seen destroying a few
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Shadow and Vorlon ships.) Why were the Shadows and Vorlons seemingly
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undisturbed by the intervention of their peers, preferring instead
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to continue fighting as before? Why didn't the First Ones do anything
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about the Shadow planetkiller?
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<p>
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It could be argued that they had to be present because Lorien needed
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them to see that it was time to depart. But given how reclusive
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most of the remaining First Ones were, they could likely have remained
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right where they were without ever significantly affecting mankind's
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reign of the galaxy. Only the Shadows and Vorlons were actively
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interfering with the younger races. For all intents and purposes the
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remaining First Ones were already gone anyway.
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<p>
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<li>@@@855428614 Sheridan's plan -- luring the Shadows to Coriana 6 with
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false information, then planting bombs in nearby asteroids --
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is the same strategy he employed to good effect against the
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Black Star during the Earth-Minbari War
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(<a href="036.html">"There All the Honor Lies."</a>)
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<P>
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<li>@@@855424386 The representation of the Shadows and Vorlons while
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Sheridan and Delenn were talking to them was symbolic of their nature.
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The Shadows moved around, shifted form, and spoke with many voices,
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representative of chaos. The Vorlons were frozen in ice, cold and
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aloof and unchanging.
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<p>
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<li>@@@865709913 The episode's title can be read as a reference to a
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crucible, which certainly fits the theme of the storyline. Sheridan
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brought together the concentrated forces of the Shadows, Vorlons, the
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First Ones, and the younger races; as they were all forced to interact,
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they were transformed.
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<p>
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<li>@@@854957043 How did Londo know Morden was accompanied by
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Shadows? Perhaps he simply put two and two together after noticing
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the strange sounds near Morden in
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<a href="059.html">"Interludes and Examinations,"</a>
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but this is the first evidence that Londo has been doing research on
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Morden's associates.
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<p>
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<li>@@@856977107 What happened to the Shadow hit by the guard's weapon?
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Was its body recovered? In
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<a href="027.html">"The Long Dark,"</a>
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when the Shadow warrior was killed, it didn't leave a body behind,
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so perhaps it's some kind of standard protection mechanism used by
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the Shadows and their servants.
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<p>
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<li>@@@855249157 By killing Morden and destroying the Shadow base, Londo
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has probably sealed the fate of Centauri Prime as seen in
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<a href="061.html">"War Without End, Part Two."</a>
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As Morden said, the Shadows may be gone, but they have allies, and
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Londo told Sheridan in that episode that the Shadows' allies were
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the ones laying waste to Centauri Prime.
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<p>
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Whether those allies will also be responsible for putting the keeper
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on Londo isn't clear. If so, they would appear to be after more than
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simple revenge, since they were trying to extract information from
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Delenn.
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<p>
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Ironically, if Londo had left the base and Morden alone, the Vorlons
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would have turned back anyway, since their planet-killer was summoned
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to Coriana 6 before it fired a shot at Centauri Prime. Of course, he
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had no way of knowing that.
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<p>
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<li>@@@889479051 When he first appeared in
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<a href="013.html">"Signs and Portents,"</a>
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Morden asked G'Kar, Delenn, and Londo what they wanted. Later, in
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<a href="038.html">"In the Shadow of Z'ha'dum,"</a>
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he asked the same of Vir. The irony is, only Vir actually ended up
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getting exactly what he asked for.
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<p>
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<li>@@@865730452 As the Vorlon ship passed overhead, Londo and everything
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around him fell under its shadow, underscoring the point about Londo's
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Shadow involvement.
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<p>
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<li>@@@855688842 After Selini was destroyed, Morden clutched almost
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desperately at his pendant. Just a reflex, or was it perhaps some
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form of link to the Shadows?
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<p>
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<li>@@@855249157 Given his fate when Sheridan destroyed the White Star on
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Z'ha'dum, and the fact that only extreme intervention restored any
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semblance of his physical body
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(<a href="067.html">"The Hour of the Wolf"</a>)
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Morden may qualify as "the one who is already dead" from
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Lady Morella's prophecy
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(<a href="053.html">"Point of No Return."</a>)
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By killing Morden and thus condemning Centauri Prime to the dismal
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future seen 17 years hence, Londo has plausibly given up a chance to
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redeem himself.
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<p>
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<li>@@@855250685 The Shadows themselves may have departed, but what have
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they left behind? Many of their ships were manned by other races.
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Did the pilots leave for the Rim as well, or are there still Shadow
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ships flying around the galaxy? What about their cities on Z'ha'dum,
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and the ships they buried on worlds all over the galaxy? Did all
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their representatives on Earth and elsewhere leave too?
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<p>
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Similarly, is the Vorlon homeworld now accessible to anyone who cares
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to visit? What did the Vorlons leave behind?
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<p>
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Lorien also may have left something behind, namely the ship he and
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Sheridan took to Babylon 5 in
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<a href="069.html">"The Summoning."</a>
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<p>
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<li>@@@854989151 Who will force mankind to step down when our time has
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passed? The Vorlons and Shadows likely wouldn't have left were it
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not for Lorien's intervention. With both of them, and their peers,
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gone, there'll be no father figure to coax mankind out of the way
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millions of years hence, when <em>we're</em> the mysterious elder race
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meddling in the affairs of the newcomers.
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<p>
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Perhaps that role will be filled by Jason Ironheart
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(<a href="006.html">"Mind War."</a>)
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He indicated he'd be back in a million years.
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</ul>
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<h2><a name="NO">Notes</a></h2>
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<ul>
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<li>@@@855041263 In the initial US broadcast, the end credits were
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accompanied by the theme music from season three, not season four.
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<li>@@@855250214 Reflecting his increased status, Vir's hair appears to
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be somewhat longer in this episode than previously.
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<li>@@@855424526 The space background in the opening sequence, when the
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White Star awaits the arrival of more First Ones, is from a
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<a href="http://oposite.stsci.edu/pubinfo/PR/95/44.html">Hubble
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Space Telescope photo,</a>
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part of the Eagle Nebula.
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<li>@@@855594640 The island of Selini, shown being destroyed by Londo,
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bears strong similarity to the island of Sicily, Italy, as seen
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from space.
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<li>@@@855520811 The scene in which Lorien tells Ivanova about his people
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and about his immortality was originally written for the previous
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episode,
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<a href="071.html">"The Long Night."</a>
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That's why it takes place aboard Babylon 5 rather than the White
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Star, forcing a rather strange detour to the station when Ivanova
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would have wanted to head directly to the scene of the battle.
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When Lorien says, "I was told you were ready to leave," he's referring
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to Ivanova's departure on Sheridan's mission to find more First Ones.
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To cover for this inconsistency, an extra line of voiceover dialogue
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was added to the first scene in the episode, Ivanova telling Lorien
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that they need to get back to Babylon 5 and rejoin the fleet.
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<li>@@@855595571 Lorien said there were six First Ones, but only five can
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be seen leaving the scene of the battle. Of course, the sixth might
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have left separately, or Lorien could have been referring to himself.
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<li>@@@861607080 When Londo arrives in the throne room, he gathers his
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WITS about him: he orders the unnamed Minister to gather the ministers
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of War, Information, Transportation, and Security.
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</ul>
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<h2><a name="JS">jms speaks</a></h2>
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<ul>
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<li>@@@854987635 One of the things about the way events come to a head
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and finish in ITF is that it's very unnerving...okay, *now* what? The
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ongoing conflict has become something you could count on, you knew the
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rough shape of what might be coming along. Now all that's kicked over,
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and you have to get on with the next aspect: making a new life.
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<p>
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What interests me, what I wanted to do with making this show,
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was in large measure to examine the issues and emotions and events that
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precede a war, precipitate a war, the effects of the war itself, the
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end of the war and the aftermath of the war. The war is hardware; the
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people are at the center of the story.
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<p>
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<li>@@@855596749 So far the general reaction has been, "But...but...what
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NOW?" which is *exactly* the reaction I was hoping for.
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<p>
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Everybody keeps commenting, "This is the sort of episode you
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have at the end, not 6 eps into your season." Yep.
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<p>
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We're funny that way....
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<p>
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<li>@@@855520133 Now comes more fun...again, it's all about process...going
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from post-war (Minbari) to an uneasy peace, to showing how a war starts
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to come about, the actual beginning of a war, its progress, then the
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aftermath. That arc really is at the core of the show...the changes that
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take place through this process.
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<p>
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<li>@@@855798440 I've always preferred the arc, both inside an episode, and
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between episodes, and even in the course of a season, where there's the
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resolution and then there's time to consider, reflect, and show the
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impact of these things. It's not just about solving the technical
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problem that way...it's about the people who solve the problem and how
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they are affected by the problems and solutions.
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<p>
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<li>@@@855941361 It's often the aftermath that holds the greatest
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interest. The Civil War tells one kind of interesting story; the
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Reconstruction that followed, which endured for many years longer
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than the war, tells another, just as interesting story.
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<p>
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There's a line one of the characters will say soon, "The
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duration's going to be a lot longer than the war." It's a very
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true comment.
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<p>
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One of my favorite books is "Alas, Babylon," by Pat Frank, which
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is about a nuclear war (written in the early 60s). But the war
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happens entirely off-stage, way in the distance...and the book
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focuses on one small township dealing with the after effects, and
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the day-to-day realities of surviving in a changed world. I've
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always been partial to that kind of storytelling.
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<p>
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<li>@@@855996831 As for the story being over...not by a long sight.
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Frankly, some of what's coming in the latter part of this season is more
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intense than anything we've done previously. We really focus in on the
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characters and the after-shocks of the war, in ways usually ignored.
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<p>
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After all, we all know how nice and calm and civilized Europe
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was after the War To End All Wars came to an end...we hardly heard a
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peep from that part of the world thereafter....
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<p>
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<li>@@@848786435 As usual every season, we start out with lighter CGI
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episodes, and build to big stuff as we go. That will be the same this
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season as last. Our first really big CGI episode last season was
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"Messages," which was around episode #8, then "Severed," episode #10.
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This season we'll hit with big stuff around episode #6, which will
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likely be as big as "Severed." Rather than push stuff back, we've been
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able to move CGI stuff forward and expand on scenes.
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<p>
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<li>@@@854694606 Just a quick note with two purposes:
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<p>
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1) to alert folks interested in Lightwave to check out the B5 episode
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airing in about 2 weeks, "Into the Fire," the second new episode back,
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to see some nifty stuff one can do when one applies oneself. That
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episode has roughly 114 CGI shots in 43 minutes, and are easily some of
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the most elaborate ever done for TV. (There's some nice stuff toward
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the latter half of this coming week's episode, but the following one is
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the big blow-out.)
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<p>
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and
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<p>
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2) to plink the noses of those on here who came on proclaiming that
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"good sources" told them that the CGI EFX on B5 would either go to hell,
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or look crappy, or be less than before. We're now doing far more EFX
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than in any previous season, and more elaborate shots. I said these
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individuals were full of it then, and the facts have spoken for
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themselves in the time since. These individuals have since dropped
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away and gotten real silent. I hope they'll be as forthright now that
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they've been shown to be wrong as they were in their original
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proclamations.
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<p>
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Otherwise we'd have to assume that these individuals were spewing out
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things they knew weren't true, just to poison the well and cause us
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grief, and I just can't *imagine* that *anyone* would do something like
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that....
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<p>
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<li>@@@855334932 <em>Why wasn't the Vorlon shown in its true form?</em><br>
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Because we'd still be rendering it. There are 114 EFX shots in
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that episode, and as it was we just barely made the satellite uplink.
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If it wasn't absolutely necessary, better to do it more simply. As it
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was, we were rendering the shadow form too.
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<p>
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<li>@@@857325978 <em>Are you happy with having to hurry season four along
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in case the show isn't renewed?</em><br>
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Truth: I go back and forth. The "Into the Fire" thing, for instance...
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it would've likely been a two-part episode, but it still would've ended
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up exactly where it ended up. A few more big explosions, but I wonder
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also if that really adds anything past a certain point.
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<p>
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From a production standpoing, since "Fire" darn near killed us in the
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CGI department, it's probably a darned good thing it DIDN'T go for 2
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eps. That puppy had something around 120 or 140 EFX shots.
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<p>
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Overall, I'm actually quite happy with how this season is going, in
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terms of the intensity of the arc and the emotions and incidents. Parts
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would've been a bit more laid-back if I had decided not to cover my bets
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on renewal, and maybe the situation has worked out to the best (again
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the ABA principle, Art By Accident).
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<p>
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So I dunno...all I know is what's in the episodes this season, and it's
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pretty cool overall....
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<p>
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<li>@@@855335304 1.) The CGI was excellent and seemed very different than
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in previous episodes, much larger, better defined, darker. Was this an
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effort on your part, or the post-production department?"
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<p>
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We're trying some new rendering techniques...I think they're working
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very well. (Some of the stuff in the next episode has a very realistic
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feel to it.)
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<p>
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2.) Have you found some way to slow down time or compress the episode
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into a shorter span? When I finished this one, I swore I had watched a
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two hour movie.
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<p>
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You did. We arranged for a time dilation bubble to appear over your
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house.
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<p>
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3.) Any reaction from the actor or staff on this one? Especially, Ed
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Wasser? (Might be a bit of spoilers in the answer to this one)
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<p>
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Ed wants to come back as an alien. I see no problem with this.
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<p>
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<li>@@@855689033 <em>Any significance to Morden's pendant?</em><br>
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It may have its uses.
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<p>
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<li>@@@855168180 The shadow voice was definitely Ed Wasser.
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<p>
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<li>@@@857328385 Yeah, that was Ed's voice. Seemed appropos.
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<p>
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Definitely didn't want it to end in a big explosion. We've seen
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many of those; how many more can you see? One is the same as the other
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after a while. And if we destroyed everything, how would that show we'd
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grown enough to create the new age? It's a matter of evolution, not
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destruction.
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<p>
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<li>@@@855594069 I've suggested the
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use of a minor chords version of the theme music to Chris on several
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occasions, where it seemed right, here, Signs and Portents, and in
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others. The change from minor to major chords does signal an emotional
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transition, and it works well.
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<p>
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The director initially didn't want to do the Londo rage scene in
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one take; it was something I felt very strongly about, and I think it
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works well.
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<p>
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BTW, there's another example of a long single take coming up
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soon, on Epsilon 3, which is all I'll specify. I kinda wanted the
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scene to play itself out, without cutting, and to show just how
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amazingly capable some of our actors can be. We're talking here almost
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4 minutes of footage, not one cut in the whole thing, very fast
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dialogue, and not a single muffed line, with the performances working
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wonderfully. You'll know it when you see it.
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<p>
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<li>@@@859738308 <em>Why were the other First Ones still around?</em><br>
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They were all still hanging around here, for one reason or
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another, mostly to do with inertia, familiarity...but finally
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recognized that it was time.
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<p>
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<li>@@@855424386 The Sigma 957 ship was one of the First One ships, yeah.
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<p>
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<li>@@@855334932 I don't think the shadows speaking through Lyta referred to
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Delenn by name; they said only, "And you they have left for us."
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<p>
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The jostling from the asteroid was an accident, though the
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others would've figured out what was going on soon enough.
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<p>
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<li>@@@855424386 <em>Any relation between the Vorlon representative's
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outfit and Ivanova's in the
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<a href="033.html">"All Alone in the Night"</a>
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dream?</em><br>
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No, no relation to Ivanova's outfit. I just wanted a sense of
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something that was both ancient and ageless, frozen, formal, distant.
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<p>
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<li>@@@855596749 The woman was in ice as a symbol of their ridigity, their
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inflexibility, "frozen in time," as the shadows say.
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<p>
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<li>@@@855248171 <em>Two ancient adversaries gave up just because Delenn
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and Sheridan told them to?</em><br>
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I think that, for me, what mitigates against that is that a) it
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wasn't just Delenn and Sheridan, it was with virtually every other
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major civilization around backing their play, and adding their support,
|
|
their voice, even being willing to die for the sake of this
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|
confrontation. If it were just the two of them...they'd be scragged.
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|
The two forces needed to be shown that the others had turned against
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them, and that their true faces had been exposed.
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|
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<P>
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b) The other key for me is that neither the Vorlons nor the
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|
Shadows saw themselves as conquerers or adversaries...both believed
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|
they were doing what was right for us. And like any possessive parent,
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|
they'll keep on believing that until the kid is strong enough to stand
|
|
up and say, "No, this is what *I* want."
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|
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|
<p>
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|
Most wars tend to end with one singular event...sometimes it's a
|
|
big bomb, or a series of big bombs...and sometimes it comes with a
|
|
negotiation. The two sides meet in a room, sometimes with
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|
representatives of other nations, and together they hammer out a truce,
|
|
or a peace. There's the Nagasaki solution on the one hand, and the
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|
"let's meet in a room and talk about this" of Jimmy Carter, Anwar Sadat
|
|
and Minister Begin.
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|
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|
<p>
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Both work.
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|
<p>
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|
<li>@@@855424386 There is a definite parent/child/parent dynamic going
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|
on there, in that Lorien is, in a way, in that role to the Vorlons and
|
|
the Shadows, they're in that role to us, and we're in that role to
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|
those who will follow. It's the endless cycle.
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|
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|
<p>
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|
<li>@@@855593947 <em>About the final scene between Lorien and the Vorlon
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|
and Shadow images</em><br>
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|
One could almost argue for the whole scene as a classic
|
|
"intervention" out of psychotherapy or group counseling.
|
|
|
|
<p>
|
|
Very early on, John Copeland asked me, "Okay, bottom line it for
|
|
me, what's the war about?" I said, "It's about killing your parents."
|
|
And his eyes went wide, and I explained, "No, not literally...but at
|
|
some point you have to step outside the control of your parents and
|
|
create your own life, your own destiny. That process is
|
|
inevitable...and if there are indeed older races, and they're
|
|
interfering, that puts them smack in the middle of that same process."
|
|
|
|
<p>
|
|
It's not about who has the biggest gun, because there's *always*
|
|
somebody else with a bigger gun...it's about *understanding* your way
|
|
out of a problem.
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|
|
|
<p>
|
|
<li>@@@884031006 <em>Will we ever learn why the first Kosh was more
|
|
sympathetic to the younger races than his replacement?</em><br>
|
|
That's a good question, and one of the things I'd like to do
|
|
(but which I can't see any way to do in the series) is the whole story
|
|
of who Kosh was, how he got to be who and what he was, why he felt the
|
|
way he did toward humans (part of it was knowing Valen)...maybe this
|
|
will have to go into one of the novels.
|
|
|
|
<p>
|
|
<li>@@@884632799 <em>Did Kosh go to B5 knowing that the conflict would
|
|
soon be over?</em><br>
|
|
I think Kosh came late to the
|
|
table. I don't think he came to B5 with that intent, but it grew in him
|
|
over time that this cycle had to end, and he could be instrumental to
|
|
that.
|
|
|
|
<p>
|
|
<li>@@@856337751 The main motive for going beyond the rim...there's a heck
|
|
of a big Taco Bell out there....
|
|
|
|
<p>
|
|
<li>@@@856920989 The notion of the Vorlons and Shadows representing
|
|
Order and Chaos goes back to the Babylonian creation myths, that the
|
|
universe was born in the conflict between order and chaos, hence part of
|
|
the reason I decided to name this show after Babylon. That's called
|
|
*research*. It informs the show, but it is not the show.
|
|
|
|
<p>
|
|
<li>@@@855249157 Certainly Londo would like to avoid his fate, and Lady
|
|
Morella prophesied certain ways of doing this...and he's had some
|
|
chances, and blown them. As you say, he's creating the very future he'd
|
|
hoped to avoid.
|
|
|
|
</ul>
|