Saturday, 11 April 2020

Blake's 7 - The Harvest of Kairos

The Harvest of Kairos

The Harvest of Kairos has ideas with good potential, but it doesn't work well for me overall. Despite some high stakes, I found the episode dull in parts. Intersecting the space pursuit with the introduction to Jarvik slowed the pace and it did seem to go on for a long time, but without the usual tense, exciting action I usually enjoy from these "battle stations" moments. I think these parts of the episode should have been edited down, partly because I'd have liked more time for another element.

The rock
It was amusing to see Avon so distracted by his new discovery and winding up Orac, forcing him to admit there was something greater than himself. Yet when Avon had dragged Cally away from the bridge, putting them all in danger, it was concerning. It began to seem like the rock had some sort of hold on Avon with Tarrant criticising: "That thing has warped your reasoning. It has even warped your notorious instinct for looking after number one." After this, it disappears for the rest of the episode before Avon whips it out at the end, having suddenly figured out how it works. This wasn't enough for me and I think the plot would have benefitted from spending more time constructing the unusual mystery around the rock.

I do think the rock's excellent defence mechanism - of showing itself as just like its attacker but a tiny bit better - is a clever idea. I wish far more had been made of this. It would have been interesting to understand what it projected to each of the crew. Does it reflect the power they actually have or that which they think they have?

Cally is fearful when Avon tries to get her to help him analyse it, yet we are never explicitly shown what its effect on Avon is. It's hard to tell if he is simply fascinated by it because he loves a mystery or because he is able to sense something similar to himself - the latter could have presented a good opportunity to check Avon's ego.

Battle of the sexes
Introducing a romantic interest for Servalan is such an intriguing idea on the surface. I've previously written about how much I enjoy the way Servalan's sexiness and femininity are used to her advantage. She always seems in control, so up until now, I've wondered if she values her pursuit of power so much that she doesn't risk relationships in case it should cloud her judgement or allow her to be manipulated. Perhaps, but it's also likely that she just hasn't fancied any of the meagre Federation specimens before her.

It's obvious that Servalan and Jarvik ravish each other and I like the subtlety of the episode's pre-watershed post-coital scene. Their clothes are slightly dishevelled and Servalan sipping her blue beverage is tantamount to a subsequent cigarette. I've always been mildly surprised that no one smokes in the Blake's 7 universe; based on other contemporary dramas, predicting this habit's extinction is a highly un-1970s thing to do.


However, despite this plot's potential, Servalan being attracted to a man like Jarvik is frustrating. She dismisses him as a "primitive", a description fully justified by his attitude towards her as a woman. He's later similarly dismissive of Dayna, but while Dayna has a chance to immediately prove him wrong in hand-to-hand combat, Jarvik's battle tactics are shown to work where Servalan's failed.

Servalan has been depicted as an incredibly strong woman, and one inference to take from her relationship with Jarvik is that she has really been longing for a powerful man. It implies old-fashioned notions that independent, determined women need a man to dominate and control them, lest their wayward ways give them incorrect ideas about their place in society. I disliked seeing Servalan's character undermined in this way and was wishing death on Jarvik from his first scene - you can't go around calling the President "woman".

Kicking arse
It isn't a great episode for Dayna either; after everything she must have coped with growing up, I did not expect to see her screaming at a slowly-moving spider, even if it a giant one. It was also disappointing that while we watched Tarrant and Jarvik's fight at length, we are denied as much glory as seeing Dayna kick Jarvik's arse - we always get to see the blokes' moments of heroism, so why can't we give an equal spotlight to Dayna on this occasion?

Deadly design
I can mumble about being forgiving of BBC budgets or just admit the spiders look crap. As I attempt to imagine how they might have been described in the script, it seems unlikely that anything decent was ever going to emerge. However, I think it would have been worth attempting some script surgery to ensure the spider was only seen at night and perhaps within the forest, as surely this could have hidden more than shooting it in the open during broad daylight? We don't linger on the spiders' victims - neither visually or textually - and when we finally see one of the perpetrators, any previous fear from the mystique of Kairos is completely eroded.


Do we really need the Liberator?
Since Blake's 7 convinced me it might do anything, I am easily convinced the crew might lose the Liberator at any time. I've half given it up as gone in every episode so far this series: Aftermath - certain it had been destroyed; Powerplay - thought Avon might never wrestle it back from the Death Squad; Volcano - was sure Servalan's goons would take it once Avon had been knocked out; Dawn of the Gods - worried they wouldn't get back before it was broken up; and here, I again thought this was it - surely Servalan was just going to get the hell out of there and we would have no way of getting anyone back to the Liberator.

I was delighted that the crew were able to get back to the Liberator because I have grown rather fond of it. The exterior design is fascinating and I find myself trying to imagine the interior floorplan within it - whereabouts exactly is the decompression chamber we saw in Dawn of the Gods? What about the medical bay? The yoga lounge? Is there a kitchen? Perhaps a bar? What are the storage areas like? Where do we find those riches Avon told Jenna about in Cygnus Alpha? Where do all their clothes keep coming from - are they all off-the-peg or are they whipping some of them up themselves?
Power play
One of my favourite moments in the episode was the relatively short scene with Servalan and Avon, with him setting his conditions for handing over the Liberator. While Servalan has featured in every episode so far, except Dawn of the Gods, this is the first time she and Avon have shared a scene since Aftermath.

With Tarrant refusing to key in Servalan's voice for Zen, she threatens to start killing them until Avon steps in: "How wise, Avon - you might have been next. Though with your qualities I'd probably have saved you." I'd adored their scenes together in Aftermath, especially in the underground base, and it felt like we were picking that back up.

As well as the rest of it being a nice scene between Servalan and Avon, this moment is another in the series that reflects the differences between Tarrant and Avon. The episode has a strange dynamic as Tarrant leads things on the Liberator, partly because Avon is distracted by his rock. I continue to be slightly thrown by Tarrant getting such responsibility when I still consider him an untrustworthy newbie and was glad that on this occasion the script does address it, with Avon telling Tarrant, "I understand that [...] you are the most astute space warfare commander," although after Tarrant has left, he does cynically add, "...or so you tell us often enough."

In the scene with Servalan, Tarrant has decided they should all die instead of handing over the Liberator, which is understandable as Servalan would likely kill them anyway. But Avon's mind has clearly been whirring in the background as he has devised a way of getting them off alive. Avon's ability to think calmly under heightened circumstances stands them well.


Jarvik classed a cloud over much of episode and I was sadistically pleased when he was killed, but it wasn't just him that left me unsatisfied. Having constructed a slightly unnerving mystery around what happens after the harvest on Kairos, the events there become a sideshow. There is no sense that the crew is in real danger from the spiders, so no urgency for them to get away - it's about getting back to the Liberator, rather than combining this with a need to escape. There are redeeming parts, but overall The Harvest of Kairos didn't have enough for me.

Monday, 30 March 2020

Blake's 7 - Dawn of the Gods

 
Dawn of the Gods

It's so fantastic to watch Blake's 7 with no preconceptions about fan consensus on episodes. Dawn of the Gods seems like a potentially divisive one because it is vastly different from the usual action adventures. While there is plenty early on, it's much slower and stranger once they enter the other universe.

In some ways, Dawn of the Gods is the most science-fiction-y episode I've experienced so far. Everything was fairly normal, even if I was noticing the scientific space babble more than usual, with some fictional, some not: having Orac explain how black holes work, only for Avon to respond, "Yes, we know all that," was some blatant swiftly-explained physics. Then they travelled through the black hole, I didn't have a clue what was going on anymore, and it went utterly bizarre.

I found Series B exciting, especially early on, because having different writers produced such a variety of story types. I wasn't expecting much variation again for Series C, thinking the production might just go with what worked well previously, but I am pleased with this result from James Follett. It feels some considerable time since Blake's 7 has had a story that doesn't impact on the series arc; the second half of Series B was almost completely geared towards the search for Star One. Opening up the idea of accessible alternate universes provides a wealth of options for Blake's 7, including more plots that don't need to relate to Servalan or the Federation.

The episode started to seem like it might be entirely set on the Liberator - and I get excited during those episodes because I enjoyed Breakdown in Series A so much. Yet every time it's looked like happening again the crew do eventually leave and I am a tad disappointed. Admittedly, there must be a limited number of plots that could be thrilling and/or interesting, but I am curious to see them try again.

One small aspect worthy of praise in the earlier part of the episode is the moment when Vila begins protesting that he is absolutely not going to don a spacesuit and explore outside the ship. For regular viewers it's a predictable response, as is the result, so I liked the fade - of both sound and image - to Vila's preparations in the decompression chamber, narrated by his resigned monotone, with us having skipped the insistent/persuasive discussions in between.

Just a machine
Orac stunned me by intentionally dragging the crew into such danger and some choice words were spluttered. Orac may be the only computer to ever give you cheek back yet this has been amusing and never really to the crew's detriment.

He's like a petulant child at the start of the episode while they are playing a board game and in retrospect, it is apparent that he hoped to keep the crew distracted from his influence on the navigation. It's a good contrast now to have Zen loyal to the crew, while Orac is entirely indifferent with no programming to prevent him harming them and both characteristics make perfect sense; Zen is part of the ship so keeping the Liberator and its occupants in one piece is essential, yet Orac was designed to be autonomous.


Orac's actions are understandable but it remains hard not to anthropomorphise him (always a 'him' not an 'it') when he's been given an increasing amount of personality. I was bloody annoyed with him, and yet he's too useful and too valuable to ever get rid of.

Tarrant - not a new Avon
I finally felt like I got to know Tarrant a tad more too and concluded that he's a bit of a dick. Although I've seen Tarrant as a replacement for Avon's old role, it's becoming clear that they are markedly different.

One difference is that Tarrant is more aggressive. We saw it during his 'negotiations' with the Obsidians in Volcano, with Dayna having to remind him, "These people are our friends." In Dawn of the Gods, Tarrant's attitude has unfortunate consequences when it earns him an experience of the neuronic-whip. In contrast, Avon silently listens and observes, with a desire to hold all the information before making a decision. He has a patience that Tarrant lacks.

As the ship looks set to be ripped apart going through the black hole, Avon dives for a conveniently-close spacesuit. Tarrant then tries to stop him, insisting that if they're going to die, they can all go together. It was this that helped me decide that Tarrant is a bit of a dick. Just... why? This may be a team that looks after one another but self-sacrifice has never been on the agenda - well, unless Blake was forcing a reluctant effort. If Tarrant had had the chance to get to that suit first, I'm sure he would have.

I'm still baffled why Tarrant sought out the Liberator. If he wanted to join up with a resistance movement, he was going to have to work with other people. He clearly isn't comfortable with Avon in charge, so how would it have been different with Blake?

I originally thought Avon was a sod, but even at their antagonistic heights, I don't think he ever told Blake to his face that he might kill him. I enjoyed Avon's swift brush off, "It has been tried," and the accompanying grin shows that his and Tarrant's clashes are not so large as that early chasm between him and Blake. Avon seemed to look for any opportunity to argue with Blake and always planned to get rid of him. With Tarrant, Avon is the experienced man being challenged by the new one and feels no immediate need to rise to it because he's confident in his own abilities.

The one and only Avon
I don't think it is necessarily a bad thing to have people around to question Avon because he has been shown to be over-arrogant before. As Tarrant asks Zen to scan for traction beams, Avon states, "There is no known power in the universe that can operate a traction beam over that distance," to which Tarrant replies, "Just because you don't know how to build a high energy traction beam doesn't mean no one else knows how to build one." I like these occasional reminders that even Avon's logic can be fallible because sometimes he is like a computer - all the information we have says it cannot be possible, therefore it cannot be possible. While in this instance the change of course is down to Orac, Avon's wording actually misses out the one thing he could have been thinking about: what if the power came from another universe? From now on, he should certainly be considering it.

Cally and the Thaarn
Both Tarrant and Dayna round on Cally when they believe Auron's people may be causing the issues with the Liberator. While I instantly felt defensive for Cally, it's a reminder that the two new crew members don't know the others so well yet and mistrust can go both ways.

I was intrigued by the idea that Auron's fairy tale of its people's beginnings had its place in facts that had been passed down and muddled over the centuries. It was nice to learn more about the Aurons, who have been defined only by their telepathic powers up until now. I was also pleased that there has clearly been a concerted effort to develop Cally's character this series and she has plenty to do in this episode, including holding scenes alone when she is speaking to the Thaarn.

My main gripe is that I don't think we should have seen the Thaarn. When Cally is lying down, with music and lights twinkling, I was reminded of hypnosis scenes in On Her Majesty's Secret Service. Like Blofeld, the Thaarn is a disembodied voice speaking to the young woman, but while Telly Savalas delivers some menace once we pass the mystique, the Thaarn is distinctly underwhelming. He's a small fellow with a big brain - so what? Is the sight of him supposed to be horrifying, disgusting? I felt neither and was unsure why Cally later lied about seeing him.


Delightful and dreadful design
It's been a while since I've commented on the costumes in Blake's 7. I am disappointed that Avon still has his red lobster outfit as I've always thought it looks dreadful. Vila and Tarrant are wearing fairly similar shirt styles but Tarrant's has been combined with green velvet trousers and a belt with a large buckle, something so absurdly bold and vaguely period that it reminded me of a pantomime. This old-fashioned style continued with the Caliph in his top hat and breeches. Cally and Dayna are both in dresses, an immediate signal that they shouldn't be doing much running around or fighting because my first thought is: that's not very practical.


The sets were fairly simple, with little time to admire them. My favourite was the simplest of all: the huge empty space where the Liberator lands. This great expanse of darkness was wonderful for conveying the complete unknown and placing Vila in it first helped instil some fear.


I enjoyed Dawn of the Gods for providing something unlike any episode before. We had action, intrigue, then - what?! James Follett seems an interesting writer for the series and I liked numerous small elements, like the way the crew used the anthropomorphising of Orac to hide him from the Caliph, and "only the technology of the Lord Thaarn prevails on Krandor" was an original way of losing the advantages of the teleport bracelets. I'll be curious to see if other universes are ever explored again and what other types of stories Series C will offer next.