Farscape in review: "Kansas"
Was forced to reboot computer under unpleasant circumstances and thus lost the first couple of paragraphs of this post. Shall try to reconstruct.
PSA/subliminal message: watch Scape. End PSA.
[spoilers through "Bad Timing"]
In which Ari reveals herself (if it wasn't already evident) to be a pathetic shipper troll who can think of nothing but certain scenes where certain Peacekeepers engage in certain blatant acts of homoeroticism and in fact spent the pre-kiss part of the episode impatiently awaiting the arrival of the kiss.
But all that aside... the purpose of this episode in the middle of this arc confused me since "Unrealized Reality" is such an action-packed jamboree flashback think piece extravaganza and "Terra Firma" is really, really the John! Found! Home! episode but I finally figured out that "Kansas" takes off where "Unrealized Reality" began. If "UR" is about the story so far, then "Kansas" is the story before John fell through his wormhole. It's the backstory episode. Which still confuses me since why is there a backstory episode in the middle of this climactic arc, but again, I figured out that this episode is preparing both John and the viewer for the decision at the end of "Terra Firma" to leave, not to mention the decision in "Bad Timing" to close off the way home forever. It's a hard decision and this episode needs to tell us this is what Earth means to John by showing us a younger John living in that world and our John reacting to that and also engaging in those moments of sheer homecoming bliss and bittersweetness that he won't get to in "Terra Firma" since that episode has its own structure and needs to feel very much like John, not fitting in.
This episode also permanently closed-loops the timeline with the Chiana-Karen Shaw thing, which is... cool, if a bit weird, and makes the whole thing feel a bit more predestined than I'm really cool with.
I liked the family dynamics in the Crichton household and do think they really did show where John comes from but not in a facile way. His family life was complicated; his parents did love each other and he tells Chi he rarely got to see them like that but I suspect somehow he did know. And his attraction to Aeryn, Powerful Woman Extraordinaire, becomes interesting and problematic when compared to his mother who, at least according to John, was not a strong woman, at least not in her relationship to Jack, whose personality is overwhelming. I liked us seeing how John has matured since he was a young adolescent and how much young John really felt young, not just a shrunken down our!John. He's angry and has issues with his father that make a lot of sense to me and while John + Jack is nowhere near as awesome as Keith + Veronica, which is my favorite parent-child relationship of all time, it is pretty interesting to me. John wants to emulate Jack (which I thought was played a bittt over the top, although from what we've always known of John it's true -- he wants to go into space like his dad and wants to be his own kind of hero; he's fighting against his father's model of heroism while at the same time very much looks up to his dad and respects him, if sometimes reluctantly) and also realizes his dad isn't perfect, and part of why they clash so much is because they are so similar. (I was esp. struck by the moment when younger John complains that his father thinks of his family as his "crew" -- that's something John does unfailingly when he's questing after the elusive wormhole.)
In terms of the Chiana/John thing, since it is apparently a Bigger Deal than I thought, I've always sort of seen it as what Chi said -- Don't Ask, Don't Tell. To me, even though it's sex, it's more of a friendship moment... younger John is not our John, not the man Chiana was immediately attracted to when she met him, not the man she's grown to think of as a friend rather than a sexual partner... but he will grow up to be that man. I saw her initiating John into sexuality as a very sweet thing, making sure that his first time was a good one and a sweet memory -- and I do think she did a good job of making it good for him. It also does cement John's relationship to outer space and his commitment to the Farscape Project, broadly defined (since his initial goal? not so much what ended up happening). But it is nice that everything is because of the friends he made, and closed loop or no, he's still in charge of the choices he makes. Fatalism annoys me, which is why I have such Angel issues (though I believe in my heart of hearts that Angel's fatalism is really Angel the character's fatalism).
In terms of the rest of the crew of Moya and their behavior on Earth... cute, but why? Rygel on a sugar high is hilarious, and the scenes with the policeman are funny, and Aeryn watching Sesame Street reminds me very much of me watching the same show, ("This girl is slow!") but what I don't understand is why the emphasis on "they're out of place on Earth," which will really be important in the next episode but... egh. Silly slapstick humor means it's my beloved show, all right, but after the exhilaration of "Unrealized Reality," it kind of left me wanting something deeper.
I didn't think Jamie Croft was all that amazing as young!Crichton, but Ben Browder put in another unbelievable, nuanced performance. It was, I think, another excellent John episode, though I had some quibbles about the energy of it. First of all, we have John being Johnself and singing "99 Bottles of Beer on the Wall." Then he realizes he's returned before he left, oops, and decides the best course of action is to go down there and make things worse. Right. Clever boy. But at first he's really doing the kid in a candy shop thing, the "I'm home I'm home I'm home!" running around and drinking milk (which I, as a pretty devoted milk drinker, feel total sympathy with), and the less ecstatic but just as touching moments when he sees Betty and Olivia and Kim and of course his mother. He plays so well the tension between knowing that he's home and knowing that he doesn't belong here anymore.
But the knowledge that he doesn't belong here is sort of a moot point, since this is his childhood. He's not out of place so much as out of time, and the bit with his mother, which was nicely played all around, very much, yay Ben Browder and Carmen Duncan, was anyone trying to reclaim their past, especially someone who's died, and knowing that it just can't happen. In that way this was Any Time Travel Ep, better done than "1969," but no more profound. I just feel like the pacing of the season is off, like this is a down beat episode at the beginning of a new half season that... doesn't belong.
But anyhow, John's energy confused me. He knows he needs to fix things and has this ambivalent relationship with his younger self -- at first, he doesn't want Noranti touching him, then he's like, okay, put me in a coma, with almost no pause. And it's like he's lost his energy, his desire to fix things; they do, but it felt, at least to me, like his heart wasn't in it. I guess it was sort of that sense he had of belonging and not-belonging and unsure what was going to happen and being, like the season, in a holding pattern, really truly having made it back to Earth but not in the right time so unsure of how to feel.
Favorite moment in the A-plot was Leslie Crichton asking, "Are you sure I don't know you?" and John turning away and saying, "No, you don't." Double-edged and very pretty, and as far as I'm concerned, the real theme of everything -- John's changed and can't go home again.
In the scene were invisible-due-to-plot-device John talks to his mother, the shadow touching was awesome and the bit at the end where he makes that effort to change things... was good, but again, I feel like the energy of it was off. John was very passive throughout the whole thing about Trying To Change Things, and this is John, Boy Scout John who wants to make things right and who doesn't give up. That's the entire point of "Twice Shy," after all. And the way he knows his mother is going to die and seems to... accept that? He seems very much like he does in "Twice Shy," like his optimism has been drained. Admittedly he's just had that conversation on the iceberg about how whatever you do, you can't change things, and I think he was well and truly scared by that, but there's no external acknowledgement except at the very end when Noranti, of all people, tells D'Argo that they can't save the victims of the Challenger, that "time must play out."
Also odd was the utter lack of mytharc in the A-plot. They used a wormhole to get there, all right, and there's John introducing himself as "Fred Scarran." (John, you're frelling nuts, my love.) But John's trip through the wormhole seems entirely forgotten; he's entirely interacting with the people he remembers from Earth and though we-the-audience know he's changed, we don't get any reminders of why that is. Again, in the middle of a climactic arc, this feels slightly off.
There was a cute moment of John/Aeryn-ness with holding hands and comfort.
And there was the adorable-if-bizarre John/John-ness at the end! How could I forget? This was the episode for male-male kissage, and also very interesting... my working theory is that you can tell a lot about how a person feels about him/herself from how he treats his doubles/clones/evil twins/doppelgangers, and in SG-1, this is usually a pretty good test -- but the two Johns in S3 hated each other, and John seems to kind of pity his younger self and... and want to take care of him, make sure things turn out okay for him. And kiss him. And make sweet monkey love with him. First person to write me this fic gets TRIPLE BONUS POINTS. It's an interesting character moment.
All right, all right, we've waited long enough!
THE B-PLOT:
Grayza and Braca arrive; Sikozu and Scorpius hide, and it's interesting when they have that sort of coded discussion in front of Pilot where Scorpy suggests running and Sikozu is like, uh, Crichton, and Scorpy's like, oh well, and Sikozu's like, ohhh, so that's how you want to play it. It's cute. I forgave them every Moment of Het they had in this episode because I knew what was coming next.
Braca is utterly adorable. I love the way he smiles. It's an evil smile, of course, but it looks so entirely innocent and cute. I heart my little uke bitch.
Ahem. All right. Then we have the Scene of OTP. I watched it three times: once straight through, once frame by frame to cap, and then once again straight through.
It's really wonderful. We hear Braca's voice saying, "I'll look down here," or something, and then there's just the tiniest hint of a smile on Scorpy's face when he hears his voice and goes lurking. Then Braca comes down the steps, and Scorpius lunges out at him, growling -- it's so very clearly a reminder of who's in charge and also of how feral Scorpius is -- I love that moment! And then Braca says, "You! You're dead."
And then there's Scorpius saying "Lieuten-- Captain! Braca." It's very cute because there's this little acknowledgement that Braca's moved up in the world, just like Scorpius promised, but that Scorpius, still very much in charge. And it's a very intimate moment, since Scorpius lets himself slip -- and you know that Scorpius is very careful always to say the right thing and portray himself exactly as he wants to be seen, so I'm saying that's intentional or at least half-intentional. And one suspects Braca is one of the few people who's gotten to see Scorpius forget himself like that. Because he was, after all, a Trusted Lieutenant for many years.
And then there is kissage! Ohhh, there is kissage! Watching the first time I was mesmerized by how long it was. The kiss is raw and animal and very much about ownership and again reminding Braca who owns his allegiance. And it is physical. Scorpius's strength is very much in his weird charisma/empathy and his intelligence and ability to wait, and his physical nature is powerful because he's able to control it. So the physical intimacy/dominance of the kiss is very important and a lot more visceral than I tend to see Scorpius.
You can also see when you go frame-by-frame that Scorpius's hands are in Braca's hair and he's... caressing him. Is very adorable. Sadly, almost impossible to cap... Will talk more about the lighting in the scene later when I talk about my caps... but anyhow... it was adorable and again intimate and posessive and That Is Not A Platonic Kiss, kay?
Since Braca is in profile it's kind of hard to tell but at some point after Scorpius releases him from the kiss -- and how much do I love that you can actually hear the smooch (and that's so the wrong word but I can't think of a better one!) when he lets go and it's very much a kiss and -- okay, rawr. Teh_sexxxxx! -- Braca is smiling and then he *puts his hands on Scorpius's cheeks* and says, "It's good to see you, sir." Lalalalala. That scene makes me quite inarticulate. And then we *fade out on them* still with Braca touching Scorpius's cheeks.
Errrr!
I must confess though that quite shamefully I don't actually understand what happened in that scene. So round about "What Was Lost," Braca is dragging Scorpius around on a leash and then they bury him and Grayza thinks he's dead but... Sikozu? saves him -- or something -- my knowledge of the beginning of S4 is really spotty since I've only seen most of it once -- and Braca has been serving Grayza for the past half-season. But then in "Kansas" when he boards Moya he -- is? is not? -- surprised to find Scorpius. I'm just not sure!
-has Braca known Scorpius is alive all along and done everything he can to protect Scorpius's interests until they were reunited?
-or has Braca pretty much hedged his bets?
-or did he think Scorpius was dead and have to do some smooth maneuvering?
So when Scorpius says "Does Grayza know you're my spy?" later in the episode, after they've had some quick reunion sex (what?! it happened in my head!) does he mean, "Does Grayza know you've been working for me all along?" or "You're working for me again, Braca. I'll forgive your disloyalty for the last half cycle because you look so pretty when you pout."
I am so stupid and confused. But I heart my pretty evil gay boys regardless.
All right, back to the A-plot and anticipating "Terra Firma" tonight! (Assuming an appropriate number of NaNo words are generated):
The callback to "A Human Reaction" is very nice. And John pointing a gun at Jack is also very nice. My only issue is, what the heck happened between leaving 1986 and arriving in 2003? It makes it feel even more like "Kansas" was a fun lark, a step outside the real world, and that this is the *real* return to Earth and suddenly John is once again his paranoid, suspicious, batshit insane self. Which, yay, but where was he during "Kansas" when he was running around drinking milk? It confuses me very much.
But? I still love my show IMPOSSIBLY MUCH. I wish I had allll the DVDs and could reward myself with them every night forever.
Oh! I totally forgot to mention the capping session. I figured out how to fix the aspect ratio automatically (Yay!) so they're all the right size. There are I think ~115 of them. 51 of them are from, um, you can guess which scene. I am *so* incredibly pathetic. *headdesks*
Oh, and there was a note in the special features (Fun Farscape Facts or somesuch) that Ben Browder, whom I love more with each passing moment, was hoping the S/B kiss would be mouth-to-mouth. I screencapped that, too.
PSA/subliminal message: watch Scape. End PSA.
[spoilers through "Bad Timing"]
In which Ari reveals herself (if it wasn't already evident) to be a pathetic shipper troll who can think of nothing but certain scenes where certain Peacekeepers engage in certain blatant acts of homoeroticism and in fact spent the pre-kiss part of the episode impatiently awaiting the arrival of the kiss.
But all that aside... the purpose of this episode in the middle of this arc confused me since "Unrealized Reality" is such an action-packed jamboree flashback think piece extravaganza and "Terra Firma" is really, really the John! Found! Home! episode but I finally figured out that "Kansas" takes off where "Unrealized Reality" began. If "UR" is about the story so far, then "Kansas" is the story before John fell through his wormhole. It's the backstory episode. Which still confuses me since why is there a backstory episode in the middle of this climactic arc, but again, I figured out that this episode is preparing both John and the viewer for the decision at the end of "Terra Firma" to leave, not to mention the decision in "Bad Timing" to close off the way home forever. It's a hard decision and this episode needs to tell us this is what Earth means to John by showing us a younger John living in that world and our John reacting to that and also engaging in those moments of sheer homecoming bliss and bittersweetness that he won't get to in "Terra Firma" since that episode has its own structure and needs to feel very much like John, not fitting in.
This episode also permanently closed-loops the timeline with the Chiana-Karen Shaw thing, which is... cool, if a bit weird, and makes the whole thing feel a bit more predestined than I'm really cool with.
I liked the family dynamics in the Crichton household and do think they really did show where John comes from but not in a facile way. His family life was complicated; his parents did love each other and he tells Chi he rarely got to see them like that but I suspect somehow he did know. And his attraction to Aeryn, Powerful Woman Extraordinaire, becomes interesting and problematic when compared to his mother who, at least according to John, was not a strong woman, at least not in her relationship to Jack, whose personality is overwhelming. I liked us seeing how John has matured since he was a young adolescent and how much young John really felt young, not just a shrunken down our!John. He's angry and has issues with his father that make a lot of sense to me and while John + Jack is nowhere near as awesome as Keith + Veronica, which is my favorite parent-child relationship of all time, it is pretty interesting to me. John wants to emulate Jack (which I thought was played a bittt over the top, although from what we've always known of John it's true -- he wants to go into space like his dad and wants to be his own kind of hero; he's fighting against his father's model of heroism while at the same time very much looks up to his dad and respects him, if sometimes reluctantly) and also realizes his dad isn't perfect, and part of why they clash so much is because they are so similar. (I was esp. struck by the moment when younger John complains that his father thinks of his family as his "crew" -- that's something John does unfailingly when he's questing after the elusive wormhole.)
In terms of the Chiana/John thing, since it is apparently a Bigger Deal than I thought, I've always sort of seen it as what Chi said -- Don't Ask, Don't Tell. To me, even though it's sex, it's more of a friendship moment... younger John is not our John, not the man Chiana was immediately attracted to when she met him, not the man she's grown to think of as a friend rather than a sexual partner... but he will grow up to be that man. I saw her initiating John into sexuality as a very sweet thing, making sure that his first time was a good one and a sweet memory -- and I do think she did a good job of making it good for him. It also does cement John's relationship to outer space and his commitment to the Farscape Project, broadly defined (since his initial goal? not so much what ended up happening). But it is nice that everything is because of the friends he made, and closed loop or no, he's still in charge of the choices he makes. Fatalism annoys me, which is why I have such Angel issues (though I believe in my heart of hearts that Angel's fatalism is really Angel the character's fatalism).
In terms of the rest of the crew of Moya and their behavior on Earth... cute, but why? Rygel on a sugar high is hilarious, and the scenes with the policeman are funny, and Aeryn watching Sesame Street reminds me very much of me watching the same show, ("This girl is slow!") but what I don't understand is why the emphasis on "they're out of place on Earth," which will really be important in the next episode but... egh. Silly slapstick humor means it's my beloved show, all right, but after the exhilaration of "Unrealized Reality," it kind of left me wanting something deeper.
I didn't think Jamie Croft was all that amazing as young!Crichton, but Ben Browder put in another unbelievable, nuanced performance. It was, I think, another excellent John episode, though I had some quibbles about the energy of it. First of all, we have John being Johnself and singing "99 Bottles of Beer on the Wall." Then he realizes he's returned before he left, oops, and decides the best course of action is to go down there and make things worse. Right. Clever boy. But at first he's really doing the kid in a candy shop thing, the "I'm home I'm home I'm home!" running around and drinking milk (which I, as a pretty devoted milk drinker, feel total sympathy with), and the less ecstatic but just as touching moments when he sees Betty and Olivia and Kim and of course his mother. He plays so well the tension between knowing that he's home and knowing that he doesn't belong here anymore.
But the knowledge that he doesn't belong here is sort of a moot point, since this is his childhood. He's not out of place so much as out of time, and the bit with his mother, which was nicely played all around, very much, yay Ben Browder and Carmen Duncan, was anyone trying to reclaim their past, especially someone who's died, and knowing that it just can't happen. In that way this was Any Time Travel Ep, better done than "1969," but no more profound. I just feel like the pacing of the season is off, like this is a down beat episode at the beginning of a new half season that... doesn't belong.
But anyhow, John's energy confused me. He knows he needs to fix things and has this ambivalent relationship with his younger self -- at first, he doesn't want Noranti touching him, then he's like, okay, put me in a coma, with almost no pause. And it's like he's lost his energy, his desire to fix things; they do, but it felt, at least to me, like his heart wasn't in it. I guess it was sort of that sense he had of belonging and not-belonging and unsure what was going to happen and being, like the season, in a holding pattern, really truly having made it back to Earth but not in the right time so unsure of how to feel.
Favorite moment in the A-plot was Leslie Crichton asking, "Are you sure I don't know you?" and John turning away and saying, "No, you don't." Double-edged and very pretty, and as far as I'm concerned, the real theme of everything -- John's changed and can't go home again.
In the scene were invisible-due-to-plot-device John talks to his mother, the shadow touching was awesome and the bit at the end where he makes that effort to change things... was good, but again, I feel like the energy of it was off. John was very passive throughout the whole thing about Trying To Change Things, and this is John, Boy Scout John who wants to make things right and who doesn't give up. That's the entire point of "Twice Shy," after all. And the way he knows his mother is going to die and seems to... accept that? He seems very much like he does in "Twice Shy," like his optimism has been drained. Admittedly he's just had that conversation on the iceberg about how whatever you do, you can't change things, and I think he was well and truly scared by that, but there's no external acknowledgement except at the very end when Noranti, of all people, tells D'Argo that they can't save the victims of the Challenger, that "time must play out."
Also odd was the utter lack of mytharc in the A-plot. They used a wormhole to get there, all right, and there's John introducing himself as "Fred Scarran." (John, you're frelling nuts, my love.) But John's trip through the wormhole seems entirely forgotten; he's entirely interacting with the people he remembers from Earth and though we-the-audience know he's changed, we don't get any reminders of why that is. Again, in the middle of a climactic arc, this feels slightly off.
There was a cute moment of John/Aeryn-ness with holding hands and comfort.
And there was the adorable-if-bizarre John/John-ness at the end! How could I forget? This was the episode for male-male kissage, and also very interesting... my working theory is that you can tell a lot about how a person feels about him/herself from how he treats his doubles/clones/evil twins/doppelgangers, and in SG-1, this is usually a pretty good test -- but the two Johns in S3 hated each other, and John seems to kind of pity his younger self and... and want to take care of him, make sure things turn out okay for him. And kiss him. And make sweet monkey love with him. First person to write me this fic gets TRIPLE BONUS POINTS. It's an interesting character moment.
All right, all right, we've waited long enough!
THE B-PLOT:
Grayza and Braca arrive; Sikozu and Scorpius hide, and it's interesting when they have that sort of coded discussion in front of Pilot where Scorpy suggests running and Sikozu is like, uh, Crichton, and Scorpy's like, oh well, and Sikozu's like, ohhh, so that's how you want to play it. It's cute. I forgave them every Moment of Het they had in this episode because I knew what was coming next.
Braca is utterly adorable. I love the way he smiles. It's an evil smile, of course, but it looks so entirely innocent and cute. I heart my little uke bitch.
Ahem. All right. Then we have the Scene of OTP. I watched it three times: once straight through, once frame by frame to cap, and then once again straight through.
It's really wonderful. We hear Braca's voice saying, "I'll look down here," or something, and then there's just the tiniest hint of a smile on Scorpy's face when he hears his voice and goes lurking. Then Braca comes down the steps, and Scorpius lunges out at him, growling -- it's so very clearly a reminder of who's in charge and also of how feral Scorpius is -- I love that moment! And then Braca says, "You! You're dead."
And then there's Scorpius saying "Lieuten-- Captain! Braca." It's very cute because there's this little acknowledgement that Braca's moved up in the world, just like Scorpius promised, but that Scorpius, still very much in charge. And it's a very intimate moment, since Scorpius lets himself slip -- and you know that Scorpius is very careful always to say the right thing and portray himself exactly as he wants to be seen, so I'm saying that's intentional or at least half-intentional. And one suspects Braca is one of the few people who's gotten to see Scorpius forget himself like that. Because he was, after all, a Trusted Lieutenant for many years.
And then there is kissage! Ohhh, there is kissage! Watching the first time I was mesmerized by how long it was. The kiss is raw and animal and very much about ownership and again reminding Braca who owns his allegiance. And it is physical. Scorpius's strength is very much in his weird charisma/empathy and his intelligence and ability to wait, and his physical nature is powerful because he's able to control it. So the physical intimacy/dominance of the kiss is very important and a lot more visceral than I tend to see Scorpius.
You can also see when you go frame-by-frame that Scorpius's hands are in Braca's hair and he's... caressing him. Is very adorable. Sadly, almost impossible to cap... Will talk more about the lighting in the scene later when I talk about my caps... but anyhow... it was adorable and again intimate and posessive and That Is Not A Platonic Kiss, kay?
Since Braca is in profile it's kind of hard to tell but at some point after Scorpius releases him from the kiss -- and how much do I love that you can actually hear the smooch (and that's so the wrong word but I can't think of a better one!) when he lets go and it's very much a kiss and -- okay, rawr. Teh_sexxxxx! -- Braca is smiling and then he *puts his hands on Scorpius's cheeks* and says, "It's good to see you, sir." Lalalalala. That scene makes me quite inarticulate. And then we *fade out on them* still with Braca touching Scorpius's cheeks.
Errrr!
I must confess though that quite shamefully I don't actually understand what happened in that scene. So round about "What Was Lost," Braca is dragging Scorpius around on a leash and then they bury him and Grayza thinks he's dead but... Sikozu? saves him -- or something -- my knowledge of the beginning of S4 is really spotty since I've only seen most of it once -- and Braca has been serving Grayza for the past half-season. But then in "Kansas" when he boards Moya he -- is? is not? -- surprised to find Scorpius. I'm just not sure!
-has Braca known Scorpius is alive all along and done everything he can to protect Scorpius's interests until they were reunited?
-or has Braca pretty much hedged his bets?
-or did he think Scorpius was dead and have to do some smooth maneuvering?
So when Scorpius says "Does Grayza know you're my spy?" later in the episode, after they've had some quick reunion sex (what?! it happened in my head!) does he mean, "Does Grayza know you've been working for me all along?" or "You're working for me again, Braca. I'll forgive your disloyalty for the last half cycle because you look so pretty when you pout."
I am so stupid and confused. But I heart my pretty evil gay boys regardless.
All right, back to the A-plot and anticipating "Terra Firma" tonight! (Assuming an appropriate number of NaNo words are generated):
The callback to "A Human Reaction" is very nice. And John pointing a gun at Jack is also very nice. My only issue is, what the heck happened between leaving 1986 and arriving in 2003? It makes it feel even more like "Kansas" was a fun lark, a step outside the real world, and that this is the *real* return to Earth and suddenly John is once again his paranoid, suspicious, batshit insane self. Which, yay, but where was he during "Kansas" when he was running around drinking milk? It confuses me very much.
But? I still love my show IMPOSSIBLY MUCH. I wish I had allll the DVDs and could reward myself with them every night forever.
Oh! I totally forgot to mention the capping session. I figured out how to fix the aspect ratio automatically (Yay!) so they're all the right size. There are I think ~115 of them. 51 of them are from, um, you can guess which scene. I am *so* incredibly pathetic. *headdesks*
Oh, and there was a note in the special features (Fun Farscape Facts or somesuch) that Ben Browder, whom I love more with each passing moment, was hoping the S/B kiss would be mouth-to-mouth. I screencapped that, too.