[S4E21] Cult Fiction
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When Shawn is pressured into thinking about life after high school by Mr. Turner, he is convinced to join a cult, called The Centre, by Sherri, a fellow student. Shawn is totally brainwashed and refuses to leave, despite attempts to persuade him by Turner, Cory, Mr. Feeny, and the Matthews.
Trey Lawson is a critic, academic, and sometimes actor who writes on topics ranging from Early Modern English Literature to genre film and pop culture. He has of late been trapped in a crypt, where he reads monster comics and records Tomb of Ideas: A Marvel Horror Podcast with his friend and co-host James Hickson.
In addition, several other actors have filled more than one minor role on the series. Kim Strauss played the Drazi Ambassador in four episodes, as well as nine other characters in ten more episodes.[12] Some actors had difficulty dealing with the application of prosthetics required to play some of the alien characters. The producers therefore used the same group of people (as many as 12) in various mid-level speaking roles, taking full head and body casts from each. The group came to be unofficially known by the production as the \"Babylon 5 Alien Rep Group.\"[13]
Having worked on a number of television science fiction shows which had regularly gone over budget, Straczynski concluded that a lack of long-term planning was to blame, and set about looking at ways in which a series could be done responsibly. Taking note of the lessons of mainstream television, which brought stories to a centralized location such as a hospital, police station, or law office, he decided that instead of \"[going] in search of new worlds, building them anew each week\", a fixed space station setting would keep costs at a reasonable level. A fan of sagas such as the Foundation series, Childhood's End, The Lord of the Rings, Dune and the Lensman series, Straczynski wondered why no one had done a television series with the same epic sweep, and concurrently with the first idea started developing the concept for a vastly ambitious epic covering massive battles and other universe-changing events. Realizing that both the fixed-locale series and the epic could be done in a single series, he began to sketch the initial outline of what would become Babylon 5.[14][15]
Straczynski set five goals for Babylon 5. He said that the show \"would have to be good science fiction\". It would also have to be good television, \"and rarely are SF shows both good SF *and* good TV; there're [sic] generally one or the other.\" It would have to do for science fiction television what Hill Street Blues had done for police dramas, by taking an adult approach to the subject. It would have to be reasonably budgeted, and \"it would have to look unlike anything ever seen before on TV, presenting individual stories against a much broader canvas.\" He further stressed that his approach was \"to take [science fiction] seriously, to build characters for grown-ups, to incorporate real science but keep the characters at the center of the story.\"[17][18] Some of the staples of television science fiction were also out of the question (the show would have \"no kids or cute robots\").[19] The idea was not to present a perfect utopian future, but one with greed and homelessness; one where characters grow, develop, live, and die; one where not everything was the same at the end of the day's events. Citing Mark Twain as an influence, Straczynski said he wanted the show to be a mirror to the real world and to covertly teach.[14]
Following production on Captain Power and the Soldiers of the Future, Straczynski approached John Copeland and Doug Netter, who had also been involved with Captain Power and showed him the bible and pilot script for his show, and both were impressed with his ideas.[20] They were able to secure an order for the pilot from Warner Bros. who were looking at the time to get programming for a planned broadcast network. Warner Bros. had remained skeptical about the show even after greenlighting the pilot. According to Straczynski, Warner Bros. had three main concerns: that American attention spans were too short for a series-long narrative to work, that it would be difficult to sell the show into syndication as the syndicate networks would air the episodes out of order, and that no other science-fiction television show outside of Star Trek had gone more than three seasons before it was canceled.[21] Straczynski had proved out that the syndication fear was incorrect, since syndicate stations told him they show their shows in episode order to track broadcasts for royalties; however, he could not assure Warner Bros. about the attention span or premature cancellation concerns, but still set out to show Warner Bros. they were wrong.[21]
With not all cast members being hired for every episode of a season, the five-year plot length caused some planning difficulties. If a critical scene involving an actor not hired for every episode had to be moved, that actor had to be paid for work on an extra episode.[21] It was sometimes necessary to adjust the plotline to accommodate external influences, an example being the \"trap door\" that was written for every character: in the event of that actor's unexpected departure from the series, the character could be written out with minimal impact on the storyline.[26] Straczynski stated, \"As a writer, doing a long-term story, it'd be dangerous and short-sighted for me to construct the story without trap doors for every single character. ... That was one of the big risks going into a long-term storyline which I considered long in advance;...\"[27] This device was eventually used to facilitate the departures of Claudia Christian and Andrea Thompson from the series.
With the variety of costumes required she compared Babylon 5 to \"eclectic theatre\", with fewer rules about period, line, shape and textures having to be adhered to.[32] Preferring natural materials whenever possible, such as ostrich leather in the Narn body armor, Bruice combined and layered fabrics as diverse as rayon and silk with brocades from the 1930s and '40s to give the clothing the appearance of having evolved within different cultures.[33][34]
Like many of the crew on the show, members of the costume department made onscreen cameos. During the season 4 episode \"Atonement\", the tailors and costume supervisor appeared as the Minbari women fitting Zack Allan for his new uniform as the recently promoted head of security. His complaints, and the subsequent stabbing of him with a needle by costume supervisor Kim Holly, was a light-hearted reference to the previous security uniforms, a design carried over from the pilot movie which were difficult to work with and wear due to the combination of leather and wool.[34]
Throughout its run, Babylon 5 found ways to portray themes relevant to modern and historical social issues. It marked several firsts in television science fiction, such as the exploration of the political and social landscapes of the first human colonies, their interactions with Earth, and the underlying tensions.[62] Babylon 5 was also one of the first television science fiction shows to denotatively refer to a same-sex relationship.[63][64] In the show, sexual orientation is as much of an issue as \"being left-handed or right-handed\".[65] Unrequited love is explored as a source of pain for the characters, though not all the relationships end unhappily.[66]
The Babylon 5 universe portrays numerous armed conflicts on an interstellar scale, including the Dilgar war, Narn-Centauri conflict, Minbari civil war, Drakh War, Interstellar Alliance-Centauri war, and the Great Burn.[77] The story begins in the aftermath of a war which brought the human race to the brink of extinction, caused by a misunderstanding during a first contact with the Minbari.[78] Babylon 5 is built to foster peace through diplomacy, described as the \"last, best hope for peace\" in the opening credits monologue during its first three seasons. Wars between separate alien civilizations are featured. The conflict between the Narn and the Centauri is followed from its beginnings as a minor territorial dispute amplified by historical animosity, through to its end, in which weapons of mass destruction are employed to subjugate and enslave a planet. The war is an attempt to portray a more sobering kind of conflict than usually seen on science fiction television. Informed by the events of the first Gulf War, the Cuban Missile Crisis and the Soviet invasion of Prague, the intent was to recreate these moments when \"the world held its breath\" and the emotional core of the conflict was the disbelief that the situation could have occurred at all, and the desperation to find a way to bring it to an end.[79] By the start of the third season, the opening monolog had changed to say that the hope for peace had \"failed\" and the Babylon 5 station had become the \"last, best hope for victory\", indicating that while peace is ostensibly a laudable goal, it can also mean a capitulation to an enemy intent on committing horrendous acts and that \"peace is a byproduct of victory against those who do not want peace.\"[80]
The Shadow War also features prominently in the show, wherein the Shadows work to instigate conflict between other races to promote technological and cultural advancement, opposed by the Vorlons who are attempting to impose their own authoritarian philosophy of obedience. The gradual discovery of the scheme and the rebellion against it underpin the first three seasons,[81] but also as a wider metaphor for competing forces of order and chaos. In that respect, Straczynski stated he presented Earth's descent into a dictatorship as its own \"shadow war\".[82] In ending the Shadow War before the conclusion of the series, the show was able to more fully explore its aftermath, and it is this \"war at home\" which forms the bulk of the remaining two seasons. The struggle for independence between Mars and Earth culminates with a civil war between the human colonies (led by the Babylon 5 station) and the home planet. Choosing Mars as both the spark for the civil war, and the staging ground for its dramatic conclusion, enabled the viewer to understand the conflict more fully than had it involved an anonymous colony orbiting a distant star.[62] The conflict, and the reasons behind it, were informed by Nazism, McCarthyism and the breakup of Yugoslavia,[73] and the destruction of the state also served as partial inspiration for the Minbari civil war.[83][84] 59ce067264
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