Erik Fortman

Sci-Fi’s “Far Scape”:
Individualism Cancelled Despite Outcries

Cultural Warfare. This is the accusation. It is evident that the United States is in the vortex of a cultural war, although it is only those persons who claim no allegiance to right or left that are having its devastation rammed down our throat. Conservatives are crying like easily-offended, glass house living victims even as they rant against political correctness and public sentiment. They feel as if Democrats are forcing a new way of living upon society. As is stated overtly on our Egyptian-occult, Freemason-riddled symbols on our money for so many years: Novus Ordo Seclorum, or New Secular Order. Way over, on the other side of the ‘aisle’, liberals are screaming almost incoherently. They are screaming out from their limos and SUV’s, against being forced to live in a polluted world; from behind their armed guards, against the 2nd amendment; and from their plantation houses, against Republican racism. Most unfortunately, layman conservatives truly want smaller government and are not being represented by the Republican Party. Conversely, liberal free thinkers are not being represented by the Democratic Party.

Therein lies the crux of the matter. The losing battle against Fabianism, Collectivism, the New World Order; each a concept opposing Individualism. Unfortunately, the Zionists and Round Table Groups seem to have a stranglehold on the media. So WASP groups such as Skull & Bones have come to a truce with them, sharing CIA information with the fat cat movie, book, and television moguls for propaganda-infused programming. Most recently, George Tenent, former CIA Director, was the keynote speaker at the clandestine Blank Conference to the fifty or so most powerful men in media. Television programming really is programming, and is designed to brainwash the population and prepare them for the coming one world government and universal religion. It’s almost harvest time, and these themes of collectivism have been bombarding Americans for a very long time. This holds true in the Science Fiction genre.

Star Trek is the most popular television Sci-Fi series in History. Star Trek’s creator, Gene Roddenberry, was an avowed one-worlder. His show centered around a captain, his first officer, a war commander, the medic, and in the show’s later incarnations, there was a ship psychiatrist. This crew was very militaristic in nature. More importantly, all humans were members of the Federation, a utopian vision of one human nation. Of course, the main characters were all the best of the best. They had the equivalents of West Point or Ivy League educations. They were the elite. Alliances were formed, broken, reformed. The Klingons were mortal enemies during the Kirk years, tentative allies during the Picard era. Captains James T. Kirk and Jean-Luc Picard definitely had different approaches, different styles. Both tried diplomacy to get what was best for the Federation. Failing that, force was inevitably used. The primary reason for war was to absorb other, smaller groups into the universal collective. It was alluded to that Klingons and/or Romulans were part of an axis force, and held alliances with other beings, forming a separate collective of ‘rogue’ civilizations. These other groups, when not accepting absorption, were always viewed as wrong, or even evil.

Star Trek garnered acclaim and had a half dozen or more spin-offs. Roddenberry’s Sci-Fi classic was instrumental in shaping the genre’s present atmosphere, indirectly imposing a collectivist mentality on subsequent directors and their Science Fiction visions. Amidst all this Rhodes-induced mind feed, a show has been bestowed upon Science Fiction connoisseurs with a message of individualism. “Far Scape” is the creation of Rockne S. O’Bannon and Brian Henson, the latter the son of famous puppeteer, Jim Henson, and owner of the Henson special effects company. In subtle-yet-evident overtones, the importance of the individual is shown in its relation to the necessity of forming groups. The show is multi-textured, and each show has its own, secondary message. Yet, underneath it all, the precept that individuals forming a collective are each integral parts of the said collective is emanated.

Episode one begins by introducing the main character, John Crichton. He is an human, American astronaut from Earth, and as yet our planet has not encountered alien life. John Crichton is about to test a scientific theory that, if correct, would greatly increase the speed of space travel. Crichton is a member a the International Aeronautic and Space Administration. Ben Browder plays the part of Chrichton, and at the beginning of the first episode the most important group of all, the family, is highlighted as John has a conversation with his father, a former astronaut. It is apparent that John respects his dad, but also wants to be his own person, his own individual. Later, as Crichton blasts into space, a wormhole is created, and Crichton finds himself flung into the farthest reaches of the Universe. Not only that, but he is thrown right into the midst of a space battle between alien beings. Rockne S. O’Bannon claimed that NASA would have been John Crichton’s employer, except that the National Aeronautical and Space Administration wanted script approval for the use of their name. This was the first hint that O’Bannon and Henson were not going to be easily swayed from the theme of Individualism. The creators used the fictional space agency, IASA, not as a way to create a larger collective space program, but as a way to keep the United States Government from imposing its will on the scripts of “Farscape”. NASA is a known military governmental agency.

Unlike most space shows that portray their main characters as part of a state-sanctioned diplomatic/military force of General-Ambassadors - the ultimate Platonic faction of philosopher-kings - the “Far Scape” story centers around escaped prisoners fleeing from the torture chambers of the show’s primary adversary, the Peace Keepers. Yes, the Peace Keepers. Our protagonists are either criminals or political prisoners, depending on your view of Peace Keepers.

The Peace Keepers are a fascist regime that imposes its will across a wide swath of galaxies under the guise of peace keeping and security. Officers are taught to never question authority, and to kill anyone who opposes the collective. John Crichton is propelled through the worm hole and into this battle scene between the Peace Keepers and four escaped prisoners. A Peace Keeper ship inadvertently hits Crichton’s vessel and is blown up. A secondary plot is formed as we discover that the leader of this disintegrated Peace Keeper ship is the brother of Crais, a Peace Keeper Commander. Crais swears vengeance on Crichton, blaming an individual for the death of his brother, an individual whose life is supposed to have no meaning away from the collective of the Peace Keepers. Through this, we discover that even Commander Crais, raised within a selectively bred militaristic society (we later find out he was not bred from birth, but procured through slave trade or conscription) has enough individualism in him to see the inherent loss of one individual, his brother, is a loss to him, despite the continuation of the collective.

This scene, of the first human contact with alien life, is pure chaos. John Crichton is taken aboard the fleeing prisoners’ ship, and is himself knocked unconscious locked into a cell. This is due to a mistaken identity. The Peace Keepers are a species called Subations who are distant cousins to humans and not discernable physically from us without DNA testing. Crichton’s captors suspect him an agent of the enemy.

It would behoove this author to introduce the reader to our main characters. For, the beauty of “Far Scape” is that not only is it a series advocating individualism; not only is it a series which has an important secondary message every episode; “Far Scape” uses the individuals that are our main characters as representations of certain ideals, ideologies, and cultures. The first beings (representing groups) Chrichton encounters are Zhaan and D’argo, manning the space craft he has boarded. The obvious distinguishing attribute of Zhaan is that she is blue, with what appears to be a scaly type skin. But appearances are not as important as which group she is an individual representative of. Her full title is Pau Zhaan. She is a Delvian, a race evolved from flora instead of fauna, plant instead of animal. In successive episodes we find out that she is a priestess. Her guiding force is enlightenment through experiencing beauty in all its forms. She is a mystic, and uses her powers to share the pain of others, thus lessening it for them. With her intelligence, she patiently stimulates emotions and creates forms through conversation to allow her friends to find a clear and moral path. Her mystic rituals and traits are akin to a Taoist Catholic Druid Shaman. The Delvian reveals that before her sojourn toward spirituality, she was primal, hedonistic - and therefore “lost.” It is this battle between light and darkness that she ever wages, similar to Hesse’s “Steppenwolf” protagonist, Henry Haller.

D’Argo is virtually the complete opposite of Pau Zhaan. D’Argo is a warrior of the Luxom species. He is reminiscent of Worf from Star Trek. D’Argo is young, and we later find out that he was falsely imprisoned by the Peace Keepers: his penance for marrying and siring a child with a Subation, the race of the Peace Keepers. At times, D’Argo storms in visions of Viking warriors, using violence as means to every end. At others, he recalls the Huns and other, more Middle Eastern or Asian warrior castes, such as the Shoguns. And, even though the fighter’s loyalty is always to his tribe and people first, D’Argo eventually views his ragtag group as comrades, and maybe even as his secondary family. By the end of the last episode, he gives his life to save his motley crew.

Crichton is thrown into a cell. Zhaan and D’Argo go back to the helm for defensive and retreat maneuvers against the attacking Peace Keepers. Enter Emperor Rygel, Dominar of 600 billion subjects. Rygel is a Henson puppet. Puppet is an understatement, as this expressive Hynerian becomes a beloved character of the show. Henson’s creation is often used for coming relief. Rygel, you see, has several stomachs, causing him to eat constantly, and to pass gas in the form of helium. Rygel is old and stodgy, a representative of the Elite. He was once the ruler of a vast, interplanetary, imperial empire, but was ousted from power by a relative. Subsequently, he was imprisoned and tortured by Peace Keepers assigned to just such tasks. Rygel is a displaced Illuminist, and the one most prone to subterfuge and backstabbing.

A Peace Keeper, Aeryn Sun, is taken prisoner by the escaped prisoners during the skirmish. When Crais captures the crew in the first episode, Aeryn tries to protect John Crichton. This angers Crais, and he strips her of rank and takes her into custody. He cites his reason, that she has been exposed to the human - alien life - for too long and is tainted. Being tainted is much akin to Western views that any and every native and non-Christian custom was savage, and any taking on those ‘habits’ were also savage. Erin Sun is like the Conservative who is joltingly shown the truth about her party’s true motives and methods. Over time she sees the Peace Keeper hegemony and a Naziesque social hierarchy. Aeryn has been bred from birth to be a part of the police state ranks. So, it is slowly, and with much pain that she realizes that even the Peace Keepers are made up of truly unique, separate identities. She, like D’Argo, eventually risks her life from her crewmates. Aeryn Sun, in the end, embraces individualism and the family over the collective, marrying and having a child with Crichton.

Two other, related main characters are Moya and Pilot. Moya is the ship that the prisoners have commandeered. She is a living ship, made from biomechanoid technology. She is even able to give birth. Moya is a purely defensive ship, designed for Warp Drive; or, the folding of space to escape the time/space problems associated with light travel. Also, biomechanoid technology allows for clean burning vehicles. Some day, we can only hope.

Pilot is a multi-armed alien, and is another testament to the Henson artists. Her character serves as the liaison between Moya and the crew, and vice versa. Pilot navigates and controls the living ship at the commands of the crew, and also relays to them what Moya thinks and feels. Moya and Pilot are the closest thing to two individuals being almost one in a symbiotic relationship.

Crais, the constant foe, represents what can happen when misperception causes power to corrupt and go awry. He is a fleet commander, with an impeccable record. At the expense of his career and his life, he uses his vast influence to ruin the lives of the “escaped prisoners”, all of whom are either wholly innocent or totally reformed.

Another great aspect of Far Scape is that they have a rotating cast of new characters that join our fleeing heroes. This one extra person always drastically changed the dynamic of the group, enforcing the power of individualism. In the final installments of the first season, we are introduced to Scorpius. He becomes a main character throughout the rest of the series and is worth mentioning. He is akin to those who are privy to the inner sanctum of the intelligence community. His horrendous invention, the Aurora Chair, serves a twofold purpose. Most importantly, it rips the imprinted images from the synapses of the brain and transposes them into video format. Outlandish yes, but with the many and varied experiments conducted by the CIA, FBI, and other intelligence agencies, it is not such a difficult thing to imagine. Truths, secrets, information, can all be extracted easily by trained intelligence officers. Scorpius is the epitome of a political sadist, along the lines of John Ashcroft or J. Edgar Hoover. And to the credit of the show’s creators and writers, he is depicted as a vile, immoral, hateful creature to be despised. Chiana is a being introduced and kept for the remainder of the show. She is extremely important. Chiana represents totally anarchy. She lives by no rules, not even the minimal rules imposed by her own group of political prisoners. She is shown in a very impressive light, not what the Establishment would have shown as representing anarchy, or true freedom.

Farscape became a huge success. It has often been credited with saving the Sci-Fi Channel from financial ruin. Because of its success, viewers tuned in for other original Sci-Fi programs, such as another militaristic run-of-the-mill show, Stargate SG-1. Each and every episode, with great subtlety and persuasion, Rockne O. Bannon and the Far Scape crew were able to continuously espouse a viewpoint of individualism. Furthermore, anti-genectic cloning, anti-torture, and other excellent themes were covered. In one episode, the Peace Keepers give free drugs to a global populace, who in exchange cultivate the said drug. It turns out that the drug is actually what allows for the advanced Peace Keeper weapons. Afghanistan is the most recent real world example of this. Heroin production has increased by approximately 25 times there since U.S. takeover, and that money is certainly furthering the goals of our own Peace Keepers.

What did the Sci-Fi channel do to thank the Far Scape crew. After four years, and a growing, rabid audience, the network pulled the show from the air. Sci-Fi cited the expense of the Henson production as the primary reason. My speculation is as follows:

Through fine craft, the Far Scape writers and creators were able to put out a show that held the almost uniquely American belief that the individual is more important than and integral to any and all collectives. They refused NASA (a military, not a space, organization) script-approval. They put human suffering in a proper light, and exposed the wrong-doers through cunning use of alien races to represent groups. Eventually, the idiots at the network realized that they had been duped. Or, they were contacted by their elite bosses and told to yank the show. There is no other explanation.

The money issue doesn’t hold up. Sci-Fi Channel claimed that it was too expensive to make the show, despite a massive, global media campaign to stop it from being cancelled. In fact, Sci-Fi had allowed Far Scape to become more expensive each passing year, and charged for advertising accordingly. Then, in a big slap in the face, they allocated a vast budget (procured from the revamping of the network allowed by the success of the Far Scape program itself) to Henson and O’Bannon to end the show properly in a four hour mini-series. They ran this edition endlessly, reaping huge financial success.

The only reason Sci-Fi channel can give for ending the Far Scape series - that it cost too much - is obviously a ploy. The truth is that individualism is not allowed on American television. When it sneaks through the fog of propaganda, it is almost always insanely popular. In the soul of every U.S. citizen in a freedom-lover, sleeping, yearning, desiring to be free. The Illuminati finally realized the immense impact Far Scape could and did have on their project to dumb-down and mind control the American populace, through public schools and television.

The show is one of the best ever. On the surface level, it is a fun, entertaining program whose wonderful characters aren’t so much fighting evil as they are simply trying to get away from it. The primary texture of Far Scape is that of individualism. Each character is shown to have unique aims, methods, emotions. Each individual is important to the group, and the group changes even if one individual leaves. Moreover, each episode of Far Scape has a humanitarian message, or a note of warning against those who would dehumanize the world.

Our heroes do not have a great life, as the utopian Star Trek crew is privy too. As warriors on the side of good, they are more often beset with problems arising from food, water, energy, and hiding than they are with violent conflict. John Crichton and D’Argo come close to becoming suicide bombers in one episode, simply to save their own group and perhaps billions of life forms. Again, the individual saves the group, not the other way around. There is no utopia in Far Scape. As one loves, one shall also lose. And one can hate, at times, when one loses control of our dignity. Despite this realism, though, Far Scape keeps alive the credo that man is an individual, and it is these individuals who make up man, the group. Back at Sci-Fi Network, they are pumping out their military-industrial style shows. The viewers lose. More importantly, the minds of America are back to a steady diet of collectivist indoctrination.

As for me, I am an individual. There is Crichton, the conflicted American, inside my soul. In my heart, I am D’Argo, the Asiatic/Germanic warrior, waiting to crack Illuminati skulls. In my heart, I am Pau Zhaan, the healer, trying to heal the world. And, yes, in some dark recess of my mind, I am sure there is a Rygel, the authoritarian despot. It is this darkness, this sin, this reptilian influence that we as humans must always strive against. The combination of all these things and more are what make us individuals. This realization can come about when we realize that the beautiful world of Far Scape is our world, too.

Webs of Power
by Erik Fortman


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