Blakes7 October 2001

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54 participants
274 discussions

Attacks on Control
by Leia Fee 02 Oct '01

02 Oct '01

Dana said... >I just watched Pressure Point. Near the beginning, >Jenna says that there have been many attacks on >Control, including rocket attacks from space--and >Vila says "armies can't do it." But whose armies? >And a rocket attack doesn't sound like something that >a raggle-taggle guerilla band could put together. >Were those early battles in the Andromedan War? Rival factions in the Federation itself maybe? Leia

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Cally
by Ellynne G. 02 Oct '01

02 Oct '01

Been thinking about the recent discussion on Cally's withdrawal in RoD and how Cally seems to become more passive in the third season. Cally seems to be pretty good at tasks that only require action. Plan a one woman mission on a heavily armed base? Attack anyone who gets in her way? She's up to it. She also seems to be good at chosing how to interact with people when she's not depedent on how they respond. For example, she can treat Shrinker the way she does because she _doesn't_ expect any particular response. Treating him like a human being isn't directly tied to whether or not he acts like one. However, when she needs to act or speak with someone to get a desired response, she's doomed to frustration, especially in the third season. With the exception of getting them to got to Auron, she's rarely (if ever) able to persuade them to change their minds and follow a course of action she outlines. At first, this seems ironic since Cally is one of the more sociable members of the crew, but that may be the heart of the problem. True, she has a very different background from the others and is rarely able to phrase an argument in terms they find meaningful. But she also rarely prepared to take actions that would put her solidly against them. Avon may be perfectly capable of taking Liberator off to Terminal without asking the others and holding them off at gunpoint if necessary, but Cally's not. Granted, people in groups have been known to bow to invisible pressures (the story of the friends who all go off to the beach without protest when none of them, individually, wanted to because 'the group' wanted to), but this seems a bit much. Of course, the cultural thing could be two way. Just as Cally may be unable to argue her position persuasively to the others, they may find themselves exerting pressures on her without realizing that's how it comes across to her (I'm pulling blank for examples, but it's the only arguement that makes sense [well, as a telepath cut off from supports she took for granted, a group she had somewhat bonded with might have been more important than they realized]). Hmm, makes me wonder if there was something else going on in Avon's mind when he criticized Aurons for always conforming to the group. Ellynne ________________________________________________________________ GET INTERNET ACCESS FROM JUNO! Juno offers FREE or PREMIUM Internet access for less! Join Juno today! For your FREE software, visit: http://dl.www.juno.com/get/web/.

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Attacks on Control
by Dana Shilling 02 Oct '01

02 Oct '01

I just watched Pressure Point. Near the beginning, Jenna says that there have been many attacks on Control, including rocket attacks from space--and Vila says "armies can't do it." But whose armies? And a rocket attack doesn't sound like something that a raggle-taggle guerilla band could put together. Were those early battles in the Andromedan War? -(Y)

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Arlen
by Nathan Hook 02 Oct '01

02 Oct '01

I haven't written to the list in simply ages, but here goes... There probably aren't too many equivalents to the SAS, but that depends on who you talk to and what you believe. The US's Navy Seals or Delta Force as examples perhaps? It's an interesting point Arlen as an officer, risng from the working grades. Her accent is obviously not "Alpha-Class", if we choose to accept other "accents" on which to base the presumption that the educated classes speak differently. Brian Croucher's Travis another example. Arlen may have been chosen specifically for the role. Her accent being natural, not learned or put on to fool people like Blake. The SAS often choose their under-cover operatives for their ability to be inconspicuous, what is termed the "grey man". If you ever meet such a person, and they don't announce themselves, your first reaction is, "I'd never have thought he was that type of person." The James Bond persona isn't appropriate...far too conspicuous and many SAS guys are outwardly quite run of the mill. Looking at Arlen, she had a bad attitude, but you wouldn't pick her for an officer. It was enough to fool Blake...his supposed testing of individuals to ensure they're right to join his cause. Just a thought. Nathan. Nothings so difficult as a beginning/ In poesy, unless perhaps the end. Byron. ------------------------------------------------------------ Free, BeOS-friendly email accounts: http://BeMail.org/ BeOS News and Community: http://www.BeGroovy.com/

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Zen
by Sally Manton 02 Oct '01

02 Oct '01

Cally calls out for Blake when she dies - something we have discussed before, I know. But an interesting addition to that point is that, in Terminal, Zen also appears to call out for Blake - as well as Cally - in his mechanical 'delirium' when dying. Not Jenna, whose mind Zen took his original link from, or the other pilot, Tarrant. Nor Avon, the current 'owner' of the Liberator. Any ideas on why? _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp

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Re: [B7L] decentring morality
by J MacQueen 02 Oct '01

02 Oct '01

>From: Mac4781(a)aol.com > > I've been trying to resist asking just how old the rest of him is > at >this point. Haven't succeeded, have I? >;-P That will be mocha coolers at ten paces; no straws allowed. Between not being fond of mocha and general euphoria at the result of the Rugby League Grand Final on Sunday night, I think you win! >I guess I should proofed it. <g> "His face is filthy." Thankyou. And for the rest of this stuff. Regards Joanne (Onya, Newcastle! See, I'm just one big silly grin this morning...) _________________________________________________________________ Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp

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Re: [B7L] decentring morality
by Mac4781＠aol.com 02 Oct '01

02 Oct '01

Jo Ann (quoting me): > >From: <Mac4781(a)aol.com> > > His face is firty, > > I've been trying to resist asking just how old the rest of him is at this > point. Haven't succeeded, have I? ;-P That will be mocha coolers at ten paces; no straws allowed. I guess I should proofed it. <g> "His face is filthy." Wildean wrote: > Incidentally does BCU stand for Big Close Up? I'm not sure what it stands for. I've always presumed the CU part stands for Close Up; but I don't know about the B. I can ask a friend who is a screenwriter if no one on the list can answer the question. Here's the rest of the descriptive lead-in for the first Blake-Arlen scene. (Note: spelling is per the script, including typos <g>) "He stares past CAMERA, deep in thought until a breaking twig nearbye snaps his attention back. "Casually he leans forward and puts a piece of wood on a campfire over which a small animal is roasting. "The WIDER SHOT shows BLAKE to be dressed in rough well-worn leathers. At his belt is a handgun and a large hunting knife. "He sits back, relaxed and comfortable against a tree and watches the fire. "If possible the woodland should be Forestry Commision type pine plantation rather than natural deciduous woods. "BLAKE without taking his eyes from the fire." It goes into his first line there. Here's an interesting bit--the description of Arlen: "She is in her late teens - a thin harsh girl, fierce and ready to kill." Later we learn this *teen* is a Federation *officer*. Which goes along with my theory that military officers were put through an accelerated learning process that had them graduating from FSA before students in our era would have begun university. That helps to explain how Tarrant could be so young and have so much experience (FSA-Space Command long enough to rise through the ranks to Captain--mercenary/smuggler) before he shows up on Liberator. There's quite a bit of specific direction in the initial Arlen-Blake scene, telling the actors when to move, how to move. Here's a long passage later in the scene, just after "Arlen pays her debts" and Blake agrees to keep the gun. "BLAKE remains sitting where he is as ARLEN moves backwards away from him covering him as she goes. When she is satisfied that she is far enough away she turns to leave. As she is turning CUT abruptly to her POV. "On the CUT a BOUNTY HUNTER jumps up - or forward or down - into the frame, filling it and bellowing savagely. He is a fearsomely rough-looking individual and the whole effect of the cut should be to make normal people, like the audience, jump. "It should be so sudden and startling that a normal person would freeze. "The BOUNTY HUNTER expects ARLEN to react that way. But ARLEN is not normal. "She shoots the BOUNTY HUNTER immediately, without a flicker of emotion or hesitation. "As he crashes backwards TWO more BOUNTY HUNTERS run through the trees towards ARLEN. "She shoots ONE and he goes down hard. "The other fires hitting ARLEN high on the leg (a small blood pellet here really wouldn't upset anyone) spinning her to the ground and flinging the pistol form her hand. "With a yell of triumph the BOUNTY HUNTER plunges on towards her. She tries to reach the pistol. "A gun fires O.O.V. "The BOUNTY HUNTER goes down in a flurry just short of ARLEN. BLAKE moves unhurriedly to stand over the fallen GIRL. "The Federation gun is cradled in his ARMS." Question: What would Blake have done if those other bounty hunters hadn't shown up? Gone after Arlen? His intent was to arrest and test her, after all. Re the eye injury/reference to Travis in the script: Chris knew Blake was going to die at Avon's hands. And he was still expecting a fifth season when he wrote this. He might have been setting it up so that Avon wouldn't look so dastardly for killing Blake. He might have wanted Blake to appear to have followed Travis' path of fanaticism. In word and deed Blake is often shown to be more fanatical than rational in the episode. And that leads to monumental failure. Travis' final act was an attempt to wipe out the human race. Blake's final act is to wipe out his Gauda Prime base and followers. And Avon is the man who rid the series of two "fanatics" who were dangerous to others. Carol

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Ghostwatch with Paul Darrow
by Judith Proctor 01 Oct '01

01 Oct '01

I just received this and thought it would be of interest. Judith Date: Mon, 1 Oct 2001 10:48:54 +0100 From: Andrew Widger <andrew.widger(a)bbc.co.uk> Subject: GHOSTWATCH LIVE COMBINES TV AND THE INTERNET IN A REVOLUTIONARY LIVE INTERNATIONAL BROADCAST To: "'Judith(a)Blakes-7.com'" <Judith(a)blakes-7.com> FYI - Paul Darrow to present a cross-media event..... BBC Worldwide has been commissioned by UK Horizons to produce Ghostwatch Live, part of its Haunted weekend celebrations based around Halloween. Ghostwatch Live is an interactive, cross-media investigation into the paranormal and is being broadcast live from HM Tower of London on 26th and 27th October. UK Horizons will transmit the event, with both BBC America and BBC Prime taking content for broadcasting on TV and the Internet. The event will be presented by: Claudia Christian (Babylon 5, Atlantis: The Lost Empire) and Paul Darrow (Avon from Blake's 7, The Strangers, Pie in the Sky). Experts from the Tower of London will join the team of paranormal scientists contributing to the programmes. The event comprises the following: · A one-hour live TV broadcast direct from the Tower of London (TX: 26.10.01) - HM Tower of London is said to be one of Britain's most haunted locations. Paul Darrow and Claudia Christian present live coverage from the event. · Two seven-hour mixed media web-casts (TX: 26/27.10.01). Following the above programme, live coverage from the event continues in a streamed broadcast over the web. Featuring location web cameras, vox-pop interviews rolling news and features. · Six mini-documentaries (based on prisoners who have resided at the Tower). Paul Darrow recounts the tales of some of the Tower's most famous residents, whose spirits are said to haunt the Tower to this very day. · A one-hour documentary, Secrets of the Paranormal (TX: 31.10.01). Set against the backdrop of the live Ghostwatch event, this documentary places the live event into a wider context and seeks to explore whether ghosts are a figment of a vivid imagination or something far more real. Contributors include members of the highly respected Society of Psychical Research. Andrew Sewell, Executive Producer for Ghostwatch Live and Head of Content for BBC Worldwide's Internet and Interactive department, said: "We're delighted to have been commissioned to produce this event, which is a first for BBC Worldwide. This is not simply a TV programme or a web cast. It has been conceived as a whole to deliver a genuinely interactive experience with viewers of the programme migrating to the web in a truly integrated fashion, to follow the scientific team's ongoing investigation at the Tower. Ghostwatch Live is a credible exploration of the subject and not a Halloween spoof event. "For the first time, the Tower of London is permitting unprecedented broadcast access live from within its walls. Ghostwatch Live makes use of television and the Internet to uncover the truth behind its alleged hauntings and lead viewers on an interactive journey. The public has demonstrated it has a passion for TV it can get involved with and this project will take such passion to previously unexplored heights," he concludes. Ghostwatch Live is a core element of UK Horizons' Haunted weekend of programmes about the paranormal. International viewers will also be able to join the experience as BBC America and BBC Prime are broadcasting selected TV elements and the full web-cast on their respective web sites. Further details of the event will follow as they are confirmed. Background information: BBC Worldwide, the commercial arm of the BBC, generates income to support the UK licence fee by marketing programme-related products and services around the world. It is self-funding and exists to provide supplementary funding for the BBC's public services. In 2000 / 2001, BBC Worldwide provided cashflow to the BBC of £96 million. Its ambition is to quadruple cashflow to the BBC during the current Charter period. BBC Worldwide is financially separate from the rest of the BBC and receives no public funding. For further information, please contact: Andy Widger Press Officer, Internet & Interactive BBC Worldwide Tel: 020 8433 1311 Email: andrew.widger(a)bbc.co.uk -- http://www.hermit.org/Blakes7 - Fanzines for Blake's 7, B7 Filk songs, pictures, news, Conventions past and present, Blake's 7 fan clubs, Gareth Thomas, etc. (also non-Blake's 7 zines at http://www.knightwriter.org ) Redemption '03 21-23 Feb 2003 http://www.smof.com/redemption/

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Morgan's Boy
by Judith Proctor 01 Oct '01

01 Oct '01

Should you wish Morgan's Boy to be released on video and, judging by the steady trickle of requests I get to copy my own tape, there must be several of you out there, the person to send your request to is: laura.palmer(a)bbc.co.uk She keeps track of requests made to the BBC for video releases and says I'm the first person in six years to request it. I suspect that people simply haven't known who to make the request to. If you enjoyed the zine 'Morgan' then I'm sure you'd like to watch the series that inspired it. It was the best TV work Gareth ever did. Judith PS. I've dontated 16 pounds so far from sales of 'Morgan' to the Royal Agricultural Benevolvent Fund and am still donating 2 pounds per copy sold. -- http://www.hermit.org/Blakes7 - Fanzines for Blake's 7, B7 Filk songs, pictures, news, Conventions past and present, Blake's 7 fan clubs, Gareth Thomas, etc. (also non-Blake's 7 zines at http://www.knightwriter.org ) Redemption '03 21-23 Feb 2003 http://www.smof.com/redemption/

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Pirates
by Leia Fee 01 Oct '01

01 Oct '01

Joyce said... >Sheelah called Gareth and asked him if he would do it as a favor and he >got in the car and drove there and did it the next day--or maybe even the >same day. (I've forgotten the story since it's been a while.) It's a >totally nothing part but Sheelagh knew that Gareth >loved Vikings and would do it if he could. >It's too bad they didn't have time to rewrite the part and give him more >to say!! It was a small part but a rather good story. He gets to be this defiant shipbuilder Thorberg who trashes the kings boat because his junior shipwright messed it up when he went away for a while. King Olaf comes stomping back to fund his boat in bits all over the beach and demands to know who did it. From last night's memory Olaf: I will reward the man who tells me who has done this. Thorberg: I will tell you king. *I* have done this. Olaf: Then you will rebuild is as beautiful as before or you will die. Why? Thorberg: In my absence they had used thick planks and I knew the ship would wallow in the water like a rotten log. Then he goes off and fixes the boat up again. He looked like he had fun. I know a bunch of the reenactors who were there I must ask them if they remember it. They had a cutting in the local paper I recall. Leia

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Blakes7 October 2001