Billie on the set of The End of Time


Can we just talk for a moment about these two precious people here?

Sometimes I just get hit by an overwhelming surge of emotion for these two because for me, their story will forever be one of the most heartbreaking love stories ever told.

At first she hates his world and his ways and him and all she wants is to leave, and he hates her for being too similar to and yet so different from Sam. But with everything they go through together, they develop this beautiful relationship whereby they trust each other implicitly, and considering that they are two people not apt to fully trust others, that’s amazing. And then he falls in love with her sexy, confident, no-nonsense exterior and the frailties she hides inside of herself, and she falls in love with the rude, sarcastic, alpha-male image he likes to perpetuate and the fears and the insecurities he does his best to hide from even himself. 

But they never get a chance. Not one single chance to even acknowledge that they love each other, let alone act on it or tell each other. They’re both torn a million different ways by a million different other factors - they go through so much together, they reach breaking point time and time again, but time and time again they come through it, together, and it takes my breath away how deep the trust between them really ran in the end. The dynamic between them is so complex - far more complex than I could ever summarise here or in any fanfiction, but that moment where Alex is standing there and Gene is on the floor, broken, and she says ‘I’m not leaving him’. That moment is one of the most powerful of the series and it breaks my heart. They deserved so much better than their fates - they deserved each other. 

And then when they finally did get the glimmer of a chance, when the possibility of an opportunity to be open with each other, to be together, came along… He sent her away. And she went. 

And that will never not kill me. 



Whenever a friend of mine whom I’ve told to watch Farscape comes back to me and says, “I’m sorry, I really tried…but I couldn’t get past the first couple of episodes,” I want to show them this image and this shot and read them this analysis of it:

This next bit is both good and bad, because it provides a major plot point for the episode, gives you some serious visual symbolism about the Peacekeepers and Aeryn herself, and is wonderfully done….The squared circle in which their “physical conditioning” is [done is] a mat, maybe six yards on a side, emblazoned with the Peacekeeper emblem. Which we’ve seen before, but it’s never taken up the whole screen, so let’s get that out of the way. The PK symbol is taken from a Third Revolution Russian agitprop poster from 1919, and people get really excited about it because it’s one of maybe five things that even if you’re completely disinterested in this stuff, you have to pay attention to it, because the way it’s used is always choreographed to an almost balletic extreme. It’s a red Communist wedge breaking through a white area, into black. The black space into which it’s intruding is soft and curved, the red wedge is pointed and hard. Okay?

Back to an overhead shot: Aeryn unconscious, almost completely contained within the red PK wedge, one hand thrown over the line and into the white. It’s the percentage of her that’s—so far—out of her black radius: the hand [John is] holding. And as though that wasn’t enough of a slap to the head that you should pay attention (no camera angle is by accident; it’s weird how you eventually have to realize that nobody ever just dropped the camera and let it roll, except student filmmakers), one leg is cocked up (there’s a discontinuity here as well, slightly, that tells you she was positioned this way for the shot and I’m not always making this shit up): Trump XII, the Hanged Man. (Originally “the Traitor,” okay.) The Hanged Man’s about going through turmoil and storm in order to change: not because you’re strong enough to ask for it, but because the universe demands it of you. The saint who looks demonic, unrecognizable, anathema to the people she leaves behind, heading out of the red and into the white, dragged by that one tiny hand. The woman becoming something different, something better; the woman dying in her change. The woman just beginning her tutorial. The woman who could be more.

—from …And Wash Away the Rain, Jacob Clifton’s recap of Back and Back and Back to the Future, Farscape 1.05, on Television Without Pity