"Farscape" Back and Back and Back to the Future (TV Episode 1999) Poster

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8/10
Easily the Best of the Early Episodes
BSHBen10 August 2007
Warning: Spoilers
The episodes in the first half of the season one of Farscape, the episodes up until "Durka Returns", are similar in that they bear the usual signs of a sci-fi show's first season. The plots are simple, the sets are unelaborate, and the guest casts are relatively small. You can tell in these early episodes that the show has not been around for long and that the filming crew is still getting the hang of how to properly run the show. "Back and Back and Back to the Future" exhibits some of these qualities; the soundtrack is still experimental and there are only two guest actors. However, "Back and Back and Back to the Future" is an overall exception to the early episode trends in that it has elaborate special effects, an interesting plot line, a dark undertone, good style, and creative execution.

The storyline begins with Moya rescuing two Ilanics, named Matala and Verell, from their exploding ship. Matala quickly seduces D'Argo, turning him against the others, particularly John. John, meanwhile, begins to have strange visions after making contact with a substance in the damaged Ilanic ship. The visions are initially short and disturbing, but they increase in length and intensity as time goes on. Verell claims that he and Matala were conducting simple scientific experiments, but there is something sinister about their work.

The middle portion of the episode is creepy and intriguing. Zhaan notices strange sounds around Moya, and Natala's actions become more and more suspicious. Eventually, the secrets about Natala, Verell, and their experiment are revealed, leading to a truly incredible series of climaxes. Natala is shown to actually be a Scorvion spy, Verell was conducting top-secret military experiments for the Ilanics, and the goal of the experiments was to create a black hole, which Verell appropriately calls "the ultimate weapon".

Crichton's numerous attempts to foil Natala are extremely well-directed. Each of his attempts ends with disaster, but is then revealed to be a vision of the future. Director Rowan Woods successfully convinces the audience that each vision is in fact the real thing. A series of false visions could easily come across as confusing, but Woods pulls it off. The key, I think, to making the final act make sense is the manner in which each false vision ends with a return to the same conversation between John and Zhaan. John's consistent accidental breaking of some sort of mask during this conversation makes for a perfect parallel with the disasters consistently caused by John's attempts at defeating Natala. When his most recent attempt ends with the complete destruction of Moya, a frustrated John steps on the mask willingly, destroying it in one of the best moments in Farscape history.

The actual ending of the episode includes some of the best special effects yet seen on Farscape. Natala escapes, killing Verell, but Verell activates the black hole in Natala's ship with his last breath. This results in an impressive sequence in which both Natala's ship and the Scorvion ship coming to pick her up are destroyed by the black hole while Moya starbursts away.

"Back and Back and Back to the Future" is an excellent episode of Farscape. I may have over-hyped it a bit; it does have some flaws. Some of Crichton's early visions are never explained, and the (thankfully) final appearance of the joystick that Aeryn uses to control Moya is a mere distraction. All in all, however, "Back and Back and Back to the Future" is a must-see episode. 3.5/4
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9/10
Glimpses of the future
Tweekums2 May 2012
Warning: Spoilers
After rescuing a shuttle escaping from an exploding cruiser something strange happens to Crichton. He touched something on board and afterwards keeps having strange glimpses of the future. The shuttle's two passengers are Ilanics; a species closely related to and allied with D'Argo's species, the Luxans. They tell him that since he was jailed war has broken out between the Ilanics and the Scorvians and that they were engaged in vital war work; they don't tell the others though. Crichton's glimpses of the future get more and more worrying and suggest that the female Ilanic, the seductive Matala, is not what she seems. The flashes usually end up with Crichton's death and eventually with the loss of Moya; using the information he has seen he must persuade the others that Matala poses a threat to all their lives and act in a way that will stop her without harming Moya and her crew.

This was a great early episode which managed to be slightly confusing without completely losing the viewer. Set entirely aboard Moya with just two guest stars things are kept fairly tight. The guest stars did a fine job; especially Lisa Hensley who managed to be quite alluring as Matala despite her heavy 'alien' make up. At times things got quite creepy as we weren't sure if we were watching one of Crichton's flash forwards or were looking at events as they took place. Each time Crichton changes something his flashes of the future changed accordingly; these flashes were similar enough to make it look as if creating the change he wanted wouldn't be easy without being so close that they got repetitive. Being a stand alone episode it wouldn't ruin the series if you missed it but if you did miss it you'd be missing a good one!
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10/10
Fantastic Script, Excellent Use of Metaphor
bryanogilvie23 March 2022
This episode, 1.3 of the series, contains excellent metaphor usage and an origami-like approach to the dialogue, along with significant character development (a la D'Argo, the overall species addition of "Scorvians," "Illanics", etc.) throughout the story's arc.

It is impressively economic as well, and the viewer will find himself surprised as the run time of the episode doesn't transgress beyond normal length.

Crichton's use of the time warps, the black-hole oriented weaponry as plot rationale, the subterfuge and deceit of the apparently helpless, and the true moral of the episode - man's weakness towards the female, and the female's deft usage of guile, allure and seduction to manipulate man towards his destruction - are all sequentially explored at a riveting, action-oriented pace that fiercely delivers in a from true to Farscape's overarching canon and theme.

This specific episode stands out as an excellent showcase and spotlight illustration to the vision of the authors and writers, through a cast that delivers in an equally synergistic and effortless fashion.
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4/10
Again... and again... and again...
craybatesedu17 April 2019
Warning: Spoilers
The trope of the succubus-assassin has never been done well and this episode is no exception. The writers at least have the decency to spare us the predictable leadup to the discovery that the mysterious alien seductress is not what she appears to be (obvious within three seconds or so of meeting her) by granting Chrichton the power to see the future. Chrichton joins us is seeing this twist coming a mile away.

The bad male-gaze tropes come fast and hard. There is a bona fide karate catfight, choreographed about as well as you'd expect, and Sun spends most of the episode with her midriff needlessly exposed and contributing little else of value.

D'Argo's seduction by the alien woman is as inexplicable as Crichton's ability to see the future. Crichton's flash-forwards force us to watch the same scenes over and over again with only minor changes. We are left bored, impatiently awaiting a resolution that in this case comes so suddenly and with so little contribution from our crew it is a wonder why they are there at all. When Star Trek, Travelers, Dark Matter, or any of the many other series that have tried this irritating plot device they have at least had the mercy to slightly vary camera angles or show different parts of the same conversations during the repeats. Here we are trapped in Groundhog Day except Bill Murray never gets any better - he just bumbles around until the problem is dues ex'd away in the final three minutes.

This is an episode without tension, an episode that lays a predictable plot device on top of scenes we have literally already seen before. It is ultimately unsatisfying. The gender politics of it are positively crusty. Perhaps its greatest error is its almost complete omission of the animatronics that have so far been the real stars of the series. The closest gift we are given is the outstanding makeup work on both of the alien visitors.

This episode is redeemed slightly by the revelation that we have a mystery in D'Argo's "true" crime. This finally adds some depth to an otherwise boring grunt who has so far done little more than snarl and trade unconvincing barbs with Crichton, who remains himself flat and undeveloped on his own.
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