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Just finished watching "Mind Wars" (Season 1: Disc 2). Great episode.
The start of the episode has Garibaldi (and his forehead) in the elevator with Talia Winters. You can clearly see what he's thinking; I didn't need to be a telepath for that. It was such a hilarious scene because I was thinking the exact same thing Garibaldi was: Talia is SEXY! Her walk is to die for.
Catherine Sakei (Sakai?), I was so sure, was headed for death. G'Kar sending help was two-fold. I think he did it for the sake of kindness, but now Sinclair is indebted to G'Kar. And, G'Kar knows this.
Jason Ironheart's character was great and familiar to me. JMS used this idea in his comic book Rising Stars. When the episode ended, I had to dig out the comic book.
Rising Stars issue #16 spotlights Laurel Darkhaven, narrated by Poet (pg 9, panels 1-7):
"Within a monthof graduating high school, Laurel was grabbed up by the CIA, the NSA and just about every other intelligence agency beginning in darkness and ending in the letter A.
"Laurel had one power: the ability to affect small objects. The smaller the better. We never figured it was worth much. I mean, who needs a power to affect something tiny?
"We didn't stop to realize that the carotid artery is a tiny vessel. One little pinch from her thoughts, and the blood dries up on its way to the brain, and...
"She was the perfect assassin. The job could never be traced back to her or anyone. So the wetworks boys sent her in after the worst of the worst: terrorists, bombers, you name it.
"I used to wonder how she was able to do it. But how is less the question than why, and where does it stop?"
Page 11:
Laurel: "The fighting continued. The dying continued. And I began to wonder if either side was truly right or truly wrong...if God spoke for them or they spoke for God or if in his shame God had turned his back on the whole region, waiting for them to stop fighting."
Poet: "So how do you do that?"
Laurel: "They're fighting for control of the icons of their beliefs. As if to say, "If I control this, I am right and you are wrong.
So you take away what they're fighting over. Take away the symbols. Level the theological playing field.
The dome of the rock, where they say Mohammed ascended into heaven...and the wailing wall, the remaining vestige of the temple compound, last legacy of Solomon.
I'm going to tear them down. I'm going to reach into the very molecules of the stones themselves and explode them from the inside-out. They will be united in their loss. They will be forced to rebuild together, side by side.
If the children won't play nice with their toys, you take them away.
It'll give them something to hate besides each other, and a common loss they can mourn together."
I liked how JMS expanded on this idea in Rising Stars, very cool.
The start of the episode has Garibaldi (and his forehead) in the elevator with Talia Winters. You can clearly see what he's thinking; I didn't need to be a telepath for that. It was such a hilarious scene because I was thinking the exact same thing Garibaldi was: Talia is SEXY! Her walk is to die for.
Catherine Sakei (Sakai?), I was so sure, was headed for death. G'Kar sending help was two-fold. I think he did it for the sake of kindness, but now Sinclair is indebted to G'Kar. And, G'Kar knows this.
Jason Ironheart's character was great and familiar to me. JMS used this idea in his comic book Rising Stars. When the episode ended, I had to dig out the comic book.
Rising Stars issue #16 spotlights Laurel Darkhaven, narrated by Poet (pg 9, panels 1-7):
"Within a monthof graduating high school, Laurel was grabbed up by the CIA, the NSA and just about every other intelligence agency beginning in darkness and ending in the letter A.
"Laurel had one power: the ability to affect small objects. The smaller the better. We never figured it was worth much. I mean, who needs a power to affect something tiny?
"We didn't stop to realize that the carotid artery is a tiny vessel. One little pinch from her thoughts, and the blood dries up on its way to the brain, and...
"She was the perfect assassin. The job could never be traced back to her or anyone. So the wetworks boys sent her in after the worst of the worst: terrorists, bombers, you name it.
"I used to wonder how she was able to do it. But how is less the question than why, and where does it stop?"
Page 11:
Laurel: "The fighting continued. The dying continued. And I began to wonder if either side was truly right or truly wrong...if God spoke for them or they spoke for God or if in his shame God had turned his back on the whole region, waiting for them to stop fighting."
Poet: "So how do you do that?"
Laurel: "They're fighting for control of the icons of their beliefs. As if to say, "If I control this, I am right and you are wrong.
So you take away what they're fighting over. Take away the symbols. Level the theological playing field.
The dome of the rock, where they say Mohammed ascended into heaven...and the wailing wall, the remaining vestige of the temple compound, last legacy of Solomon.
I'm going to tear them down. I'm going to reach into the very molecules of the stones themselves and explode them from the inside-out. They will be united in their loss. They will be forced to rebuild together, side by side.
If the children won't play nice with their toys, you take them away.
It'll give them something to hate besides each other, and a common loss they can mourn together."
I liked how JMS expanded on this idea in Rising Stars, very cool.
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