Popular Culture Review Vol. 12, No. 2, August 2001 | Page 111

F arscape and Buck Rogers 107 it is the Draconian Princess Ardala (Hensley) who wants to mate with him so that she can bear freethinking, independent progeny that will lead her Empire on a new and more powerful path. John Crichton has a same-sex foe, Peacekeeper Captain Crais (Tupu), who blames him for the accidental death of his brother when John’s craft abruptly emerged from the wormhole and collided with the blood kin’s prowler. Although occupying minor screen time, both Ardala and Crais make their pres ence known when they do appear; their goal is to reshape the astronauts’ identities so as to conform to their version of reality. Pearson refers to these archetypal fig ures as Captors who impose their own imprisoning lifestyle on the Hero (67-74). In his latest text, James Iaccino uses the label Shadow Pursuer to characterize these “bigger than life” antagonists (165-167). Specifically, Crais and Ardala are so obsessed with tracking down their quarry (and killing it or, alternately, marry ing it) that they begin to destroy themselves in the process of giving in too freely to their primitive, animalistic urges. What audiences find appealing about such highranking officials is that they are nothing more than flawed and imperfect versions of the Everyman (and Everywoman) who wish to ennoble themselves via the irra tional quest they are undertaking. The Buck Rogers and Farscape pilots introduce us to these Pursuers and the inevitable threat they pose to the Heroes crossing their path. In at least two more instances beyond the premiere, Princess Ardala tried to trick Buck into considering the bonds of holy matrimony. “Escape from Wedded Bliss” has the Draconian Prin cess threatening New Chicago with destruction via her new pyramid weapon un less the man from Earth’s past ties the knot with her. Naturally, Buck extricates himself from this sticky situation and blows up the energy device before it can do irreparable damage to the Earth. This does not prevent the villainess from snaring him again in the teleplay “Ardala Returns.” Realizing Buck will not come to her willingly, she clones him in triplicate so that the three versions will be able to sati ate all her sexual cravings. But Ardala soon discovers that each clone has its own inherent defects: one is too self-absorbed and neurotic; another too self-assured and cocky; and the third too robotic in its expression of feelings for her. So each outing ends with the Princess becoming quite annoyed and frustrated by the turn of events, yet hoping that one day the “most genetically perfect male in the galaxy” will have a change of heart and do what is best for her and the Draconian Empire. As the Farscape version of Ardala, Bialar Crais shares a similar, emo tionally charged relationship with John Crichton. From the opening episode, Crais makes his intentions clear to the befuddled astronaut. In no uncertain terms he relates that he “will personally enjoy pulling John apart” with his bare hands. A follow-up teleplay, “That Old Black Magic,” showed the Peacekeeper Captain more obsessed than ever in his quest to kill his brother’s murderer. When both John and Crais are transported inside an incorporeal realm by the malevolent en