"I was presented with a problem," David Kemper recalls. "Throughout the season, we constantly look ahead at the schedule, and we realised that the actors had so much ADR [additional dialogue recording, in post-production] to do, we couldn't finish the episodes. We had a delivery timetable to the network, and we couldn't meet that unless the actors were freed up. So I decided we would do one episode with all the boys, and one with all the girls."
Earlier in the season, there had been a discussion about when the time would be right to deal with D'Argo's backstory, and whether it might wait until season five or possibly even season six. But following the Farscape policy of 'play the card', they decided to go ahead and discover what had happened to Macton straight away.
"Mark Saracent had this brilliant idea of finding out that D'Argo isn't perfect," Kemper says. "He smacked his wife once. It had such an emotional edge to it, and we had to be really careful that we pulled it off properly, and didn't make the episode too goofy. Justin Monjo was going for the touch line, and saying that D'Argo really did kill his wife, as Macton claims. I didn't know if we wanted to go that far. I felt we still had to like the characters, and I wanted to be sure that we didn't disservice D'Argo."
Andrew Prowse recalls this as "the D'Argo episode of the year. It had to be all about D'Argo. It's about him wrestling with his demons. It wasn't about Crichton doing whatever he was doing in his little hellhole, it was about D'Argo!"
Anthony Simcoe worked closely with director Geoff Bennett to achieve the emotional layering that the script demanded. "They were more like emotional colours than anything else," Simco says. "We wanted to make sure we got the intensity of the emotions in. It was areal moment for me of just digging down into a deep emotional space, which I found really enjoyable."
Composer Guy Gross found it "challenging to express D'Argo's pain, so we could really understand his story. I allowed the doubt to stay in my mind and didn't want to resolve D'Argo's dilemma musically until right at the end, when we knew what the answer was."
For the flashback sequences, "we wanted to go back to D'Argo's season one make-up," Simcoe recalls. "But the practicalities of shooting the show on the schedule that we had would have meant a complete make-up change for me in mid-flow, which would have taken nearly five hours! They were such small scenes that it just wasn't practical, unfortunately."
Kemper is also pleased that the story also focuses attention on Rygel, who fights valiantly against the hated Charrid. "He really is a brave guy," he points out. "He doesn't know how good, and how strong he actually is until he's confronted. He's learned he's got this in him; it's kind of dawned on him over time. Because he's a little bit of a ******, frankly, people don't listen to him as much as they should, but ultimately he's the smartest guy on the ship!"
The icasahedron in which the battles were fought caused a few practical problems on set. "When you were on the studio floor," Ben Browder recalls, "The set was just lights, and the opening of a CG area. When you worked in it, you got motion sickness, because whenever you turned your head, the lights moved -- but you weren't moving!"
"The ball inside cyberspace was a huge undertaking for visual effects," Deb Peart recalls. "A lot of time was spent making sure that all the moves were right. It seemed simple, but it wasn't. There's only so much time you can spend watching a growing ball moving from one direction to another."
"Mark tackled an episode that had lots of layers to it," Kemper concludes, "and did a really good job. Anthony did brilliantly, giving us the emotion of the show. D'Argo finally gets his revenge, but we find out that he wasn't without guilt."