Babylon 5: “Acts of Sacrifice”/“Hunter, Prey”

“Acts Of Sacrifice” (season two, episode 12; originally aired 2/22/95)
Babylon 5 may be most famous for its planned five-year plot, and deservedly so, but plot alone doesn’t make a show—or anything really. In order to be a great story overall, it must have strong characters. “Acts Of Sacrifice” is acknowledgment of this fact, a character-based (belated) second part to the plot-heavy “The Coming Of Shadows.” Here, the effects of that episode are shown on its most important (and Babylon 5’s two best) characters: Londo and G’Kar. In both cases, it marks the end of their initial characterization, and the beginning of different paths for the two men.
Londo, for the first time, seems to question his path to power. After the shifts in Centauri politics, he’s rich, people offer him gifts and try to curry his favor, and the Centauri Republic is on the rise again. It’s everything he ever wanted, and it’s not what he wants. Suddenly he realizes that all he wants to be is season-one Londo, hanging out in the casino and bars of the station, calling loudly for “Mister Garibaldi!” He can’t have that anymore. He demands of a skeptical Garibaldi: “Why is everyone around here walking around like they’re afraid of me?” Garibaldi doesn’t think it’s such a secret: “I don’t know you anymore, Londo. None of us do.” Their relationship, which often seemed to be the heart of Babylon 5’s first season, is all but gone.
Yet Londo still has some decency. When he’s confronted with the episode’s weekly story, a murder centered on the rising Narn-Centauri tensions on-station, Londo goes beyond even what Sheridan and Garibaldi want to do to defuse those tensions. They want to delay the trial of the Narn who has confessed to the murder, but Londo encourages them to deport the murderer and remove the need for a trial altogether. (I find it ironic and indicative of the increasing darkness of the show that the best outcome here is one that avoids the liberal ideal of the fair trial, in exchange for a personal decree.) Ambassador Mollari has not become purely a creature of imperial ambition—Londo’s decency remains, somewhere. For this, Garibaldi rewards him with a simple act of friendship.
G’Kar’s storyline is more complicated, and more central to the episode. He’s caught between two political forces in “Acts Of Sacrifice.” On the one hand, he’s desperate to gain the aid of the Humans or the Minbari or both in the war against the Centauri, and that means presenting himself and his people in the best possible light. On the other, the Narn on the station want more action, and view G’Kar as weak for not allowing them to indulge in their desired violence.
This conflict mirrors G’Kar’s core character conflicts of the second season. Ever since the events of “Chrysalis,” he’s been acting under the apparently correct impression that a great evil is coming, and that the races on Babylon 5 need to put aside their differences in order to be prepared for the evil. On the other hand, he began the series as the villain, and neither the show nor the other characters have quite forgotten this. When he approaches Delenn, she reminds him of his previous desire for vengeance against the Centauri: “Do we help we now, knowing that in a few years, when you’ve gathered your forces, the Centauri will be asking us for help?” (Delenn’s argument here is fascinating giving later events and themes in the series; I’ll discuss those in a spoiler space below.)
G’Kar’s only way out of this conundrum is battle the Narn who is challenging his authority. This is a bit too convenient of a way out, as G’Kar is destined to triumph over the random guest star. Likewise, the Narn storyline hinges on the actions of Mary Kay Adams as Na’Toth, and this just doesn’t work. J. Michael Straczynski apparently did not approve of Adams’ take on the character of Na’Toth, and whether he was correct in that assessment or not, this being only her second appearance of the season makes her presence feel more like “Oh yeah, her!” as opposed to “Yes, of course G’Kar trusts Na’Toth!” which is the story the episode wants to tell. It’s still good, but the slight struggles of the Narn section prevent “Acts Of Sacrifice” from being a top-tier Babylon 5 episode.
It does, however, contain one of the most memorable moments of Babylon 5’s run. In the side plot, Ivanova’s forays into “the fine art of diplomacy” are put to their biggest test as a new race visits the station, and EarthGov wants them for an alliance. For the bulk of the episode, this plays out like a Star Trek-style first encounter with a species intended to show an aspect of human society in a metaphorical funhouse mirror—in this case, the aliens are practitioners of an extreme form of social Darwinism. The twist, that they see how humans are treated in the slums of Babylon 5 and think that it’s great and intentional, is pretty damn biting.
But then it takes a totally different turn, as the ambassador proposes that the alliance of conceptual unity be sealed by an action of physical unity: sex. What ensues is arguably the most Babylon 5iancomic sceneof all Babylon 5’s comic scenes. Ivanova shows the human fashion of sex, dancing around the ambassador, explaining how dating works in sing-song, and eventually faking an orgasm. It’s ridiculous, it’s embarrassing, it’s fun, and it somehow manages to work. I don’t even know how to explain it.