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Or any military campaign from about The Seige of Boston to the beginning of the 20th century. "Say, heres a good idea. See that U shaped valley with the Russian cannons on all sides? Why dontcher ride right down the middle of that? Good show, what? Off you go now, lads!"

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cities is named Lundinium

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Originally posted by canttakesky:
Anyone who disagrees with me is wrong and will burn with all Islamofascists and their virgins.

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Okay, I'll take a stab at this. It's when Mal allows himself to be seduced by Saffron (Our Mrs. Reynolds, of course). He even concedes he's going to that "special Hell" for succumbing to her... special charms. And I loved him for it. Yep, you read that right, I loved the character's human weakness. A tragic weakness of the space dimension variety.

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He treats you like an ornament. Other men look at you and discuss if you're worth the cost. The women talk behind their fans, picturing you with their husbands. And to your face, they're sweet as pie.

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Blake's 7's major legacy to future TV space opera was the use of moral ambiguity and dysfunctional main characters to create tension, as well as long-term plot arcs to hold episodes together. Most (though not always all) of these traits were seen in Lexx, Andromeda, Deep Space 9, Babylon 5, Farscape, the new Battlestar Galactica and Firefly rather than the "feel good" tone and unconnected episode structure of early Star Trek or the series' main contemporary, Doctor Who. Blake's 7 was also arguably unique in TV SF in that it had a major influence on written SF, with the revival of written space opera in the '90s coming from the UK at the hands of writers such as Stephen Baxter, Alastair Reynolds, and Iain M. Banks. These authors are all of the generation that watched Blake's 7, and their work features morally ambivalent, often sarcastic and driven characters, whose usually violently-terminated lives are spent in vast and baroque spacecraft.

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