As Naomi drifts toward her destination in the final moments, it’s only through the thrust of her own push. The roar of fuel burning and of explosions in space help set up another contrast. Marisol Adler, this episode’s director, uses that tradition to track the Roci and the Razorback and any other flying projectiles as they make their way across their respective planes. “The Expanse” always been smart about showing the logistics of motion in this faster-than-light universe, especially in the Amazon Prime Video seasons, where the series’ scale has grown by orders of magnitude. This episode also has plenty of emphasis on boosters: the Roci engines throttling as Holden tries to intercept a target with Naomi’s possible coordinates, the bursts from the torpedos as they’re caught between two sides of a dogfight. It underlines just how much what surrounds these ships is the extreme absence of….anything.
It doesn’t just rely on any innate fear of space. Even something as simple as including a 10-second stretch of someone walking across a gangway primes anyone watching for just how much that looming emptiness is devoid of sound. That’s not the only way that “The Expanse” is subtly establishing a framework. It may not be obvious on a first viewing, but rewatching those scenes, it’s a meticulous way of setting up the ending not only as a mirror for her past near-decisions, but additional context for what that jump means to her. We see Naomi in various combinations with Marco, Filip, and Cyn, even hearing the same story of her last airlock experience from different perspectives. There’s a patience to how those preceding interactions in “Oyedeng” are situated. When given the choice, she’d rather sail across empty space than keep trying to reform either of them. Even if Filip is her son (and we can see glimpses of the domestic bliss the three of them had when he was an infant), the physical and metaphorical abuse she endures is a stark breaking point. However he intends it, when Marcos sneers that the Roci crew is Naomi’s family now, he’s right. Though, with the time that those two and Naomi have had in their uncomfortable family reunion on the Pella, the show has built the groundwork for why her jump into the void means so much more than an escape.
Building up this emerging totalitarian father-son combo as the preeminent threat to the solar system is a tall task, even over the course of an entire season. The emergence of Marco (Keon Alexander) and Filip (Jasai Chase Owens) Inaros has been the trickiest new element for Season 5.
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But instead of being a cheap, credulity-straining move from a space story just looking to get from one story point to the other, it’s an example of how meticulous and thorough “The Expanse” is at setting up its most surprising turns. It’s a move born of desperation and it ends up resulting in the death of Cyn (Brent Sexton).
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Sci-fi writers probably feel the same amount of reluctance about putting characters in that situation, pushing them right to edges of what the human body can safely take.īut if any TV show is capable of pulling off a near-impossible feat like that, it’s “The Expanse.” This week’s chapter, the Season 5 episode “Oyedeng,” caps off with Naomi (Dominique Tipper) risking her life to float from the ship where she’s being held captive to the decoy vessel being used to lure the Rocinante into a death trap. No one jumps into the vast emptiness of space without protection just because they want to do it.