Such a central character being in genuine mortal danger isn’t something you often see, and the increasingly urgent warning bleeps of her swiftly depleting air supply and a single tear escaping into zero-g followed by a gentle fade to black suggests that she is slowly passing out and her already oxygen-starved brain will soon completely shut down for the final time. Her path of never receiving a moment’s break continues, and even though now so weak she can barely stand, after hearing Alex’s transmission of their approach, does the only thing she still can to alert them to the threat they are blindly soaring into, and ejects herself into space knowing that this time there is no chance of her survival, but hoping the Belter hand gestures she makes will be seen and relate the danger, her final sacrifice offering her a glimmer of hope that she might save the lives of her friends. Bashing at pipes, she eventually knocks pressure loose to activate a thruster and send the ship into a spin to make the approach more treacherous. When Naomi’s makeshift HUD shows the Razorback inching ever closer to an explosive demise, she continues her flagellations of desperation. It’s a gripping sequence of dramatic shots and spectacular effects, while the ballistics play into real-world physics that sets the action apart from much of sci-fi that tends to ignore it for expediency. I’ve mentioned a few times the lack of action in comparison to previous seasons, and for those who have been bemoaning its absence, the intense space battle more than makes up for it, the soaring arcs of glowing artillery fire tracing across black space and the glow of missile engines lighting up the void as they burn unerringly towards their targets and exploding in mini supernovae of azure fire. It may have also been a brief concession to her featured role in the novel being given to Drummer for the adaptation, so returns at least one significant moment to her. It was surprising that Michio was the one to kill the obnoxious Karal rather than Drummer herself, and signifies her acceptance of the path Drummer has put them on by turning against Inaros, even if she doesn’t agree it to be the best course of action. Taking out the vessels was probably as much catharsis for how she and her crew have been treated as it was taking a stand and aiding in saving probably the only person still alive and not on the ship who she actually cares about. To be honest, they probably wouldn’t have had Drummer not chosen that exact moment to take back control of the Tynan from Karal and turn its weapons against Inaros’ ships to provide a decisive advantage. Ever the noble and at times overdramatic hero, he opts to engage the vessels in the Rocinante while Alex and Bobbie burn off in the Razorback, his stoic declaration of holding off the attackers as long as he can a clear acceptance of the unlikelihood of making it out alive.
After spending most of the season being completely reactionary and largely ineffectual, Holden finally gets something to do, after realising Inaros’ ships are ready to intercept them on their mission to rescue Naomi.
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