BATTLESTAR GALACTICA: SEASON 2
2.1: Scattered - 2.2: Valley of Darkness - 2.3: Fragged - 2.4: Resistance - 2.5: The Farm - 2.6: Home: Part I - 2.7: Home: Part II - 2.8: Final Cut - 2.9: Flight of the Phoenix - 2.10: Pegasus - 2.11: Resurrection Ship: Part I - 2.12: Resurrection Ship: Part II - 2.13: Epiphanies - 2.14: Black Market - 2.15: Scar - 2.16: Sacrifice - 2.17: The Captain's Hand - 2.18: Downloaded - 2.19: Lay Down Your Burdens: Part I - 2.20: Lay Down Your Burdens: Part II
2.1: Scattered
Written by David Wettle and Bradley Thompson
Directed by Michael Rymer
If there’s one thing that I really like about “Battlestar: Galactica”, it’s the measured pacing. The story isn’t artificially accelerated to serve the purposes of a fickle fanbase or network pressure; the producers tell the story the way they want to, and if it takes forever, then it takes forever. Ron Moore probably had enough of being jerked around by networks after “Roswell”, so why not make a show on his own terms and be done with it?
The result is very different than most shows, even the ones that I love, where arc elements are equally important as stand-alone elements. Taken along with the “Stargate” shows, where arc elements are typically not as important as maintaining an episodic format, this is like a breath of fresh air. (I like all the various series I’ve mentioned, BTW!) But how many other shows would focus almost entirely on the psychological issues of a few characters, letting the audience’s questions smolder for a little while longer?
A lot of this episode is about Col. Tigh and his massive lack of self-esteem. He’s frackin’ right about the fact that he shouldn’t be in command! A lot of what he takes on his shoulders isn’t for him to answer to, but he’s a drunkard and his personality clashes with everyone in the universe. That makes him a capable enough second, but not the commander, and it shows. Things get done, but things also get missed. It’s inexcusable for Tigh to miss the fact that an obvious breeching pod slammed into his ship.
But like so much on this show, it’s about the consequences of how events are handled, not the events themselves, that matter the most. Sure, one wonders what’s going on with the Boomer who shot Adama, but it’s how Tigh deals with her confusion that hits home. It’s how Adama’s decision to incarcerate Roslin could very well make her stronger among the people, not unlike Zarek in the first season. Circumstances are likely to make things a lot harder on Apollo than they already are, if the civilians and soldiers become even more divided.
I loved the short scene with Starbuck and Helo, especially since it raises more questions about what the Cylons might be up to. Helo clearly sees less difference between the humans and Boomer than one might think, and if she is indeed pregnant, he’s got plenty of reason. Starbuck ought to know from her own experience that there are organic components to the next-gen Cylon tech. Why wouldn’t that include clones with Cylon nanotech intelligences?
Which brings me to the whole Six/Baltar thing. I understood up until the point that she said she was the mother and Baltar was the father. It worked better as a metaphor (humans and Cylons birthing a new hybrid species), but then again, if Boomer can be pregnant, so can Six. More to the point, if Baltar believes that God wants such a hybrid race, he’s likely to ensure it, however possible. What if that was the point? What if the Cylons see humans as little more than breeding stock, so they force humanity into small, manageable numbers? The Cylons could use them until the new hybrid species is viable on its own, and then they could wipe humanity out.
It’s probably a bit more complicated than that, and it will likely take a season or two for things to really make sense. Until then, this bunker mentality is working well in terms of the psychological drama. Starbuck and Helo are still on Caprica, there are survivors on Kobol, and there’s the fracturing within the fleet itself. By keeping all of those balls in play, the writers give themselves plenty to keep themselves (and us!) occupied.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.2: Valley of Darkness
Written by David Wettle and Bradley Thompson
Directed by Michael Rymer
This week continues the slow but steady exploration of all the craziness from the first season finale, and I couldn’t be happier. There’s no shortage of body count or red-shirts, and the stakes continue to rise as none of the adversaries, human or otherwise, seem ready to let threats from the outside get in the way of a grudge.
It would have been so easy for Tigh and Lee to bury the hatchet and let the whole business over the president be bygones. At least, I would have expected that from some other series. The writers didn’t disappoint me, because instead of taking the easy way out, they were only civil to one another while their goals were temporarily aligned. They didn’t discuss it outright or go into detail about it after the fact. They worked together when convenient, and then naturally acted like it never happened.
Speaking of the boarding party, I’m glad that there wasn’t some major lag between the end of the previous episode and the continuation of hostilities. I’m also very happy that the Cylon virus didn’t simply disappear. Consequences are everything on this show, and everything that happens in this episode is a consequence of poor command decisions in the premiere. It’s hard to think about that as the stakes get higher with every passing moment; quite literally, they brought the siege upon themselves.
The real question is whether or not the virus is going to continue to be a problem in the future. Wouldn’t it be fun to see Adama asking Tigh, in that low but deadly voice, why there’s a Cylon virus running around a bunch of systems that were never supposed to be connected? Like the previous episode, this is an ongoing commentary into the weaknesses of Tigh, and it’s not pretty. The man may be holding a grudge in realistic fashion, but it still doesn’t make it a good choice!
Events on Kobol seem more and more like a way to put the screws to Baltar and whatever allegiance he may retain to humanity. Those visions once again seem metaphorical, though it’s hard to tell with this series. Specific or otherwise, Baltar doesn’t just believe that a hybrid is necessary, but that humanity (embodied by the most threatening of humans) is the enemy of that necessary future. Step by step, Baltar is being conditioned into the perfect weapon against humanity.
I have the sinking feeling that the writers are slowly but surely wiping out the survivors on Kobol so that at some point before the remaining few are rescued, one of the better known characters will die. They’re simply running out of red-shirts down there! Six’s warning is just vague enough to make it possible that everyone but Baltar will die, but then again, it’s impossible to know if she’s saying all of that as part of the conditioning.
One thing that I didn’t quite get, from a story perspective, were the scenes on Caprica. They seemed out of place, though it was probably necessary to explain how Starbuck and Helo manage to get around in the following episodes. Was there a point to those scenes, though, beyond that plot element? It was some minor insight into Starbuck’s character, but at the moment, it doesn’t seem all that important in relation to the rest of the episode.
On the other hand, though, those scenes did give me a chance to breathe between the scenes on Galactica and Kobol, so I suppose they served that purpose. Overall, this was another fine installment. I really love how all these plot threads continue to move forward, bit by bit, and the writers don’t feel the need to bash the audience over the head with explicit meaning. The story is what it is, and the audience is invited along for the ride.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.3: Fragged
Written by Dawn Prestwich and Nicole Yorkin
Directed by Sergio Mimica-Gezzan
Every time I think that things can’t get worse for the Colonials, the writers up the ante. This time, it’s all about the interplay of the plot threads on Galactica and Kobol. As situations go completely downhill, it’s all about how fortunes change, present and future. Tigh’s decisions lead to Roslin’s unexpected return to power as a spiritual leader and another step towards a conflict between religious and warrior factions, which is always a lot of fun. Meanwhile, Crashdown’s inevitable loss of perspective leads to a disturbing consequence involving Baltar.
I suppose it was inevitable that Tigh would return to his drinking, and it sure as hell doesn’t help him make better decisions! It’s not very helpful that the entire crew seems to know that he’s losing stability, thanks to his past history, and that they don’t feel like they can do anything about it. After all, what would they do? They’re already reeling from the loss of Adama’s strong and consistent leadership. There’s really no one else that they could rally support behind, is there?
Except Roslin, of course, and that’s the problem. Tigh has never respected Roslin, and apparently, he respects the whole idea of the Scrolls of Phylia even less. But when people are seeking a sense of direction, religious leaders are particularly compelling. Roslin also knows the value of when to claim some kind of foretold authority. She truly believes herself to be the instrument of the Lords of Kobol, and what’s more, the Quorum of Twelve believes her.
So Adama basically threw down the gauntlet, because the “religious leader” compelled one of his warriors to defy orders. The response was the assumption of total control by Adama, who was then the victim of a brutal attempt on his life by the enemy. Now the reversal of fortune is in play: Roslin is regaining a purpose and political strength, while the military leadership struggles to retain control. Tigh is simply not Roslin’s equal, and so rather than convince others of the strength of his political stance, he seeks to impose his will.
While Roslin believes that she is following the Lords of Kobol, Baltar continues to operate under the impression that he is the instrument of God. Of course, he has no idea what God wants of him, other than the fact that he is meant to embrace the more violent aspects of his humanity. This is perhaps indicative of how the Cylons think, but that’s not necessarily a given. It’s what Six wants Baltar to hear, and that’s about all I get out of it.
Whatever the case, the question I have in my mind is how Baltar’s ongoing conversion is going to be used to support Roslin or transform her message into something that will benefit the Cylons. If Six is not speaking for the rest of the Cylons, then it’s even more of a blurred picture. It feels like Baltar is being honed into an instrument, a willing strike at the heart of the Colonials. Beyond that, there’s still a lot of story to be told before motivations are likely to be clarified.
If Ellen Tigh is a Cylon, as strongly hinted in the first season, then it makes sense that she would want her husband to take control. He’s so far out of his depth that his “leadership” would be catastrophic. Undermining Roslin was her apparent goal (and that once again suggests that Baltar is being groomed to pervert or subvert her message). How much worse would it be if she turned out to be simply human, indulging some love of chaos?
The end of the struggle on Kobol came together quite nicely. I never expected things to get quite so intense, but then, I suppose I should have known better. I really believed that Crashdown would shoot Kally right then and there! I love how things get out of hand, even within the structure of a rather predictable resolution. I expected the Colonials to save the SAR team at the last possible moment, and for the Raptors to arrive when all seemed lost. It’s how the writers managed to sneak in a little doubt that made the episode for me.
With the Kobol situation more or less over, I expect that the next episode will actually bring an update of the situation on Caprica. The prophecies related to the Arrow and the Temple were mentioned again, so clearly that’s something that will continue to unfold. And then there’s the timetable suggested by Roslin’s admission of impending death. If she is the foretold leader, then she’s got very little time to point the Colonials towards Earth. My bet is that the entire season will be the process of getting to that part of the tale.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.4: Resistance
Written by Toni Graphia
Directed by Allan Kroeker
A lot of plot threads come to a head in this episode, which is exactly the way I like it. The first six or seven episodes are supposed to let the consequences of the first season finale take their natural and inexorable course, and this is an important step in that direction. The President is finally out of prison and able to move against the military dictatorship that Tigh has established (intentional or not), Adama is back to pick up the pieces, and one of the Boomers has met an untimely end. All in all, a rather momentous episode.
So Adama is willing to let Tigh off the hook, claiming that command has more pressures than anyone can understand, and mistakes happen. Adama really has a blind eye in that regard. While it fits his character, one wonders how happy he’ll be when facing down a religious resistance movement with ties to a former convicted terrorist. Nothing comes easy on this series, given the fragile nature of their lives, and this is another shining example.
Does Adama figure that Tigh will learn his lesson through the process of fixing his mistakes? It’s more likely that the mistakes will be overshadowed by other concerns. I’m wondering just how much the Cylons are getting away with while the Colonials are focused on their own internal strife. After all, look at how much Baltar is able to get away with, and he’s one of the least trusted people in the fleet, as far as Tigh is concerned.
Speaking of Baltar, he takes a wonderfully dark turn in this episode. His gambit with Tyrol was rather evil, and it’s not at all clear what he intends to do with the information he acquired from Boomer (who could have been lying, for all that he knows). Baltar still sees himself as God’s instrument among the humans, and if that thinking continues to drive his actions, it could be nasty when his agenda is finally revealed. After all, Roslyn is going to be looking to someone to give her guidance to Earth, and Baltar is in the perfect position to play Judas.
Based on Ron Moore’s podcast, I’m not sure about Ellen Tigh anymore. I was leaning towards the possibility that she’s a Cylon as well, given how similarly she manipulates Tigh as Six manipulates Baltar. But that similarity could be reflective of another goal of the writing staff. Six has a clear agenda with Baltar, but Ellen’s actions are haphazard. Ellen and Saul Tigh are not far from the kind of self-defeating animals that the Cylons believe the humans are.
I love how Tyrol is forced to admit to himself that he really did love Boomer. This adds to Helo’s comments about his own Sexy!Boomer 2.0 back on Caprica. The humaniform Cylons, especially the ones programmed to believe that they are human, are able to slip right past the emotional defenses of their intended prey. That quality was one of the things being explored by the Cylons themselves in the first season, so it must be key to their ultimate plans. It adds more fuel to the speculation that the Cylons are trying to bring perfection to their own (flawed) creators by becoming more human themselves.
So what’s the situation on Galactica? Adama is back in action and ready to support Tigh, but he’s got to be aware that there’s an unknown number of his own people supporting Roslyn. Whatever trust was between Tyrol and Kally is probably out the window. Baltar is running his own operation, and somewhere in the fleet, Adama’s son has joined a movement with Roslyn that threatens to boil over into a civil war between military and religious factions. These people don’t need the Cylons to fire a shot!
Of course, it gives the writers plenty of time for Starbuck and Helo to gather a small task force of survivors (and likely red-shirts) on Caprica. Even money says that this task force will get Starbuck into a Cylon facility where their plans will be partially revealed, thus justifying her presence on the planet for so long. Will Sexy!Boomer 2.0 be there to, ready to be trussed up and taken back to Galactica, baby on board? Wouldn’t that just mesh with the Baltar plot thread on Kobol!
Honestly, I feel like I’m just touching on all the things I love about this episode. There were some minor things that bugged me: the riot and the standoff didn’t quite work for me. Then again, from the podcast, I gather that Ron Moore agrees on that account. It wasn’t enough, however, to take away from all the things I did like. The series is maintaining its high standard of quality, and I couldn’t ask for anything more.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.5: The Farm
Written by Carla Robinson
Directed by Rod Hardy
This episode is a great example of a series firing on all cylinders. I was a bit concerned after the first season, because I thought that the series would actually suffer a sophomore slump. If anything, the writing staff has raised the bar. It’s astonishing to think that the writers actually had to remove some of the subplots to keep the story moving forward; there’s so much depth to every situation as it is.
The situation on Caprica makes a lot more sense now. Helo was meant to fall in love with Boomer, because the Cylons are trying to become God’s perfect progeny…yet they cannot reproduce in a manner that mirrors natural evolution. So they built more and more human aspects into their programming, hoping to use their human creators for experimentation. Only they weren’t expecting something like love, the basis of human community and commonality, to infect their own.
Boomer becomes the blurred line between man and machine. She’s mechanical in origin, but she’s also human enough to mate with a human and feel human emotions. More importantly, she’s human enough to risk everything for love. To many, like Starbuck, she’s the ultimate threat, but in reality, she could be humanity’s greatest hope.
It makes me wonder whether or not Baltar is meant to be some kind of corrective factor in the overall experiment. Six is controlling Baltar and preparing him to support any and all actions necessary to make the breeding experiments work. He’s been conditioned, at least partly, to believe that it is a holy cause. But what will happen when he realizes what humanity is being kept around for? Once the experiments are over, the Cylons will stop toying with humans, one would think.
Unless there’s more to it. For Boomer to be biologically compatible with Helo, she had to be largely biological herself. The Cylons probably need a minimum number of unique genetic samples to use for their purposes, to allow for genetic diversity. They have plenty of test subjects on the 12 colonies, but they can’t all be free of genetic damage after all those nuclear blasts. Then again, who knows how many people were secretly culled prior to the attack?
This is a highlight reel for Katie and the character of Starbuck. Someone else put it perfectly: you never doubt, when watching the character, that she’s a real person. She’s got plenty of strong points, but a self-loathing quality that runs deep. It must be a joy to write and portray such a complex character. More importantly, it’s amazing how complex many of the other characters are.
Adama, for instance, comes back a changed man. He’s got some serious issues with emotional control, and he’s shaken by the thought that someone so close to so many people has turned out to be a machine. It cuts to the heart of what it means to be human. But Adama brings up the central point: how much further can the Cylons take this before they effectively become human themselves? Or has it already happened, and they just don’t realize it?
Roslyn is on her own interesting path. When does “playing the religious card” turn into believing one’s own mystique? And what happens when a religious movement outgrows the one who began it? Religious leaders sometimes become martyrs when followers recognize that they can become more “pure” if the leader dies in the name of the faith. I’m seeing parallels to the early “Dune” novels here; Roslyn needs to be very careful, or she’s going to take quite a fall.
Like the rest of the episodes this season, I always feel like I could go on and on in my praise for how character-driven the series has become. It’s fascinating to see how these extreme circumstances force these people to reveal their strengths and weaknesses. When people say that this is the “anti-Trek”, that’s what they mean: Trek was never able to embrace this kind of character-based drama. Thank the Lords of Kobol that Ron Moore has.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
2.6: Home: Part I
Written by David Eick
Directed by Sergio Mimica-Gezzan
So now that all the early season plot threads are coming together, there’s too much story for just one episode. The result is a two-part story that slowly but surely triggers all the little plot elements that have been waiting for their time to shine. Since this is the first half of the story, there’s not a lot of action, and the focus is on character development. That’s not a bad thing; it’s simply not as exciting as the last few episodes before it.
Everything that’s been happening on the series this season traces back to the first season finale, where Roslyn asked Starbuck to violate orders and retrieve the Arrow of Apollo. It’s just taken a long time to hash itself out, and I couldn’t be happier about it. In this case, we get to see Adama slowly work through his emotional response to the fragmentation of the fleet, Roslyn struggle to maintain her control, Zarek’s underhanded plots, and a little Apollo/Starbuck action. Oh, and there’s the small matter of Boomer’s return as well.
I like how Adama’s psychological space is so controlled, yet everything can be discerned by one look in his eyes. Olmos brings such an intensity to the role; it’s a joy to behold. I think there’s a tension and distance growing between Adama and Tigh, however. For all the support Adama promised upon his return, he’s seen the cost of Tigh’s heavy-handed dictatorship. The only way to heal the wounds (if they can be healed) is to make peace with Roslyn, which is going to take a lot for Adama to accept. Odd that Dualla is the one that gets him to see that.
That’s something that happens a lot on Galactica. Minor characters provide an amazing level of support for their commanding officers. Normally, that would go unquestioned, especially in a siege crisis like the one they are enduring. But this is also a fleet with unknown Cylon infiltrators, one of which was just as trusted a “family member”. It’s hard not to wonder about motives.
Speaking of which, there’s Boomer and all the questions surrounding her motivations. I’m surprised that Apollo’s the only one who assumed that the ambush was Boomer’s doing. Whatever Boomer’s role in the big picture, she provides a great trigger point for conflict within and between the humans. Roslyn in particular seems to have little use for Boomer, despite the fact that Boomer is probably the only source of real intel that the humans know they have.
Richard Hatch must be incredibly happy. After all these years of trying to get the original series resurrected and fighting against a reinvention, he’s not only come around to see the light, but he’s been handed what is possibly the best role of his career. He brings a relish to Zarek’s plotting, even if the dialogue is a little heavy-handed; they didn’t need to say nearly as much as they did to get the point across.
And then there’s Apollo and Starbuck. A lot of critics of the new series were expecting these two to get together within seconds of the first episode. Take that, naysayers! It actually works when the characters have time to grow into an appreciation of each other. Or rather, when Apollo starts recognizing that a hot pilot with a rebellious streak is more than just a strange reflection of himself. I don’t see Kara settling down with Lee anytime soon, but would any future return for Anders be much fun if there wasn’t personal conflict for Kara in the process?
The next episode should see, based on the promos and the podcast, the next turn in the plot arc. The whole “Arrow of Apollo” thing ought to get a payoff, and Adama’s desire for some kind of confrontation with Boomer (even if it’s a different one than the one who shot him) should come to fruition. I don’t want to see this more serialized storytelling disappear completely, but it ought to be satisfying to see so many plot threads come to momentary fulfillment.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.7: Home: Part II
Written by David Eick and Ron Moore
Directed by Jeff Woolnough
Before the second season aired, Ron Moore made an interesting comment. Essentially, he commented that the first season should have been 20 episodes (at the very least), and that as a result, the first third of the second season would play out as if it were the rest of the first season. I have to say that I completely agree. As much as the first season finale ended things on a high note, it was really the end of a complication phase of a much larger arc; this season has been all about the resolution of everything that happened in “Kobol’s Last Gleaming”.
A ton of plot threads reach their momentary end in this episode. On the plot side of the fence, there’s the culmination of the search for the Tomb of Athena. I find it interesting that the writers kept all these pieces in the air without really knowing how it would play out, beyond some general sense of direction. For all that doubt regarding how the puzzle would come together, it works very well.
There are issues, of course, and the writers admit it. There’s not one spot on Earth where a person could look up and see all 12 classical Zodiac constellations at the exact same time, at the same basic declination in the sky. But that’s hardly the point. The point is that Earth is the planet where the constellations would, when seen from that point in space, look as they do in the hologram. From that perspective, it works.
I do wonder, however, how this was supposed to make sense. Earth is supposed to be the lost 13th colony. So how would the constellations, as seen from Earth, end up on Kobol? Was Earth once still in contact with the homeworld, before things all fell apart? I can’t remember if that was established in the mini-series or the first season, but it struck me as a possible continuity issue. (I’ll be pleased if someone can correct me if I’m wrong, since I can’t seem to find the information right now.)
It’s incidental, however, because it gives them a general direction, without promising that the journey will be successful. After all, Boomer made it very clear that the Cylons know all about the scriptures and prophecies of the Colonists, perhaps even better than the Colonists do (not hard to imagine). Sounds to me like the Cylons might have taken the search for Earth into account after all.
There’s been plenty of evidence to suggest that the Cylons wanted to keep some small population around, and that they’ve avoided the deathblow that would wipe the Colonists out. Certainly their resources should be big enough by now! So why let the Colonists get this far, beyond the breeding experiments? What if the Cylons are using the Colonists to locate Earth? After all, the Colonists want to end the human race, and Earth would have humans on it (or so one would assume). So wouldn’t the Cylons want to wipe those humans out, too?
Six mentioned to Baltar that he was meant to lead humanity to Earth, but that he would be the last to survive. That would fit into this “Cylons want to wipe out Earth” theory rather well. A lot of what Six does in this episode is about breaking down Baltar’s growing resistance to her influence, ensuring that he can continue to act on their behalf, the ultimate sleeper agent. (It is wrong to think that Tricia actually looks even more attractive in civvies?)
Character is key in storytelling, and as usual, Adama and Roslyn provide some wonderful fireworks in the dramatic arena. They finally come to an understanding, and the human race is all the better for it. The challenge, of course, will be dealing with the rifts within the population that the two of them initially created and fostered. Adama’s emotionalism and Roslyn’s faux-religious stance could very well undermine their authority, once the masses begin to question it.
A lot of agendas are left unspoken and unrevealed. Who knows what Boomer is up to? Would Helo follow her into the fire, if her agenda is still aligned with her people? I like Boomer (and lust for Grace Park), so I hope that she sticks around and turns out to be a human sympathizer. Even so, I loved Adama’s reaction to her presence, and how it’s going to twist the knife in the gut of Galactica’s crew for her to be there. And then there’s Zarek, who seems to be gaining more sympathetic character traits by the minute.
Part of me is worried that a less serialized run of episodes will follow, and that some of the momentum of excellence will be lost in the process. I have faith in the writers, but the weakest episodes of the first season were more self-contained. While some might have found this two-part story to be stretched thin (and it was, according to the producers and writers), I reveled in the chance to see more in-depth character development. Hopefully, with the true beginning of the second season, we’ll see that continue.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.8: Final Cut
Written by Mark Verheiden
Directed by Robert Young
Using the perspective of a civilian reporter as a gimmick for storytelling has been a tradition for genre series for quite some time. The modern use of the gimmick actually goes back to “MASH”, which had a much-acclaimed episode devoted to a film crew visiting the 4077. (Yes, there are older examples, but that’s the one everyone seems to mention these days.) Series like “Babylon 5” used the gimmick to explore subtle aspects of political and social issues within the series’ mythos, while other shows like “Stargate SG-1” used it less effectively.
Ron Moore (in a remarkably dirty and possibly drunken podcast for this episode) mentions a number of reservations about the episode, and I agree with most of them. I suppose what disappointed me in the end was the abrupt lack of serialization. Yes, I knew it was coming, but that didn’t really prepare me for such a stand-alone episode.
I really couldn’t get into the whole “Tigh in jeopardy” plot element, because I don’t find his character to be sympathetic. And D’anna didn’t seem to have much of a hidden agenda, at least in terms of what she put on film and how she cut it. Until the very end of the episode, there was really no reason to question her motivations. It was good to get some fresh perspective on minor characters, and Moore got the opportunity to present “new viewers” with the mission statement of the series.
Two things, however, factored against my enjoyment of the episode. First, that final moment was spoiled by some jerk on a Live Journal community, so I spent a lot of time during the episode trying to find clues that Moore mentioned were intentionally not there. So I was a little disappointed that it was, in fact, inserted out of left field. And then there’s the fact that episodes designed as “jumping on points” typically bug me.
Here’s what I don’t get…it’s eight episodes into the season, and the series will be off until January in two weeks. Who really expects a “new viewer” to be tuning in now? It’s like promoting issue #589 of a comic book as a “jumping on point”. The only people likely to discover this are the established fans, who are not looking for the writers to dump something like that into the monthly schedule.
That’s not to say that I didn’t like aspects of the episode. There have been moments, since the series began, where I wondered if this would have been better as an HBO series. This series likes to take things right to the limit, and there are some moments in this episode where I got a glimpse of what it could be without restraints. A lot of those moments were in the documentary footage, so in that respect, the gimmick worked.
I also really liked Lucy Lawless in this role. I always thought she looked better as a blonde, and this episode confirms my opinion. I also have a thing for that accent, which doesn’t hurt. I rarely saw her as anyone other than D’anna, which I think speaks volumes of her ability. Hopefully, she’ll show up again, because that twist at the end needs to be explored.
Speaking of the twist…I’m still trying to figure it out. So what was the point of it all? One would assume that it was all about the spying, and getting past barriers that would normally be impenetrable. The Cylons wanted to confirm that Boomer and the baby were alive, but they also seemed fascinated by the humans and their ability to transcend their flaws. I suspect that this will become an important clue in the future. Perhaps then I will be less annoying by this episode’s stand-alone qualities.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
*****
2.9: Flight of the Phoenix
Written by Bradley Thompson and David Weddle
Directed by Michael Nankin
After so many episodes with a podcast from Ron Moore, I’m sorry to see this episode not get one. I think it would have been interesting to hear Ron’s comments on the truth behind the events; certainly, it seems as though a few very important things happened, both obvious and subtle. In particular, the motivations of the Cylons are becoming more and more suggestive of herding and masterful manipulation.
This question has been bugging me ever since the series premiere, and certainly ever since Boomer became the center of the Cylon/Human question. Looking back, there are several points at which Boomer had the opportunity to “save” the humans, on Caprica and otherwise, and she did so with remarkable efficiency and apparent personal risk. But how much of that risk is genuine?
In this episode, for instance, the entire plot seems designed to allow Boomer to gain some degree of trust among influential humans. The Cylons need her to be kept alive and well, after all, to ensure that their most successful breeding experiment remains viable. In keeping with the first season, it’s entirely possible that Boomer is truly in love with Helo and even Tyrol; that doesn’t mean that she’s not playing humanity in the process.
If that’s not the case, then the Cylons are making some rather convenient decisions. And that kind of contrivance is usually not evident on “Galactica”. A lot of effort goes into long-term cohesion. Hence the morale low after the apparent high of the broadcast in the previous episode; the crew psychology is following a clear and consistent pattern. So should the logic of the Cylon gambit.
From where I’m sitting, it certain seems that the humans in the Colonial Fleet are being purposefully herded and kept at a level of stress and anxiety that keeps them from considering the big picture. Lately the Cylons haven’t been attacking: why would that be the case? Because the fleet was busy distracting itself. The Cylons kept just enough pressure on to keep the ruse going, but they never delivered the killing blow that they are clearly capable of implementing.
The way I see it, the Cylons could have wiped out the fleet at any time. They haven’t, and therefore, there must be a reason. It’s still unclear what that rationale might be, and thus, it is difficult to imagine how the hapless humans without a clue can hope to win. I get the feeling that this is going to be another “Babylon 5” scenario: the conflict and warfare will ultimately set the stage for a philosophical transformation, with victory as a convenient late-minute side effect.
The crew might think that using Boomer to plant a virus in the Cylon network is the prize in this episode, but since that looks like a complete ruse, that’s not the case. The real prize is the Blackbird. Not the single fighter itself, though that’s likely to be meaningful in the long run, but rather what it represents: the ability of the personnel to build new fighters. This is something that the fleet needs to recognize: long-term survival means more than maintenance. Training pilots is one thing, but equally important, they should be training artisans and engineers to make the components for new equipment.
All that, and I’ve only scratched the surface. Tyrol’s personal low point was hard to watch, as was his fight with Helo. (Though clearly, Grace Park is someone to fight over.) Dee’s growing attraction to Apollo, which threatens to create an Excruciating Polygon of Lust within the crew. And there’s the news that Roslyn is on even less borrowed time than expected. Like I said…the Cylons don’t need to do much, since the humans are more than capable of undermining their strengths while under so much pressure.
But this is another example of where I disagree with the notion that this series is massively divergent from the “Up With Humans” message of the Trek franchise. Some Trek fans bash this series for its darkness and the deep flaws of its human characters. But this series highlights something that the recent Trek installments couldn’t truly communicate: when push comes to shove, despite its flaws, humanity will rise above.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.10: Pegasus
Written by Anne Cofell Saunders
Directed by Michael Rymer
I said it before, and I’ll say it again: I truly despise this “summer finale” business that the SFC consistently shoves down our collective throats. It forces the producers and writers to segment their season arcs in a way that doesn’t always fit the traditional three-act story structure that those arcs are built around. When the writers force it, it doesn’t work very well; “Stargate: Atlantis” is a good example. This series, however, took the opportunity to touch on the original series (thematically, anyway) while taking advantage of the fact that the first season arcs came to a relative conclusion.
Adama and his crew have gone through some trying times over the past 20+ episodes, and as many detractors have pointed out, some decisions by the command staff have been questionable at best. In particular, Adama has allowed a number of things that would never be overlooked in a traditional military structure. He tries to make the crew a family, and he treats them as such. In the face of extreme adversity, Adama’s flaw is often his compassion.
As I mentioned in my comments for the previous episode, one criticism against the series is the deeply flawed nature of every character. None of them are sterling officers with a sense of protocol; they all have agendas and concerns of their own, and those often get in the way of true unity. But that begs the question: would a strict enforcement of martial authority be any better?
In keeping with the concept of the series in terms of its characterizations, the crew of the Pegasus may be following the chain of command, performing as one would expect during a war, but they are hardly pristine and perfect officers. If anything, that strict and regimented lifestyle, when sustained over time with no prospect of an end in sight, must inevitably have an outlet for the negative energy.
As the episode marched on and the depravity of the Pegasus crew was revealed, I was struck by reports of what ordinary soldiers during the Vietnam conflict had done under vaguely similar circumstances: rape of “enemy” prisoners, for one thing. One could argue that Boomer is treated a bit too well, and that Tyrol and Helo are being played, but simply from the point of view of Boomer’s pregnancy and the opportunity to understand the Cylon agenda, it makes sense for them to keep her in good condition. The treatment of Six on Pegasus only reinforces what the Cylons think of humans.
As Ron Moore says on his podcast for the episode, the worst part is that Admiral Cain (played by the very hot Michelle Forbes) is right about Adama’s shortcomings. Of course, that doesn’t make her own methods any better, and it doesn’t give her the right to execute people without a fair hearing. Cain also fails to take into consideration all the things that Adama accomplished; first and foremost, he kept the majority of survivors alive despite issues with the civilian president and an assassination attempt. Cain has actually killed survivors to keep others in line. It’s a question of keeping the goal in sight, even under extreme circumstances. (Perhaps those justifying the gang rape of prisoners in their reviews might stop to consider what they are championing.)
Were Tyrol and Helo right to defend Boomer as they did? Hard to say, but it’s a testimony to the writers that the audience actually has sympathy for Boomer and Pegasus’ version of Six. At the very least, they were provoked. I can’t imagine what the female crew members on Pegasus thought of the men happily celebrating gang rape. I did note that Cain was dismissive of the President, who is technically in authority over her as well. That ought to be fun to watch in the second half of the story. Whatever the case, this is going to be one hell of a ball of string to unravel come January!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
2.11: Resurrection Ship: Part I
Written by Anne Cofell Saunders and Michael Rymer
Directed by Michael Rymer
“Pegasus” left off with hints of a possible civil war between Cain and Adama, and as the title of the episode indicates, resolving that situation required more than a single episode. I consider that to be another indication of the series’ depth. As Ron Moore continually notes in his podcast commentaries, the episodes almost always run long, because any given situation presents the writes with a ton of character-driven moments worthy of attention.
This episode is a strong “middle chapter”, especially since it centers on character conflict. A civilian leader dying while the fate of the fleet lies in the power struggle between two military commanders? Sounds practically Shakespearian when you come right down to it. And as the episode progresses, the end of the final act is almost a foregone conclusion. That doesn’t make it any less powerful in execution.
There are a ton of moments in this episode that come as a shock. Perhaps the most obvious is Roslin’s advocation of assassination. She’s speaking from a very pragmatic point of view, but that doesn’t make it any less surprising. Roslin is typically so concerned with the preservation of life that it seems out of character for her to advocate killing. At the same time, it makes perfect sense: she sees the issue as a question of fleet survival. If Cain takes control, Roslin suspects what is later revealed to be true: Cain would sacrifice civilian survival for the sake of the “war effort”.
As with “Pegasus”, it’s possible to understand and even agree with Cain’s goals. One might even agree with some of her methods. She correctly identified Adama’s weaknesses as a military commander, many of which were intentional (recall that Adama was originally depicted as a man looking forward to retirement, willing to overlook strict military protocol in many instances). Yet that doesn’t make her treatment of prisoners remotely justifiable, nor does her attitude regarding civilians win many points.
If the episode was simply focused on the conflict between Cain and Adama, it would have been more than sufficient. But there was also the evolution of the relationship between Adama and Roslin. I don’t need them to become lovers; that would be going a bit too far. But I do accept that their struggle since the Cylon attack has given them reason to respect and admire each other, and that shows in several scenes. The bedside scene, however, is one of the best moments of the episode.
I also like the fact that Cain and Adama each choose assassins who are conflicted about following orders. Is Cain’s XO willing to kill Galactica’s command staff, or is he tempted by the thought of serving a more reasonable commander? Will Starbuck, strongly motivated to return to Caprica, still kill the admiral who promises to do just that? The conclusion of the story is fairly obvious, but how the events will play out is far less certain.
I’m still only scratching the surface, which is an indication of how dense the story truly was. The scene with Sharon and Adama, the scenes between Tyrol and Helo, not to mention the growing relationship between Baltar and Gina…all of those scenes advanced plot and character threads that will surely have future implications. This is the kind of episode that begs pages and pages of commentary and consideration. I can’t wait to see how it all plays out!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
2.12: Resurrection Ship: Part II
Written by Ron Moore and Michael Rymer
Directed by Michael Rymer
I’m often asked: what kind of episode would be able to achieve a rating of 10/10? So many strong episodes top out at 8 or 9, and yes, that’s intentional. It leaves the very top rating for the episodes that transcend what most productions manage. Not through perfection, necessarily, but through the power of the story and its telling, through taking chances or raising the bar. Episodes like “Severed Dreams” for “Babylon 5” or “Once More, With Feeling” for “Buffy”.
This episode now joins the elite.
Nearly every scene brings with it an emotional resonance that is lacking from most televised storytelling. From the poetic decision by Apollo to let the black overtake him, to Starbuck’s anguish at having to eliminate a flawed but dedicated leader, to Baltar’s latest step towards apparent betrayal, to Adama’s realization of what he must do in the name of humanity…it all strikes a chord. And more importantly, it brought several plot threads to fruition while sparking off several others.
Ron Moore made a point in his podcast to remind the audience that the series tries not to give easy answers to the questions posed by the story. Flawed humans are allowed to remain flawed and take a long journey towards some new way of thinking, which may in fact be equally flawed. Yet if there is a theme or a message, it’s what Adama says after his pivotal discussion with Sharon, harkening back to the mini-series: it’s not enough just to survive. Humanity must demonstrate why it is worthy of survival.
This was the fundamental difference between Adama and Cain. Adama has been focused, from the very beginning, on keeping humanity safe but doing so while preserving some sense of human morality and decency. It was about preservation of humanity on philosophical terms, and it took him some time to understand that Roslin was equally committed to the same goal, simply on a more spiritual level. It’s not great for military discipline, but in a very real sense, the familiar structures of command and government are already little more than an artifice.
Cain, on the other hand, had allowed her hatred of the Cylons to overcome some aspects of her humanity, leading to a brand of survival that dismissed the finer aspects of human morality. It was survival of humanity in literal terms. Yet that focus and drive was something vital, especially now that Roslin is dying and Adama has broader responsibilities. Never mind that there’s an entire crew on “Pegasus” with Cain’s harsher philosophy. Cain was coming around, after all, and she was not completely lost. Starbuck will likely remind Adama in future episodes how important that focus was.
Interestingly enough, Sharon’s conversation with Adama reveals why Baltar’s decision might be more in service of humanity than in betrayal of it. Baltar shows Gina that there is something within humanity that deserves to survive. Six may not be willing to see it that way, based on their strange relationship, but Baltar’s actions could be interpreted as mitigating the harsher human responses. I wouldn’t be shocked to discover that Baltar, however accidentally, turns out to be as instrumental in humanity’s survival as Adama or Roslin.
I connect Lee’s decision to die in space with the realization that Roslin was the one who suggested that Cain be assassinated. He could have believed that from his father, given Adama’s decision to jail the President, but he never would have expected that from Roslin. I think he chose death over survival out of despair for humanity itself. I may be wrong about the why, but Lee is going to take a long time to find something worth living for. Will Starbuck or Dee give him that something?
I believe that this episode had the most elaborate and extensive special effects sequences since the mini-series, and those scenes are simply stunning. What’s even better is the fact that those amazing effects and the battle itself are almost tangential to the meat of the story, but they represent a massive shift in the status quo for the fleet. The Cylons are now rocked back on their heels and the fleet has two Battlestars. I wouldn’t be shocked if the bulk of the season, at least until the season finale, took advantage of the lack of Cylon presence by returning focus on the issues within the fleet itself.
After all, this episode, likely in concert with the next episode, brings the “complication” phase of the season arc to an effective end. It’s all about setting up the resolution. After hitting such a high point, it’s going to take time to work through the consequences and set the stage for the next stunning achievement. Some might question whether the series can accomplish something like this again, but who saw this coming, even after the excellent “Pegasus”?
There’s one more thing that must be noted, beyond the tight and nuanced writing, the near-perfect performances, and the inspired direction. What takes all of that to the next level is the incredible score. The score for this episode was more powerful than I can express in this review. I can’t wait for the second season soundtrack, just for this episode’s score alone. I could rewatch this episode several times over and still find new things to discuss, and for that reason, this episode deserves the highest praise.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 4/4
Final Rating: 10/10
*****
2.13: Epiphanies
Written by Joel Anderson Thompson
Directed by Rod Hardy
As I had anticipated, this episode was a bit of a letdown after the previous installment’s near-perfection. But it wasn’t a complete and total loss by any means. A lot of plot threads are addressed along the way, and the writers put the pieces for the final arc of the season on the board. In fact, one critical piece is dropped right into the center of the board in the final scene, paying off a dangling plot element from early in the first season.
In my review for a recent episode of “Stargate: SG-1” (ep. 9-12), I noted that the episode in question could have benefited from taking the format adopted by “Lost” to explore the past of a main character through flashbacks. This episode actually proves my point. This episode was very much in the vein of “Lost” in terms of Roslin’s flashbacks, and though the circumstances were very different, it allowed events from the past to intersect and influence the present and future.
It makes perfect sense that some segment of the human population would wonder if surrender to the Cylons could be a viable option. It’s likely that they don’t know or willfully forget that surrender was offered during the original attack. Whatever the case, if there were those who were still ready to return to the Colonies and fight back, despite the odds, the opposing point of view would naturally emerge. What’s interesting is how easily they were pushed, presumably by Gina, towards violence.
Of course, that makes sense. With the Cylon fleet now out of the picture, the Cylons within the Colonial Fleet need to take the steps necessary to achieve the overall goal, which means subversion from within. I also expect that these actions will give another Cylon fleet a chance to make a move. (It’s no guarantee that the Cylons don’t already have another fleet in position, but it would make things more interesting if the action focused on the Colonial internal issues for a while.)
Roslin certainly has an interesting past (teachers in a violent strike and sleeping with the President?), but most important, I think, is her memory of Baltar and Six. If she had doubts about Baltar before, she certainly has more of them now! Something tells me Mr. Nice Gaius is going to be a primary focus through the rest of the season, especially his interplay with Gina. Speaking of which, I loved how she reacted to his overtures.
As for the Cylon child and the danger it poses, I can see why Roslon would be so adamant, but exactly what is she afraid of? More importantly, she’s missing something critical. The child is the result of a union between human and Cylon, which means genetic compatibility. Her own restoration is proof enough of that (as convenient, yet inevitable, as it was). Letting the child be born and then studying it is one way to understand the enemy. After all, there’d be a true Cylon (Sharon), humans, and the hybrid…three degrees of differentiation. The real question, morally, is whether or not that study would be on living tissue.
I agree with Ron Moore on one thing. As great as it is to have so many plot threads carried forward in this episode, it just doesn’t come together as well as it could have. For one thing, as the secret leader of the Cylon Sympathizers, Gina is in rather comfortable quarters. Ron says it’s a brothel; there’s nothing in frame to suggest that. It could have been much worse of a letdown, but that said, it’s still a bit of a letdown.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 7/10
*****
2.14: Black Market
Written by Mark Verheiden
Directed by James Head
This is one odd episode, especially for this series, which has proven time and again how versatile the writing staff can be. The problem is that the intentions are right there on the screen. All the pieces are on the board and there’s even a fairly simple strategy for pulling out a victory. The writers simply don’t execute well enough, and as a result, the final product is muddled, shallow, and more than a little convenient for a series this complex.
I was expecting to listen to the Ron Moore podcast and get some sense of what I was missing. I was sure that a more positive reaction would come with a more informed point of view. Imagine my surprise when Ron confirmed each and every issue I had with the episode, and in fact, added several more to the list.
If the previous episode used the “Lost” format relatively well, with a distinctly “BSG” flavor, then this episode was an example of how it can be applied incorrectly. In fact, this episode had many of the same problems that the less impressive “Lost” episodes exhibit: lack of strong connective threads between “past” and “present” and shallow treatment of a complex point of conflict.
In this case, the idea was to establish that Lee was trying to make up for his unfortunate dismissal of his pregnant lover back on Caprica, just before the Cylon attack, by taking responsibility for Siobhan and her daughter. Lee was supposed to be making serious assumptions about Siobhan’s desire for the same thing. Unfortunately, as hard as the writers and editors try to make it work, it doesn’t quite come together. I just didn’t feel it, and so when the music began to swell in the final act, it felt like empty sentimentalism.
The episode might have been salvaged in large part if Lee’s conflict with the black market might have been more complex. In the end, there is a solid message behind it all. As I’ve said before, the fleet is operating in a situation that defies governance. Civilization is, in many ways, a pleasant veneer that may not go as deep as Roslin would desire. Lee (and perhaps Adama) understands that a certain amount of free trade and barter is necessary, since the basic systems are still being established and fortified. Certainly Zarek understands it, especially since he operates best as the self-appointed spokesman for the oppressed masses.
Ron mentioned a number of ideas that never made it to the screen. For instance, the brothel concept and Gina’s place on Cloud Nine in the previous episode were never connected, though they were meant to be. Zarek’s connections to the black market weren’t clear enough, especially at the end. But far worse was the existence of a crime syndicate so powerful that it could eliminate the commander of a military vessel so easily and with relatively little consequence.
Phelan was written a bit too conventionally, and as Ron himself admits, the entire plot was simply not up to “BSG” standards. Some of the smaller moments were good: the Baltar/Roslin confrontation was quite good, even if Roslin’s reasons for the offer weren’t directly tied to the previous episode’s revelations. Clearly, that subplot is going to have serious consequences for the rest of the season.
Writing: 1/2
Acting: 2/2
Direction: 1/2
Style: 1/4
Final Rating: 5/10
*****
2.15: Scar
Written by Bradley Thompson and David Weddle
Directed by Michael Nankin
There are a lot of similarities between this episode and the previous installment, but I thought there were some fundamental differences that made this episode work. Despite the use of a writing device that has become an annoying bad habit (that “XX hours earlier” thing), events proceed according to a logical extension of what has come before in previous episodes this season.
That was the big difference for me. In the previous episode, Lee was taken into territory that qualifies as character development on a certain level, but didn’t match what had come before in an organic fashion. It makes sense that Lee would find himself in a dark place after his near-death experience, but the episode relied too much on retroactive continuity changes.
This episode, on the other hand, was the logical extension of several character threads. Starbuck in particular has been on this path for quite a while, and she created each and every one of her problems in this episode. All of her self-righteousness against Tigh earlier in the series comes back to haunt her, she creates her own worst nightmare in Kat, and she can’t seem to handle the fact that she’s still in love with a man who’s probably dead.
That’s what Lee was supposedly dealing with in the previous episode, but unlike that situation, we’ve seen Kara with Anders, and we know that she’s taken steps to attempt a rescue as recently as “Resurrection Ship”. It gives her actions and emotions in this episode context. In short, it builds on elements already present.
One of the similarities that I appreciated was the change in perspective. The previous episode delved into the ugly side of the civilian world, which hasn’t been seen very much, and this episode takes us into the world of the Viper pilots. A listen to the podcast for this episode reveals the amount of research that was applied to that depiction, which is why a number of elements ring true.
This provides Kara’s downward spiral with a strong context. Add to that a number of nuanced performances, and this episode shines all around. More than once, I was struck by how well the characters’ emotions were communicated without dialogue. I actually felt like I learned more about Lee’s recent descent from his few scenes in this episode than in the entire hour devoted to his psychology.
As I’ve said in reviews for other series, whenever an episode focuses on a single character, enjoyment of that episode is often predicated on a person’s like or dislike for that character. I’ll admit that I’m more interested in Kara than Lee, but that certainly wasn’t the only difference between the two episodes. For me, it came down to the fact that this episode was better the second time around, whereas the previous episode actually seemed worse on the second viewing.
While they aren’t necessary for an episode to be strong, the effects during the battle sequences were quite impressive and truly enhanced the gritty side of the Viper pilot lifestyle. The scene between Kara and Sharon was also quite good (and Sharon looked incredible, as always!). Likewise, the ultra-awkward Kara/Lee scene was something to behold. Those were just a few of the highlights, and for that reason, this was one of the better episodes of the season.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.16: Sacrifice
Written by Anne Cofell Saunders
Directed by Rey Villalobos
It seems as though my opinions fall in line with Ron Moore’s own opinions on the podcasts, which is sometimes amusing. I say that because his reactions are far more extreme than my own. He was a lot more critical of “Black Market” than I was in the end, and he was a bit more impressed by “Scar” than I turned out to be. This time around, though, we share a certain dissatisfaction that can’t be completely defined.
There’s a lot that I liked about this episode. Dana Delaney does a very good job with a difficult part. In a lot of ways, this is a follow-up on the concepts brought up by Admiral Cain and her people. As I said then, there’s a certain amount of justification for treating Boomer like a machine. Even she would be quick to point out that she’s not human. And there’s reason to believe that Adama is treating Boomer as if she was the human being he remembers.
But she’s also exactly what Adama mentions: a potential military asset. He would be foolish to listen to everything she says without some kind of verification, but his instincts aren’t completely wrong. Even if the fleet discovered that the Cylons held the hybrid in primary importance, there would be reason to leave Boomer and the child alive, if only to attempt understanding of what the Cylons want. (In fact, one could argue that holding what the Cylons want is a good start towards future survival.)
And so this episode, on the face of it, is structured very well to test the resolve of three very important people in the fleet: Adama, Tigh, and Roslin. I can tell, even without Moore’s commentary, that the intention was to use that as a trigger for the philosophical debate over the value of a military asset over the cohesion of the fleet vs. giving in to terrorism. Underneath it all is the love triangle between Dee, Billy, and Lee, which has been building for quite a while.
The problem for me was very simple. I was able to predict from the very beginning that something horrible was coming for Billy. I had no idea that the actor was in demand and therefore being let go in a memorable way, but the episode began in a way that suggested some final moment to come. But even as that side of the episode was telegraphed, the underlying philosophical debate surrounding the hostage situation never really went as far as I would have liked.
For all that, I’m far more impressed by the brutal escalation of the episode than the final act itself. The botched rescue attempt was notable for the frank bloodletting, and the effect that shooting Lee will inevitably have on Starbuck. The end of the hostage situation should have been equally brutal, but since Billy’s death was expected, it didn’t have much impact. The gambit with the previously killed Boomer was rather obvious as well. The only thing in the final act that got my attention was Roslin’s grief, which struck me as very genuine.
Ever since “Resurrection Ship: Part II”, the season has been searching for some sense of direction. I thought that Baltar’s actions in “Epiphanies” would have been the first step in the next phase of the arc, but that doesn’t seem to be the case. At the same time, I noted that the destruction of the Cylon fleet would inevitably force the story inward, leaving the writers to explore the effects of recent events on the fleet as a whole, and that’s what we’ve gotten. Now that the episodes should be turning back to the arc, I hope the quality will return to a more consistent form.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.17: The Captain's Hand
Written by Jeff Vlaming
Directed by Sergio Mimeca-Gezzan
Ron Moore wasn’t able to produce a podcast for this episode, which is unfortunate. I’ve found it educational to hear the perspective of the creative minds behind an episode after having seen it and evaluated it for myself. In this case, I enjoyed the episode for many reasons, despite a few things that gave me pause, and it would have been nice to hear what the writers were trying to achieve.
This episode served to remind me that time has been moving in leaps and bounds since the end of “Resurrection Ship: Part II”. This accelerated timeline helps to move some things along while retaining a certain degree of continuity. The writers wanted to bring the election issue to a head at the end of the season, and that needed to be about eight months after “Bastille Day”. That required a quick pace. Also, time had to pass for the Cylon fleet to regroup, send out scouts to find the human fleet, and then bring forces into position.
All of that makes sense to me, especially since it explains why so many internal issues have come to plague the Colonials of late. Decisions are catching up to people, and it’s creating a rift. There’s a growing distrust of the military and Roslin. There’s been a subsequent rise in power for Zarek. The past few episodes may have been flawed at times, but taken in context within the story arc, they set the pieces in place on the board.
One big issue has been the Pegasus, and that is at the center of this episode’s nightmare. Adama was placed in overall command of the military within the fleet by Roslin, which doesn’t necessarily demand the respect of Pegasus personnel. Garner is a mixture of a green command officer thrust into the spotlight too early and all the negativity regarding Galactica and Adama rampant among the Pegasus crew.
It’s far too early to tell if Lee is ready for command, but he demonstrated a sense of politics when he refused to speak ill of Garner, despite his enormous shortcomings. Garner’s end was somewhat cliché, but it was engaging to watch. The timeline ought to give the fleet enough time to repair Pegasus to a sufficient degree, but the real issue will be Lee’s command and how it plays to the underlying distrust of Adama within the fleet.
I found the abortion question in this episode to be perfectly sensible, and Roslyn was all but trapped by the issue. It gave Baltar the perfect opening, especially given the fact that Zarek had the perfect issue to champion (individual rights) as the power behind Baltar’s candidacy. Recalling that Baltar is in league with Gina, who may also be in league with Zarek, the finale could end with an effective coup. After all, the Cylons would benefit greatly from having Baltar in power, thus facilitating whatever their true objective might be.
That said, I was a little put off by how quickly Lee was promoted to command. For that matter, Starbuck was also placed in a command role too quickly, given her recent troubles. That’s a sign of the fleet’s desperation, sure, but it’s also a bit quick for my taste. And while I was impressed by the fact that the Gemenon religiosity demonstrated some disturbing aspects, I was annoyed that Roslin’s apparent prophet status didn’t come up. Still, those were minor issues for an otherwise strong episode.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
*****
2.18: Downloaded
Written by Bradley Thompson and David Weddle
Directed by Jeff Woolnough
This turns out to be the episode where Ron Moore and I don’t quite see eye to eye. Ron believes this is one of the best episodes of the series. I come from two viewings with a somewhat less enthusiastic response. It wasn’t until well after I listened to the podcast that I realized what my issue with the episode really is.
The point of this episode is to show how Caprica-Six and Sharon, based on their long-term relationships with humans, changed so dramatically that they decide to change the course of the Cylons. That’s all very well and good, since C-Six mentions that it’s all about the love and how following God should not mean killing and genocide. Sharon certainly had plenty of experience with the better side of humanity with Tyrol.
But if the episode is about change, and profound change, then the audience should have a solid understanding of where the Cylons were philosophically prior to this change. And that is my problem with this turn of events. The Cylon agenda has never been particularly clear. It’s not clear why the Cylons tried to wipe out humanity, why they pushed Boomer into Helo’s arms to have a hybrid baby, why they’ve let the fleet stay alive all this time (and it is a matter of letting them survive), and so on.
Equally troublesome is D’Anna’s attitude about humans and the treatment of the two Cylons who “went human”. The fact is, that’s what the Cylons programmed them to do, and there’s plenty of evidence from the first season to suggest that the Cylons wanted a Sharon and a human to fall in love for the purposes of the hybrid. And since D’Anna noted in “Final Cut” that the hybrid was the key to the Cylon agenda, why would this D’Anna be so adamant that human emotions were some kind of weakness?
The point is that the Cylon agenda was never clear to begin with, and so it’s hard to see how this movement beginning with C-Six and Sharon is supposed to be a kind of revolution. Such problems litter the episode. While it’s very clever to have C-Six channeling a version of Baltar, it brings up an issue in Ron’s discussion of it. Ron suggests that Baltar is C-Six’s conscience, just as Six is an expression of Baltar’s guilt. The problem, of course, is that Six has revealed information and has acted independently of Baltar on several occasions. If that’s the explanation, then two seasons worth of evidence strongly contradicts it.
Finally, I’m not particular impressed with the response to the birth of the hybrid by Roslin and Adama. For one thing, it would make no sense to kill it, for the same reason that pretending it died is a horrible idea. The Cylons want the hybrid. They have the hybrid. Placing the hybrid in a secure area with plenty of security will force the Cylons to expose their plans, and could also force Cylon models that haven’t been identified to expose themselves. If the Cylons believe the child is dead, instead of with the fleet, and the hybrid was the most important thing…well, why should the Cylons keep the fleet around?
Of course, all of these things could come back into play as the season finale unfolds, so it may be premature to grumble about contradictory plot elements or lingering plot holes. This is one series that typically avoids such pitfalls, so perhaps that faith is not yet unwarranted. Still, this is one with some glaring questions left unaddressed, and if those questions remain unanswered, this will be remembered as the episode where it all began falling apart.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 7/10
*****
2.19: Lay Down Your Burdens: Part I
Written by Ronald D. Moore
Directed by Michael Rymer
This being “Battlestar: Galactica”, reviewing this first part of the finale is not particularly simple. It’s a given that this is only a prelude to a much larger story, much like “Kobol’s Last Gleaming: Part I” and “Pegasus” before it. The point of the episode is pure setup, moving the pieces into final position before the next endgame. So the question is: how well does it serve that function?
I would argue that a series like “BSG” has it a bit easier than a series with a more episodic format, like the “Stargate” shows. The prelude to the finale actually began with “Epiphanies”, and a number of plot threads addressed in this episode trace back at least to that point (if not earlier). There’s no need to generate a completely new crisis; a simple trigger can force the existing plot threads into a more active phase. In this episode, two things take place that will inevitably trigger something far more.
Tyrol’s mental state has been degrading for quite some time, going back to the beginning of the season, but it wasn’t until “Resurrection Ship” that he attempted to sublimate his emotions regarding Sharon. All it took from there was a series of nightmares and the escalation of his fears stemming from his close relationship to Boomer to toss him over the edge into psychosis.
While it’s not entirely clear how Tyrol’s psychological issues will factor into the second part of the finale, it’s a given that Brother Cavil, played perfectly by Dean Stockwell, will be the one pushing him in that direction. There’s a lot of reason to suspect that Cavil is a Cylon, just by the fact that his words echo Six from the mini-series from time to time, but that could be a bit of misdirection. Tyrol’s role in the next episode, after all, hinges on where his damaged psyche takes him, and that’s still far from clear.
What this serves to accomplish, however, is the resurrection of the paranoia that the series had in the first season, when the identity of the hidden Cylons was a prominent plot point. It’s become progressively easier to ignore that, and the humans have almost become comfortable with their assumptions. They remember that other Cylons are hidden in the fleet, but they don’t seem to suspect each other as openly or frequently, and that could be costly.
The more obvious trigger, however, is the discovery of the habitable planet. It provides Baltar with the issue he needs to win popular support for his campaign. I was hoping for a more in-depth dissection of Roslin’s previous claims as a religious prophet, since it could have been challenged on a number of grounds, but it didn’t really come up beyond a general mention here and there.
There’s still plenty of reason to assume that the Cylons know about the planet and are waiting in the wings (perhaps some of those unexplored barren areas), and there’s the little question of whether or not they would want the humans to stay there or continue towards Earth. I was under the impression that the Cylons wanted Baltar in change so that he could lead them to Earth and help them achieve their agenda, but the previous episode made it seem as though Six is a figment of Baltar’s own mind, so I’m not sure that assumption still holds.
Whatever the case, as usual, this episode covers a lot of ground, and I’m betting that a ton of material had to be cut for time. Moore mentions that the means of returning to Caprica was a victim of budget and time, so there’s some hand-waving going on in that plot thread, but the point was getting Starbuck back with Anders, however it happened. I wasn’t surprised by the notion that the Cylons waited for the two camps to come together before attacking, but after the previous episode, I’m sure that there’s more to it.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
*****
2.20: Lay Down Your Burdens: Part II
Written by Anne Cofell Saunders and Mark Verheiden
Directed by Michael Rymer
It’s never easy for a series to change the status quo in a meaningful way. This is hardly an exception. Among my friends who are fans of the series, I can easily predict that a third of them will absolutely hate the direction taken in the season finale. Others will love it for what it is: an unusual move for a series and one that fits with its unusual pedigree. Still others will adopt a “wait and see” approach and leave it at that.
I’m probably most aligned with the final group, leaning towards the second. I loved the plot threads that were established and wanted to see where they would lead in a less general way than this finale offered, I’ll admit. I still wonder at the Cylon plan, as I still don’t think that the original version of the plan was defined well enough to make the current version of the plan feel particularly distinctive by comparison.
At the same time, I can see how the writers wanted to break out of a particular mold, and there are now new ways for the Cylon perspective to come to light. The writers basically gave themselves just enough of a jump for the characters to change without losing sight of how they arrived at their current place in the world. If anything, because the characters were becoming so well-defined, it makes it easier to determine what changed.
The Cylons and their motivations are one connective thread to all the events in the episode, but there’s also the damning exploration of Baltar’s rise to power and the consequences to humanity. The Cylons were apparently willing to let humanity chart its own course, which if anything, seemed designed to facilitate Baltar’s rise by making settlement on the planet more appealing. Thus it was easy enough, based on the fact that they presumably kept Sharon and one of the Cavils (I was right!) prisoner the entire time, for the Cylons to know where the humans were and how they were treating themselves and the prisoners in the meantime.
My theory is that they waited until they had overwhelming force and humanity had completely lost the will and command structures to fight. Even if Adama and his allies wanted to keep a defensive posture, there wasn’t the constant pressure from the Cylons to keep popular support on his side. Adama, who once took open action to preserve military control over the fate of the Colonial Fleet, seems to have lost the drive to make another attempt against the “will of the people”.
So my theory is that Caprica-Six and Boomer, as leaders of the Cylon race, have decided to occupy the new human colony of New Caprica rather than wipe it out. They had overwhelming force; why not use it? I imagine it’s not very different from the reason why they didn’t wipe out the fleet when they obviously could at any time; they have a purpose in mind for humanity. The third season will hopefully make it a little more clear and tie back into the hints and reveals from the first two seasons.
Baltar now has yet another version of Six to interact with, one who loved him and may still. Tyrol has the Boomer who loved him, and who may not be pleased with pregnant little Cally. Anders’ fate and why Leoben was looking for her are likely to play into Starbuck’s reactions to the occupation. There’s the open question of Hera (or whatever her name is now) and whether or not the Cylons will discover that the baby lives. There’s even the possibility (however unlikely) that the Cylons really don’t have any intention of resuming hostilities. There’s more than enough material to cover in the third season and beyond.
For all that I see a great deal of potential, my enthusiasm is tempered by another recent example of such a move. At the end of the second season of “Alias”, the writers took the story and jumped it forward by two years. The subsequent third season of that series is widely considered to be its weakest, and many look back on that as the moment when a strong series with a history of taking chances began to lose focus. One could argue that the series never recovered.
I’m not suggesting that Ron Moore will allow the same to happen with his series, but it’s hard not to recognize that there’s equal chance for failure as there is for success. I have a certain amount of faith in Moore and his vision for the series, and so I want to believe in success. And to be honest, it’s the possibility of failure and risk involved that makes this such an interesting and memorably turn of events. It’s going to be one hell of a long wait until October!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
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