03.28.07
Posted in Uncategorized at 7:20 pm by Administrator
From a certain point of view, the third season of “Battlestar: Galactica” was its most controversial. Not necessarily because of content, but because of the deep divisions that emerged within its fan base. While the critics continued to give the series credit for breaking new ground, fans began to complain about glossed-over plot concepts, poor characterization, and an apparent lack of focus.
The numbers seem to reflect the issues raised by the fans. The ratings feel dramatically in the third season, starting relatively strong but losing nearly half of the viewers by the end. Of course, the Neilsen ratings aren’t necessarily the best measure of the success or failure of a series, especially in the current paradigm of iTunes, DVRs, and legal downloads. Estimates suggest that the actual ratings are at least 25% higher than those reported. Accounting for the mid-season change from Friday nights to Sunday nights, a move guaranteed to result in fewer “live” viewers, and the numbers are less disturbing.
However, one cannot ignore the fact that the average review rating for the second season was 8.0, which indicates an “above average” season, while the third season came in at 7.6. While that’s hardly a massive drop in quality, it does reflect a softening of the edge that once defined the series. “Galactica” may not have descended into the tripe that some would claim it has become, but this was arguably the least effective season thus far.
Looking back on the third season, four main criticisms come to mind. First, the New Caprica arc came to a close far too quickly, leaving many of the interesting social and moral questions raised at that time unanswered. Second, this was followed by an emphasis on the relationship issues between Apollo and Starbuck, a decision that was very unpopular. Third, the second half of the season was derailed by the last-minute decision to abandon an entire story arc. Finally, and most importantly, the character developments were more abrupt, leaving the audience with the distinct impression that those elements had been a last-minute decision instead of the result of careful consideration.
Unfortunately, the Sci-Fi Channel has elected to wait until early 2008 to air the fourth season, which gives fans a lot of time to think about what they disliked about the third season. Unlike the second season, where most of the complaints centered on a few lackluster episodes, the weak points of the third season were distributed more evenly. That leaves one with the impression that the problems were comprehensive, inherent to the production of the season as a whole, rather than isolated to one or two installments. The slip in Neilsen and review ratings is another indication.
Ron Moore openly admits that the writers work better in shorter seasons, given the tight storytelling in the first season. He also admits that the series has entered its third and final act, and that an endpoint is in sight. There are many indications that the series will need to end with the fourth season, which will last 22 episodes (including a 2-hour event in the fall, disconnected from the rest of the season). The question is: will the demands of completing the series and giving it a strong ending overcome the challenges that the writers have with a long season?
Given the events of “Crossroads: Part II”, the writers have left themselves a difficult task. The Final Five Cylons are clearly different from the traditional Cylons, and that will need to have a satisfactory explanation. That includes the implication that the newly identified Cylons (if, in fact, that is true) have been around a lot longer than the known Cylons. The clear connections to Earth must also be explained, most especially the return of Starbuck.
Few, if any, of these answers will be answered quickly, and there’s plenty of reason to think that the entire fourth season arc will weave all the questions into one comprehensive concept that will lead into the final resolution. After waiting more than nine months for the next season to begin, will the fans be willing to let the story spool out at its own pace? This is not unlike the situation that “Lost” has been in during its third season: answers are coming, but not quickly enough to stave off impatient criticism.
If the writers manage to keep the intensity going for the entire fourth season, perhaps to a series finale, then the shortcomings of the third season could be a distant memory a year from now. However, if the fourth season seems to run into the same problems that plagued the third, the result could be an average ending to a superior television series.
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03.26.07
Posted in Reviews at 6:17 pm by Administrator
Written by Mark Verheiden
Directed by Michael Rymer
Each and every season, “Battlestar: Galactica” has ended its run with a plot twist that changes almost everything. This finale is no different, even if the roads taken are a bit unusual and the revelations seem less impressive. It’s certainly a lot more confusing than previous season finales, and there’s a lot to talk about before the fourth (and probably final) season comes along in 2008. (As SFC, once again, shoots itself in the foot.)
The most reasonable plot element of the finale was the trial of Gaius Baltar, and even that took an odd turn into left field. At first, it felt like the writers had worked themselves into a corner and had no idea how to get out. The rules of the trial fell apart completely, and I was left thinking that it was a complete mess. That is, until Lee gave his monologue on the stand and touched on nearly everything that had been bothering me about the trial in the first place.
I loved his extended tirade about the hypocrisy of the entire affair. It’s about time someone pointed out to the “emerging aristocracy” that the fleet was not, in fact, civilized. It’s barely controlled chaos and desperation, and it plays fast and loose with the rules every single day. Lee simply gave the fleet a whopping reminder. More than that, he managed to tie the season into a neat package by connecting the trial, and its implications, to the downfall of New Caprica. That gives the entire season a more cohesive feel, something it truly needed.
Not everything about the trial worked, of course. There’s still much to be resolved. Why did Gaeta lie on the stand, and what was the secret that Gaius knew about him that led to the earlier assassination attempt? The subsequent shift in strategy felt forced, especially when it was clear that the shift would place Lee and his father in direct conflict. Whatever the case, the fallout from the trial should be interesting, to say the least, as it puts a wedge between Adama and Roslin.
Turning to one of the more confusing elements of the finale, Roslin’s cancer treatments put her into some kind of Cylon conference call with Sharon, Caprica-Six, and Hera. Because of Caprica-Six, Baltar is connected to the same scenario, which appears to put them in opposition with the Final Five Cylons. It’s interesting to note that this connection is only relevant to the “known” Cylons; they are not connected in any way to the Final Five. This suggests a fundamental difference between the Cylons and the Final Five (these groups really need distinct names now!).
After all, the hostile Cylons had a Plan, part of which involved the creation of a new generation of Cylon through hybridization. This is where Hera came into the picture, a child that was important because of her unique heritage. Now there’s another Cylon hybrid, and one that seems completely normal: Tyrol’s son Nicholas. Each kind of Cylon now has a hybrid child; what does that mean in terms of the overall implication for the Galactica universe?
During D’Anna’s search for the Final Five, I speculated that the Final Five might be Cylons who disagreed with the war against Humans and dissented with the Cylon Plan. It may be more complicated than that, considering the fact that the Final Five were happily fighting the Cylons as apparent human beings. They weren’t acting as sleeper agents per se, like Boomer in the first season. Much of the information about the Final Five suggests a connection to the previous “cycle”, which has some interesting implications.
After all, the records of the previous “cycle” were human records. The humans survived, while the Cylons were created by humans in relatively recent times. What if the surviving “Cylons” from the previous “cycle”, older than the modern Cylons, incarnated in some fashion in the Final Five? And what if the Cylons themselves had sleeper agents (the Final Five) within their own society, unseen yet influential? It might be that the Final Five are working to ensure Humanity’s survival on their own terms, knowing that if the cycle repeats as it always has, the Cylons must be defeated or subsumed into the restored Human race. Perhaps the Final Five are related, in some fashion, to the Lords of Kobol themselves!
This brings into question the very nature of the Cylons, and perhaps explains why the 13th Tribe knew what to leave behind as markers. The song (“All Along the Watchtower”) feels so out of place that it must be intentional. One simple guess is that some artifact of the 13th Tribe (or the nature of the nebula itself) is relaying a signal from Earth, adding something else to the mix that “activates” the Final Five. This would make the emergence of the Final Five the “signpost” expected in that region of space.
All of this is dependent on assumption, because the writers keep everything vague. Tyrol, Anders, Tori, and Col. Tigh all assume that they are Cylons, but there is nothing objective to prove that it’s true. They may be wrong, and this might still be the signpost to Earth at work, targeting specific genetic traits. Similarly, one could assume (as many have) that Starbuck’s reaction to the Maelstrom was her own response to the signal. Her return in this episode could be seen as evidence that she is the last of the Final Five. If so, then her journey to Earth supports the idea that the Final Five are connected to Humanity’s previous survival.
The arrival of the hostile Cylons is a bad sign for the fleet, especially if it means that the trillium ship has been destroyed. That was the only source of refined fuel for the fleet, and as mentioned in the review for “Dirty Hands”, it should have been one of the primary targets for the Cylons. Of more long-term importance is the rise of Baltar’s little cult, which seems to consist mostly of women. There’s no telling where that will go.
Whatever the case, the writers are also going to have to explain the use of a “modern” song in the context of the Galactica universe, and that could be a tough sell. I’m sure many fans are trotting out that ridiculous and overworn phase “jumped the shark”, despite the fact that there’s no commercial or ratings advantage to be had with such a move. Similarly, by bringing back Starbuck and revealing most of the Final Five, the writers make it necessarily to explain the differences between the two Cylon factions. No doubt, these will be two major plot elements for the fourth season. Let’s just hope that the long wait will be worth it!
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
(Season 3 Final Average: 7.6)
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03.19.07
Posted in Reviews at 5:40 pm by Administrator
Written by Michael Taylor
Directed by Michael Rymer
As I’ve mentioned before, it’s always difficult to review only part of an episode, and in this case, it’s clear that the story was written as a two-hour block that could be split in half more or less intact. Still, the pacing is more appropriate to the longer format, so this episode suffers from the same issues as “Exodus: Part I”. It’s all leading to something massive, but this is the setup, not the true resolution. That reality leaves the episode with a distinct lack of identity.
I’ve also mentioned that Michael Taylor is a writer with a spotty track record, especially when it comes to “BSG”. This time around, I’m not sure that the fault lies with the primary writer, however. The main problem with this episode is the same issue that has plagued the third season from its inception: the lack of proper establishment of plot-critical elements.
Take, for example, the revelation that Roslin is once again suffering from cancer and using the kamala drug as a treatment. Nothing in previous episodes hinted that this was the case, so it comes across as disingenuous. In fact, it would be easy to interpret this as deception. Roslin’s demeanor after the revelation, particularly to the press, felt directed, as if meant to gain sympathy after a courtroom setback. If that were the case, then it would be easy enough to dismiss the issue.
However, Adama’s reaction to Lee’s line of questioning suggests that he knew the truth all along, and sought to conceal it. Between Tigh’s revelation of his wife’s murder and Roslin’s admission, Adama is a wreck by the time his son comes calling. His emotional attack on Lee is not the response of a man trying to score a political point; it’s the pain of a man living with deeply unpleasant truths. So that makes Roslin’s revelation feel like a genuine plot point, and that’s simply not good writing.
For the first time in a long time, it’s possible to sympathize with Lee, because he’s walking a difficult path. Of all the things he’s done to push Dee away, his defense of Baltar is the tipping point, and it comes across as incredibly unfair. To the writers’ credit, the trial of Baltar is turning out to be more complicated than expected. The audience has come to see Baltar as a weak and evil man, a traitor to mankind, but the truth is a lot more complex. As Romo and Lee demonstrate, none of the self-righteous members of the “emerging aristocracy” are innocent, and their judgment of Baltar comes across as personal and smug.
Add to that the revelation that Baltar is becoming a cult symbol within the fleet (perhaps a prophet of “God”?), and there’s a huge potential for Baltar’s acquittal. This could quickly lead to a civil war, which the Cylons would happily use to their advantage. Cally called it in the previous episode: the Cylons could have been hanging back, waiting for the right moment to strike. With the fleet coming close to the next marker leading to Earth, the Cylons are on the move.
The simple assumption would be that the “song” heard by some characters, suspiciously familiar, is a sign that they are Cylons. If so, at the very least, Col. Tigh (I called it after “Rapture”!), Anders, and Tori are now on the list. The question is how this intersects with the impending arrival of the known Cylons. It’s highly unlikely that the known Cylons themselves are “activating” the Final Five; the known Cylons don’t even know what the deal is with the Final Five anyway.
Instead, it seems more likely that the Final Five are something very different from the known Cylons, perhaps a faction that was opposed to the genocide of the Colonies (a long-held position of mine). They could be the key to Earth, survival, or both, and while it would be devastating for these characters to discover their true nature, it would also bring up major questions about what it means to be Cylon. And of course, there’s the massive open question regarding Kara Thrace and her possible role.
It’s far too early to say how well this episode prepares for the big finale, because so much is at stake. The series was already on the brink after the apparent death of Starbuck; now it is quite clear that the series will rise or fall based on how the Final Five revelation plays out. Whatever the case, this season seems to be capping off the ramifications of the New Caprica plot element, so perhaps the fourth season will manage to close the door on the identity and nature of the Cylons. By that point, viability may no longer be a concern, but closing out the series well should be the number one priority.
Writing: 1/2
Acting: 2/2
Direction: 2/2
Style: 1/4
Final Rating: 6/10
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03.12.07
Posted in Reviews at 7:48 pm by Administrator
Written by Michael Angeli
Directed by Robert Young
It has been said on many an occasion that much of Western literature, particularly American fiction, can be reduced to the relationship between father and son. This is a subset of the common mythological construct exploring the generational struggle: the child literally or metaphorically killing the parent to rise as the new power or achieve full adulthood. This story is in keeping with that time-honored storytelling.
Lee Adama has been a character in search of himself, particularly after his long association with the moral high ground fell apart after a near-death experience in “Resurrection Ship: Part II”. Since then, Lee has found success by walking in his father’s footsteps, and disaster when straying from the well-trodden path. All of this points to an important crossroads: when will Lee find his own path, even if it means denying his own father’s wishes?
This particular episode presents a prelude to that process, or at least, it seems to match the expectation. Rather than toss Lee into the role of Baltar’s defense attorney, he becomes a key member of the defense team. Bill Adama is randomly chosen to sit as one of five judges on the tribunal. Despite the many plot contrivances necessary to set the stage in this particular way, this sets up a father/son collision that has been coming since the beginning of the series.
The writers choose to create this conflict through the mechanism of Romo Lambkin, Baltar’s unusual and engaging attorney. A protégée of Grampa Joe Adama, back in the heyday of the Colonies, Lambkin has an unusual penchant for understanding people. He’s quite detail-oriented, which helps him identify strengths and weaknesses. (That this manifests in kleptomania is a particularly nice touch.) He wants to unbalance his opponents by pitting father against son, thus complicating at least one vote on the tribunal. It’s such a neatly divisive tactic, right down to facilitating Baltar’s manifesto, that it’s hard not to wonder if Lambkin is a Cylon.
Like the stereotypical lawyer, he’s not above using grief over Kara’s apparent death in this endeavor. His words to Caprica-Six were as much for Lee’s benefit as for hers. He recognizes that Bill Adama needs to step out of his role as The Old Man, and that could be dangerous. So why not push Lee into stepping out from his father’s shadow?
Because Lambkin is the mechanism intended to overcome the contrivance of an Adama family showdown during the upcoming trial, the success or failure of the episode is largely dependent on the viewer’s reception of Lambkin as a whole. I, for one, liked the character, because he was challenging. He was a lot smarter than one might expect from his appearance, and his motivations remain questionable at best. Mark Shepard was a great choice for the role.
There were some items that were less than satisfying. On the whole, Cally’s issue with Athena felt tacked on, as if the writers understood that there was unfinished business of a sort but had no real idea how to make that into a viable subplot. Also, Dee’s absence in the episode was glaring. Wouldn’t she have her own opinions about Lee’s choices? Thankfully, this is balanced out by the excellent material for Lee and Anders, which served to remind all of us that the loss of Starbuck is still a major component of the story.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4
Final Rating: 8/10
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03.05.07
Posted in Reviews at 1:53 pm by Administrator
Written by David Weddle and Bradley Thompson
Directed by Michael Nankin
A number of people asked me, after my review for “The Passage”, what I was actually looking for out of an episode that led to the death of a character. I had outlined in great detail how “The Passage” felt contrived, and how Kat’s death didn’t feel earned. The episode pushed very hard to establish a history for Kat that would make her sacrifice sensible, when it was unnecessary. Yet I was asked: how could it have been done better? “Maelstrom” is exactly the right answer to the question.
In this episode, everything that leads into the inevitable final act is an extension of something that was established in a previous episode. In other words, this is an episode that relies heavily on character continuity and long-term character arc considerations. There was no need to manufacture a new side to Starbuck’s history or personality. Instead, the writers pulled the trigger on something already sitting in plain sight.
Kara Thrace has always been a complicated character. Wounded and troubled, Kara was always on the edge of sanity. She’s also been a tool of destiny, as seen in the first season. Kara was devoted to the Lords of Kobol because she could feel, on some level, their hand in her fate. Yet she was also searching for meaning in her life, something that her abusive past (again, established in the first season) prevented her from finding. All that Kara had was her sense of superiority, her ability to control the skies and space in that Viper. Take away that sense of control, and a flameout is just a matter of time.
The process has been a long one. It began early in the second season with “The Farm”, and continued in episodes like “Scar”. Kara lost control of her emotional detachment with Anders, which led further loss of control after her brutal treatment on New Caprica. She couldn’t leave well enough alone with Lee, and the revelation about the mandala in the Temple of the Five was the last straw. Kara was being pushed towards something out of her hands, and her flashes of Leoben in past and present were a representation of the hand of something greater than herself, pushing her towards destiny.
From a storytelling perspective, Kara’s death can only be apparent. If she is truly dead, then the writers failed dramatically. This season’s arc only makes sense if Kara is, in fact, one of the final five Cylons. D’Anna’s entire character thread was devoted to the revelation of the final five Cylons and their nature, as revealed in the space between life and death. And that is exactly where the vision of Leoben was leading Kara Thrace.
More than that, there is the prominent symbol of Aurora, Goddess of the Dawn. Aurora (and her many counterparts in the lore and myth) is also a figure strongly connected to Rebirth. The Dawn, after all, is the restoration of light after a period of darkness. Aurora is therefore a symbol of rebirth and resurrection.
The final piece of the puzzle is Leoben himself. D’Anna’s character arc demonstrated that frequent resurrection could lead to revelations about the space between life and death, a place where the final five Cylons are revealed. This, in turn, leads to madness. Could that have been the source of Leoben’s unusual behavior? If Leoben knew that Kara was a Cylon, wouldn’t that explain his insistence that he understood Kara better than she understood herself?
Just as Sharon/Boomer was used in the first season to explore the common ground between Human and Cylon, Kara would be the perfect tool for exploring the next level of that commonality. If some of the Cylons are unaware of their true identity, and if they believe themselves to be human in every way, what keeps them from being human in truth? Could a Cylon be given a set of memories so perfect that they never suspect the truth about themselves, until the time comes for them to be reborn in a resurrection ship?
If so, then when Kara comes to the realization that her mother’s abuse and Leoben’s madness was leading her to her destiny, it could be true in some unexpected ways. Her mother may have been a construct built within her mind. Her memories as a child could have been nothing more than programming. After all, if Sharon Valerii could be a Cylon, despite her apparent human past, why not Kara Thrace?
All of this rich narrative ground is predicated on the assumption that Kara’s story is not over, and that she is one of the final five Cylons. The writers could allow her to survive in some other way, since she could have ejected before the end, with equally satisfying implications if Leoben was there to rescue her. If the speculation is wrong and this is Kara’s final appearance, then it’s hard to imagine how the writers could possibly salvage such a misstep. For the moment, at least until the season finale, I choose to have faith.
Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 3/4
Final Rating: 9/10
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