The Miniseries Part One written by Ronald D. Moore & Christopher Eric James and directed by Michael Rymer
What's it about: The Twelve Colonies are under attack from
the Cylons after a 40-year armistice...
Commander-in-Chief: Played with gruff authority by Edward
James Olmos, Adama is a character that runs through the entire gamut of human
emotions throughout the four season tenure of the show but manages to keep most
of those feeling bottled up. That means those moments where he displays flashes
of anger or distress really count for something. He is precisely the sort of
man that you would want in charge of a fleet on the run; respectful, loyal,
smart, brave and pretty much unshakable. That makes the character sound
incredibly boring but he is also capable of making terrible mistakes, losing
his cool at inappropriate times and letting his pride get the better of him. It
makes him a flawed hero but a man to look up to nonetheless because he is
always doing what he can for the best of the fleet. Like most of the characters
on this show, I love how human Adama is - flawed, multi-faceted and
often very surprising. Adama has a soft spot for Starbuck despite her
rebellious attitude, in fact he actually seems to admire her for it. She was
once in a relationship with his now deceased son and there is always a feeling
between these two of a father/daughter relationship. Sometimes even more so
than Adama's relationship with his surviving son. The restraint that Adama
shows when Lee accuses him of murdering his brother because he pulled strings
to get him in the service is to be admired. I think Adama knows if he reacts
violently that his relationship with his son will be irrevocably destroyed.
XO: At this stage of the game Tigh is almost a stock First
Officer; a grizzled, unlikable old drunk who is nonetheless very good at his
job. Interestingly, throughout the course of this series I would say that Tigh
is the one who goes on the biggest journey and proves the most fascinating to
watch. You couldn't really tell that at this point though. Michael Hogan has a
great deal to offer and come the final season he is easily my favourite
performer on the show. But more on that later... It's a shame that nobody makes
Tigh eat his words when he claims that the Cylon attack on Caprica is just a
joke at Adama's expense.
President: Oh President Roslin. A magnificent character who
you can't help but cheer for even when she jumps in the wrong direction. Most
of her appeal comes down to the measured performance of Mary McDonnell (who
looks uncannily like Elisabeth Sladen from Doctor Who), an actress who takes a
tough role and wrings every nuance out of it that she possibly can. The first
thing we learn about Roslin is that she has cancer which immediately puts our
sympathies with her. The fact that she doesn't seem especially maudlin about
the news and confronts it with a brave face even more so. The first
conversation between Adama and Roslin is an argument, which pretty much sums up
their acerbic relationship in the first season as the two strong willed
characters figure how to maintain an impossible situation together. Just as
Baltar is trapped in a nightmare scenario, so is Roslin. As the highest ranking
political representative off planet (with the remainder of the political having
gone up in smoke on Caprica), she automatically sworn in as President. Is the
Secretary for Education up to the job of rallying the survivors of this mass
slaughter into a community? Adama certainly has his doubts but Roslin's steely
resolve, humane decisions and grace under pressure mark her out as the finest
candidate for the job. Even in the wake of her cancer scare. She very sensibly
asks if anybody has considered the possibility of surrender but it clearly
isn't an option. We learn that Roslin never really enjoyed politics and was on
the verge of getting out. What a twisted turn of events for her this turns out
to be. She is practically in tears when she has to accept responsibility for
the survivors as President until she can see uncertainty in others faces, then
her tone hardens and she shoves her own doubts aside.
Firecracker: Sporadically riveting and dull, Starbuck is a
character packed with potential but one that the writers occasionally get lazy
with. She's an explosive, screwed up pilot who relies on drink and sex to feel
something and it is very easy to fall back on those traits when there is
nothing to say about the character in some episodes. However Katie Sackoff has
obvious appeal (beyond the physical, although she is most definitely a babe)
and thanks to her tortured performance she is the character I usually feel the
most for on the show. Starbuck is shown immediately as somebody who happily
flouts the rules, winding up the XO about his whoring wife to a point where he
throws the gambling table aside and flings herself violently at him. Fans of
the original series might have been appalled that Starbuck was written as a
woman but she can more than look after herself, proves to be a stunning viper
pilot and can be seen tossing back the liquor and chomping on a cigar.
Apollo: Despite his bizarre walk (seriously check it out,
Bamber always walks like he needs a crap), Lee Adama is our action hero and
beefcake on the show. Introduced as a square jawed, revered pilot who can do no
wrong, it quickly becomes clear that this character has baggage of his own.
Namely his relationship with his father which has practically deteriorated
beyond repair, the pair at odds over the death of Lee's brother. The Ballad of
Apollo and Starbuck begins in there first scene together where they remain
cordial but clearly want to rip each others clothes off and screw on the floor.
It's a complicated relationship which goes through a multitude of ups and down
but one thing is for sure, the attraction between these two was there right
from the beginning. Possibly the hottest pair in any TV show. Lots of
possibilities with the Roslin/Lee relationship, especially with him taking her
position over his fathers during a power struggle. They enjoy a sparky, warm
chemistry ('Captain Apollo has a nice ring to it, don't you think?') and
I look forward to seeing more.
Traitor: 'You have an amazing capacity for self-
deception. How do you do that?' Wow, what can be said about Gaius Baltar
this early on in the game. A man of almost incalculable hubris, who makes
mistake after the mistake and the entire human race suffers unspeakable losses
as a result. This could have been an easy role to overplay but James Callis is
far too smart a performer to camp up the anti-hero. Instead he plays Baltar as
a tortured soul, one who is at the mercy of his enormous ego and who is
shitting himself that his role in the disaster on Caprica will come out. I
don't think there has ever been a character quite like this before and his
presence on the show automatically lifts it into the realms of something very
special. You can't help but tune in to see what hideous mistakes he will make
next and how by the luck of the Gods he somehow gets away with it. Baltar is
introduced as a close aide of the current President and a man with
controversial opinions about the advancements of robotics. When it becomes
clear that he is having a relationship with Six you could be forgiven for
thinking he is complicit in the Cylon attack when the writers take the far more
exciting approach of his libido leading him to a security leak in a moment of
weakness. His reaction to the discovery that the attack would never have
succeeded without his error of judgement is one of the best moments in the
miniseries. Panic, desperation, cover up...Baltar considers it all. Because the
intent wasn't there he refuses to shoulder the blame despite the fact that the
guilt clearly weighs on him and he is terrified of being discovered. There is
something delicious about such a pathetic man being trapped in such an
agonising situation. Adama says during his rousing speech that there always
comes a day when you cannot hide from the things you have done anymore. Gaius
Baltar is hoping to keep that day at arms length for as long as possible.
Sixie: How gorgeous is Tricia Helfer? She is practically a
walking Barbie doll with a perfect physique and features and yet do not mistake
her for some blonde bimbo who has been hired because of her looks. She's a
massive talent and securing her as the most recognisable humanoid Cylon was a
huge bonus for the series. Seductive and unknowable, curious and exotic,
dangerous and glamorous, Six has a distinctive, addictive presence. She
mentions there are twelve models and she is number six, an important piece of information
as the show charges on and more models are revealed.
Chief Engineer: Aaron Douglas looks so young and fresh faced
in the miniseries, a far cry from his worn down appearance in subsequent
seasons. Tyrol, like Lee, is a pretty cut and dry character at this point. His
the Miles Edward O'Brien of Galactica, the everyday man who keeps the ship in
one piece and ensure the vipers are in tip top condition. And like O'Brien the
writers find more ingenious ways to torture this character to show every aspect
of his humanity stripped away. His quiet, angry reaction to the sacrifice of so
many of his men really makes the moment count.
Secretary: I took to Billy instantly, especially his bashful
attraction to Dee.
Helo: Didn't really impact (apart from the fact that he was really
cute) until he agreed to give up his seat on the raptor for Baltar in Caprica
and stay behind with the rest of the victims. A brave decision that would have
a profound effect on both his character arc (he would go on to meet Sharon in
season one on Caprica) and the rest of humanity (keeping Baltar alive is just
about the worst thing he could have chosen to do).
Sparkling Dialogue: 'Humanity's children are returning home
today...'
'You cannot play God and then wash your hands of the things
you have created.'
'Why can't we use the starboard launch?' 'It's a gift shop
now.'
The Good:
* The opening few
seconds lull the viewer into a feeling that this might be a low budget affair
featuring some creaky modelwork before the stationary ship we are witnessing
turns and the stars spin in an incredible display. The CGI on this show is
consistently extraordinary and that was the case right from the opening
episode. Watch how the station explodes and a piece of debris hits the
'camera', that's a special effects team really thinking about how to make the
audience sit up and pay attention. The space battle sequences are the result of
years of watching other series perfect the art (there are shades of Babylon 5
and DS9 to the quality of CGI conflicts in space), taking the best approaches
and then putting their own spin on things. Missiles shoot unpredictably out of
Cylon raiders and just because the vipers are being driven by the 'good guys'
it doesn't guarantee anybody's safety.
* Immediately the
classic series of Battlestar Galactica is alluded to with the original
Cylon model appearing on the document held by the human representative at the
political meeting point. I'm really pleased that this show hasn't completely
forgotten its past, offering little kisses to fans of the original show. I have
only watched the odd episode in passing so I can't really comment on how
accurate the continuity ties up but I know how I felt when Doctor Who came back
for a new generation of children and it honoured its history so stringently
(stirrings of the original BSG theme can be heard over a news report). Clearly
the population of Caprica have no idea of how advanced the Cylons have become,
especially their ability to mimic humans. The new design CGI Cylons are sleeker
and far more deadly, with razor sharp hands that can turn into machine guns in
an instant. I love that they kept the blood red laser eye that darts back and
forth across the visor (and the same effect on their raiders is especially
ominous) but it is a shame that their distinctive voices have been excised
completely. These are not characters, these are merely foot soldiers. An old
fashioned Centurion can be seen proudly displayed in a museum, a relic of the
past.
* In precisely the
same way that the Dominion were such a fantastic, insidious threat on DS9 (Ron
Moore showing his roots), the fact the Cylons have mastered human forms gives
this series its central theme of identity and what makes a person who they are. Doral is seen escorting a group of visitors around Galactica right
after the credits and Six spends a great deal of time manipulating Baltar on
Caprica - these human Cylons have infiltrated the human race without any
suspicion. That Invasion of the Body Snatchers sense of 'they are amongst
us' is one of the most expertly handled concepts in the series, especially when
it is revealed that characters that we already know could be one of the enemy's
number.
* 'It's all
hands on here...' I really like the idea of the Galactica being looked
upon as a ship that is past its prime and ready for retirement. It adds another
layer of character to the show that this old, weary battleship becomes
humanity's last hope for survival. The ship itself is superbly designed;
cramped corridors, a functional but stylish command hub (the CIC), a hangar
deck teeming with engineers and viper relics (space craft built to scale within
the set - very impressive) ready to be put out to pasture. The lighting is
harsh and unrelenting, the details are realistic (Adama uses a phone rather
than some outer space communicator) and the whole operation feels entirely
plausible. It is this level of grit and realism that marks this show as
something a bit different from the wealth of other science fiction shows on the
market. It feels only a few steps removed from our military. Michael Rymer's
outstanding direction of the early scenes aboard the Galactica cannot be
overlooked; there is a tracking shot the follows characters from room to room,
down corridors and into the hangar that allows this ship to feel like a
bustling operation and its crew a well oiled workforce. It feels as though a
lot of money has been poured into the construction of this setting, the
Battlestar that we are going to call home through four years of impossibly
difficult scenarios. Bravo to all concerned. Caprica City is beautifully
realised too, again it manages to keep one foot in the door of reality whilst
still being recognisably a science fiction setting. It's a modern cityscape but
one which looks a lot like a polished metropolis that we might recognise albeit
with functional looking craft screaming through the sky shuttling people to
different locations. Battlestar Galactica's skill is that it manages to
present a science fiction environment that doesn't alienate people who aren't
keen on the genre, whilst satisfying those who are. Not an easy feat to pull
off.
* It took Star Trek
TNG seven seasons to take us lower decks to see how the lesser ranks relax and
socialise but BSG gets in there immediately, allowing the show to work on
several class levels. We get to see the Commander and the XO relaxing and
drinking in their quarters rubbing shoulders with scenes of the deck hands and
pilots gambling, flirting and drinking in the mess. It's a show where everybody
is given the same amount of consideration and that is quite rare. We're privy
to the pilot briefings too, allowing us to those who protect the fleet in their
professional and social surroundings.
* The moment when I
realised that this show was going to go to some dark places and take risks that
other shows wouldn't wasn't when the population of Caprica was decimated - I've
seen mass extinction in science fiction before - but the simple death of a baby
whose neck is snapped to prevent it from having to face the coming apocalypse.
What is so fascinating about this act is that is clearly abhorrent but
ultimately could be seen as an act of kindness in the wake of the Cylon
massacre. This is a quick, clean death. The alternative probably would have
been agonising. Any show that can present the casual murder of a child as an
act of mercy is doing something quite different in my book. Another feature of
BSG that I heartily commend is that it regularly features situations where
characters have to face some very ugly choices, ones where the audience has to
ask themselves if they would have the balls to go through with it themselves.
Tigh has to seal off several decks in order to save Galactica but in
doing so he is condemning many deck hands to their deaths in the vacuum of
space. It's an uncompromising set piece that sees Tigh have the courage of his
convictions and forces us to watch as innocent lives are flushed into space.
Astonishing.
* Whoever decided
to employ such a wealth of hand held camera work should be applauded. As we
continue on through the series there will be many moments of experimental
realisation on the show and this was the first brave step. At times it feels as
though the cameraman is hopping from one foot to the other the way it wobbles
precariously as we swing round from one character to another but the massive
impact this has on the show, making it feel like documentary rather than a
filmed drama and again injects a level of realism that is unusual in science
fiction. Even the CGI effects feel as though they are being filmed by a
documentary crew at times, with sudden zooms and a lens that scans the area
until it finds its target. It can be more like watching the news than a TV
series, planting the viewer right in the action and often giving the cameraman the
chance to get right up close and personal with the actors and giving them no
place to hide behind more glossy, fictionalised camerawork. Don't get me wrong
this is heavily stylised but in a way that drives the action in the most
riveting, personal way.
* It's bizarre that
the attack itself should be so remote (see below) because the aftermath is
brilliantly handled. I especially liked the gaggle of survivors that happen
upon Helo and Boomer and their downed raptor. Only a handful of these people
are going to escape this nuclear wasteland and they have to draw and lottery to
see who it will be. What a dreadful game of chance to face. Delightfully for a
second it looks like Baltar is so desperate to survive that he is going to
steal a blind woman's ticket to freedom. People try and bribe their way onto
the ship but its clear that in this apocalyptic circumstance money has suddenly
lost its value.
* The episode ends
with the lead characters son and the recently sworn in President apparently
killed. Television convention tell us that this cannot be the case because it
would be foolish for a writer to build up such strong characters and dispose of
them so quickly. BSG has already proven in its first hour and a half that it
doesn't play by the rules (wiping out most of humanity for starters) so there
is a lingering possibility that this could be for real. That's how
convincing this feature length episode has been.
The Bad: For the most part this is an extremely well judged
pilot for a television series; dramatically, academically and visually. However
if I had one serious complaint (and it is something that show rectifies almost
as soon as it begins as a series) it is that the attack on Caprica itself is
seen as more of an intellectual exercise rather than a dramatic one. It is a
set piece that is very quickly skipped over so we can cut to the evacuation of
the survivors and the consequences of the attack. We don't get to see the
advance of the Cylon ships or them screaming into orbit, we don't get to see
the cities burning on the ground (merely a very distant shot of explosions on
the surface from space) and don't get to see the suffering of those who are
going about their daily lives. Given the series' documentary feel there is a
strange feeling of distance from the drama of the attack itself. It's not as if
it had to be an expensive venture either, one set being destroyed and a handful
of extras and the reality of the situation could be brought home. Even the
initial reactions of those in command are muted. All the action takes place in
the atmosphere, this is an extremely impersonal attack. Perhaps that is right
given it is the result of an army of robots. It wasn't until Roslin made an
official report to the press and their heated reaction that this felt like it
was having an impact on those who have survived.
The Shallow Bit: Sex is prevalent on this show and it is
often portrayed as a savage, ravenous act of lust. It's certainly not a show to
watch with your mother. The cast is almost universally attractive so the nudity
is a bonus and it is one of those shows that will take the sexual act right up
to an explosive climax. So not one to watch when you're horny either.
Moment to Watch Out For: 'Is this a joke?' Adama's
reaction to Roslin order for his assistance is a scream. This is definitely
going to be a relationship to watch. 'We're in the middle of a war and
you're taking orders from school teachers!'
Result: 'It has begun...' From the very first
scene the re-imagined
Battlestar Galactica makes it mark and is heavy
with a sense of foreboding. Given the quality of this miniseries it would have
been a criminal act to have prevented it from going to series. It's
too good
to ignore. A slightly muted attack on Caprica aside, this is a superlatively devised
drama featuring strong characters, a realistic setting (both on Caprica and
Galactica) and fascinating dilemmas and it is all wrapped in a distinctive and
original visual style. Often shot like a documentary rather than a polished
drama and allowing the actors to get up close and personal to the camera, there
is a palpable sense of realism to BSG that is lacking in a lot of science
fiction. This is the sort of high drama that could appeal to non fans of the
genre. The performances of Edward James Olmos, Mary McDonnell, James Callis and
Tricia Helfer stand out most vividly but there isn't a duff note in the stellar
cast. What's astonishing is that many people (including myself) probably went
into this expecting a remake of the classic series, all sparkly robots, camp
costumes and melodramatic acting and what was delivered instead was a series
that revolutionised the genre. I think BSG took everybody by surprise but being
devised by the strongest writer on the DS9 staff I should have had far more
confidence. There is plenty of action but the miniseries is long enough to
allow for some stirring world building and plenty of moments of character. It
is the characters that are our way into any story and if they are fudged then
it doesn't matter how strong the narrative is. Fortunately this show features
the strongest ensemble of characters I have ever stumbled across, everybody
from the Adama at the top of the chain to Cally at the bottom is given equal
weight and consideration. This is only the first half of the miniseries but
already it has covered so much amount of ground, barely setting up this corner
of the universe before tearing it down. Evolution is the name of the game and
points at this series being a real risk taker. A massive thumbs up and I'm really
excited for the rest of the journey:
9/10
The Miniseries Part Two written by Ronald D. Moore & Christopher Eric James and directed by Michael Rymer
What's it about: Stand and fight or run and survive?
Commander-in-Chief: Adama is smart enough to recognise that
Leoben is a Cylon as soon as he meets him but plays along for as long as
possible to gather some intelligence on the creatures in their new humanoid
form. Adama proves himself physically very capable in a fight although it is
not a function that we see him perform too often on this show. He literally
beats Leoben to a bloody pulp with his torch, an act that shows just how far
the hatred for the Cylons runs deep. It also marks BSG out as a show that isn't
afraid to show the raw side violence when the situation calls for it. I like
the fact that Adama is man enough to admit when he is wrong, it is something
that he does several times over the course of the series and it takes some
character to look at yourself and decide that you made the wrong call. Spotting
Billy and Dee flirting in the CIC, he can see that there is a real need for the
human race to escape the battle zone and get copulating. For an experienced war
veteran, a man who hates the Cylons and who has just suffered an operatic
defeat at their hands this is a real moment of development to decide to run
away and survive rather than stand and fight. Roslin might be a good influence
on him yet. Adama's rousing speech to his disheartened crew is like a two
finger salute at the Cylons and really pushes the idea that humanity will
survive despite their best efforts. This was a necessary, optimistic speech to
ensure that they head out into the universe with the right attitude although I
do wonder if Adama will come to regret telling his people that he knows where
Earth is. He makes a big promise that Earth will become their new home. I hope
it is one he can keep.
XO: Tigh doesn't want to accept that the war is over and
that they have lost. He wants to turn around a give the Cylons a bloody nose.
Tigh offers Starbuck an olive branch but she slaps it away calling him weak and
a drunk. Another relationship to watch because I think he might just prove her
wrong.
President: 'Do you plan to declare Martial Law and take
over the government?' Interesting to see such an amicable exchange between
Roslin and Baltar given that they will be bitter rivals in the second and third
seasons. At this point it is a relief to see
anybody alive. Baltar
cannot even remember her face but he's so self serving I doubt he could
remember anybody didn't feed his ego. It is worth noting that it is Roslin's
idea to form a convoy and escort them out of the system and to safety. Adama
fights this notion and if he had had his way there is a good possibility that
the human race may have been wiped out. I love the scene between Laura and
Tammy, the little girl who has lost her parents, because it works on so many
levels. It shows how good Roslin is with children and how she earned her
position but it also marks the first instance of having to face one of victims
of her Presidency, not half an hour later having to condemn that child to death
at the hands of the Cylons in order for the rest of the fleet to escape. In a
moment of weakness Roslin admits that the world is probably going to end and
all she can think about is that she is going to die of cancer. She thinks that
is selfish but Billy corrects her, it isn't, it's just human. A gorgeous moment
and one that could sum up a lot of what this show is all about: examining the
human condition. Roslin uncomprehendingly has to keep telling those in the
military that the war is lost and the only sensible thing left to do is to run
in order for them to survive.
Firecracker: Again there is a moment of barely restrained
moment of sexual frustration between Starbuck and Apollo (I bet fans of the
original series are appalled to see that sentence see the light of day). These
two need to tear each others clothes off and have at it already. You should
always be certain that the end of the world is nigh before you confess your
sins because you don't know what the consequences might be if you happen to
survive the apocalypse. Starbuck admits that Zack Adama failed his flight
training but she passed him anyway because she was in love with him and she
wanted to cut him a break. If she hadn't done that there is a very good chance
he would still be alive right now. This may have serious ramifications in the
future.
'You are beyond insane!' Lee screams at Kara as she head butts
her viper with his and drags his sorry ass back to
Galactica. This one
is a risk taker alright, and she usually manages to get away with it too.
Apollo: I can't say I was entirely surprised when Apollo and
the President survived the apparent nuclear explosion and it disappointed me
somewhat to hear a technobabble explanation that wouldn't be out of place on
Star Trek. This show is usually a lot smarter than that. Adama's quiet and
relieved reaction to the news that his son is alive and then the mute hug they
share in Lee's quarters means there may be hope for these two yet. Given the
magnitude of the events in the past couple of days they need to put their
differences aside and work together.
Traitor: They saved the surprise of Six's haunting presence
in Baltar's consciousness until the second half of the miniseries and it makes
for a great moment. Is she a representation of guilt? Is there a Cylon device
in his brain that has planted her in only his field of vision? Is she directing
him somehow? There is some comic value to this apparition too, Baltar reacting
out loud to a phantom that only he can see. Baltar is in the awkward position
of understanding the Cylons better than anybody and thus being able to spot
their devices and who is a plant aboard Galactica and yet he cannot point these
things out because he would have to explain
how he knows. It would
implicate him. Half the fun is watching him find ways around this whilst
keeping his name in the clear. Callis' 'surprise' when he is told that the
Cylons have taken on human form is delicious (
'They could be any one of us'
'That's a very frightening possibility...'). With Baltar creating what is
in essence a Cylon detector he has become not the man who sold out humanity to
the enemy but potentially the most important man in the fleet.
Billy: One of the character threads in season one that never
ceases to make me glow is the relationship between Roslin and Billy, two gentle
people supporting each other through a crisis. When she admits that she has
cancer to him he already knows, he has been observing her closely and has seen
the signs. In amongst all the conflict that exists on this show, Roslin and
Billy are like an island of calm respect.
CIC Officer: One of the unsung relationships on BSG is the
ever changing but always fascinating bond between Felix Gaeta and Gaius Baltar.
During the miniseries Gaeta is in awe of the good Doctor, completely unaware of
his part in the destruction of Caprica and the exodus of humanity. They make an
excellent team because Gaeta is constantly impressed with his mentor and Baltar
enjoys having somebody around to stroke his ego. Their amicable, early
relationship takes on a whole new level when we learn later on that Felix is
bisexual, adding an extra element of spice to his fascination with Baltar.
Sparkling Dialogue: 'It's about time we caught a break...' -
never has that line been more earned.
'Sooner or later the day comes when you can't hide from the
things you've done' - although this isn't directed at him, all I could think
about was Baltar.
'We need to start having babies' 'Is that an order?'
'It's not enough to just live, you have to have something to
live for. Let it be Earth.'
The Good:
* From the outset
loss is one of themes that BSG handles so potently. Given that the main body of
humanity is wiped out in the miniseries and all that is left is around 50,000
citizens in a fleet that is unprepared for life on the run, death is a daily
occurrence that those remaining have to get a handle on. A quiet moment between
Starbuck and Tyrol at the beginning of the second exemplifies how loss has
suddenly become a way of life and in a crisis you have to swallow your feelings
and get on with your job and save your grief for later. Bodies are laid out in
a cargo bay under shrouds as a powerful visual of the sort of losses that have
been suffered off planet and that is a mere fraction of those who have been
massacred on Caprica. The scale of the slaughter is impossible to get your head
around.
* There is some
disorienting and deft camerawork when Galactica makes its first FTL jump which
captured the rarity and emotion of the moment rather than setting the standard
for all similar scenes when the show goes to series. This is a group of
survivors turning their back on their loved ones and deciding to move on, that
is a massive commitment to make.
* My favourite
aspect of the second half of the miniseries was watching the President cohere
the survivors into a fleet and dealing with all the supply issues that come
with that. Are there enough resources to cope with the 50,000 odd people that
will be forming this exodus? Power, food, water, medical supplies...the list in
endless and the script takes a realistic approach to pooling resources and
trying to ensure that everybody gets their fair share. Again it is BSG taking a
realistic approach, looking at the tough decision those in charge would have to
make when there are suddenly 50,000 mouths to feed and no way of getting any no
supplies. The direction continues to impress, the camera circles around Adama,
Roslin, Billy and Doral as they discuss (read: argue about) their next move.
Dancing around the actors like this means we get to see all of them as they say
their piece whilst being caught up in the giddy whirl of their debate. The
script does allow those who make the decision hide away from them either - as
the fleet is about to jump away we can hear the plaintive, begging cries of
those they are about to leave behind. Once this is all over Roslin and Lee show
great character facing those decision head on and will have to assuage their
consciences later. Make no mistake, people are being left behind to die
(although the shots of the little girl waiting for her parents might have
pushed the point too far).
* Can robots have a
soul? That's a huge question that I have seen Trek try and examine (and fail to
come up with any kind of definitive answers, whilst still having some profound
things to say on the subject). Religion plays a massive part in BSG whether you
like it or not and it gets more relevant as the series progresses. At this
stage of the game it seems like the Cylons are merely mimicking their masters,
trying to understand their definition of life. When we come out the series at
the other end we have been on such a journey with these creatures that it is
the closest I have seen a TV series commit to showing machines with feelings
and a belief system of their own.
* It unusually
takes me quite a long time to become attached to a group of characters on a
television show. If it's a series with troubled beginnings it might take a few
seasons (Torchwood) and if it's an exceptional one it may only take a few
episodes (Buffy) but rarely have I become as invested in a community of people
as quickly as I was with BSG (DS9 might be the exception with many the characters
bursting with life in the pilot). Moore and James spend so much time kicking
these characters down that the moments of relief really make an impact. We've
already seen this cast go through hell and so I really felt moved watching the
reunion of Boomer and Tyrol, the kiss between Dee and Billy and Adama holding
his son he had presumed dead.
* I haven't
mentioned the music by Richard Gibbs which is very remiss of me because it is
responsible for creating so much of the atmosphere on this show. I feel as if
it is even stronger when Bear McCreary takes over on the main series but
admittedly he takes a lot of his cues from Gibbs. What stands out the most is
the subtle but threatening theme when Six appears to Baltar and the uplifting
harmonies when everybody starts coming together again.
* It's great to see
the miniseries thinking about storytelling possibilities for the future, in
particular the supplies that the fleet is going to need and the prison ship
full of 500 convicts. Roslin has to step in at this point and refuse to allow
the Commandant of that ship to start starving his prisoners because supplies
are running out. It's a fascinating question - when supplies are low who is
denied them first?
* Look out for the
terrifying shot of the Cylon mothership that emerges and vomits hundreds of
raiders towards Galactica. These are the sorts of numbers that would
make anybody run. The battle scenes are slick, fluidic, chaotic...clear enough
to see what is going on but messy enough to show that all hell is breaking
loose. If the special effects team can keep this up then BSG is going to be at
the forefront of cinematic space battle sequences. With shields down and
countless missiles screaming towards the ship, Galactica jumps into FTL at the
very lat moment. Proof, if it was needed, that Roslin made the right call.
The Bad: I was desperate to know what was going on back on
Caprica and so the whole sub plot at the ammunitions depot felt a little
superfluous in the wider scheme of things. They could have hit the facility,
loaded up and been gone in minutes but instead this sequence takes up a massive
chunk of screen time with the help of some random jeopardy (dropping an
explosive). Detailing operations is both a strength and a weakness on this
show. It would be very Star Trek to show up, load up and move on but BSG takes
the time to show that this is a lengthy and difficult operation. It is
realistic but it also a little uninteresting. Sometimes we don't have to see
how every nut and bolt works. Leaving Doral to fend for himself because they
suspect that he is a Cylon is a big gamble - if he isn't that is another member
of the ever dwindling human race that has been put out to pasture. In some ways
it makes the decision too easy when it turns out that he is a Cylon. Although
it does go to show how effectively they have infiltrated humanity unnoticed.
The Shallow Bit: There is no denying that Tricia Helfer
looks smoking hot in that red dress. No wonder Baltar is so distracted.
Moment to Watch Out For: Boomer is a Cylon. What a bombshell
to drop at the last minute and leave the audience hanging. What if this hadn't
gone to series and had never been resolved?
Result: Deftly giving the audience a firm idea of the format
of the series ahead, the second half of the miniseries isn't quite as strong as
the first half but seen as a whole the three hour TV Movie is a spectacular
accomplishment. Vivid, instantly flawed and captivating characters. A gripping
scenario. Tough choices. A unique, stylish look. A sexy cast and even sexier
production values. And oodles of threads, both character and plot, to build
upon. My issue with the second half comes down to it being perhaps half an hour
longer than it needed to be, with the scenes on the ammunitions depot too protracted
and a little repetition as the same problems are discussed amongst the vast
cast. That is more than made up for by the gripping character pairings; Roslin
and Adama, Baltar and Six, Lee and Starbuck and the general sense of the series
being pushed in a fresh and unknown direction. Heading into a series I wonder
how serialised BSG is going to be and if there will be space for standalone
episodes? It is such an arresting post apocalyptic scenario that I can't
imagine the writers will want to stray too far from the main story that often.
Will Baltar ever be discovered? Can Roslin cut it as President of the
survivors? Are there any more Cylons amongst the fleet? Will Boomer ever be
discovered? I have three times as many questions that I would like answered and
the fact that this show has gotten me thinking so much already is a testament
to how intelligent and engaging the writing is. If we had to suffer several
abortive attempts to bring Battlestar Galactica back to television in order for
it to return in this condition then I am pleased it took so long. I have a
feeling this is going to be one hell of a ride: 8/10
Standout Performance: Unlike producer David Richardson I do
not hold Sarah Smart in high esteem as an actress, despite some impressive
credits on her CV. In particular her turn in Doctor Who (The Rebel Flesh two
parter) was appalling; an agonising, one note performance that turned a
sympathetic character into a pantomime villain. Fortunately Smart is far more
on the money in The Crooked Man, handed a more realistic character she finds
some emotional truth and delivers a much more considerate performance. However
given the character isn't given a great deal of interest to do in the first
half of the play and is poorly motivated in the second half it still isn't the
breakout role in Doctor Who for Smart that perhaps they were aiming for.
Personally I thought Neil Stuke's Crooked Man was far more impressive, a role
that could so easily have been bungled and yet he manages to be both over the
top and seriously sinister (this is probably the effect they were trying to
achieve with the Jester in Axis of Insanity but it is realised so much more
effectively here). His delivery of the cliff-hanger punchline gave me chills.
