Tag Archives: Cabin

Series Finale: Battlestar Galactica – “Daybreak Part Two”

bsgtitle21

“Daybreak Part Two”

Series Finale – March 20th, 2009

“Ever since we found out who…what we are…”

When the Battlestar Galactica Miniseries first began, there were two main questions: who are these people who are leading humanity forward after this devastating tragedy, and what is the nature of the Cylons who caused that devastation? It was part of that central binary the show put forward, humans vs. Cylons, but from the very beginning these are not two separate questions. In the character of Boomer, this balance between who/what was inherently questioned, as those who straddled the line between human and Cylon were forced to confront these types of questions. When the Final Four Cylons were revealed, they all fell on different sides: Tyrol accepted “what” begrudgingly in the quotation above, Tory downright embraced it, while Tigh refused to abandon “who” and continued to emphasize his personal identity.

At this point, we as viewers are all people straddling this line between “who” and “what” in the shadow of “Daybreak,” a series finale which struggles less from pressure within the show itself and more from the external pressure of fan expectation. The problem is that we, as fans, grapple with similar problems: are we concerned, moving into the finale, about who these characters are and what journey they have taken, or are we too caught up in the “plot holes” or the questions to which we demand answers? It’s not a new binary amongst viewers: for ages people have been complaining about episodes for having too few explosions, or for being too slow, or for not doing enough to advance the show’s complicated plot structure. Whereas for most of those episodes, I’ve noticed strong character development, effective mood building, and an almost cathartic sense of pacing that is part of what makes the series more than just science fiction.

“Daybreak” is an episode that, more than answering which side of this binary people should fall on, should destroy it altogether. This isn’t about plot, or character, but the intersection of these ideas. In the show’s fourth season, amidst some admittedly complicated and on occasion bungled storylines, one thing that has remained consistent is the idea that the definitions of human and Cylon are melding together. Much as Edward James Olmos argued against race being used as a cultural determinant during the United Nations panel earlier in the week, we should be beyond the point of considering these people purely along the lines of human vs. Cylon, just as we should be beyond the point of considering the show in terms of plot vs. character.

So, let there be no red line drawn down the deck: with this epic, sprawling, action-filled and philosophically-driven finale, Ronald D. Moore has accomplished what he set out to do. He manages to meld together the cheeky with the solemn, the profound with the surreal, the whimsical with the emotional, in a way that gives you that sense that destiny is not a four-letter word, that plot and character are neither slave to the other, and that whatever this show accomplished it will go down in a fashion befitting of one of television’s most effective pieces of programming, period, independent of its science fiction heritage.

So say, if not us all, then at least this particular believer.

Continue reading

Advertisements

12 Comments

Filed under Battlestar Galactica

Getting in the Holiday Spirit with “A Colbert Christmas”

colbertchristmasI’m, admittedly, a sucker for a good Christmas special; this time of year is always quite enjoyable for precisely these types of events, things that wouldn’t be seen during a different time of year. Collecting together numerous recording artists and television personalities in a New York soundstage to create a Christmas special with humorously-themed songs isn’t something that happens every day, and that’s one of many things that I enjoy about this season.

What “A Colbert Christmas” does best is revel in its unique place within the pop cultural spectrum, one  based on the duality of its star. Stephen Colbert (the character) is a conservative pundit who fights against the war on Christmas, while Stephen Colbert (the performer) is a hit amongst young liberals. What you get, then, is an entertaining cross-section: Toby Keith stops by the rebel against those who are trying to fight against this most sacred of holidays, while indie darling Feist is just as comfortable as an angelic switchboard operator.

When the special is at its most comfortable, it’s wonderfully entertaining; it never lets Colbert’s character go too far, and its use of its guest stars never drops below “mildly disinterested and awkward to be acting in front of a green screen.” Where it does go a little off the rails, with an overly obnoxious laugh track, feels like an honest enough error in judgment; I just wish they would have trusted us to insert our own laugh track, because I think they would have come out just fine.

Continue reading

2 Comments

Filed under A Colbert Christmas