“End of Line”
March 26th, 2010
While I hadn’t seen “End of Line” before writing my post about Caprica’s memorable scenes and their impact on its storytelling earlier today, I could feel myself posturing towards the finale throughout writing it. While I liked “End of Line” just fine, its position as a hackneyed [mid]season finale designed to allow SyFy to split up its original programming across different quarters meant that it would be pretty much forced to push the stories that haven’t had the same sort of thematic dialogue and striking sequences as Zoe’s story to some sort of conclusion sooner than might be ideal.
And while I know Battlestar Galactica got a reputation for its cliffhangers, I don’t think Caprica is particularly good at them, especially with its pacing as it is. The result was an episode that forced every story along like it was a high speed chase, leaving no time to really stop and consider the consequences or the thematic ramifications in the process. The few stories that had a chance to stop and slow down turned out alright, and those desperate for plot advancement are probably somewhat appeased, but “End of Line” is very clearly not the end of the line, and the usual slow build that defines the series was entirely absent in an episode that offered some good thrills but left out the chills.
January 29th, 2010
I was warned ahead of time that Caprica’s pilot was not necessarily representative of the series, and that the two additional episodes sent to critics seemed to offer something very different. However, all of those people who had seen the episodes seemed excited but in a way that was at the same time quite cautious: when I chatted about the episodes with Todd over at Media Elites, he indicated that, while he was quite taken with the episodes, not everyone is going to fall head over heels in love with the show that Caprica has become.
I, however, have. What surprised me about Caprica was that it managed to resist diving straight into melodrama, despite a premise that lends itself to that sort of interaction. After a pilot that felt steeped in the complexities of holo-bands and avatars, “Rebirth” takes that scenario and investigates the human consequences: stories that are big philosophically, like the fate of Zoe Graystone’s Avatar, are small in the context of the story, while the stories which go public are those which are more personal and thus more devastating. Rather than focus on creating conflict between characters, the episode allows the characters to start developing independent of that conflict, discovering new ways to adapt to a world without a daughter or a family shattered by tragedy.
It’s an episode that manages to subtly investigate the show’s premise while also triumphantly proclaiming that Caprica is a place of great complexity, and a place that has no idea the changes that the next decade or two will bring; in short, it’s a damn fine start for the series at hand.