Left on the Cutting Room Floor:
“Deadlock,” Editing and Soap Operatic Indulgence
Last weekend, still stewing in frustration over “Deadlock,” [my review] the latest episode of Battlestar Galactica, I tweeted the following to my twitter followers:
Pretty sure I could write five blog posts this week delving into points of contention on last night’s BSG. I must resist this.
As you can see, I lasted until this morning, as I have in weeks past, before needing to delve back into episodes that frustrated me, trends which concerned me, and that voice in my head that for all of my enjoyment of BSG’s four seasons is extremely cynical about the show’s direction when the show ends in three weeks. The last three episodes of the show have all felt “off” for me, and I’m at a point where I need to see something in tonight’s episode, “Someone to Watch Over Me,” that convinces me less of Katee Sackhoff’s talent or Bear McCreary’s musical genius and more of Ronald D. Moore and David Eick’s vision for completing this thing in only 4 more hours of television.
I am aware, of course, that these hours are really only 43 minutes, and that in that amount of time the show only has time to do so much. In fact, on numerous occasions this year, there have been moments where I’ve wondered what was left off the cutting room floor, and how some content seemed ill-fitting for particular scenarios. And after reconsidering “Deadlock,” and reading some of the interviews with the show’s writers regarding episodes like aforementioned Deadlock and No Exit, I’ve come to a conclusion that somewhere, in those minutes of uncut footage and those ideas not followed through on, there might have been a way to quell my cynicism.
But we got a love triangle instead.