Tag Archives: Six

Review: Battlestar Galactica – “The Plan”

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“The Plan”

October 27th, 2009

There has been an odd lack of excitement surrounding “The Plan,” which isn’t exactly surprising. On the one hand, the show’s finale proved somewhat divisive, which could have turned some fans away from revisiting the series. On the other, there is more long term interest in a project like Caprica which could run for multiple seasons than a one-off movie, which might have fans focusing more on its impending premiere. However, I really shouldn’t fit into either of these camps, as I’ve yet to get truly excited about Caprica (although I am certainly intrigued) and I quite loved the finale. And yet, nonetheless, the DVD release of The Plan (in stores today, October 27th) snuck up on me in a way I had not anticipated, and its release seems to lack the fanfare one would expect for what will be our last time spent with this universe (or this time period in this universe).

Perhaps it is best that one goes into this one with low expectations, however. As someone who loves this show, having written an undergraduate thesis about it and spending four hours writing about the series finale into the middle of the night with no regard for my personal health, the purpose of this film should excite me. Promising to explain the Cylon plan to destroy humanity, and to detail how the individual Cylon models came to play their roles in the first two seasons of the series, one feels as if there is some really compelling material to be had here, the kind of stuff that would have me wishing I could go back and rewrite my chapter on the Cylon/Human binary all over again.

And yet, “The Plan” is a qualified failure, raising some intriguing issues but in an indulgent fashion that in its relentless need to fill in the gaps of where this is happening relative to the show’s narrative proves more distracting than informative, more confusing than enlightening. I feel as if there is an intriguing narrative waiting to be found somewhere in this mess of a two-hour television movie, but that narrative is lost when it is so clearly segmented to fit into the series’ existing structure. While we’re busy playing the game of “spot which footage was from the show and which was shot new for the movie,” there’s something interesting going on here that’s just not coming through as clearly as it needed to.

In individual moments, this feels like Battlestar Galactica – as a whole, it feels like a DVD extra where you can click a button and see what the Cylons are busy plotting at that particular time, something which would be more interesting if they hadn’t tried to turn it into a motion picture event.

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False Pluralism: Emmys go from 5 to 6, but not from Wrong to Right

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False Pluralism:

From 5 to 6, but not from Wrong to Right

If you’re the kind of person who is reading this article, there are certain hopes you have in life.

They were once personified by Lauren Graham, critics’ darling and star of Gilmore Girls, who went seven seasons without an Emmy nomination. Then, you had The Wire, a low-rated but critically acclaimed HBO series that despite being hailed as the greatest series of all time failed to garner any non-writing nominations. And then there’s Lost, which after winning an Emmy in its first year out faltered due to its genre elements getting in the way of its taut and well-constructed drama, only returning in 2008.

The last decade or so of the Emmys have been defined less by who was winning (dominated as it was by The Sopranos and The West Wing), and more by who wasn’t even getting invited to the dance. In the internet age, this is to be expected: internet chatter is always more focused on the negative than the positive, and when the Emmy system is a complex unknown to most people assumptions are made and grievances are aired. The three above examples, and countless more, will go down in the annals of message boards or blogs as those shows which represented a black spot on the Emmy Awards – and, unfortunately for the Academy, their record is getting spottier every year.

But hope is not gone for a show like Lost, or shows like Battlestar Galactica and Friday Night Lights, for the Academy is making another change to its nomination structure:  they’re taking all Drama and Comedy series and acting categories into six horse races. Once reserved for a tie, the six-way battle is now the standard, and to quote Academy president John Shaffner this move “exemplifies the academy’s awareness of the amount of great television and fine individual work that is seen across the enormous spectrum of the television universe.”

Of course, what Shaffner is really saying is much simpler: “Dear Internet fans, *Insert Favourite Show* now has a better shot at being nominated, aren’t the Emmys relevant again?”

And sorry, Mr. Shaffner, but this wasn’t the only change, and your statement is an inherent contradiction of the OTHER methods taken by the Academy today. While the Emmy system was before extremely complex, (which I try to explain here), they’re going back to the drawing board: gone are the Panels that made up 50% of the final standings, replaced by, in the case of series, nothing but the popular vote of the entire membership and, in the case of acting races, by small, selective sections of the membership.

Which is officially the most egregious example of “one step forward, two steps back” that I’ve ever seen.

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