Posted on 01/22/2006 7:52:22 PM PST by Sam the Sham
Science fiction has long been stereotyped as a hardware-obsessed, techno-jargon laden refuge for computer nerds and outcasts. Especially on television, which lacks the geek chic afforded by big-screen Hollywood budgets, the genre's reputation for hokey dialog and cardboard-and-wire effects have saturated it with a distinct odor of disrespectability. It is somewhat ironic, then, to see the Sci-Fi Channel, a network which often seems devoted to the pulpy and lowbrow, serve up Battlestar Galactica, a show about spaceships and killer robots that is also arguably the most potent, dramatically vibrant series on television. An unflinching examination of how the military, government, family, and religion interact in the fragile ecosystem of society, it as morally and intellectually serious as it is thrilling.
Based on the terminally cheesy late 1970s show of the same name, Battlestar Galactica is the creation of Ronald D. Moore, a former Star Trek scribe best known for his revitalizing work on Deep Space 9. The dark, gritty texture he applied to that show is even more evident on Galactica. Currently in the middle of its second season, the show follows a space fleet containing the last survivors of the human race as they flee a decimated home world in search of the mythical planet Earth. Driven into space by the Cylons, a robotic race of human creation, the survivors fend off attacks from within and without while struggling to create a working, ordered society from the ashes of a destroyed civilization. Problematically, the Cylons, once standard issue mechanical goons, have developed models that pass indistinguishably for human, meaning that enemy sleeper agents strike from within the fleet. Despite its fairly standard science-fiction premise (intelligent robots have an awfully bad habit of turning on their human creators), the show is a stirring portrait of human survival in the wake of tragedy, where even the most mundane challenges come loaded with the threat of species-wide extinction.
Thus, the show navigates a galactic debris field of challenges both paramount and petty, the most central of which is building a stable civilization while under constant siege. Because there doesn't seem to be an anarcho-capitalist contingent aboard the fleet, one of the first decisions made is to set up a democratic government. This proves difficult for the military-minded pragmatist Commander Adama (Edward James Olmos), who must contend with the political machinations of the bureaucracy. The civilian government is led by President Laura Roslin (Mary McDonnell), a former secretary of Education thrust into the presidency after the initial Cylon attack. Adama initially dismisses her as a "schoolteacher," and her sweet-natured warmth clashes with Adama's dead-eyed certainty. It is an interplanetary sparring match between government and military leadership with the fate of the human race at stake.
These high-stakes political jousts play out in a kaleidoscopic array of institutional power struggles. Family conflicts with military and duty, most prominently between Adama and his son Lee (Jamie Bamber), who is also captain of the fighter fleet and military advisor to Roslin. When known human terrorist Tom Zarek (Richard Hatch, star of the original Galactica series) — who has popular support as a "freedom fighter" — runs for political office, it acts as a stress test on the viability of democracy. Roslin's conversion to the humans' polytheistic religion sparks debate over the role a political leader's faith should play in his decision-making. Even the press occasionally plays a role in the proceedings. Amidst a plethora of sci-fi trappings, the show delivers a lesson in societal geology, watching the sedimentary strongholds of power settle in the aftermath of cataclysmic upheaval.
The show's treatment of religion is particularly notable, especially considering its technology-driven milieu. Science fiction often takes a dim view of anything that drags the specter of spirituality into its carefully constructed fortress of machines and microchips, but this show has the smarts to recognize that, for good and for ill, religion is a deeply ingrained force in human society.
In what is probably the show's most misinterpreted move, even the Cylons are believers — monotheists who claim their acts are motivated by a desire to do "God's will." Some have claimed that the God-fearing, suicide-bombing machines are directly analogous to either Islamic terrorists or fundamentalist Christians, but such claims are simplistic and reductive. While there are undoubtedly parallels, the Cylon's religious zeal seems designed more to highlight the guiding power that belief exerts on societal momentum than as a direct stab at any current religious sect.
Battlestar Galactica plays like a fantastic B-movie crossed with a social-studies lesson, and while all this social-structure diagramming may sound wonky or academic, it is packs the power of a gut punch on screen. For that, much credit is due to the immensely compelling cast of characters. From the quixotic, possibly insane Dr. Balthar, to the insouciant tomboy pilot Starbuck, and the iron-girded, recovering alcoholic second in command, Colonel Tigh, the fleet is populated with quirky, spirited, and deeply flawed individuals, a floating clutter of neurosis and psychic baggage.
But that angst-ridden clutter is all that remains of the human race, and their unity, despite any conflicts they have, is integral to their survival. Little surprise, then, that the show presents fear, distrust, and self-hatred as insidious and corrosive. The anxious fear that spreads when it becomes known that Cylons appear human is nearly as destructive to the fleet's social fabric as is the threat of physical attack.
Moore packages his show in low-budget finesse, drenching his grainy, high-contrast images in rusty golds and browns. The Cassavetes-inspired handheld camera work, long a cop-show staple, mirrors the jury-rigged uncertainty of the premise. Battle scenes spark with choked-breath, documentary rawness. Unlike the clean, delicately modernist appearance of Star Trek and its many dirt-free progeny, Galactica's look is designed to invoke the rough-hewn, battle-ready grit and grime of a Navy submarine.
All of this adds up to what can only be referred to as realism. Despite the geeky presence of ribbed leather jumpsuits and space fighters, the dimly lit, metallic corridors of the Galactica house a poignant, human reality that belies its fantastic setting. A shining, distant star in the outer reaches of niche cable, Battlestar Galactica burns with a combustive mixture of political turmoil and human drama that is as achingly real and relevant as anything on television.
The Cylons rock.
I thought at first they meant the real show not that gawdawful Sci-Krap channel anti-America, Bush-hating, ultra socialist pile of trash.
I mean look at the pilot film- the Colonies (USA) create the Cylons (terrorists) who they mistreat, so the Cylons (terrorists) come back and destroy them (911 attack). Updating indeed.
I thought the whole thing was so disgusting I didn't watch anymore beyond that. I've heard though that the whole series seems to be about how poor and noble the new Cylons are and were 'pushed' into nuking billions of people by the vile, evil, racist Colonies. I've heard the new show seems obsessed with the concept of torture of the poor Cylons (Gitmo), the insane, power-crazed white 'Tigh' (VP Cheney), the military trying to take power away from the civilian government, and now I've heard one of the recent episodes featured an almost on-screen rape which was justified by the 'fact' that 'it's not human' (Amerikkka the most racist nation).
I watched a few episodes of the real series the other night, the difference is night and day. Give me real heroes, I'm sick of Hollywood anti-America BS, I'm totally suprised anyone at NR would fall for such a clearly presented agenda.
'gamera977' - is that handle referring to the super turtle that saves humanity is japanese mega-monster filmdom?
"The Cylons rock."
I'd like a Boomer and a couple of sixes.
Yeah, that Gamera- cheesest films ever made perhaps but so much fun.
Although the three '90s films are fantastic, as good as better than anything done by Hollywood. Still a little cheesy, I mean it's a giant, flying, fire-breathing turtle for crying out loud.
Used it before as a handle, generally gets a laugh, and I couldn't think of anything better ;)
Wow what a wild and silly interpetation. There's nothing that says the humans mistreated Cylons, the Cylons simply evolved beyond human control and got pissy. The Cylons weren't "pushed" into anything, after the treaty was signed the Cylons went away and hid, ignoring the space station we put up for further peaceful contact until they were ready to attack again (first move, blow up the space station).
It's not obsessed with torture, it's a discussion point: can you torture something that's not actually alive? Tigh's not power crazed, he got in over his head (never wanted to command, and learned why when he had to) and paniced. Actually the rape wasn't justified.
Funny all that supposed super leftist stuff in the show is stuff YOU inserted. I've been watching the original series too and one of the things that strikes me is how many of the major plot points in the new version were there in the original, treated more lightly of course but still there.
The 90's movies were great. I've heard that there's another one coming.
You're not watching the same series as the rest of us.
Ok, maybe I shot off about nothing, just seemed odd to me that NR would be writing something like this.
As I said, other than the pilot, I have not watched the new show, this is hearsay from websites. Nevertheless; it's an opinion shared by other people I know of the left-leaning agenda of the series. And by comments made by creater, producer Ron Moore.
I went back and reread my post and yeah it does come off as a flame, which was not really intended. If you like the show by all means watch it and enjoy it, still to me I can't help but see IMHO a strong leftest agenda. Perhaps it is me, I'm preconditioned to see it in anything from Hollywood.
I think the show has a pretty strong pro-military message. There's also a lot of hubris in it (humans tampered with stuff they shouldn't have and created their own destruction). I've read most of Ron Moore's comments on the show and never seen anything suggesting he's pushing the show in a left direction, he's obviously a leftist but he seems more interested in letting the plot and character do what's right for them than proving his politics right.
Actually, the Cylons are analogous to Old Europe.
Well, if you didn't know what you were talking about, why did you shoot off your mouth ?
Damn people- SORRY
Actually in the first thread on this article I commented that they shouldn't short the original. It was a good show, the only problem with original BSG was the budget, they weren't willing to spend enough to make the show look as good as the scripts and acting. Ron Moore has a lot of respect for the original, and deliberately puts a lot of nods to it in the new version, beyond the character names and stuff. If you look closely you'll see that most of the recognizable ships from the rag tag fleet in the original are also in the new rag tag fleet by name, design or both. I guess these writers don't have the time to Netflix the original and seriously watch it and understand the direction they were trying to go in.
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