Critical Myth

Television has become the medium of today's modern mythology, delivering the exploits of icons and archetypes to the masses. Names like Mulder, Scully, Kirk, Spock, and Buffy have become legend. This blog is a compilation of the reviews written about the tales of our modern day heroes.

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Sunday, July 17, 2005

Battlestar Galactica 2.1: "Scattered"

Written by David Wettle and Bradley Thompson
Directed by Michael Rymer

In which Colonel Tigh is forced to take command of Galactica, but when something goes wrong when an emergency jump, his confidence is tested when difficult choices must be made…


If there’s one thing that I really like about “Battlestar: Galactica”, it’s the measured pacing. The story isn’t artificially accelerated to serve the purposes of a fickle fanbase or network pressure; the producers tell the story the way they want to, and if it takes forever, then it takes forever. Ron Moore probably had enough of being jerked around by networks after “Roswell”, so why not make a show on his own terms and be done with it?

The result is very different than most shows, even the ones that I love, where arc elements are equally important as stand-alone elements. Taken along with the “Stargate” shows, where arc elements are typically not as important as maintaining an episodic format, this is like a breath of fresh air. (I like all the various series I’ve mentioned, BTW!) But how many other shows would focus almost entirely on the psychological issues of a few characters, letting the audience’s questions smolder for a little while longer?

A lot of this episode is about Col. Tigh and his massive lack of self-esteem. He’s frackin’ right about the fact that he shouldn’t be in command! A lot of what he takes on his shoulders isn’t for him to answer to, but he’s a drunkard and his personality clashes with everyone in the universe. That makes him a capable enough second, but not the commander, and it shows. Things get done, but things also get missed. It’s inexcusable for Tigh to miss the fact that an obvious breeching pod slammed into his ship.

But like so much on this show, it’s about the consequences of how events are handled, not the events themselves, that matter the most. Sure, one wonders what’s going on with the Boomer who shot Adama, but it’s how Tigh deals with her confusion that hits home. It’s how Adama’s decision to incarcerate Roslin could very well make her stronger among the people, not unlike Zarek in the first season. Circumstances are likely to make things a lot harder on Apollo than they already are, if the civilians and soldiers become even more divided.

I loved the short scene with Starbuck and Helo, especially since it raises more questions about what the Cylons might be up to. Helo clearly sees less difference between the humans and Boomer than one might think, and if she is indeed pregnant, he’s got plenty of reason. Starbuck ought to know from her own experience that there are organic components to the next-gen Cylon tech. Why wouldn’t that include clones with Cylon nanotech intelligences?

Which brings me to the whole Six/Baltar thing. I understood up until the point that she said she was the mother and Baltar was the father. It worked better as a metaphor (humans and Cylons birthing a new hybrid species), but then again, if Boomer can be pregnant, so can Six. More to the point, if Baltar believes that God wants such a hybrid race, he’s likely to ensure it, however possible. What if that was the point? What if the Cylons see humans as little more than breeding stock, so they force humanity into small, manageable numbers? The Cylons could use them until the new hybrid species is viable on its own, and then they could wipe humanity out.

It’s probably a bit more complicated than that, and it will likely take a season or two for things to really make sense. Until then, this bunker mentality is working well in terms of the psychological drama. Starbuck and Helo are still on Caprica, there are survivors on Kobol, and there’s the fracturing within the fleet itself. By keeping all of those balls in play, the writers give themselves plenty to keep themselves (and us!) occupied.

Writing: 2/2
Acting: 2/2
Direction: 2/2
Style: 2/4

Final Rating: 8/10

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