Battlestar Galactica: Open Discussion on "Daybreak---Part 2"

Battlestar Galactica is now over (*sobs*) and it might be a day or two before I get my thoughts and emotions in order -- or get out of the fetal position -- so in the meantime, I'm opening up this thread to everyone. Speak at will, give thanks to the creative team for this magnificent ride, and always remember...

So say we all!

Follow the yellow brick road...

30 Rock: "The Bubble"

"Sorry it took me so long to answer. I was just thinking about how weird it is that we eat birds." -- Tracy Jordan

It's amazing how self-contained bubbles can be, be them thought bubbles or life bubbles. And suddenly, the word "bubble" no longer seems like a word. Huh.

What I found most interesting "The Bubble" was Liz's ability to so clearly see past the bubble despite her personal aesthetic insecurities. She sees right past Drew's bubble in a way that no one ever has, and why is that? Is it just that she's smarter than everyone else? Or is she just less self-involved? The bursting of Drew's sweet little bubble gave Jon Hamm some funny stuff, but I most enjoyed that in the end, he chose the bubble. The world (and he) is prettier in it than outside of it.

Jack's bubble, on the other hand, still follows him. It took Dot Com's very insightful and intelligent (hee!) assessment of Tracy for Jack to realize that Tracy lives in a bubble all his own. And making Kenneth the keymaster was a stroke of genius. Not only did it give Jack McBrayer great material (what the hell is his accent?), but it showed how selfless and compassionate Tracy can be. He loves Kenneth, and that humanizes Tracy and makes him less of a total farce.

Jenna, though, is a farce, and probably always will be. Sigh. Thank gods for Dr. Spaceman.

Randoms...

• Frank's hat said "DRAPES". A nice nod to Don Draper, perhaps?
• "What the what?!" I so wish that we had gotten to see the picture of Bubble!Jack. I was desperately longing to catch a glimpse of his "superman chest".
• Jenna donating her hair to "Merkins of Hope" was the crassest thing I've heard in a long time. And funny as hell. Bwah!

Over all, one of the funniest episodes of 30 Rock this season. Now, let's all go and perfect our "excellent French"...

"Ffffghgg csdlkfj gekjl." -- Jack Donaghy & Dr. Drew Baird

Thoughts?

Follow the yellow brick road...

Lost: "Namaste"

I missed my opportunity to write about last week's episode, "LaFleur", but if I had, I would have spoken about how much I love this incarnation of Sawyer. He's strong. He's capable. He's in control. He's settled. And it's amazing!

This week in "Namaste", Sawyer is still that man, only times ten. I wasn't sure what would become of "James LaFleur" when suddenly face-to-face with Jack, but not only did Sawyer stand his ground, he furthered his growth process.

"It's how I like to run things, I think. I'm sure that doesn't mean that much to you, because back when you were calling the shots, you pretty much just reacted. See, you didn't think, Jack, and as I recall, a lot of people ended up dead." -- Sawyer

Damned if he's not right on the money. Jack is a leader of reaction while Sawyer is a leader of pro-action, and it's pretty evident which method works better. In three years time, Sawyer has inspired a lot of loyalty and support, and no one seems to question him when he speaks. Jack, on the other had, was always being questioned -- by his friends and by himself. I think that Jack feels comfortable in the role of leader, but only because he's accustomed to it. He is a surgeon, after all. Somewhere in the back of Jack's mind, though, is a bit of relief at relinquishing the reins. Not that he'll ever admit it.

Sawyer's speech could have easily come off as a defensive diatribe, but instead, it sounded more like a man who is confident in his position and in his abilities. And why shouldn't he be? He's come a long way. He can still crack wise at the drop of a hat, but he does so now with precision versus as a defense mechanism. He's no longer the sidekick or the reluctant hero, but the man with the plan. Juliet has tempered him and offered him unconditional love and support -- something he's never known yet secretly searched for, I think. My hope is that they prevail, but my fear is more prevalent. The little nods and sideways glances scream "quadrangle", but I worry that the show will lose something if they delve too deeply into the romantic entanglements. Lost thrives on the broad spectrum and the big picture of the mythology, and romance is too external of a story. It has the potential to separate the characters from the over-all arc, and that would be disappointing. But let's not get ahead of ourselves...

Randoms...

• I've always felt that Kate/Sawyer is far more interesting than Kate/Jack, and I often rooted for Kate & Sawyer to find each other... until Juliet. Juliet is so good for Sawyer and she makes him strive to be his best possible person. He needs her, and I hope that he doesn't lose sight of that. When Sawyer greeted Kate as "Kate" and not as "Freckles", my hope thrived a little. Maybe, like he told Horace, three years is enough time to let someone go...
  
• Jack and Kate were brought down a peg, and the sneaky ways that Sawyer and Juliet made that happen were a hoot to watch -- Jack's "aptitude test" resulting in his qualifications as a janitor and Kate squirming and scrambling a little when her name wasn't on the original list. Sawyer and Juliet have no reason to truly punish Jack and Kate, but they do have that inherent human desire to not only survive, but to come out on top. They have all the power right now, and their little personal allowances showed us that they're not all goodness and propriety. Hee.
• In reference to the above, I was thoroughly disappointed in myself for doubting Juliet, even for a moment. When Kate's name wasn't on the list, I was ready to crucify Juliet instead of believing in her and giving her the opportunity to indulge in a little bit of necessary pettiness. Seeing as I adore Juliet -- far more than I do Kate -- my readiness to distrust her speaks to the tenuousness of the situation. Nicely done.
  
• Juliet cooing over the baby was sweet until... Amy revealed that he is (or more accurately, will grow up to be) creepy Ethan. Juliet couldn't get rid of that child fast enough. Eeek.
• So Ben grew up with the Dharma Initiative? How, then, will he and Ethan come to be members of the Others/Hostiles? Will they stage a crafty defection years down the line, or will it simply be a matter of self-preservation?
  
• It was a nice turn of events seeing Ben as the captor and Sayid as the captive.
• Why, oh why, is Sun stuck in present-day? I get that Sun & Jin can't race into each others' arms just yet, but godsdamnit, I'm selfish. And impatient. And thirty years is long time to travel! Is her separation from the rest of the group a result of the entire Oceanic Six not being present? Someone go get Aaron. NOW!
• Clearly, the island not only heals, but it brings people back from the dead. Christian was in a casket on Oceanic 815 and John was in one on Ajira 316, and now they're both walking around. Impressive. And creepy.
• Where is Dan Faraday? Has he cracked beyond repair? Or has he left the island with Baby!Charlotte and her family? What was Sawyer's "not anymore" comment all about?

Stand-out lines...

"I lied." -- Sun Kwon -- This incarnation of Sun is badass! And pretty fearless. Awesome!

"Dude, your English is awesome!" -- Hurley -- Heh. Leave it to Hurley to say what everyone is thinking. And I bet Daniel Dae Kim agrees. I'm sure he's thrilled to be able to speak somewhat normally now. It's about time.

Thoughts?

Follow the yellow brick road...

Better Off Ted: "Pilot"

Better Off Ted is zany, off-the-wall, ridiculous, and over-the-top. And yet, highly intelligent. It's pretty clear that the series-arcing theme is in the sly allowance of acerbic commentary on how conglomerations and Goliath corporations are taking over the world and, in the process, creating "drones" to do all of the work.

All that appreciated, it's also damn funny too.

I laughed out loud a number of times (Phil's post-freezing penchant for indiscriminate screaming, Veronica's sheer inability to recognize how tightly wound she is, killer pumpkins) and found myself eager to see what sort of ludicrous shenanigans the employees of Veridian Dynamics would get themselves into next. Also, the Veridian Dynamics "promos" are as laughable as they are frightening.

The cast of characters are also a delight. Jay Harrington brings levity as Ted and his consternation at some of VD's (heh) exploits gives the audience a viewpoint. The relationship with his daughter, Rose, also stands as an emotional anchor of the show. Even as Ted might get sucked into the politics of the corporation, Rose keeps him grounded as she reminds him that he is the one who has taught her the beauty of ethics and morality. Also, she might very well be the cutest, most intelligent, most precocious little girl ever.

Andrea Anders as Linda provides the rebellion -- the good employee who has no desire to be too good and does little things like stealing creamer to enhance her point. And she has just enough edge to transcend the boundaries of the typical "love interest". Jonathan Slavin and Malcolm Barrett, as Phil and Lem respectively, give the show just the right doses of nerdiness and eagerness. And what about Portia de Rossi as Veronica? De Rossi excels at icy, uptight characters who are so wrapped up in their own bubble that they don't even realize that they are in a bubble, and Veronica is no exception. She's the ultimate drone who has no idea that she is a drone, and her self-awareness that, no doubt, will come in time stands to be a hilarious and squirm-inducing exercise in self-control.

Will this show last? Hopefully. Will it be high-camp fun while it does? Undoubtedly.

Thoughts?

Follow the yellow brick road...

American Idol: Top 11 Results Show

Well, that was unexpected. And so sad.

Alexis Grace had been one of my early favorites, and one of the elite few contestants whom I thought actually might have a shot at the title beyond Danny or Adam. Now, not only will she not win the damn thing, but she won't even get to go on tour. Frak.

As it turns out, I have no knack whatsoever for predicting the Bottom Three. As soon as Allison was announced as member of the unfortunate trio, I knew that things were going to get dicey. And Alexis was just another wrench in the theory. Michael was the only contestant that I called correctly, and now that he's still around and Alexis is gone, I find that I might begin resenting him a bit. Unfortunate, because I used to be a champion of the oil rig roughneck.

The "Judge's Save" was set up to be a bombshell of sorts for this competition and we all know that the judges wouldn't use their Free Spin this early -- especially with Danny and Adam still very much in contention -- but damn it if I didn't want them to use it and save Alexis. I think that she's worth saving, and this competition will be a little less "dirty" without her.

On a small, positive note: Carrie Underwood was in top form tonight, and she and Randy Travis sounded quite beautiful together.

Thoughts?

Follow the yellow brick road...

Law & Order: Special Victims Unit: "Ballerina"

"We all do what we have to do." -- Birdie Sulloway

Carol Burnett is a television legend and certainly not in the position of needing to do any episodic TV work. But, damn, am I ever glad that she did.

Law & Order: Special Victims Unit has a long history of casting their big-name guest stars against type (Robin Williams, Leslie Caron, Marcia Gay Harden, and Cynthia Nixon, to name a few), and Carol Burnett was no exception. In "Ballerina", Burnett played Bridget "Birdie" Sulloway, a former Rockette and society matron who ultimately proved to be not at all what she seemed. As a black widow -- or more accurately, a marital vigilante -- Burnett was a revelation. Frightening, haunting, formidable, commanding... And all of those attibutes could be applied to her character before the big reveal. After the audience learned that she married and offed five men over the course of forty years simply because they were bad men and the world was a better place because they were gone, Birdie became utterly chilling. And Burnett owned every moment.

And somehow -- somehow -- Burnett inspired sympathy in the audience when Birdie received her terminal cancer diagnosis. Birdie Sulloway was a pathological criminal, a murderer, who harbored no remorse for the things that she had done, and yet... I felt bad for her. That's a testament to the great talent that Burnett possesses, and SVU was an unexpected showcase for her that won't soon be forgotten. I smell an Emmy.

On a smaller note, Matthew Lillard was impressive in his own right. Chet appeared to be a child trapped in a man's body and his delusions about his "aunt" felt natural and earned. Chet believed that in doing right by Birdie, he was doing right by the world, and his sincerity was unmatched. His downfall -- thrown under the metaphorical bus by Birdie simply for unintentially crossing her -- was surprisingly tragic, and Lillard was simplistically affecting.

Thoughts?

Follow the yellow brick road...

Natasha Richardson, Rest In Peace

Natasha Richardson, the graceful and elegant Tony-Award winning actress best known for movies such as Nell, The Parent Trap, and The White Countess, has died.

Richardson, wife of Liam Neeson and daughter of Vanessa Redgrave, tragically succumbed to a brain injury following a freak skiing accident in Montreal. Initially thought to be fine, Richardson was later rushed to a hospital in Montreal (and subsequently jetted back to New York) after complaining of a headache. All initial reports were conflicting and facts of the accident were difficult to come by, and it seems only time will tell what caused the beautiful and talented Richardson to be taken from this world and her family far too soon. She was 45 years old.

Natasha Richardson and her wealth of talent will be sorely missed, and at this time, I can only wish her family peace.

Rest in peace, Natasha.


Edited to add:

The more I sit here and think about this tragedy, the more the senselessness of it is overwhelming. A few years back, I had the privilege of sitting not more than ten feet from Liam Neeson for two hours following a screening of his film, Kinsey. As I listened to him speak about the movie, acting, his career, and his family, I found myself falling for him. Not only was he charismatic and engaging, but it was completely evident that he was surrounded by love and worshiped his family for it. To think that he is now without his beautiful wife, his children without their loving mother... well, that's just devastating.

Follow the yellow brick road...

American Idol: Top 11 Performance Night

Week 2 of the the American Idol finals is now half over, and with a theme like "Country", one would expect at least a few contestants to fall from grace. But once again, there were no clear weak links -- just a few people who were probably forgotten about come the end of the show. There were, however, a couple of stand-outs and they were not the ones that we might have expected. That was a pleasant surprise. Here's the breakdown:

1) Michael Sarver, "Ain't Goin' Down 'Til the Sun Comes Up": It was a fun performance, and Sarver has better lung capacity than I expected. He's definitely a country boy, and in that vein, I expected him to shine. And he didn't. By the end of the show, he was the furthest thing from my mind. Which is a little sad and ironic given that he is the country artist.

2) Allison Iraheta, "Blame It on Your Heart": Alison is not a country artist, but I thought that she adapted well. She picked a good song for her abilities, and it afforded her a nice showcase for her voice. I want her to challenge herself, though. I think that she has a wealth of talent, but I'm longing to see her as more than just the "rocker chick". Yes, that's the record she'll ultimately make, but until she gets to the professional arena, I want a little variety.

3) Kris Allen, "To Make You Feel My Love": Kris stripped down the song and the performance and went for a purely honest take. And it worked. The result was simple and beautiful, and I think that his fanbase fell a little bit more in love with him.

4) Lil Rounds, "Independence Day": I appreciate that she wanted to honor the weekly theme, but in doing so, she removed a little too much of herself from the performance. A theme can be honored while still bending the song to the artist's flavor. That said, I thought that her vocal was quite good -- a little dicey at the beginning, but ultimately controlled, powerful, and strong.

5) Adam Lambert, "Ring of Fire": That was... kind of awesome. Weird, scary, bewildering, but somehow sexy. Adam is incredibly authentic and he knows exactly who he is, and he applies that every week, thank gods. This performance was no doubt totally polarizing, but it evoked thoughts of The Doors for me. And that's cool.

6) Scott MacIntyre, "Wild Angels": Scott's home is very clearly at the piano, but I got what Paula was saying. His performances of the last two weeks are rather interchangeable to me, which is not a good thing. The piano is a crutch for him and as long as he leans on it, his range is going to seem rather limited. I think he has talent, but I want to see him challenge himself and do something completely unexpected. I do think that he has it in him.

7) Alexis Grace, "Jolene": The judges commented that she wasn't "dirty enough", but in my opinion, that was a good thing. Her performance was spare, vulnerable, and very passionate. She lost a bit of control at the end, but it kind of worked for the story of the song. I thought she was good, and I hope that she's around for long while.

8) Danny Gokey, "Jesus Take the Wheel": This was not the first time that Danny applied a gender-bending approach to his song selection (Cher, Mariah Carey), and I suspect that it won't be the last. And that's fine -- it works for him. It allows him to add texture to a song that might not have otherwise had it. I just wish that he had chosen a better song. Sigh.

9) Anoop Desai, "You're Always on My Mind": Unequivocally, my favorite of the night. Anoop brought tears to my eyes and showed America what spectacular pipes he has. And he somehow managed to add his own personal flavor to a very iconic song. I just hope that his metaphorical beatings in recent weeks and his overwhelming response to this performance don't scare the "fun" out of him. If he can blend the amazing vocals and the energetic personality, I think he has a shot at becoming a dark horse in this competition.

10) Megan Joy, "Walkin' After Midnight": Megan definitely hit some bad notes, probably thanks in no small part to her terrible flu, but her rendition was actually pretty cool. I knew that Patsy Cline would suit her voice and I wasn't disappointed. Because of her unique vocals, I think she evoked elements of Shirley Bassey and Billie Holiday. And wow, is she gorgeous!

11) Matt Giraud, "So Small": The second Carrie Underwood song of the night, and in my opinion, the better one. Not only do I prefer this song, but I preferred these vocals. Matt was original and soulful, and his somewhat ambitious choice definitely paid off. His voice clearly has the ability to run the spectrum, and I look forward to him every week. He's quickly becoming a favorite of mine.


*The Journey Continues: Anoop, Matt, and Kris, based on their performances, are guaranteed another week.

*Pack Your Bags: Michael, Scott, and either Adam or Megan should mentally prepare to face the Bottom Three, with Michael going home.

Thoughts?

Follow the yellow brick road...

Battlestar Galactica: The Last Frakkin' Special

Much of the material used for "The Last Frakkin' Special" had previously seen the light of day, so there isn't too much to say about the special as a whole, and I will certainly not be discussing the little bits of spoiler-y info that clearly came from the series finale, but I will mention the Final Five... minutes.

All of the little snippets from the entire cast and the creative team were a gift. It is blatantly evident that each and every person associated with this show has genuine love and affection for Battlestar Galactica. Truly sincere depths of emotion like this for a television show or acting job are oh-so-rare in Hollywood (and maybe even Vancouver too), and to hear every person offer nothing but praise and gratitude only serves to enhance the overall effect of the series.

In the end, though, it was Ron Moore's tears at facing the final culmination of his vision that was thoroughly touching and reminds us all the more just how special this show has been. It has transformed the sci-fi genre and shifted some harsh opinions along the way as well. Battlestar Galactica has made an immense contribution to the television landscape, and its influence and power won't soon be forgotten. So to the entire creative team, I say thank you. Thank you for this generous gift. So say we all.

Thoughts?

Follow the yellow brick road...

Castle: "Nanny McDead"

There's not much to say about the plot of "Nanny McDead" -- it was (good) standard-fare procedural drama with the requisite amounts of twists and turns -- but there's quite a bit to say about the characters. And through the characters, Castle feels like it's finding it's groove. Or at least, has a good idea as to what it's groove should be.

For all of the flaws that comprise Richard Castle -- the ego, the narcissism, the smartassiness (yeah, that's totally not a word - sue me), the sheer inability to follow direction -- he's thankfully not a character built solely on flaws. Much to his surprise, I think, he genuinely feels for the real-life victims and their families, and he even has a bit of sympathy for the perpetrators. Much to our surprise, he's a pretty fantastic father in spite of the aforementioned peccadilloes. His daughter sincerely loves him and is proud of him, and when he's with her, it's easy to see why. This element gives the character a good deal of depth and reminds the audience that he's not just a fast and furious one-liner spouting blowhard.

Richard Castle also has talent. He's clearly a good writer and watching him "narrate" the possibilities of the case early on was a delight. It gave the audience an interesting angle of insight into the case, and it allowed Castle to have some purpose beyond shadowing (and annoying) Detective Beckett. That's an element that needs to remain for this show to continue to work.

And speaking of Detective Beckett, she showed a little more depth herself. Clearly, she's been damaged by love, but she still appears to be a romantic which is surprisingly sweet. And somewhat unexpected. Thankfully, too, the writers appear to have lightened up her personality ever so slightly. She's not as humorless as she was in the pilot, and by allowing her a few opportunities to actually indulge in her amusement of Castle, it not only opens up their relationship but allows the audience to see Castle as less of a nuisance. Her modest acceptance of him is a gateway.

On a smaller note, I was thrilled to see Jayne Brook. She's one of my favorite television go-to actors, especially since her astounding turn on Boston Legal as Rachel Lewiston, Paul's recovering addict daughter. I even loved her as Meg on Private Practice, and was desperately hoping she'd stick around. And that's saying a lot because she was paired with Pete and generally, Pete pisses me off. My only wish was that Castle had been a better showcase for her. Next time...

Thoughts?

Follow the yellow brick road...

Battlestar Galactica: "Daybreak---Part 1"

The blinding sunlight that poured through every window and doorway in Caprica City provided a stark contrast to the endless blackness that has surrounded the Battlestar Galactica for so long. Much like the lives of our beloved characters before the fall runs in stark contrast to the people that we know now.

Baltar is still as selfish as ever, but he has mellowed and is more aware... not that he's willing to put that awareness into action just yet. Caprica is no longer the supreme manipulator who wields her sexual prowess with perfect precision, but a strong and scared fully-formed woman who has compassion to spare. Lee is not the drunk hot-shot pilot living his life always in competition with his brother, Zak, and always in the shadow of his father, but a capable, intelligent politician who has finally found a calling all his own and a life that depends solely on his own choices. Anders is still floating in a bath after injury, but he's no longer searching for the "perfection of creation". He is the perfection of creation. And he holds all of those answers within him. And Laura? She's been through hell and back, before and after the fall, and while she's no longer the effervescently vital woman she once was, she is the person who has the power to show everyone what needs to be done when the end draws near.

And what about Bill? I got the distinct sense that he was doing his damnedest to validate his resume. Was retirement being forced upon him? Thanks to a comment made by Gaeta during the mutiny, we're presently aware that Bill has been commanding the Galactica for just over seven years. Meaning that his Caprica City meeting had to take place roughly three to three and a half years before the fall. We know that the Galactica was a formidable warrior in its day, but was its planned decommissioning just a formality? Was the Galactica a museum well before it was called upon to protect the remaining survivors of humanity? Was Bill being forced to command a ship that had not a chance in hell of seeing battle ever again before the Galactica and Bill were sent into retirement? If all of this is true, then the fall of the Colonies was the best thing that ever happened for someone like Bill, the ultimate soldier. And he was always going to go down with that ship... one way or another. Looks like both the Old Man and the Old Girl will be going out on a high note.

Much of "Daybreak---Part 1" can be only truly understood in context. Once "Part 1" is paired with "Parts 2 & 3", I think most everything will fall into place. The puzzle will become whole. And the questions will be answered. Though most of mine already have been, I did have one question that has plagued me endlessly. Throughout this entire season, I've been waffling as to who the true "dying leader" is -- is it Laura Roslin or is it Galactica? I think this episode answered my question definitively. While Laura's and Galactica's health has mirrored each other every step of the way (fueling Bill's desolation, of course), in the end, Galactica is their protector, but Laura is their leader. And she made that crystal clear when she stood in the spotlight on that red line. She made her choice -- despite barely being able to stand, walk, or talk -- and in doing so, she set an example for the entire fleet. What I loved most, though, was seeing her on the line. Laura has been on both sides throughout this journey -- the self-sacrificing side willing do anything and everything for the greater good and the self-preservation side wanting to live a little for only herself (and Bill) before death. Laura went starboard in theory only because she no longer has the physical strength to aid in the fight, but she does have the mental wherewithal and will of iron to show the fleet what true leadership is. And in that moment, she finally became their president again. And she was still the woman with whom Bill fell hopelessly in love. Beautiful.

Admiral Adama ended up with a lot of starboard support -- many people who have a personal investment in the safe rescue of Hera -- but much of the fleet, nonetheless, went port-side. And that was a little sad to see. Understandable given that this suicide mission is to rescue one little girl, but still sad. Although, why are there so many people willing to embark on this "one-way trip"? Yes, Hera may be the prophetic "shape of things to come" and she may be a vital member of the ever-dwindling family, but she is only one girl. And the reasons behind this mission are supremely esoteric in nature. Is it that so many people now believe in the blending of the races? Is it that so many people are walking around with the overwhelming sense that the end is coming, so why not? Is it that so many people believe in this family that they have formed and the loss of even one more member would be the devastating straw that broke the camel's back? Whatever their reasons, it's clear that many of these characters have come to the hard-won realization that home is in the people that we surround ourselves with and not in the walls we put up around ourselves. Home is in the people, not in the environment. And Hera -- ignorant of any destiny she may provide or fulfill -- is a young, helpless key component of that home. She must be protected, and she must be saved. And the course of destiny must be altered.

"Galactica has been more than our guardian. She's literally a vessel into which we've poured all of our hopes and dreams. And when she's gone, when we can no longer derive the security from looking out her window and seeing her massive bulk floating by, then this life will be over. And a new life will have begun. A new life that requires a new way of thinking." -- Gaius Baltar

Randoms...

• The image of a shattered and completely alone Laura wading into the fountain seemingly possessed by a force bigger than herself evoked memories of Fellini's "La Dolce Vita" and Sally Field in "Sybil". It was devastating and bewitching all at the same time. And it only made her more impressive to me. In the miniseries, we saw Laura Roslin step up immediately and do what needed to be done, leading the people when there was no other. She was facing a terminal illness and ensconced in the most catastrophic event that humanity had ever seen, and yet she seemed stronger and more in control than any person had the right to be. We now know that it was because she had already lived through her most personal hell. And she came out on the other side, defenses up and prepared for anything life may continue to throw at her. She had already lost everything that mattered -- the fall of the Colonies was just another event in a long line of losses.
• I kicked myself when I saw what Alan Sepinwall noted in his review because I realized that I didn't think of it first (Oy!), because this is it -- it's exactly it:

  "...I began to wonder if maybe the grand plan for these characters isn't quite as grand as some of us want to believe. Maybe the reason that these are the people who have survived everything the Cylons have had to throw at them -- beyond luck, of course -- isn't a matter of destiny, or the work of the Cylon God, or any other metaphysical force. Maybe these are just the people who are gods-damned tough enough to take everything the last four years has thrown at them and keep on going."

• Caprica saw Gaius -- who's apparently Irish we now finally learn, heh -- at his worst possible moment, battering and screaming at his father because his father refuses to play Gaius' game and live the pretense, denying his roots. She then proceeded to infiltrate his life, much in the way that she infiltrated the defense systems. She was blatant in her approach, but she blinded him with humanity, ironically enough. On a second viewing, however, I had the thought that maybe she did no such thing. Gaius' date seemed to notice Caprica but didn't much seem to care let alone address her. What if that's because Caprica wasn't really Caprica at all, but Head Six? What if Gaius put his father in the most magical home ever conceived, not Caprica? Gaius may have already achieved his one altruistic moment, and he might not even realize it. Hmmm...
• The scene between Adama and Hot Dog was touching in that it was the first time in the history of this series that father and son, Eddie & Bodie Olmos, shared a one-on-one scene. Battlestar Galactica truly is all about family at its core.
• Adama told Starbuck, "I know what you are -- you're my daughter. Don't forget it." In that simple yet affecting statement, Adama showed us just how far he's come. His world view is no longer black and white -- human versus Cylon -- and the people that he knows and loves will always be the people he knows and loves regardless of their genetic or mechanical make-up. They are his home.
• "I have to ask him a question. Do you know how to plug him in?" It's all in the delivery and Edward James Olmos owns. That was just funny.

For much of this weekend, I found that the chosen words, "Caprica City Before The Fall", struck me and I couldn't figure out why, and then it finally hit me. Throughout the run of this series, the downfall of the Colonies has always been referred to as "the attack" or "the genocide", but never as "the fall". In our history, we have seen through the ages that dynasties rise and fall on the heels of war. Often, war is inevitable and sometimes necessary, but humanity can never seem to truly learn from it. Humanity is and will always be the most intrinsic victim to war. We perish in the gunfire and the flames and those left standing come out scarred. But we never learn.

Is this final battle really necessary, and if it is, will this be the end of the line? Will those left standing finally learn from their mistakes and apply that knowledge to a future society free from the destruction of war? Will those left standing not only give in to the blending of the races, but embrace it, thereby breaking the cycle? It is only through our knowledge and our practice of that knowledge that we become a worthy species. After this final battle, will this rag-tag fleet finally be worthy of survival? Will this rag-tag fleet finally be worthy of true living? In less than a week, we shall know the answers to these most fundamental questions. So say we all.

Thoughts?

Follow the yellow brick road...