Disclaimer: I''m a fan. Seasons 1 - 3 and parts of 4 represent the most consistently brilliant SciFi I've ever seen in a continuing series on TV.
With the overall story arcs are finally coming to a close this episode does well enough in moving us along.
However, writers Bradley Thompson & David Weddle have provided us with some very dubious scenes on the way there.
The Chief frequently heads to the brig to re-connect with Boomer. Fine. BUT - in order to talk to her he must pick up the phone??? He's standing 2 feet away from her. They touch hands through the holes in the brig fencing. But he needs a phone to talk to her? Perhaps the "Cone of Silence" was on the fritz? Lazy and manipulative screenwriting at its worst.
Almost as preposterous as having us believe that someone with a rag tied in their mouth would be unable to utter nary a sound while the most disturbing thing a married person could ever witness was occurring right in front of her, 5 to 10 feet away. I guess nobody in the writer's room had a rag to do a sanity check that day...
Entitling the episode "Someone To Watch Over Me" is unfortunate. I suspect if Gershwin was forced to listen to the imbecilic cacophony emanating from the piano in this episode he'd have gone into construction.
The smoking in this show is way overboard. As great as this show has been, encouraging your young audience down a path toward a horrible death due to lung cancer is indefensible. Oh well - at least we looked cool before our lungs stopped working...
If it wasn't for the usual brilliance of Grace Park, Katee Sackhoff, the solid work of Aaron Douglas, and te usual outstanding efforts from Edward James Olmos and Michael Hogan, this ep would have been a disaster.
We get it - you're tired, it's been a long run, the show's ending soon. But come on guys - keep your head in the game!!!
What was once a great sci-fi show is now nothing more than an achingly slowly developing soap opera set in space. The sci-fi is gone, character development has stagnated, plot development over season 4 has moved at a ridiculously labouring rate. These last 8 or so episodes could have been done in 2 or 3, and would have left room for more of why we're here - sci-fi, excitement, adventure, interesting story, interesting characters, and a plot that develops and keeps us on the edge episode after episode... everything we loved Battlestar for.
Season 1, 2, 3 had it - exciting sci-fi. Season 4 has completely lost the plot. Nothing has happened since the start of Season 4! Extremely disappointing.
Another episode in the series that doesn't tell us anything. Great, is Kara's dad the final cylon? Who the hell is he then? Who/what is Kara? Still not answered. When did they leave Earth? Why? Where are they going? Why are the jumping? I'm pretty sure that if my ship was falling apart I'd want to be close to a planet that could sustain life...Um EARTH maybe!
This show has four hours of time left and they haven't given me any reason to the think they will wrap it up successfully.
I'm sticking it out til the end, but RDM and crew had better have something awesome up their collective sleeves.
Given that we are only two episodes away from Battlestar Galactica's swansong, you'd be forgiven for thinking that the production staff might be upping the ante, spearheading the drive towards the hopefully explosive and revelatory closing hours with something rather more epic than this introspective, character-examining instalment. But then, that's Battlestar for you, confounding expectations and generally succeeding in giving us what we actually need, rather than what we think we do. 'Someone To Watch Over Me' is a beautiful piece of television, no two ways about it. The marriage of well written, believable dialogue for a soul-searching Starbuck with Bear McCreary's glorious soundtrack works wonders, and then the effect is multiplied by taking the latter from the diegtic to the mimetic, finding a suitably moving place for it within the plot. Granted, it really doesn't make all that much sense and you can bet your bottom dollar that any semblance of an explanation as to why the notes from a song that Cara's dad played her when she was young appear to be some galactic co-ordinates will be suitably avoided in the coming weeks, but hell, there's just so much to enjoy here that it hardly seems to matter. Amidst the quiet mood set by this storyline, and the corollary with Tyrol and Boomer, there is a wonderfully executed surprise too as Cavil's ploy to kidnap Hera comes to fruition and, like the Galactica crew, it almost passes under our noses. Typically fine, fine stuff.
Could this someone be "the one true god"? It's been intimated that the concept of the one true god was instigated by the Centurions created by the 12 colonies....but why would machines need belief in a deity? Could it be that rather than being an abstract concept, they actually _did_ find evidence of a "higher authority" (or at least higher intelligence that is ... leading .... human and Cylon affairs and the others are now just waking up to the fact?
Certainly, the underpinning theme of the episode is that of manipulation, specifically in the manner Valerii plays Tyrol. Not only is this beautifully played out from beginning to end, the manner in which this storyline is juxtapositioned against Thrace's story beautifully and subtlely underscores the revelation that dawns on Ellen at the end. As to Valerii's motives - well, this raises several interesting questions. Is she simply a tool under John/Cavil's influence? If so, this would suggest that the whole play about cutting Ellen's head open was merely a rouse to encourage her to go with Valerii when the time came. And just how did Valerii find the fleet so easily whilst "escaping" from John/Cavil? She must have had prior knowledge of the fleet's location - but if this is the case, and she is Cavil's tool, then he must have either provided her with the information or one would have expected her to volunteer it to him at some point - which begs the question that _if_ his hatred of all things flesh is that genuine, why hasn't he wrought down dead and destruction on the fleet already? If he knows the location of the fleet, he's had more than enough time to slip in scouts to ascertain the condition of the Galactica and the "rebel's" base ship....
But what other explanation could there be? It's awfully late in the day to start opening-up further subplots. Occam's razor does seem to point to her working for Cavil all along, and that she really was sent to the fleet to grab Hera. Certainly, this is suggested by her final words to Tyrol - that she does actually love him. That she was incarcerated in the brig simply meant he became the most obvious means for her to achieve her escape and grab the child. So in telling him of her love, she is trying to apologise for manipulating him. And it is true that part of me would like to think that she is acting under other influence than Cavil's. I've never seen the "real" Valerii as a cold-hearted traitor. Yes, yes, I know she shot Adama - but remember, immediately after she did so, she had NO recollection of what had happened. Go back and watch the scene: she is entirely robotic during the shooting, and immediately after, she seems to come out of a trance and is utterly confused and distressed. Afterwards her conscience almost drove her to suicide. Thus, it's hard to imagine - as some elsewhere have suggested - that her final words to Tyrol were yet more subterfuge, intended to net her "another" prize for Cavil....
Again, that Hera is important cannot be understated - back in Season 1 the Cylons did a hell of a lot to ensure one of the Eights conceived with Agathon. But again - if Cavil, as has now been revealed, find the entire concept of human-style procreation so reprehensible, this again doesn't actually make sense. Why would he allow his compatriots to go ahead with such work (and lets not forget that Doral and Steven - two of Cavil's "allies" in the Cylon "civil war") were both involved in the procreation attempt (Doral via direct involvement in the plan to ensnare Agathon, Steven through his own experiments, as discovered by Thrace on her return to Caprica). So yet again, deeper things seem to be going on here, and it might just turn out that whatever it is goes beyond Cavil as well. The one thing that didn't *quite* work for me in this storyline was this "new" ability for Cylons to directly transfer thoughts and feelings and sensations to one another - even when physically separated by a sheet of glass, as with the brig "walls". Obviously this ability was a device to more readily explain Tyrol's actions than anything else - and as such, it did come across as just a *tad* clumsy. So where do we stand, with just 4 segments left to tie everything up?
On the surface, it would seem that Thrace is Daniel's offspring...but is this really the case? The pros of the argument are:
- It is not explicitly confirmed by Cavil that he killed the "original" Daniel; he only admits to destroying the subsequent line
- Thus, the original Daniel could have been sent to the 12 colonies alongside the Original Five. If so, this would mean that all of them were sent back WELL before Cavil launched the attack on the 12 colonies, given that Daniel needed to time to meet a woman, fall in love, marry her, conceive a child and for that child to reach her mid-20s.
- The above WOULD be entirely consistent with the established facts that Adama and Tigh had served together outside and inside the Colonial military for some considerable time.
However, this is by no means iron-clad. The theme of the episode is one of manipulation, and the music that Thrace plays is the music that triggered the memories of the Original Five (well, those who were at that time still in need of "memory restoration"). Again, it's hard to imagine Cavil "programming" such a trigger into their minds, given he sent them to the 12 colonies to "die with the rest" during his all-out attack....
... So the music, like the "head characters", would seem to be something coming from a "higher authority", again as Ellen explicitly notes with reference to Hera at the end of the episode. And if the music does indeed come from a "higher authority", then this does potentially point the finger to Thrace _not_ being the offspring of a Cylon / Human relationship - but someone who is very much, as Leoben has said - has a higher purpose and higher destiny.
And this is what makes this episode so intriguing - because while answers are apparently given to questions people have been asking - it is entirely possible those answers are NOT as obvious as some think. Certainly nothing raised in this episode is outside the realm of being revealed and resolved in the remaining four segments. The only real care the writers need to take is avoiding a potential further cry of "cop out!"
This episode is a mixture of beauty and brutality, and in this instance, both are captivating. After the mess that was the previous episode, I was a bit worried that the writers were going to aim high and shoot low with the ending. This episode, however, makes it look more likely that the series will have a strong finish after all.
First, the beauty. I've always been aware of the role of music in this series, and that definitely helped to enhance my enjoyment of this particular episode. It set a mood of melancholy and foreboding from the very beginning, and it kept me spellbound throughout Kara's emotional and psychological journey.
It doesn't hurt that the essential thrust of the story appears to confirm my suspicion that Kara's father was the recently mentioned "Daniel", perhaps the only surviving Seven. That's not necessarily the only interpretation that could be made, but it is becoming the clear frontrunner. With so little time left, I have reservations at the writers could introduce anything else that wouldn't feel like a deus ex machina solution.
"All Along the Watchtower" provides a musical connective thread between the Final Five, Kara, and Hera. Where the Final Five seem to hear the music more directly, Kara and Hera experience it more subconsciously. For Kara, it comes out through a kind of Cylon projection, summoning up a version of her father to guide her to self-awareness. Hera's not in a position quite yet to explain how she knew the music, but this could explain why Roslin seemed to react to something in "Crossroads".
Presumably, this brings Kara closer to understanding her "special destiny". If her father was one of the skinjobs, then in a very real sense, she co-opts Hera as the first Human/Cylon hybrid within the Colonies. It would explain why Kara has always been searching for her place in the world; there's never been anyone quite like her.
There's still the matter of her resurrection to consider. That it took place on or near Earth appears significant; she didn't resurrect among the Cylon fleet, after all. This implies that Kara was resurrected by the same technology that brought back the Final Five after the annihilation of Earth. The location of that technology could be significant, because as we see in this episode, the fleet has been searching for a suitable planet to inhabit for weeks, and the constant grind is getting to everyone.
The anticipated Human/Cylon alliance is in full swing, with the Cylons now having a seat on the newly reconstructed Quorum (that we haven't actually seen). They're flying missions together, their working to keep Galactica space-worthy together, and they're acting in accord on critical items such as justice and survival. Between the mutiny and the Cylon civil war, neither side has what it needs to make it alone, and they've adjusted accordingly.
Internal to the story, Galactica is still falling apart at the seams, and even before the damage was done by Boomer's escape, it was only going to make it through one more jump. The implication is that this final jump would be to whatever planet they manage to find. Between wrapping up the mysteries surrounding Kara and the particulars surrounding the alliance, that might have been enough on its own to sustain the rest of the series. But there's still the small matter of the external conflict with Cavil.
It makes sense, based on the ease of escape in "No Exit", that Boomer was helping Ellen as part of a plot. Ellen made it clear to Cavil that Hera was the future of her plan, so of course his own success would hinge on controlling (and, logically, eliminating) that asset. Beyond what Boomer did in this episode to convince Tyrol to help her with her mission, using their past history as a pretext, I'm not sure how that was supposed to work.
Cavil couldn't have known that Boomer would have the chance to twist Tyrol's emotions, so the plan was essentially a last-ditch effort. It never should have worked. That makes it a bit of a plot convenience, but it's the kind that works because the audience needed a resolution to the Boomer/Tyrol thread. It also pushes the final confrontation with Tyrol into the short term, which allows it to coincide logically with the Galactica's final days.
There is a certain level of irony here. Athena seduced Helo by posing as Boomer on Caprica during the first season. In a way, Athena co-opted a life that could have been Boomer's. Boomer gets her pound of flesh in this episode, and it is not at all pretty. It's actually one of the more disturbing moments in the entire series run. Boomer beats Athena to a pulp, essentially forces Athena to watch her sleep with Helo, and then steals Athena's daughter.
What makes this so crushing is the realization that Boomer has been a victim for so long that her actions must seem justified in her own mind. Boomer's attempted assassination of Adama was programmed into her (presumably by Cavil). She tried to atone for that mistake in the past, but it always went horribly wrong (particularly the New Caprica experiment, which was clearly undermined by Cavil in retrospect). Boomer ultimately has been used and abused by Cavil in more ways than one can count (including their "affair" on the baseship).
This doesn't excuse Boomer in the slightest, but it does point to the notion that Boomer is still being used; she's still not acting out of her own personal agency. Either that will never change, and Boomer will end up being a tragic figure, or the moment that she takes control of her life will be a critical point of the finale.
Kara befriends a piano player who reminds her of her father. She receives a mysterious drawing from young Hera Agathon.
"Boomer" faces punishment for supporting Cavil. She reconnects with Chief Tyrol and shares her visions of a peaceful lif
An excellent and well written episode. It gave us strong character development, exciting twists, pulse-pounding action and some important story development. I really enjoyed how it started out with a slow-burn character development (Starbuck's time at the piano and Tyrol's temptation by Boomer) that slowly built into one of the more exciting conclusions of the series. We got Starbuck playing the Cylon theme song (strongly hinting at her father's true identity), Boomer betraying pretty much everyone on the Galactica and then making an exciting getaway that put the final nails in Galactica's coffin (that ship isn't going to last much longer) and what is likely the beginning of the end of Laura Rosalyn. Most importantly, this episode gave us at least the beginnings of the answers we have have been waiting for but with a level of believablitly and emotional investment that was largely absent in the two previous episodes.
Great Episode! Personally I don't think Kara's father is number 7, since number 7 died in Episode 14 in front of a firing squad. Felix: "i hope that people... realize... eventually... who I am" Baltar:" I know who you are Felix, I know who you are!" Remember Felix singing beautifully in the hospital ward, Ellen describing Daniel as so sensitive to the world and an artist. And Felix telling Baltar about his love for music, art, science and architecture.... why wouldn't Gavil not do the same to him like he did with the final five.... he was jealous of Daniel and Ellen's affection towards him.
I think that Kara's father is connected to the new TV Show "Caprica" Telling the story of an genius scientist Daniel(?) Graystone creating the Cylons and the family Adama.
Kara's death in Season 3, and Adama holding Kara's birthday card to him..."Can you see the resemblance? Hmm... maybe...
Graystone daughter Zoe was downloaded into an artificial body when she died, later becoming Eve the first of her kind, why not him?
Didn't Daniel Graystone and Joseph Adama lose both their daughters? Daniel creating his daughter and wasn't Adama's father helping him? Maybe Kara is Adama's sister? Maybe it was Kara in the destroyed Viper on Earth? And she was downloaded into a new body. Where did she get the new Viper? Did Graystone gave it to her?
Maybe Graystone realizing how wrong he was and creating this Master plan trying to save both races....
Ok, I better stop now before my fantasy drives me crazy....
Great Episode, looks like it goes in the Asimov direction. R. Daneel Olivaw Great Episode, Just one thing to add about this series in general, I think that RDM is greatly affected by Asimov's writing. Just a hint on the end, Asimov in his Foundation series has the main characters looking for earth which has been forgotten by mankind. They find there an android who appeared before in the Robot series of Asimov and it turns out that he has been behind all the events all along. His name...Daniel (R. Daneel Olivaw to be exact). Just something to think about.
THAT'S how wou do characterisation, THAT'S how you build suspense and use pathos; not with a "Chicago Hope" soccer mom tearjerker from last week, but with a hard, deep look at the psyche of the characters, the longings and the fears; you tie it up in a story where they know what is to gain but we don't, or they don't know what's to lose but we do. I am continually impressed by the provess of Katie Sakhoff. Not only has she emerged as the absolute best young character among the heavyweights Olmos and McDonnell, but there doesn't seem to be an end in sight to the depth of her character.
I was equally impressed by tight, foolproof writing of the episode; they though this one completely through; the crechendo of the song she plaid was a magnificent shiver-through-the-back moment and if there was ever a true pivotal moment in the episode, man, that was it with a bullet.
"Things fall apart; the centre cannot hold." - said Shakespeare at his best, and where I never expected BSG to rise to such an occasion, we are surely getting there now, both actually, with the ruination of the ship and the (impending or true) death of Roslyn, and figuratively, with characters driven to the ends of their respective spectrums.
A fine, fine uverture to the final arc, and if we are to take a look at the bard once again, I am expecting it to be venomous, bitter, violent affair. Here we go.
Like many others, I knew something was odd about Kara's Father, since season 2 actually, when we hear her father's music in her appartment on Caprica.
It was the first "real" tune from Earth we hear on the show : Philip Glass' Metamorphosis Five.
This was a little big hint for things to come later on, the first musical connection with Earth (and the destiny of Kara Thrace).
And now, we finally get to see Daniel's face, the final model.
I can't describe how excited I was about this episode. The re-connection between Tyrol and Boomer was just amazingly moving.
And just after that very sweet moment, we see her turn into the ultimate b*tch, taking Athena's place, frakking Helo in front of her, stealing Hera in a box, giving the Galactica a deathly blow by jumping right aside.
How b*tcher can you get ?
And I forgot Roslin... Damn, this episode was too short !
Wow.. even in the first the episode seemed to go in slower motion than expected and maybe all the storylines did not made sense the way the episode went for the end.. that was stunning. Putting up all the stage - making Chief feel again for Boomer to get Hera. Maybe it was all a play from the beginning for her as Ellen thought in the end but anyway.. it was a brilliant twist.
And then the whole music and piano part with Kara.. they way she learned to play again and when she started to play that song.. wow.. that was a brilliant moment..
In the end.. the explosion as Boomer jumps, Halo realizing she has their daughter.. and Roslin..
Starbuck meets a piano player in the bar where that she eventually befriends. We later learn the character is in her head and it was her father. There were great flashbacks to when Starbuck was young and we finally got to see a good Starbuck story. When she plays all along the watchtower at the end, it is unexpected and really leads us to tying it all together for the finale.
Boomer came back and really showed she went to the dark side. She drew Tyrol into helping her by having him remember his feelings for her to help her escape. We learned of a new ability cylons have to project thoughts into each other's minds. I don't believe this reveal was a one time thing and may explain quite alot about the visions some of the characters had throughout the series.
Boomer having sex with Helo and then stealing Hera and deliberately jumping close to the ship really had her as a one woman wrecking crew. It looks like Galactica is done for now. (it is open to debate if she really had it in her mind to seduce Helo or if she went along with it because she assumed Athena's identity and to refuse would be inconsistent with that)
It is open to debate how much she played Tyrol or if she really meant the things she said. Him going to the house at the end and finding their kids bed empty was really well done.
It looks like things are about to all come together as there are only three episodes left. They are ending on top!
Great episode. Well written, well acted and with enough twists and turns to make us hungry for the last three.
Intriguing points: Cavil is still pulling Boomer's strings and now he has Hera as a result.
Tyrol-can a person be more thoroughly played than he was by Boomber here? He even helps load Hera on the Raptor! His guilt over this and his involvement in it is going to have some interesting consequences.
Kara: is she finally ready to just embrace her destiny? She now has a "head" guide as well is it Daniel?
Galactica: is this all leading to the ship going out in a final blaze of glory?
The final five-it would seem there is starting to be some heavy breaking of ranks here. What will the consequences of that be.
I love that with only three episodes left the writers aren't afraid to stick with the in-depth character work that has made this show so great.
This is what makes BSG great - the episodes build and play off each other. Old Boomer turns out to be as dark as we last saw her. You gotta feel for the chief but when he killed (or seriously maimed) the Eight who was working with him on the repair crew - you knew he was really on the wrong path.
Where does this leave us? Well, the president has lost consciousness, the Galactica is falling apart, they have lost Hera, they have no where to go (and can't go jumping around looking with Galactica in its last days), and no apparent plan.
The Starbuck flashback (or whatever it was) with her father was most interesting. And what role is Hera going to play?
Only a few episodes to work this all out. Until next week.
Like a Norman Rockwell painting. I'm not quite sure what that expression means. And yet as you watch this episode literally unfold like a flower or something. That's what this episode I guess is all about.
When you look at a painting everyone is going to have their own opinion about it, which isn't necessarily wrong or right. But it's how it makes you feel. That I believe is what this finely directed slow piece was trying to relay in this very artistic very illuminating episode.
And one other note about this episode. Is that I believe they have tried to do similar episodes to this before and failed. I believe they got it right this time. Which is kind of also what this episode is about too. You live your life. It's not whether you ended up with the right person, or made the right choices, but you just live and than you have to live with the consequences.
It starts with Kara in a sort of rat race of ship life. One of the best things about this episode is they have her doing this boring speech and they somehow made it very interesting all due to the directing. I have never seen anything like that on television before.
It continues as Kara faces a kind of Freudian dreamlike reality where she faces her daddy issues through the face of a pianist. This leads back into her Harbinger of Destruction monicker as her last piece she plays on the piano is moving the story along into a crescendo.
Meanwhile there is a second slow build equally important storyline. In this one Boomer who is locked away for various murderous crimes is about to get the death penalty via the Cylons. There is a very interesting thing they did with this. I believe the writer Thomas Harris wrote about something called a hidden room. Where you go to if your stuck in a place for too long of a time. I have never seen this put onto film before. Battle Star Gallactica is truly way ahead of it's time.
I felt the con coming the second she spoke to the Chief in the brig. And yet the episode was so well directed that even if you didn't believe her there was a lot of feeling there and not everything was a lie. Even bad people err...Cylons have human...err Cylon moments that show their humanity..err you know.
Well of course the con reared it's ugly head and a very significant person or two died or did they? I'm actually not sure, but the ship has definitely seen better days. And one last special mention. The adulterous moment in this episode was surreal. I have never seen anything quite like that on televion either. 3 episodes left. God I wish I wrote that wrong and it was really 30. Frack!
Someone to Watch Over Me was a perfect episode of Battlestar Galactica and I really enjoyed watching this episode because it was rich with character development, story line progression and interesting clues. Boomer took advantage of the Chief's trust and escapes with precious cargo after stealing every thing from Athena. The Cylons want hear a familiar tune after Starbuck plays the song her father taught her as well as the notes randomly drawn by Hera. This episode seemed to have so little going on, when in fact it had multitudes of depth. I was very entertained and certainly look forward to watching the next episode!!!!!!!!!
As someone very interested in the cinematic aspects of TV-making, I highly enjoyed this episode. The imagery, metaphors, camera angles, lighting, and music were fanfrakkintastic! They told a story we rarely get to see, even on BSG.
I highly suggest everyone go read Bear McCreary's blog on how he made the music in this episode; it's amazing. Just search for his name on Google. What I find most fascinating is that the song in the show isn't even "All Along the Watchtower." It's a variation of it based on the "Final Five Theme." That was a stroke of brilliance.
This episode was in-the-making for a long time; they started making it a year ago (though I don't know exactly when they finished it, but it took almost a year for it to go from idea to finished product). The show's composer was even on set for the shooting, to get the music just right. Seriously, read the blog.
My favorite scenes were the opening sequence, which conveyed a beautiful brand of monotony, the dream sequence, which was chilling and even revelatory, and the reveal that the song Starbuck is trying to play is "All Along the Watchtower" (well, kind of). I also LOVED the reveal that the man was Starbuck's dad. It was so subtle and sweet, and it seemed to provide closure for Starbuck. This was very much so a Starbuck episode, and anyone who says it doesn't do anything for character development is missing the point of it.
I could go on, but I'll stop there. I can't say enough about this episode!
This episode really was the quite before the storm, we got possibly the last joyfull and silent moments some of the characters will ever get. The show is ending and Kara did deserve a few hours drinking in the lounge, reconecting with something, apperaring to be her father...
Chief, the poor man, became a murderer for his love, how do you top betrayel with two holes into the old man? You put one hole into the old girl!
Grace Park did a tremendous job, I real saw two complete diffrent characters on screen... really amazing!
What is most amazing and terrifing in this show... is it's ability to take a joyfull moment and transform it into a terrible nightmare...
Finding earth - joy
Finding out its nuked - nightmare
Reconecting with Boomer - joy
Betrayel part two - nightmare
The second exodus - joy
Watching and expieriencing it through THE EYE of Tigh - nightmare
Hands down, another great installment... maybe the last rather piecefull episode... (not counting the end, wich was awesomeness materialized)
The more they reveal the more I wonder...
this episode really gets into the heads of some of the characters - Starbuck, Boomer and the chief. This is one of those times that BSG uses music so effectively, with nostalgic piano music woven through the episode and also being the focus of the Starbuck scenes and apparently tied into the whole big mystery of everything. Boomer is a bad, bad, bad cylon. I didn't quite grasp that before. I thought she was misguided. now i think she is downright evil. I guess this really makes the point that cylons have free will and are shaped by their choices since she is so different from Athena. And, I feel sorry for Chief Tyrol - he took a big hit this time!
Without doubt one of the finest episodes of the show and a perfect addition to the already outstanding fourth season. A brilliant and subtle re-working of the series' drive: beautifully composed, sublimely acted and delicately paced.
The season has so far been outstanding and with the addition of this episode moves towards what one can only expect will be a fantastic season climax. The interplay of the various story lines here works beautifully and is orchestrated by relating the piano and the search for a missing section to the development of Sharon and Galen as characters. Their escapes into their own imaginary world, created by Sharon, prove to be full of melancholy and joy, as does Kara's relation to her father. The presence of the piano, which is not "Someone to Watch Over Me" (which rather refers to the various parental relationships deployed in the episode), is by turns foreboding and exhilarating. The acting, as always, is stellar, with Katee Sackhoff(Kara) and Aaron Douglas (Galen) putting in particularly impressive performances. Easily deserves to be in the top five episodes.
Whith only a few more episodes left in order to come to a satisfying close, the writers have decided to do yet another character-driven episode, much like last week's episode. The difference is the way it is handled, and the way it relates to the overall story.
The episode has two different stories. One of the stories deals with Starbuck and a piano player in a bar. The whole story deal with Starbuck coming into the bar, and having conversations with this piano player, as Starbuck deals with different issues, including her relationship with her father, and finding her own dead body a few episodes ago. The two characters seem to have a great chemestry, making their scenes together a joy to watch. To the writers' credit, these scenes slowly build off each other, and do a great job at building to the final revelations at the end, even while there are times that the audience may wonder if the story is going anywhere, or if it's just wasted space. In the end, however, the revelation about the truth behind those scenes makes the story worthwhile, as does a revelation about Hera, which shows that she may know more about everything that's going on (specifically about the Cylons) than the audience expected, and perhaps more than even she knows.
The other story deals with Boomer and Tyrol. The Cylons want Galactica to hand Boomer over so that they can put her on trial for treason. Tyrol feels that this isn't right, due to the time that has passed in the series, which seems to have changed her, as shown by her helping Ellen escape from Cavil in a previous episode. This story does a great job at bringing things full circle for their characters, showing how their relationship developed through the series, and how much they seemed to love each other before everything that has happened. I felt that these scenes were very touching, especially the scene dealing with their dream home and dream life. However, the revelation towards the end of the episode was also very well done, making the whole story have a very different emotional impact.
While the episode seemed much slower than should be expected from one so close to the finale, it did a great job at moving the story forward, especially in the final moments, as all of the revelations take place, and the audience realizes how important Hera will be, and the stakes are raised within the final few minutes, making the finale seem that much closer and more exciting.
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