The new ‘Battlestar Galactica’ winning the TV space race
Low production values. Multi-colored prosthetics. Horrendous, overly-technical dialogue. Juvenile caricature-based performances.
These are the things that spring to mind when one addresses the original programming that the Sci Fi television network usually has to offer.
Enter Ronald G. Moore, a veteran television writer that was recruited to helm a Sci Fi Channel original miniseries that re-imagined the popular but short-lived 1978 series”Battlestar Galactica.”
Airing in December of 2003, the three-hour miniseries transformed the premise behind a campy “Star Wars” knock off into a compelling, character-driven allegory for the moral ambiguity and social upheaval that has arisen in the world’s current, post-9/11 environment.
Because the miniseries was such a dramatic reinvention of the original series and it changed so many elements of its cultural forbearer (including the decision to make the series signature hotshot a girl) it attracted criticism from fans of the original “Battlestar.” Despite early protests from fans, the success of the miniseries ensured the development of a full series.
Two seasons later, “Battlestar Galactica” has amassed universal critical acclaim from renowned publications like Time and The Rolling Stone and has emerged as the most provocative, intelligently written, and emotionally engaging drama on television.
Achieving a powerful balance between stirring political commentary and heart wrenching psychological character study,”Galactica” represents a realization of the limitless possibilities that genre storytelling can offer under the reigns of a capable cast and crew.
More importantly, “Galactica” provides a narrative so rich and inventive that any viewer can get into it – whether they dig robots and spaceships or not makes no difference.
“I like it because it succeeds at doing away with many of the conventions of science fiction storytelling on television,” said Frank Zhang, a senior majoring in computer engineering.
While serving as a writer for several 90s “Star Trek” series like “The Next Generation,” “Deep Space Nine,” and “Voyager,” Moore became weary of the superficial science fiction trends that eventually lead to many viewers losing interest in “Trek” shows. Moore felt that, not only were none of “Voyager’s” conflicts and plot points approached or resolved realistically, character portrayals were often one-dimensional and took a backseat to the show’s technical exposition while continuity was applied very loosely.
After being appointed by producer David Eick to re-introduce “Galactica” to entirely new generation of viewers, Moore decided to address these problems and place the focus of the show’s narrative on the complex relationships between the crewmembers of the Galactica. And, although this drama usually takes place in the far reaches of space, it is grounded by some of the most compelling, Emmy-worthy performances on the small screen.
Edward James Olmos has a screen presence that dwarfs that of nearly every other performer on television as the venerable William Adama, and Oscar-nominated actress Mary McDonnell’s portrayal of elementary-school-teacher-turned-colonial- president Laura Roslin lends the production even greater sociological gravitas.
Other noteworthy performances include Michael Hogan’s portrayal of alcoholic, temperamental exo Saul Tigh and James Callis’ layered turn as the tortured, egocentric genius responsible for the Cylon attack that wiped out most of the human race.
Thrust into a war with a race of sentient machines that rose up against their creators decades earlier, the remnants of humanity are forced to flee to the depths of space after a cataclysmic attack reminiscent of the events of Sept. 11 decimated their advanced, twelve-colony civilization.
The “Battlestar Galactica” miniseries wastes little time in establishing the bleak, post-apocalyptic atmosphere that would provide the show with plenty of intermittent parallels to the current state of the union while addressing the consortium of perspectives that influence any contemporary war of ideologies.
Cylons, the show’s AI antagonists, have evolved to the point where they can create machines that are nearly indistinguishable from human beings and their presence on the show not only addresses the well-worn science fiction question of what it means to be human but it also explores the role of religious fanaticism as a catalyst of armed conflict.
The actions of the more identifiable Cylons, however, are often portrayed as justifiable and remain a refreshing indication that the show is not afraid to tackle difficult issues that do not have simple resolutions. Similarly, the morality of show’s main protagonists is often brought into question and the internal strife experienced by the last space-faring survivors of mankind is often portrayed as a greater threat than the Cylons themselves.
“It’s frightening how good the show is,” said David Virgin, a junior majoring in business information systems. “I like that the heroes are seen taking the role of people that we consider to be bad guys.
When the show is at its most topical, it can be difficult to watch because of the dark places the narrative treads. The second season of the show addressed hot button issues like the torture of war prisoners and the ramifications of”Patriot Act”-inspired tribunals while the third season has drawn upon the United States conflict in Vietnam and the current situation in Iraq for stories exploring the difficulties of enforced occupation, the development of organized insurgencies, and the controversial validation of suicide bombings.
Despite the fact that it draws inspiration from today’s grating newspaper headlines, “Battlestar Galactica” isn’t a complete space-based parable for the troubled state of the modern world.
Moore has described the series as both a mirror of modern events and a prism. Translation: while “Galactica” deals with subject matter echoed by real world occurrences, audience perceptions are still challenged by developments that only the science fiction genre could introduce. The result is an examination of contemporary issues from unexpected perspectives.
A few bold, cerebral twists are often thrown in for good measure. For example, the aforementioned usage of suicide bombings during the first few episodes of the show’s third season was shockingly condoned by series protagonists Colonel Tigh and Laura Roslin, while colonial traitor Gaius Baltar became a purveyor of the moral high ground on the issue.
The critics have spoken. Believe the hype. “Galactica” is truly that rare gem worth giving up an hour of your Friday night for.
Mack Perry is one of the Utah Statesman’s pop culture gurus. Send comments to him at mackp@cc.usu.edu.