I have 2 episodes of BSG to catch up on and will certainly have some commentary to offer.
Heads up to Ta-Nehisi Coates for posting this following bit of journalistic musing on Battlestar Galactica on his great blog at the Atlantic magazine's website.
Plus, they call a brother out in this piece--more shameless self-promotion--I will likely see if I can get a proper rebuttal submitted for publication in the Atlantic's most esteemed pages. Courtesy of the Atlantic:
Is Battlestar Galactica a great television epic—or proof that there is no such thing?
by James Parker
In the expert view of L.Ron Hubbard, there was nothing futuristic about the genre called (flippantly, by some) “space opera.” The alien host, the spongy nebulae, the zip and twang of the photon torpedo, the bluster of the starship captain at his bridge—these, according to Hubbard, were not the idle tropes of pulp-fictioneers and drugged-up sci-fi hacks but the stuff of deepest prehistory, somber emanations from the memory of the species. It had already happened, in other words—it, or something rather like it. Humanity trickled down from beyond the stars. Billion-year colonial wars were fought and fought again. And that cold buzz of awe that we get from galactic-scale science fiction? Just the rumbling of our “implants” as they salute their origins in deep space.
Hubbard, of course, founded an extraordinarily profitable religion, incorporating the virgin science of Dianetics as well as a sprawling mythos of interplanetary invasions and implantations—Scientology! The makers of Battlestar Galactica have not demonstrated a similar ambition—no temples for them, as yet. They can lay claim, however, to a decent-sized viewing cult. The original show ran on ABC for one season in the late 1970s, with Lorne “Bonanza Greene in Aquarian robes as the Galactica’s Commander Adama. After its cancellation, various attempts at revival were made, but nothing significant panned out until the project passed into the hands of writer-producers David Eick and Ronald D. Moore in the early 2000s, at which point the great “reimagining” of Battlestar Galactica began.
Ratings for the new show, now beginning its concluding run on the Sci-Fi Channel, have wavered, but fandom and critical interest have been maintained at a heady pitch. Hailed as “the best show on TV,” “one of TV’s boldest and best dramas,” and “a fleet of red herrings flapping majestically through space” (that last one is mine), Battlestar Galactica boasts a fierce corps of geeks and a professorial secondary literature to rival that of ABC’s Lost. (I had to look up, for example, the word diegesis—n. A narrative or history—while reading Cylons in America: Critical Studies in Battlestar Galactica.)
Hubbard might have smiled upon this show’s basic premise. We—mankind, that is—come not from Earth, which is out there somewhere, but from the planet Kobol, whence we set forth long ago in our ships to found the Twelve Colonies: Caprica, Leonis, Gemenon, and the rest. All went well until the Cylons, a race of man-made androids turned hostile, descended from their glassy star-bower to wipe us out. They took us by surprise, the bastards. Copious nuking, enormous loss of life—but one military vessel, or battlestar (the Galactica), survived, along with a few charred and limping people-carriers and their inhabitants. This rump of humanity, 50,000 or so, would hereafter be hounded across the universe by the implacable Cylon horde. The survivors’ goal: to find Earth, the fabled 13th colony, and begin civilization anew...The article continues here.