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Tag: Battlestar Galactica (1-10 of 75)

Geekly Mailbag: The top five 'Battlestar Galactica' episodes and the best 'Walking Dead' analysis ever

Last week marked the 10th anniversary of the first regular-season episode of Battlestar Galactica, a show I desperately adore and a high-water mark for sci-fi/fantasy television that hasn’t been remotely matched in the last decade. Readers responded with some happy memories about the show and some thoughtful remarks about the current state of network television. And then one responder sent in an email that had nothing to do with Battlestar Galactica, but which is currently my favorite Mailbag email ever. Put it this way: I’ve probably written at least a hundred thousand words about The Walking Dead, and this email made me look at the show in a completely new light.

But let’s start off with some Battlestar Galacti-love! (Remember: You can always email me at darren_franich@ew.com to tell me how completely wrong I am.) READ FULL STORY

Entertainment Geekly: How the last decade of genre television failed 'Battlestar Galactica'

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When Battlestar Galactica aired its first regular-series episode 10 years ago, there were science-fiction TV shows and fantasy TV shows, but you wouldn’t quite call any of them “popular.” Lost was halfway through its first season, but Lost then was only barely a science-fiction show—years away from time travel and alternate timelines and immortal eyeliner and magic lighthouses with magic mirrors. READ FULL STORY

'Battlestar Galactica' and bad finales that damage good shows' legacies

It’s been 10 years since Battlestar Galactica aired the first episode of its excellent ongoing television series. But there’s one aspect of Battlestar that threatens to hold it back from modern-classic status: its ending. Do a quick Google on Battlestar’s ending and you’ll get a pretty quick read on the popular opinion surrounding it—it’s bad.

This matters a lot more than it used to. Thanks to the modern ubiquity of streaming video, what sells us on a show is often the gestalt narrative of an entire season or series—the promise that clicking on “season one, episode one” will take us on an unforgettable journey into Dillon, Texas, or an Albuquerque meth lab, or a weird police box that’s somehow bigger on the inside. But when you have access to every episode of countless television shows, it’s natural to want to narrow down the list somehow. See the really great stuff. Skip all the bad stuff. Many viewers naturally just want to know if something’s worth it. They want to know if it ends well.

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'Battlestar Galactica': A close look at the near-perfect pilot episode, 10 years later

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10 years ago today, the pilot episode of Battlestar Galactica aired on the Sci-Fi channel—back before the Sci-Fi channel forgot how to spell its own name. The episode was called “33.” It wouldn’t be quite fair to call it the best pilot episode in the history of dramatic television; the show technically started 13 months earlier, with a two-part miniseries that introduced the universe of Battlestar Galactica, then basically destroyed that entire universe.

So you could argue that all the hard work was done before the writers started season one. They already had a dynamite cast; the characters had already been introduced; the show’s basic Haskell-Wexler-meets-Star-Trek aesthetic was defined. Then again, you could also argue that “33” had a higher degree of difficulty than most pilots. In one hour of television, the show had to move onwards from the miniseries—but it also had to functionally reintroduce the show’s sprawling cast and elaborate mythology to viewers who might have missed that miniseries, in the long-ago days before streaming video. READ FULL STORY

15 ways 'Outlander' is secretly 'Battlestar Galactica' all over again

The press around Outlander, which premieres on Starz Saturday night but has already released its pilot on Youtube to nearly one million views, has been very positive—and often filled with caveats that it’s “feminist fantasy,” or at least directed at female audiences.

People have made much of the genre shift showrunner Ronald D. Moore made by going from his best-known previous project, the sci-fi epic Battlestar Galactica, to Outlander. The latter, an adaption of Diana Gabaldon’s book series, follows Claire Randall, a World War II nurse sent back in time to 18th-century Scotland. It panders to audiences who like attractive Scottish men, and British period pieces, and cool accents. The former, a remake of a 1970s series, follows the titular Battlestar Galactica as it searches for earth in the midst of Cylon (robot) attacks. It panders to audiences who like complex mythology, space operas, and meditations on post-9/11 politics.

But let’s not pretend that those two shows are really that different—or that the either show is just for drooling fanboys or drooling fangirls. Here are all the reasons why Outlander‘s just like Battlestar Galactica—and why both are awesome.

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One set, two actors, all dialogue: TV's best 'bottle' episodes

Sunday night’s episode of Masters of Sex, titled “Fight,” was one of the series’ best. It stuck the show’s two main characters, Dr. William Masters (Michael Sheen) and his assistant/lover Virginia Johnson (Lizzy Caplan), in a single hotel room and then let them batter out their anxieties and anger through flirtation, role play, and sex, all while an actual boxing match rages on TV.

In TV parlance, episodes like “Fight,” where characters are restricted to a few sets, are often called “bottle episodes”—they’re cheaper to make (you don’t have to build new sets or cast guest stars) but they succeed or fail depending on the quality of the writing and the actors’ performances. In other terms, “Fight” was also nearly a “two-hander,” a term borrowed from stage performance that refers to a play in which only two actors appear. READ FULL STORY

What 'The Leftovers' could learn from 'Battlestar Galactica' about grief

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It’s always a challenge when a television show kills off a sizable portion of humanity in its first episodes. I don’t mean to be flip about that proposition—it’s just there’s a certain series format, seen most recently in The Leftovers, in which the action begins after a near-apocalyptic event has run its course and then the substance of the show deals with whatever follows.

Some do it better than others. In HBO’s case, that calamity comes through a rapture of sorts: Two percent of the world’s population disappears into thin air. What follows is grief—the sudden evaporation of bodies leaves everyone in the town of Mapleton, New York, gasping for spiritual air.  The Leftovers hits hard, but so far it has struggled to weave its intersecting set of individual traumas into cohesive web of collective grief. Perhaps the feeling of empty randomness, even in the plot, is part of the point, but it also misses one if the great advantages of serialized television: the ability to build memorials, and to return to manifestations of loss. There’s one series that’s made use of this better than most others: Battlestar Galactica.

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Aca-scuse me? Katee Sackhoff was cut from 'Pitch Perfect'

In trivia that’s equal parts aca-awesome and aca-heartbreaking, Katee Sackhoff revealed she had a small part in last year’s pitch-slapping film Pitch Perfect, but her role ended up on the cutting room floor.

The star of LongmireBattlestar Galactica, and this week’s Riddick said she won the cameo while visiting her fiancé Scott Niemeyer, a producer for the film, on set. The film needed someone to play a DJ (no, not a Deaf Jew), and Sackhoff volunteered.

“The guy that Beca was dating was dating the DJ, and they said, ‘Katee, wouldn’t it be really funny if you threw a brown wig on and played the DJ?’ And I was like, ‘Perfect, I’ll do it,'” she tells Collider. “So I was actually in the movie, but not in the movie.”

Though Sackhoff didn’t appear in the final cut, Pitch Perfect producer and co-star Elizabeth Banks gave fans a glimpse of Sackhoff in her DJ wig when she posted a photo from set in 2011:
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I'm still not over... Chief and Boomer's tragic romance on 'Battlestar Galactica'

Here at PopWatch, we’re reminiscing about the pop culture moments that we still can’t get over — no matter how much time has passed.

“How many of us ended up with the people we wanted to be with? Got stuck with the best of limited options. And why? Because the ones we really want, that we’ve really loved, are dead, dying, turned out to be Cylons and they didn’t know it.”

So says Chief Galen Tyrol (Aaron Douglas) as he mourns his wife’s death. But he isn’t talking about losing his wife — he’s talking about “the one that got away.” It may be cold-hearted, but in the apocalyptic universe of Battlestar Galactica, he’s kind of right.

It’s been almost 10 years since the re-imagined Battlestar Galactica premiered on the then titled Sci-Fi Network. It was a time when network names made sense, quality sci-fi drama aired rather than just sharks in tornadoes, and geeks exclaimed “Frak!” with only a few confused glances as repercussions. Battlestar Galactica is largely responsible for my overwhelming love for science fiction, but it is also responsible for my greatest TV-related heartbreak. SPOILERS ahead, but really, it’s been 10 years. The Ronald D. Moore sci-fi drama set, interestingly enough, a long time ago in a galaxy far, far away, includes the usual hallmarks of space operas like hyperspeed starships, killer robots, and epic journeys to mysterious planets. But it also features some of the most complicated, poignant relationships ever to be dramatized on TV. To me, the most heartbreaking — and there are a lot to choose from (Starbuck and Apollo! Billy and Dee! Adama and Roslin!) — is the tragic tale of Chief and Boomer.
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Katee Sackhoff loses Twitter followers after gun-safety tweet

Katee Sackhoff started a heated debate on an already-heated topic this weekend when she tweeted about gun safety — and the Battlestar Galactica actress claims it cost her 100,000 Twitter followers.

In response to a CNN report that a 4-year-old boy shot and killed his father with a weapon he did not know was loaded, Sackhoff urged her followers to be careful with their firearms.
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