Feb. 7th, 2009 01:08 am
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Much of this is taken from my initial reactions over at battlestar blog. I'd screen it further, for the squee, but I'm not really ashamed of this fandom, my enthusiasm. It really is remarkable, this show.

HOH. BEST EPISODE EVER. So much comes together. So many references both to prior incidents (KELLY I LOVED YOU SO MUCH WHEN YOU HAD YOUR LITTLE BREAKDOWN[s]), and to science fiction in general. The pace of it, throughout, was just so authentic, and yes I am using that word. There's been talk around the net about the show's plotting slapdashery, and if it is indeed the case that they've been making it up as they go, I just gotta say: THANKS, UNCONSCIOUS! (The unconsciousNESSES of the writers and producers, that is, cos it's been just increasingly interconnected, all of it.) Suspension of disbelief so very much gone beyond ELEVEN tonight.

It's very satisfying to have paid such close attention for so long, to have thought and considered and taken very seriously this bit of popular culture (especially given my relation to the classic show, as a bit of the ideology of my Mormon upbringing). I feel a kind of rare gratefulness - maybe this is what those folks felt on the quay waiting for news of Little Nell. Cos this show is at least Dickens or Zola, if not some kind of diabolical love child of Elizabeth Gaskell, Trollope, and Charles Brockden Brown.

Didn't you squee like hell when Chief ended up in the ENGINE ROOM: like Scotty with his baby, sigh (I love this show for its cultural memory). I've always wanted a shot of the engines, always - let's see some moving parts (and not glowy screens)! He's been so very interesting, that Aaron Douglas, such a fine actor, and kind to the fans. STEAMPUNK TYROL.

My heart broke a lot at the end of Gaeta's conversation with Baltar - Gaeta's characterization and plotting has some complicated things to say about being gay: as much of the bad guy as he's been in the last few eps, his conflictedness edges him back into the realm of the human here (as compared to Cain, anyway), so that's good. In a certain way, Gaeta becomes even more representative of your average everyday human reaction to events (nothing pathological about it). And that last exchange of looks between Zarek and Gaeta was clearly ironic: they look the same and they're very much not. [Let's pour one out for the quorum, while we're at it. *fist shaken at Zarek*] "I hope people realize eventually who I am." There's a kernel in there about how difficult it still is to be queer in the US.

BALTAR: "I know who you are, Felix." Ex-lovers ftw. Also: the first ep ever in which Baltar does something selfless (or at least intends to, WHICH IS SAYING SOMETHING, NU?).

Roslin! I was pumping my arms throughout! \o/ I'm sure others have much smarter things to say about how lovely and amazing and so beautiful she is in this ep. WHO DO YOU WANT TO BE? Her. (That delightful tracking shot along the edge of the basestar as her words reverberate [I'M COMING FOR YOU ALL]. Awesome.)

Lee and Kara: Sundance Kid and Butch Cassidy. SAY IT WITH ME NOW: homosocial! It's weird to have them be the comic relief, especially as Lee looks like (except for the blood) he just got back from the office or church or something.

Sammy. I'd say *meep* but it wouldn't convey enough of my distress.

How much did you love seeing Narcho at the end of Tigh's firing solution? THIS MUCH. So elegantly played, that bit of exposition.

If you've read this far, you're implicated.
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