Pickford times two
1 hour ago
And they are absolutely going to give me a heart attack waiting for something bad to happen to Desmond, or Penny, or both. It's amazing how this couple who've had a tiny sliver of the shared screen time compared to any combination of the Jack/Kate/Sawyer triangle, or of Jin/Sun, have become the romantic pairing I care most about. That's a testament to Henry Ian Cusick and Sonya Walger's performances, and to the brilliant heartstring-yanking climax of "The Constant," and to the way their story seems so integral to what the show is revealing itself to be about. I felt moved by the childbirth scene, even though I've seen variations on that about 9,000 times over the years, and I misted up a bit when I found out they'd named their son after Charlie (whose life Desmond had worked so hard to save, and whose sacrifice helped Penny find Desmond).Indeed, it just breaks my heart knowing that this wonderful couple is heading for a less than happy ending. I don't think either of them will die -- I refuse to believe the writers would be so cruel (KILL KATE, ahem, KILL KATE) -- but I would feel the same level of heartache I feel when HAL sings "Daisy" while being disconnected. There is such truth, such honest emotion in the Desmond-Penny coupling that I need them to have a happy ending. And yet, she agrees to go to LA with Des... where a certain evil man is waiting to avenge his daughter's death... But between this episode and "The Constant," Desmond is definitely the central figure at my favorite episodes of Lost. Besides being unbearably handsome, Henry Ian Cusick brings such sincerity to his role. His exchanges with Charlie about his impending death(s) were so hypnotizing, and the scene where Desmond tells Penny that he's leaving all of it behind them, I just can't think of another actor who could make my heart swell with such a simple scene. When Lost is over, he should have his own show. And he should be on a boat and shirtless.
We saw Chang wake up with a woman - so it's probably not much of a stretch to assume she might be Lara (though the ABC press release helpfully credits the actress as playing "Woman"). Then we saw the baby, who we knew existed from the Comic Con video. I'll let you all speculate about who the baby might be in this crazy time messed up world... but my money is on Charlotte.My only question is... why would Faraday tell Chang about the purge and about losing his hand? Wouldn't he think that this would mess up the space-time continuum? Did he have some foreknowledge that he would and should interact with the Dharma Initiative?
Furthermore, it seems pretty much proven now that the man behind the camera is none other than Daniel Faraday. Faraday was always the front runner because of the voice, and now with the opening S5 scene - we can all accept this chain of events. We can also somewhat explain why Faraday describes Chang's comments as "useless" in the video - as his speech in S5 about being unable to change the future would naturally make him cut-off Chang's pleas about us finding ways to change the timeline.
Lastly, we can gather that Faraday must make some form of contact with Chang in his time, and that he will tell him intimate details about the DHARMA Initiative's future (including that Chang will lose a hand judging by the way he cradles it).
So what will happen next? We can be sure to look forward to 1970s DHARMA scenes for sure - which personally I think is very exciting. What's even more interesting though is the possibilities it throws up - will it be Bernard who leaves a glass eye in the Arrow station? Will Faraday help build the sonic fence? Will Juliet and Sawyer be the Adam and Eve skeletons? With time relative, anything is possible!
Troy Bolton: Right now I can hardly breathe.'Nuff said.
Gabriella Montez: Oh, you can do it just know that I believe.
Troy Bolton: And thats all I really need.
Gabriella Montez: Then come on!
Troy Bolton: Make me strong! It's time to turn it up. Game on!
• "In some ways, this incarnation of Laura is more disturbing than last week's silent, fetal-positioned mess, or the vengeful robot she let herself become for much of the first half of this season. At least then, she allowed herself to feel something about the plight of her constituency, even if she overreacted to those feelings, curling into a ball or curtailing civil liberties. As Laura freely admits, she just wants to live a little before she dies, and the fleet can go crying to some other mommy the next time it stubs its toe. The moment when Bill and Laura finally consummate their relationship, finally give into their feelings even more freely than when she declared her love for him at the end of "Hub," should feel triumphant, the release of four years of anticipated build-up. Instead, it feels sad. I wouldn't begrudge either party their desire to get some before the apocalypse comes, to find some kind of happiness amidst all this tragedy, but I wish they could have reached this point before Laura gave up on humanity, both her own and everyone else's. I look at her glowing, and wish I could share in her happiness, but I can't."Personally, I thought that, although this episode was plot-heavy, it was really well-executed and Ron Moore gave enough visually compelling images to compliment the story that I didn't feel bogged down while watching it. And while I thought the scene between Dr. Cottle and Tyrol was incredibly awkward -- "his father" should have been more ambiguous, but it was obvious when first uttered that Tyrol was not the father -- I thought that the scene between Gaeta and Starbuck was phenomenal. There was such animosity between them, and it was smart of the writers to draw in issues from all of the seasons, rather than current problems. Gaeta wonders what Starbuck's husband Anders was doing on Caprica before they "so conveniently" met; did he set off a few nukes? Gaeta also brought up the irony of the secret council (who almost airlocked him) being comprised of two Cylons and a woman married to a Cylon. Gaeta's bitter, and actor Alessandro Juliani really sold this scene.
• "It was one thing for the fleet to go along with a short-term alliance, when it seemed like everyone's happy ending on Earth was just around the corner, but Zarek has a point: why should the fleet throw in its lot with the people who put it in this current horrible predicament?"
• "This was Ron Moore's directorial debut after four years of running the show, and several decades as a TV and film writer. A few of the sequences (Adama's multiple bouts of dental hygine obsession, Roslin sprinting through the corridors, Baltar's sermon) called attention to themselves, this final season has become more visually adventurous, so these didn't feel out of place."
The day the staff finished putting the cards up on the board with Ron, and the day before we began writing, I flashed on my favorite American novel, Sometimes a Great Notion by Ken Kesey. It is a much underappreciated and towering work. Anyone interested in fine literature and great story telling should read Kesey’s masterpiece.
The book opens with a childish rhyme that enunciates the theme of the book and what to me was the theme of our show. “Sometimes I live in the country. Sometimes I live in the town. Sometimes I get a great notion. To jump in the river and drown.”
In Kesey’s book, the hero --Hank Stamper, an Oregon logger -- does constant battle with the river that runs past his home, a river that has claimed the lives of pets and loved ones and comes to symbolize the vast and indifferent power of the universe that both gives life and cruelly snatches it away again. In his notes to himself as he was writing the book, Kesey scribbled something that has become one of the shorthand phrases Brad and I use while writing scripts. Kesey wrote: “Try to make Hank quit.” By that he meant: take this strong, heroic character and pile one misfortune on his back after another until he finally falls. What happens in that moment? Does he despair? Does he get up and go on? For me, there is no more defining moment for a character.
We tried to do this with almost all the characters in this episode: Adam, Laura, Kara, Lee. We ripped everything out from under them then sat back to see what they would do. What were their individual breaking points? And if they did break, would they stay broken or grope toward a recovery?
Dee's death comes with a great deal of symbolism for the series. I don't know if this is what the writers intended but it struck me that Billy and Dee's innocent love on the ship in the midst of complete devastation was what prompted Adama to choose to save humanity rather than fight to the death at the start of the series. It was that love that was the hope of the human race.Toonsterwu
Now Billy and Dee are dead -- and Dee killed herself. It really has come full circle. The hope of humanity now the despair.
The only positive image now is Helo, Athena and Hera. Human, cylon, and a mix together.
(Although I disagree with this commenter, I do think it's a beautiful idea, deeply rooted in mythology) I am wondering right now if the Final Five are "angels" of sorts and that a "God" of some sort gives birth to civilizations across the galaxy. People are given free will to decide how they live. If their civilization should get troubled, the Final Five are sent to try and offer assistance of some sort. If all else fails, a harbinger of death is sent. All along, though, people have free will and the ability to change their destiny. Some societies don't, and they end up dying.theoldboy
The suggestion that Saul and Ellen may have spent 2000 years in a series of dysfunctional marriages is pretty beautiful.Anonymous
What happened to Dualla was perfect. It's not just that she was a case study in post-Earth fleet grief, it was the logical end for her character arc: she went through losing Billy to a bullet, and then Lee sporadically to whatever Lee and Starbuck had going on, and then Lee again to the Quorum. And she kept all of that inside. It gives that seemingly a little overplayed farewell ceremony where she and Lee said temporary goodbyes back in episode 2 (I think) of this season a lot more meaning in retrospect. Actually this episode makes virtually everything meaningful in retrospect. Even the love quadrangle tons of people didn't like in S3 now has some tragic resonance. The only things that come to mind that this episode doesn't excuse are Black Market and Romo's ghost-cat. (Haha!)
And then Dee took off her wedding ring, put a gun to her head, and pulled the trigger--my jaw hit the floor. The first feeling was shock, I think, and then almost a guilt...guilt for never understanding her character, guilt for blaming her and dismissing her without reason...
Just like you said, everything, EVERYTHING relating to Dee's character now carries a special resonance, speaks to the immense tragedy of a woman clinging to every vestige of happiness that she can, in order to not fall into the void of despair. Even her miniseries spontaneous kiss with Billy-a desperate attempt to grab onto a handhold of happiness in love in the face of unspeakable tragedy and loss.
And her love for Lee-dumb, yes, and weak, maybe, and also unwarranted. But why did I blame her for that? The same argument could be made for Lee and his feelings for Kara, and I love them together. Was I being sexist, or just irrevocably committed to my fervent love for Starbuck and Apollo as an entity...who knows. All I know is that I misunderstood Dee as a person, and that her death sheds light on a measure of hopelessness of which I was before unaware, a deep-rooted despair coupled with a desperate desire to cling to happiness that makes me feel for her character. And for the first time, I looked at Lee, grief-stricken with Dee's jacks, and blamed him-blamed him for marrying her, for trying so hard to be in love with her when he must have known he could never be, blamed him for cheating, blamed him for turning to her in the midst of an apocalypse when he needed a shoulder to lean on, relying on her and taking her support for granted when they both knew, deep down, that it was never going to be. And again, my blaming of Lee, in this situation, is not completely warranted (part of what makes BSG such an emotionally rich, thought-provoking show-but that's another discussion). All I know is that I always thought Dee's departure from the show would be a positive thing, and that tonight I am very, very sad, and deeply moved, by her tragic death.