The miniseries fails to tackle the unseen forces which enable and encourage the institutional rot that wrecks people’s lives.
The film is mostly a sobering dramatization of a true and controversial story in recent Connecticut history.
The film has an eerily WTF arbitrariness that should be the domain of more films in the genre.
The series finale is about as audacious and ambitious a piece of television as I’ve ever seen.
I don’t think it’s coincidence that this was the episode to reintroduce the concept of Cylon projection.
I’ve speculated before that the show’s writers are interested in their mythology, but probably not as interested as their fans are.
Genre fiction requires the infodump.
Battlestar has always had a weakness for Big! Shocking! Moments! that turn out to just be dreams.
The episode is like a primer as to why we came to love all of these characters in the first place.
The ensemble of players, above everything else, is what makes Battlestar Galactica come to life.
The episode is probably going to piss off a lot of fans, especially coming this late in the show’s run.
The show has always given a sense that it’s willing to dispense with vital parts of its premise for an episode or two.
The episode zip along with verve, finding little time for the character moments the last few episodes have been filled with.
This is probably one of those episodes that most of the diehard fans will hate because it’s a little strange.
The episode wasn’t a slam-bang premiere, outside of its opening space battle.
The episode was wonkier than usual for the series.
It’s been 49 days since the last Cylon sighting, and in that respite from battle, the characters have allowed themselves a little time to breathe.
“Woman King” was strengthened by the central performance of Tahmoh Penikett.
The show has always shown a surprising willingness to just jump into situations in medias res when it suits the story
If there’s a shot that Battlestar Galactica deploys more skillfully than any other, it’s the close-up.