Sharon Maguire’s Bridget Jones’s Baby is less a film than it is a series of needle-drops.
For a little while, Reuniting the Rubins promises to be a potentially charming trifle.
The series finale is about as audacious and ambitious a piece of television as I’ve ever seen.
If I have one concern about the finale next week, it’s that the show will not be able to find an ultimate meaning for the character of Baltar.
To a real degree, I’m willing to give the show a lot of slack because it’s a story still in search of an ending.
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 tenuous human/Cylon alliance, in this moment, makes sense.
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 felt shot through with the weight of time passed and the regrets incumbent in such a scenario.
Pervasive grief permeates every frame of Battlestar Galactica’s latest.
The episode was wonkier than usual for the series.
“Woman King” was strengthened by the central performance of Tahmoh Penikett.