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Battlestar Galactica Recap: Season 3, Episode 20, “Crossroads, Part 2”

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Battlestar Galactica Recap: Season 3, Episode 20, “Crossroads, Part 2”

One of the great pleasures of long-form serialized TV is an episode when a long string of seemingly unconnected plot threads tie together to reveal something approaching a grand master plan. The build-up to these moments is often frustrating, and it can make even the most stalwart viewer question what he or she is doing wasting their time with a show, but when the payoff comes, if it’s any good, it can be an experience unlike any other in art. Certainly a well-crafted novel or film can have a twisty plot that resolves in unusual ways in the waning passages, but neither form requires the sheer investment of time that a television series does. A TV drama can take a whole season of 20-plus episodes to unfold a story (or, in the case of a very few, the course of a 100 episode-plus series itself). With a novel, you can skip to the end. With a film, you know it’ll all be over in two-to-three hours. With a television series, you’re along for the ride for months to years.

That makes a big payoff all the more important. When The X-Files fizzled to an end, it frustrated viewers so thoroughly because of the time they had invested in the series. Because of the time element, television fans tend to be unforgiving, which makes episodes like Battlestar Galactica’s “Crossroads, Part 2,” written by Mark Verheiden and directed by Michael Rymer, vital to a series’s success. Fan complaints about the series’s third season have been legion, ranging from the meandering nature of the plotlines to a new lack of menace in the Cylons (whom we learned much about before they disappeared for roughly a third of the season) to a long string of episodes that seemed to exist only to provide character development, instead of the plot momentum the series had blended with character development in its first two seasons. If “Crossroads, Part 2” didn’t negate all of those criticisms, it certainly made the case for the series as an intimate examination of the personal problems of a fleet at war, tempered by big action sequences and even bigger plot twists.

The episode answered many of the biggest questions about the show almost casually. Would anyone ever discover Earth? (Why yes!) Who are the final five Cylon models? (Though a case can be made that they’re not actually Cylons, it seems Michael Hogan’s Colonel Tigh, Michael Trucco’s Sam Anders, Rekha Sharma’s Tory Foster and Aaron Douglas’ Chief Tyrol certainly think they’re Cylons.) Is Starbuck (Katee Sackhoff) dead? (No! And she discovered Earth.) Because the bulk of the episode was taken up with the trial of Gaius Baltar (James Callis), most of these revelations were shunted into the episode’s closing 20 minutes, and while the show was breezing past them with a minimum of pomp, their very existence and the speed with which they were revealed seemed designed to leave audiences with their mouths hanging open. Few series haul out major, series-changing events with the ability of Galactica, which seems almost happy to mess around with the status quo at times. And, indeed, even if you’re a fan who felt let down by the series’s pacing this season, it’s difficult to imagine you not wanting to see what happens next right now.

The episode wasn’t all about its plot twists (even though they’re, naturally, what one most wants to discuss). Baltar’s trial came to a chaotic close as an impassioned argument from Lee “Apollo” Adama (Jamie Bamber, never better) led to his father (Edward James Olmos) deciding to vote for acquittal, freeing Baltar to plague the humans for another season. The moments following the announcement of Baltar’s acquittal were nicely shot and edited, mimicking the shocking resolutions of real-world trials. The only misstep in the storyline was that Apollo’s speech came from the witness stand, instead of in a closing argument. Obviously, the writers believed that Apollo would never be asked to make the closing argument (or would have the wherewithal to do so), but even in a universe as far removed from our own (though perhaps not as far as initially thought) as this one, it felt like the sort of thing that would never, ever happen. Even though all of the actors and the strong writing worked to suspend disbelief, they couldn’t quite pull off the sheer unbelievable nature of the scenario. It’s easy to see someone as fair-minded as the senior Adama having his mind swayed by such an argument (namely, that everyone else in the fleet has gotten a break, but Baltar is forced to stand trial because those in power don’t like him), but it would have been better to somehow contort the storyline to have Apollo making the closing arguments.

Callis, who’s held some of this season together with his performance, was essentially comic relief in this episode (memorably calling a would-be assassin butterfingers and rolling his eyes at the bizarre turns of his trial), but his scenes with Apollo and his lawyer, Romo Lampkin (Mark Sheppard) got back to the essential nature of the character—he’s determined to survive, and he’ll do anything he can to make that happen. In a show that piles bibilical allusions on frequently, Baltar has become more and more like a weird amalgam of Jesus Christ and Karl Marx this season, even as the other characters seem to hate him more and more. Baltar’s story came to an end this season as he seemed to fully become the former, whisked away by new disciples, a shroud draped over his head, so he looked like the stereotypical image of Christ. While Baltar’s character shifts haven’t always been plausible this season, his journey from disgraced president to Cylon captive to working-class hero has been the season’s most fascinating, and Callis has been responsible for much of that.

But, even as the show’s first two-thirds were the series at its best (the early scene where Adama and Mary McDonnell’s President Roslin shared a late night phone call was a particular highlight), that final third, packed with revelations as it was, seemed to fly off into some new stratosphere, as though the creative team behind the series knew the season was building to these revelations all along and they simply couldn’t wait to unspool them. The strange music that had wandered in and out of the soundtrack in both parts of the finale came to a head, sounding something like Middle-Eastern rock music and bringing the four newly revealed Cylons together in a small room to confront each other about this new knowledge. Hogan, who hasn’t had as much to do as he has this season, made the most of this scene, culminating in a monologue where he said that no matter who or what he was, he would think of himself as Colonel Saul Tigh. Tigh, who has hated Cylons throughout the series, seemed, perhaps, the most likely to crack under this new revelation, but it seems to have only given him new reservoirs of strength to call on. (And isn’t it interesting, in hindsight, that the right-hand people to both the fleet’s military and political leaders were revealed to be Cylons? Furthermore, since Chief is a Cylon, is his son now the second human-Cylon hybrid? And how huge will the pressure on those two hybrids to someday become a couple be?)

And then the music returned, resolving itself into (of all things) “All Along the Watchtower” as the paltry number of Viper pilots headed out into battle against a (once-again) overwhelming Cylon thread, Apollo with them. Apollo disappeared into a nebula, only to come across an unidentified ship which pulled alongside him to reveal the thought-to-be-dead Starbuck, who told him that she had been to Earth and would lead the fleet there. Cut to a visual effects shot racing through space to show us that, yes, Earth is out there and ready to be found. Between Leoben’s earlier assertions that everything here has happened before and will happen again and the appearance of a familiar song as the Cylon music, the series certainly seems to be building to a revelation of an unending cycle of Cylon-human warfare (or something, I never can tell).

It’s tempting to just turn this review into a plot summary, the blog equivalent of a little kid enthralled by a new tale trying in vain to recall the entire narrative (And then this happened! And then that happened!). But that’s the effect this show can have on its fans when it’s spinning its tales with confidence, as it was in “Crossroads, Part 2.” Because of episodes like this, even the more frustrating episodes can leave the audience hanging on every word, longing to have that age-old question answered: So what happens next?

(A couple of quick notes: Feel free to use the comment section to discuss the season as a whole, as well as this episode in particular. I’m ready to pick apart any and all aspects. In addition, go read this interview with Ron Moore where he talks about the perils of serialized stories vs. standalones as well as the removal of an entire arc that he felt damaged some of the episodes in the season’s second half.)

House Next Door contributor Todd VanDerWerff is the publisher of the pop culture blog South Dakota Dark.

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Awards

Oscar 2019 Winner Predictions: Original Screenplay

This season, Hollywood is invested in celebrating the films they love while dodging the cultural bullets coming at them from every angle.

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Green Book
Photo: Universal Pictures

You know, if it weren’t for the show’s producers effectively and repeatedly saying everything about the Academy Awards is terrible and needs to be changed, and the year’s top-tier contenders inadvertently confirming their claims, this would’ve been a comparatively fun and suspenseful Oscar season. None of us who follow the Academy Awards expect great films to win; we just hope the marathon of precursors don’t turn into a Groundhog Day-style rinse and repeat for the same film, ad nauseam.

On that score, mission accomplished. The guilds have been handing their awards out this season as though they met beforehand and assigned each voting body a different title from Oscar’s best picture list so as not to tip the Oscar race too clearly toward any one film. SAG? Black Panther. PGA? Green Book. DGA? Roma. ASC? Cold War. ACE? Bryan Singer’s Bohemian Rhapsody. Even awards-season kryptonite A Star Is Born got an award for contemporary makeup from the MUAHS. (That’s the Make-Up Artists and Hair Stylists Guild, not the sound Lady Gaga fans have been making ever since A Star Is Born’s teaser trailer dropped last year.)

Not to be outdone, the Writers Guild of America announced their winners last weekend, and not only did presumed adapted screenplay frontrunner BlacKkKlansman wind up stymied by Can You Ever Forgive Me?, but the original screenplay prize went to Eighth Grade, which wasn’t even nominated for an Oscar. Bo Burnham twisted the knife into AMPAS during his acceptance speech: “To the other nominees in the category, have fun at the Oscars, losers!” In both his sarcasm and his surprise, it’s safe to say he speaks on behalf of us all.

As is always the case, WGA’s narrow eligibility rules kept a presumed favorite, The Favourite, out of this crucial trial heat. But as the balloting period comes to a close, the question remains just how much enthusiasm or affection voters have for either of the two films with the most nominations (Roma being the other). As a recent “can’t we all just get along” appeal by Time’s Stephanie Zacharek illustrates, the thing Hollywood is most invested in this season involves bending over backward, Matrix-style, to celebrate the films they love and still dodge the cultural bullets coming at them from every angle.

Maybe it’s just tunnel vision from the cultural vacuum Oscar voters all-too-understandably would prefer to live in this year, but doesn’t it seem like The Favourite’s tastefully ribald peppering of posh-accented C-words would be no match for the steady litany of neo-Archie Bunkerisms spewing from Viggo Mortensen’s crooked mouth? Especially with First Reformed’s Paul Schrader siphoning votes from among the academy’s presumably more vanguard new recruits? We’ll fold our words in half and eat them whole if we’re wrong, but Oscar’s old guard, unlike John Wayne, is still alive and, well, pissed.

Will Win: Green Book

Could Win: The Favourite

Should Win: First Reformed

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Watch: Joanna Hogg’s The Souvenir, Starring Honor Swinton Byrne and Tilda Swinton, Gets First Trailer

Joanna Hogg has been flying under the radar for some time, but that’s poised to change in a big way.

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A24
Photo: A24

British film director and screenwriter Joanna Hogg, whose impeccably crafted 2013 film Exhibition we praised on these pages for its “disarming mixture of the remarkable and the banal,” has been flying under the radar for the better part of her career. But that’s poised to change in a big way with the release of her latest film, The Souvenir, which won the Grand Jury Prize at this year’s Sundance Film Festival. Prior to the film’s world premiere at the festival, A24 and Curzon Artificial Eye acquired its U.S. and U.K. distribution rights, respectively. Below is the official description of the film:

A shy but ambitious film student (Honor Swinton Byrne) begins to find her voice as an artist while navigating a turbulent courtship with a charismatic but untrustworthy man (Tom Burke). She defies her protective mother (Tilda Swinton) and concerned friends as she slips deeper and deeper into an intense, emotionally fraught relationship that comes dangerously close to destroying her dreams.

And below is the film’s first trailer:

https://www.youtube.com/watch?v=t9Al2nC0vzY

A24 will release The Souvenir on May 17.

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Awards

Oscar 2019 Winner Predictions: Sound Mixing

For appealing to voters’ nostalgia for drunken karaoke nights of yore, one film has the upper hand here.

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20th Century Fox
Photo: 20th Century Fox

Given what Eric wrote about the sound editing category yesterday, it now behooves me to not beat around the bush here. Also, it’s my birthday, and there are better things for me to do today than count all the ways that Eric and I talk ourselves out of correct guesses in the two sound categories, as well as step on each other’s toes throughout the entirety of our Oscar-prediction cycle. In short, it’s very noisy. Which is how Oscar likes it when it comes to sound, though maybe not as much the case with sound mixing, where the spoils quite often go to best picture nominees that also happen to be musicals (Les Misérables) or musical-adjacent (Whiplash). Only two films fit that bill this year, and since 2019 is already making a concerted effort to top 2018 as the worst year ever, there’s no reason to believe that the scarcely fat-bottomed mixing of Bryan Singer’s Bohemian Rhapsody will take this in a walk, for appealing to voters’ nostalgia for drunken karaoke nights of yore.

Will Win: Bryan Singer’s Bohemian Rhapsody

Could Win: A Star Is Born

Should Win: First Man

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