Battlestar Galactica: What A Difference 25 Years Makes

Battlestar Galactica: What a difference twenty-five years make? An examination of the original 1978 production and the current version of Battlestar Galactica and how they reflect the changing world of American television.

Wendy Elrick

Word count: 6009

The two versions of Battlestar Galactica are stereotypical science fiction programmes in many ways. Set in space upon a variety of spaceships, the series follow groups of humans struggling to survive. Both programmes share elements of back story: their main antagonists are Cylon robots; the series start withan attack on the twelve colonies of humanity; both series involve a search for a new home on Earth; the main battleship,the Galactica, protects a fleet of civilian vessels on this journey. In fact, many of the characters share the same names and roles and even some of the episodes have the same plots. It is the differences that help highlight the ways in which American television has changed over the twenty-five years between the two productions.

The comparison of old and new is aided by the fact they are based on the same idea. Originally the programme was devised by Glen A. Larson and based, to some extent, upon his Mormon faith. He may have been retained as a creative consultant on the new series, but the show runner and executive producer is Ronald D. Moore. Moore is most well recognised for his work onthe newer Star Trek series, namely Star Trek: The Next Generation and Star Trek: Deep Space Nine. It can be claimed that the original series was commissioned due to the success of Star Wars in cinemas, and the networks were keen to cash in on the boom in science fiction. On the other hand, the modern series was commissioned at a time when there were many science fiction programmes on the airwaves and it is an increasingly developedand popular genre.

Many people’s first experience of the science fiction genre isStar Trek. This influential television programme ran in the late 1960s for only three seasons. The original developer of Star Trek, Gene Roddenberry, stated that his programme was to be a sort of “Wagon Train to the stars”1. This wish to capitalise on the popularity of television Western series is perhaps more

1 “Gene Roddenberry Biography”, The Museum of Broadcast Communications <http://www.museum.tv/archives/etv/R/htmlR/roddenberry/roddenberry.htm>

explicit in the original Battlestar Galactica, with the main ship protecting a “rag-tag fleet”2 similar to the pioneers crossing the American Wild West. As westerns have declined in popularity, the narrative framework of travelling, exploring and being heroic against a hostile environment has shifted wholesale to space3.

One of the ways in which the original Battlestar Galactica makes explicit its link to these Westerns is through the casting of Lorne Green, familiar to viewers as Ben Cartwright from the long-running television Western Bonanza. In some critical circles, this led to the show being nicknamed Battlestar Ponderosa after the ranch in that show4. The similarities of the individual fighter space ships the pilots fly (called Vipers) to horses and their clothes of brown leather to the costumes of cowboys is also not accidental in my opinion. The episodic nature of the plot – encounter a hazard, overcome it in a (normally) violent way and carry on with the journey – also helps echo the world of the television western. Indeed, two episodes (“The Lost Warrior” and “The Magnificent Warriors”) are set in Western frontier towns with sheriffs and saloons, as well as plots based on the classic Westerns, Shane and The Magnificent Seven. This simplistic pigeon-holing enabled the producing network to sell advertising based on a clearly defined broad family demographic, suitable to its prime-time broadcasting slot of 8pm on a Sunday, on the major network, ABC.

The new Battlestar Galactica is much closer, generically, to the world of Star Trek. The folksy western-style journey has gone to be replaced with a much more militaristic world, with its naval traditions and saluting. In many ways, the series is almost a war film, examining the effect of a drawn out campaign on soldiers and civilians. This militaristic world is2 Named as such in the opening credits of the original series3 Further discussion in Johnson-Smith, Jan American Science Fiction TV: Star Trek, Stargate and Beyond London: IB Tauris, 2005 pp. 39-484 Muir, John Kenneth. An Analytical Guide to Television’s Battlestar Galactica. North Carolina: McFarland & Company, 1999, pp. 37

represented by the character of Admiral Cain with her court-martials and summary executions. In addition, the occupation of the colonies by the Cylons, firstly on Caprica leading to aresistance and subsequently on New Caprica, with the direct parallels to the American occupation of Iraq or the Nazi occupation of France in World War 2 with its collaborators andanother resistance could also be said to belong to the war genre. The political machinations of Laura Roslin and Tom Zarek could be said to have more in common with The West Wing than any science fiction programme. In addition, there are also numerous romantic and character based subplots, includingdying of cancer and adultery. This generic hybridity as opposed to the more simplistic “shoot-em-up in space” feeling of the first series is partly responsible for its success in this post-modernist world. The complexity of the show is reflected in the narrower niche audience it is aimed at. The producing network is not a general entertainment network but the cable channel, SciFi.

By 1978, network television had developed into a stable system, with the three big commercial networks (NBC, CBS and ABC) controlling most of the television output. These were funded mainly by advertising, which was sold based on the audience share during the Sweeps months. They had internal production houses too, although their distribution was controlled by local stations. There were independent production houses, but fewer than there are today. Battlestar Galactica was produced by ABC Universal. The network was also subject to strict regulation by both law and by the network executives themselves. The network wanted a family friendly show, suitable for all ages in order to expand their advertising profile. In many ways, the increasing role of the child character, Boxey, and his pet robot, Muffy the Daggit, as well as the changing role of Cassiopeia (Laurette Spang) from a prostitute (socialator) to a nurse is a sign of the strict moral code the show had to adhere to. Family centric

values were very much to the fore with the Adama family being the core of the show.

In contrast, the world of American television in 2003 was verydifferent. New technologies such as cable and satellite television have led to a growing number of channels catering to more niche audiences. In addition to the original big commercial networks, there is also a growth in the number of commercial networks that distribute through the old system. These cable channels, especially Showtime and HBO, use a subscription only model and therefore do not advertise. They have built a reputation on adult dramas with violence, sex andadult themes, a world away from the family friendly fare of the past.

The new Battlestar Galactica is a child of this new television era. Not only is it produced and distributed through a minor cable channel called Sci Fi which was founded on re-runs of popular Science Fiction programs and B-movies, but the production is funded cross-nationally in partnership with Sky Television, a British company. In addition, the main production is situated in Canada, in the filming nexus of Vancouver, where the SciFi Channel has also based its production of Stargate SG1 and Stargate Atlantis. It costs considerably less to film in Canada than in the traditional filming area of Southern California, notably LA5. The programme still has to face some regulation, as the network send ‘notes’ to the producers on each script6. One notable boundary that has not been crossed isthe use of major expletives, instead choosing to replace them with “frak”, a term from the original series, leading to expressions like “mother-frakker”. Other terms such as “feldercarb” have not been retained and instead the fairly minor word “shit” is used. In the 1970s, this word would have been unthinkable anywhere on network television.

5 Leung, Calvin Northern Overexposure Canadian Business, August 14-September 10, 2006 6 Discussed in Ron Moore’s podcasts, available on www.scifi.com/battlestar/downloads/podcast.php

Budget was still something that played a large role in the original series and in its cancelling. The show had a reputed then-unprecedented budget of $1 million dollars per hour. Theofficial reason for the cancellation was cost overruns in addition to declining ratings. In addition, the critical response to the show was scathing, limiting the probability ofa growing audience. The modern series production seems to aim to minimise the risk of budgetary difficulties. Sharing the cost was a manner in which to spread the financial outlay and therefore reduce the initial outlay. Instead of a traditional pilot and series order, like the original series, the new series was kicked off by a mini-series over two episodes. Thisenabled the producers to gauge audience reaction as well as play on the SciFi Channel’s reputation for producing stand-alone mini-series. The popularity (and positive critical response) to the series led to an initial series being orderedof 13 episodes. In another departure from traditional Americannetwork television, the series have not been the usual 22 or 11 episode orders (full season or half season) but have variedin number of episodes.

On the other hand, the development of the internet has also had a role to play in the success of the new Battlestar Galactica. Whilst the original series spawned fan clubs, thesewere limited by geographic and communication difficulties. Theinternet has allowed not only greater interaction between fansbut also a direct conduit between fans and the creators of theshow. Ron Moore’s podcasts are a perfect example of this. Theyare similar to a DVD commentary in that they discuss the show but are available a few days after the show airs. In addition,blogs and forums also allow the creators and cast to interact in a way that was impossible in the time of the original series. In addition, it has also allowed the SciFi channel to provide catch-up montages to aid new viewers7, as well as promotional material involving famous faces from the world of

7 “What the Frak?” available http://www.scifi.com/battlestar/video/index.php?sub=specials

entertainment and music8. The internet has also been used to distribute what must be an official video in a viral way promoting the new series over the old called “A New Crew in Town”9. There were also short five minute episodes of the show broadcast between seasons with minor characters called “Webisodes”. These acted to build excitement at the start of the third seasons and before the broadcast of the “Razor” miniseries. At the moment, the channel is also promoting what they hope to be a social network for fans called “Join the Fight”10, however the rather juvenile nature of the site would appeal mainly to a more traditional Sci Fi audience.

The audiences who consume television have also changed over the thirty years between the series. It has changed from a broadcasting system, where one programme met many demographicsto a narrow-casting style, with choice and competition from DVDs, the internet, etc. allowing niche audiences to develop. The subscription satellite and cable networks aid this. In addition, the old programme was aimed at a family audience with a lack of swearing, violence and adult themes. In contrast, the new series aims itself explicitly at an adult only audience. On the other hand, the show has shown itself willing to cater to the “geeks” by releasing toys associated with the show, primarily action figures and Minimates (Lego like figures). The merchandising of the original series was much more diverse, with everything from model kits to bed covers. Nowadays, not only is the audience older, but the producers have created an expectation that the audience will be smarter, better-educated and more cine-literate. One way they have done this is through the use of challenging advertising, such as the Cylon baby advert11. The critical

8 Battlestar Galactica: The Phenomenon available http://www.scifi.com/battlestar/video/index.php?sub=specials9 “A New Crew in Town” See Appendix 310 Join the Fight available http://jointhefight.scifi.com/11 http://www.youtube.com/watch?v=YB5OgidhfL, Further analysis in Dzialo, Chris “When Balance Goes Bad: How Battlestar Galactica says Everything and Nothing” in Potter & Marshall Cylons in America New York: Continuum, 2008 pp. 173-176

response to the show has aided this intellectualisation of theprogramme, with many non-genre magazines and news programmes showing an interest, such as Time and The Late Show with David Letterman12. These icons of American intellectual thought would not normally have covered such a minor channel, let alone a science fiction programme.

The changes in some of the main characters in the television show also help illustrate the changes in American television. Whilst the old show was racially diverse in that Adama was white and Saul Tigh, his second-in-command, was black, as was Boomer, one of the pilots, the lack of women in positions of responsibility was notable. Indeed, the creation of a women-only fighting wing in the episode “Lost Planet of the Gods” isseen as something of a joke by the chauvinistic Starbuck. The inclusion of black actors was seen a result of a policy of tokenism in that a certain quota of the cast had to be black. This has changed significantly in the newer series with the leader of the entire human race being a woman. In addition, the mix of races has become less tokenistic with Edward J. Olmos (Adama) being Hispanic, Kandyse McClure (Dualla), black and Grace Park (Sharon/Boomer/Number Eight) Asian to name onlya few. The re-introduction of Starbuck, the strutting male lead of the original series, as a woman also changes the balance more dramatically, to reflect the balance of modern American society.

Even through this utopian colour and gender-blind society is presented as a matter of fact, it is clear that prejudice still exists. One clear indication of this is during the show’s third season where the discrimination against people from a poorer colony, Sagittaron, by a doctor is explored in “The Woman King”. Class struggle is stirred up by Gaius Baltar’s smuggled writings during his imprisonment. The perceived primacy of Caprica is demonstrated quite dramatically by James Callis’ superb performance, switching from the rural Yorkshire-inflected tones of Aerelon to 12 “The Top Ten List” from The Late Show with David Letterman CBS, 19/03/08

Caprica’s clipped Received Pronunciation. In many ways, the utopian world-view is much more present in the older series and the recognition that, even though progress has been made, there is still prejudice and injustice present in society.

The change in the nature of the main protagonists is also dramatic. Starbuck’s change in gender remains to many fans oneof the biggest differences in the new series. In the original series, Starbuck was an unreconstructed male, cigar-smoking, gambling and women-seducing. In the first episode, he was shown taking advantage of a grateful woman he had rescued in the launch tubes. He is also the best pilot in the fleet, rivalled closely by his friend Apollo. He would often resolve a storyline through his martial prowess or his considerable charm, leaving the thinking and strategising to Apollo. Starbuck was played by Dirk Benedict, who later went on to play a similar role in The A-Team as Face. His character was designed to be attractive to women, a smaller demographic in most Science Fiction, and is in many ways reminiscent of Captain Kirk from Star Trek in that way.

The new Starbuck displays many of the same traits: she is first shown drinking, playing cards and smoking a stogie. She then punches her superior officer, Saul Tigh, and is thrown inthe brig. The martial prowess and aggressive nature of Starbuck as shown to have a more negative side in contrast to the winning ways of Dirk Benedict. This Starbuck also has a lively love life, flirting with Lee Adama, Sam Anders and a Cylon known as Leoben. These twisted affairs are not the innocent flirtations of the earlier version. In her relationship with Anders, she seems to be using him. With Lee Adama, their relationship continues when both of the characters are married, after they beat each other to a pulp in a boxing match. With the role of eye candy taken by Tricia Helfer’s Number Six, the recasting of Starbuck as a women is, in my opinion, a reflection on Third Wave feminism. She can doanything the boys can do, in an “Annie Get Your Gun” way,

without losing her femininity and sexual identity13. The more conflicted character and the exposure of previously positive traits as negative also demonstrates the reality of human emotion, and not the cartoonish view that was acceptable when the original series took place. The graphic nature of the relationships is also a reflection of the loosening of strict Network decency pressures on cable channels, with the way being led by HBO and its subscription only model.

Another interesting change from the original series is the essential nature of the Cylons. In the original series, these robots were designed by an alien race who they had slaughtered. They were all mechanical, all the way to their Supreme Leader (voiced by Patrick Macnee). The slow way in which they moved was almost comical, as was the very shiny nature of the suits and their vocabulary limited to “By your command”. The machine like nature of the Cylons reflected a fear of technology fuelled by nuclear proliferation during theCold War. The facelessness of the enemy linked to the endless hordes of communists racing to destroy America and the American way of life, even being criticised in the Russian newspaper Izvestia for this14.

As a new enemy threatens the American way of life, so does therepresentation of this enemy on television. No longer a faceless machine, the Cylons have become like humans, and can attack from within. There are twelve models of Cylon, including the mechanical centurions, similar to the entirely robotic versions of the old series. Using CGI, these are swiftly moving gigantic frighteningly efficient killing machines. The more interesting Cylons are the so-called ‘human’ models, despite the fact that the introduction of human Cylons was an attempt to cut the budgetary problems thatCGI Cylons would cause if used constantly. These perfectly

13 For a further discussion see Conly, Sarah “Is Starbuck a Woman?” in Eberl, Jason. Battlestar Galactica and Philosophy. Maiden: Blackwell Publishing, 2008 pp. 230-4014 Muir, pp. 37

mimic humans and can infiltrate the fleet without any problem at the beginning of the series. In a post 9/11 world, it is surely the enemy that looks like us that presents the most paranoia. Interestingly, two of the Cylons are actors known inthe world of cult television as heroes: Dean Stockwell, Al from Quantum Leap and Lucy Lawless, Xena from Xena: Warrior Princess. The fact that these ‘good guys’ are playing against type also highlights the difficulty of telling right from wrong in the new Battlestar Galactica. Even though the Cylons clearly look human, and appear to feel emotions there is a certain depersonalisation occurring through the use of the language that the colonials use, such as calling them “toasters” to highlight their machine nature15. Toasters are also harmless which the Cylons are not, and it could be a tactic to reduce the fear felt by their strength, power and constant resurrection.

The role that Richard Hatch has been brought back to perform also plays with the audience’s expectations of the hero archetype from his role as Apollo in the first series. As Apollo, the level-headed, responsible pilot, he was a dutiful son, a substitute father and a heroic fighter. He is shown as an upright role model, the type of man every self-respecting American should be. His glossy clothes and fabulous hair exemplified the glamorous world of the fighter pilot. Conversely, his role as Tom Zarek in the new series is far removed from any glamour, let alone an upright hero. He is still a role model, in a twisted way, fighting against the perceived injustices of the Colonial world order. In one exchange, the character of Dee argues with her romantic interest about whether he is a “terrorist” or a “freedom fighter”. The fact he starts the series as a prisoner before rising to President of the Colonies (for a short while) demonstrates the ruthlessness and ambition of the character. This could be read as a deliberate nod to the life of Gerry

15 Johnson-Lewis, Erika “Torture, Terrorism, and Other Aspects of Human Nature” in Potter & Marshall, pp. 29, 35

Adams, the IRA fighter turned politician, (Nelson Mandela and Yasser Arafat are also mentioned) but it is clear that the moral complexities at the heart of the new character are, again, an enormous distance from the simple world of the 1970s.

Other casting decisions also prove interesting, particularly that of the show’s leads, Admiral Adama (Edward James Olmos) and President Roslin (Mary McDonnell). Both these actors are seen as ‘serious’ actors, winning awards like Emmys and GoldenGlobes, as well as being nominated for Oscars. The producers of the show offered the roles directly to these actors, but byexamining the alternatives that included Brian Cox and Susan Sarandon16, it is clear that the show was always aiming to employ actors with gravitas and stature. This is a clear nod to the requirement of the programme to be taken seriously by audiences. It also reflects the modern trend of film actors taking roles in television series, as demonstrated by Kiefer Sutherland in 24, Glenn Close in Damages and The Shield and Martin Sheen in The West Wing. This would have been unthinkable in the 1970s. Guest stars have tended to come from the world of genre television, with Carl Lumbly from Alias and Nana Visitor from Star Trek: Deep Space Nine being notable examples. The original show also starred many prominent guest stars, such asJane Seymour and Lloyd Bridges, as well as many actors who hadbeen in shows like Star Trek, Lost in Space and Space 1999. The need for special guest stars reflects a continuing need in television to attract ratings and one way to being viewers in is through the popularity of actors.

In the original series, the governance of the Colonies post-apocalypse was not at the centre of the programme. Indeed, thefamily of Adama and his crew was the main focus. In some ways,Adama and his extended family (and the conflicts therein) remain the emotional focus whereas many story points are originated with the political consequences of government 16 Bassom, David Battlestar Galactica: The Official Companion London: Titan Books, 2005, pp.22

decisions, made by Laura Roslin (as well as Gaius Baltar and Tom Zarek). In the original series, the government of the Colonies was performed by the Quorum of Twelve, a mainly corrupt and buffoonish group of men. Admiral Adama also sat onthe Quorum as the representative for Caprica. This intertwining of military and civilian roles is never commentedupon, especially as the audience is supposed to trust Adama and respect his wisdom. The dishonest and lazy nature of the Quorum may be a reflection on the distrust that politicians were held post-Vietnam and also just after the Nixon resignation. They also provided Adama with an enemy within, todemonstrate that he had the moral authority and therefore the right to lead the fleet. In this way, Adama is clearly established as a fulfilment of the patriarchal role of government; moral and the font of all wisdom. His religious knowledge in the episodes “Lost Planet of the Gods” also confirms this. Some see this as “fascistic17”, celebrating the superiority of the military. In many ways, however, it is merely a reflection of the simplistic writing and characterisation endemic in the series.

The new series is much more complex. The continual pressures between the military imperatives of saving the human race, as represented by Adama, and the civilian rights and dignities asexemplified by Laura Roslin provide much conflict in the series. Adama is still seen as having authority in that he wants to beat the Cylons and revenge the destruction of the twelve colonies. He is prone to sentimentality and ruled by emotions, as when he holds the fleet in position to search forStarbuck beyond all reasonable hope. Whilst this is an admirable quality, and enables the character to be imbued witha certain warmth, this is not normally a stance taken by a military commander. The two women who provide a foil for him –Admiral Helena Cain and President Laura Roslin – lack this warmth, at least when making crucial decisions.

17 Muir, pp. 3

Roslin starts as having very little real authority – she was 43rd in line of succession and the Secretary of Education before the attack. She survives the challenges from Zarek and the other politicians in the fleet as well as attacks from thepress. She eventually grows to accept her role fully, choosingthe hard path of banning abortions (a shocking and telling wayof showing how far Roslin has grown as well as a challenge to the American audience who continue to live the spectre of anti-abortion campaigners on a daily basis). Roslin then demonstrates herself capable of attempting to fix an election and of making tougher choices, even shooting at Starbuck to defend herself. This demonstrates an ever-evolving character arc, something her analogue in the old series, Adama, did not progress through. There are hints of this early on in the series where she sanctions torture to gain information from the Cylon Leoben and then flushes him out the airlock, breaking her promise.

The character of Cain and the reuniting of the Battlestar Pegasus with the remainder of humanity is based directly on anepisode from the original series called “The Living Legend”. Cain is played by Lloyd Bridges who was in films, such as Airplane!, and in television programmes like Roots. The two Cain’s share many attributes: bravery, stubbornness and a hatred of the Cylons. In both episodes, Cain’s “gung-ho” attitude leads to problems with the fleet being placed in danger. Whilst Cain in the original series automatically defers to Adama, the new Cain, played by Michelle Forbes, is already an Admiral and has seniority. She takes command of theentire fleet and refocuses their objectives on vengeance, using whatever tools necessary to rule through fear, includingrape and torture. Disaster comes to her, when she is shot by Gina, a Number Six copy tormented on her ship, demonstrating the power of the cycle of vengeance and commenting on the US presence in Afghanistan and Iraq.

This dark tone, rooted in reality and effectively maintained throughout the series, is another change in the nature of

television. The original series is almost overwhelmingly positive, despite the tragic nature of the Cylon attack. The positivity of the colonials is also reflected in the bright colours of the leisure clothing and the lighting, although themilitary uniforms are more muted in dark navy blue and beige. This is partly a reflection of the production style of 1970s television and is present, to an extent, even in the films of the era, such as Star Wars. The dark tone may also be attributedto the nature of cable television. Shows such as The Sopranos and Six Feet Under have proved overwhelmingly popular, as has the realism of programmes like The Shield. These are all non-network shows. To a certain element of the audience, these shows demonstrate the new primacy of cable over network television and they are willing to pay for the perceived quality. In thisway, the programmes have stopped being merely conduits for advertising and have become products in their own right. In addition, there was a real feeling on the part of Ronald D Moore, that he wanted to address the issues he saw as faults in previous productions he had been part of, namely Star Trek: Voyager. In a webpost18, he states “I think the audience intuitively knows when something is true and something is not true... At some point the audience stops taking it seriously, because they know that this is not really the way this would happen. These people wouldn’t act like this.” Also, he refersto films like Children of Men as “our kind of Science Fiction”19 in that dark realism enabled the show to tell more relevant and powerful stories, to meditate on modern America.

One of key issues explored in Battlestar Galactica is the examination of religion. As fundamentalist religion is an excuse for violent acts of terror around the world, it seems ever more essential that this theme is explored and the audience’s expectations and opinions are challenged. By using sympathetic characters, the new show enters the discussion on religious hatred and belief. The original show always had a 18 The Ron Moore Interview 1999, Usenet post: http://hypatia.slashcity.org/trekshack/moore.html19 Moore in Razor Writer’s Meeting podcast Part 1

religious bent, being based on the ideas of The Book of Mormon where a thirteenth tribe heads off to establish a new land. Adama is seen reading the scriptures and interpreting the discovery of Kobol. The gods or “Lords of Kobol” are all namedafter Greek and Roman gods and the religion is polytheistic. In the new series, the state religion remains polytheistic butthe Cylon monotheism is also explored. This is another way of humanising the machines but also serves to show two sets of religious beliefs in conflict, not unlike the Judeo-Christian/Islamic conflict. In addition, Baltar’s conversion to the monotheistic religion and his choice to become a prophet of it (and cult leader) also seems to invite comparisons with other cult leaders like Charles Manson, or perhaps, with Christ. Indeed, much of the imagery surrounding Baltar in the fourth season could be said to be Christ-like, such as his beard, long robes and the arms outstretched posture. Baltar also has visions of a version of Number Six, who guides him and openly states “I am an angel from god”.

More interestingly, Laura Roslin’s choice to use religious belief to achieve political ends also may reflect on PresidentBush’s use of his born-again Christian beliefs to maintain hisposition. Even though religion was a part of the original series, particularly in its references to the “Lords of Kobol”, original founders of the colonies, it was never reallyexplored in any detail. Partially this reflects the more action-orientated plots of the original, but it also reflects the perceived mono-religion of the US at the time. Instead, the new series, with its avowed wish to explore the human condition, shows the audience the monotheism of the Cylons andBaltar, the polytheism of Roslin and Starbuck as well as the mysticism of the Gemenese and the other forms of worship throughout the fleet. This diversity reflects the reality of humanity.

It is this interest in reality that also dictates the way in which the camera is used in the new series. The camera was used in a very traditional way in the original, with its high

key lighting and standard static camera work. The new series deliberately chooses a different direction20, mainly credited to the director of the mini-series and first episode, Michael Rymer. He relies on handheld camera work to reflect a documentary feel, a move pioneered by programmes like ER. The mise-en-scene also helps differentiate. In the original series, the costumes and the technology were clearly futuristic, especially the Core Command set, with its scannersand monitors. The costumes are also very fantastical, althoughthe helmets of the pilots nod deliberately to Ancient Egyptiandesigns. There is an effort in the new series to avoid this because the main ship, the Battlestar Galactica, is an older ship. Devices such as older monitors from the 80s and 90s are used as are phones with cords. The costumes are close to the uniforms of the modern military and the civilian clothes are typical modern styles. The costume designer Glenne Campbell claims that much of the inspiration comes from “fashion magazines”21.

The main similarity between the two series comes in the structure of the episodes. This is much more similar to the BBC programme Doctor Who in that most stories run over two or three episodes, than the traditional American series, althoughthere are a few stand-alone episodes. In its first season, thenew series ran a similar style of mainly stand-alone episodes and two direct two-parters. However, there is an ongoing storyarc, especially with character development, as well as the revelations of the true nature of the Cylons in the newer series, whereas in the original series there is no longer-termarc beyond each collection of episodes. The stand-alone natureof the episodes becomes less apparent in the second season, where the first seven episodes each resolve the issues arisingfrom the season one finale. Similarly, the start of seasons three and four work in an ongoing fashion. Indeed, all of season four is one continuous plot line, with no story taking

20 Moore, Ronald D Naturalistic Science Fiction 200321 Bassom, pp. 143

prominence in any episode. The episodes from the earlier series and many of the stand-alone episodes in the new series follow a traditional A, B and C story structure with the A story being the main plot, often of a serious and conflicted nature. The B plot will tend to be much more character driven,and will often link to the A plot in some way. The C plot willoften be more light-humoured, and may even provide comic relief. An example of this structure is clear in “Murder on the Rising Star”, where the main threat is Starbuck being accused of murder, the B plot is the revelation of Baltar accomplice, Karibdis, in the destruction of the colonies. The C plot here concerns Starbuck and Cassiopeia’s relationship. In the new series, an example would be “Colonial Day” where the A plot is a suspected assassination plot against PresidentRoslin resolved by Starbuck and Apollo. The B plot is the political machinations to have Roslin’s choice elected as delegate for Caprica and the C plot involves Ellen Tigh attempting to gain influence with Zarek and promote her husband’s standing in the fleet. Most of the episodes also make use of the four act structure popular in American television due to the demands of advertising.

Another element in the success of science fiction has always been that of special effects. The original series was lauded for its exciting effects designed by John Dykstra, the designer responsible for Star Wars. Unfortunately, the effects were prohibitively expensive and were often reused to save money. Of particular interest was the ships, particularly the Vipers, and the way in which their lasers fired, as this had not been seen on television before. The advent of CGI technology has revolutionised the world of special effects andis an integral part of the new Battlestar Galactica. The problem of cost still exists, but this is addressed by careful planning and extensive use of animated rough designs to demonstrate thefinal product. Another issue with CGI is the need to make it fit into the overall look of the programme as computer effectscan often been very smooth and beautiful. One way in which

this has been combated is by mimicking the handheld documentary style camera angles. This creates a very unusual and unique use of effects.

Sound is another facet of the show that demonstrates the changing world of television. Music is a key component of this. The theme tunes of the two shows clearly show how sensibilities have changed. The original’s theme tune, by Stu Phillips, is bombastic and militaristic, using brass extensively to create a tune similar to John William’s Star Wars. Most of the incidental music in the show is of a similarnature, using a traditional orchestra to echo the action. The re-imagined series has adopted a much softer and elegiac tune,with layered voices and an eerie chant overlaying a strong percussive element. Although the network was concerned about the non-traditional approach, this tune by Bear McCreary quickly established the use of ethnic instruments like taiko drums to create an unworldly feel to the series, although influences from folk music, opera and even a piece by the composer Philip Glass are apparent. The percussion is used most effectively in the fight sequences to create a mood of menace and action. Sound in space is also an issue as, to be scientifically true, there should be no sound in a vacuum. Theoriginal series makes no concession to this, using whoosing sounds to emphasise the acceleration of the Vipers. There was a discussion of being truly accurate in the new series22, but it was decided that a subdued sound would pay lip service to the idea but not disconcert the audience.

It is clear that the changes in institution and technology have driven American television to rethink the basis of its original raison d’être. The two versions of Battlestar Galactica, original and re-imagined, clearly demonstrate the shift from family-friendly, inoffensive and unchallenging programming, designed to attract audiences for advertisers, to a show that actively seeks an audience with complex and demanding themes that reflect the world we live in. This change from escapism 22 Bassom, pp. 32

to active-engagement with the issues of the modern world showsthat American television is no longer a vehicle for advertising but a product in its own right.

Bibliography

PrimaryBattlestar Galactica (1978)Battlestar Galactica Mini-series (2003)Battlestar Galactica (2004-present)

SecondaryBooksBassom, David Battlestar Galactica: The Official Companion London: Titan Books, 2005

Eberl, Jason. Battlestar Galactica and Philosophy. Maiden: Blackwell Publishing, 2008

Johnson-Smith, Jan American Science Fiction TV: Star Trek, Stargate and Beyond London: IB Tauris

Muir, John Kenneth. An Analytical Guide to Television’s Battlestar Galactica. North Carolina: McFarland & Company, 1999

Potter, Tiffany & Marshall, C.W. Cylons in America. New York: Continuum, 2008

WebsitesA New Crew in Town <http://www.youtube.com/watch?v=6wyt9-YaZIw&feature=related>

Battlestar Galactica: The Phenomenon <http://www.scifi.com/battlestar/video/index.php?sub=specials>

Cylon Baby Advertisment <http://www.youtube.com/watch?v=YB5OgidhfLQ>

“Gene Roddenberry” The Museum of Broadcast Television <http://www.museum.tv/archives/etv/R/htmlR/roddenberry/roddenberry.htm>

Join the Fight <http://jointhefight.scifi.com/>

Leung, Calvin Northern Overexposure Canadian Business Magazine August 14-September 10, <http://www.canadianbusiness.com/after_hours/lifestyle_activities/article.jsp?content=20060814_79942_79942>

Moore, Ronald D. Naturalistic Science Fiction 2003 <http://en.battlestarwiki.org/wiki/Naturalistic_science_fiction>

Moore, Ronald D. Podcasts <http://www.scifi.com/battlestar/downloads/podcast.php>

The Ron Moore Interview 1999, Usenet post: <http://hypatia.slashcity.org/trekshack/moore.html>

“The Top Ten List: Battlestar Galactica” The Late Show with David Letterman 19/03/08 <http://www.cbs.com/latenight/lateshow/top_ten/index/php/20080319.phtml>

What the Frak? <http://www.scifi.com/battlestar/video/index.php?sub=specials>

Appendix 1Cast List

Old SeriesCommander Adama - Lorne Greene Captain Apollo - Richard Hatch Lieutenant Starbuck - Dirk Benedict Lieutenant Boomer - Herb Jefferson, Jr. Lieutenant Athena - Maren Jensen Count Baltar - John Colicos Serina - Jane Seymour Boxey - Noah Hathaway Colonel Tigh - Terry Carter Medtech Cassiopeia – Laurette SpangImperious Leader Dick Durock - voice by Patrick Macnee Commander Cain - Lloyd Bridges

New SeriesAdmiral William (Bill) Adama - Edward James OlmosPresident Laura Roslin - Mary McDonnellCaptain Lee Adama, Apollo - Jamie BamberLieutenant Kara Thrace, Starbuck - Katee SackoffDr Gaius Baltar - James CallisKarl Agathon, Helo - Tahmoh PenikettPetty Officer Anastasia “Dee” Dualla - Kandyse McClureTom Zarek - Richard HatchFelix Gaeta - Alessandro JulianiCally Henderson Tyrol - Nicki ClyneRomo Lampkin - Mark A. SheppardEllen Tigh - Kate VernonBilly Keikeya - Paul CampbellAdmiral Helena Cain - Michelle Forbes

The Cylons - Known human modelsTwo/Brother Cavall - Dean StockwellThree/D’anna Biers - Lucy LawlessFour/Leoban - Callum Keith RennieFive/Aaron Doral - Matthew BennettNumber Six - Tricia Helfer

Seven/SimonEight/Sharon Valerii, Boomer - Grace Park

Hidden members of the final fiveGalen Tyrol - Aaron DouglasSaul Tigh - Michael HoganSamuel T Anders - Michael TruccoTory - Rekha Sharma