The predominant philosophical theme that runs through the series is what constitutes a sentient being, and if Cylons qualify. What exactly makes us human? Is it our physical appearance and bodily makeup, our minds and our capacity to think, is it our feelings and capacity to love, or is it something less tangible, our values and character, or a soul or spirit? People have been warring and killing each other since the dawn of humanity, so disregard for fellow man is obviously not a disqualifier.
Moore at the helm did away with all of this silliness by focusing on the core plot of the original: To illustrate this point, the series begins with a nuclear holocaust against humanity, committed by that which humanity created—the robotic Cylons, who have since evolved from hulking masses of steel to having exteriors that perfectly imitate those of humans.
Following this devastating event, which leaves very few people alive, the Secretary of Education of the Twelve Colonies, Laura Roslin, is sworn in as President through the line of succession. This oversight is understandable because of the ease with which one can classify any spacefaring narrative as a science fiction, but rather unfortunate because of the limitations that this rigid genre classification imposes on further discourse surrounding the narrative.
In Romance of the Road: Thus the fleet begins their pilgrimage to find Earth. The car, the vehicle through which the pilgrimage occurs, is therefore naturally replaced by the various spacefaring vehicles that the fleet possesses.
The imagery of the road Figure 1 is strewn with barren loneliness, struck with a harsh geometrical divider of steel. The temporary peace that the fleet has found is interrupted by the Cylons who descend upon the fledgling colony, easily take over, and establish an oppressive rule.
A resistance against the Cylons emerges, with its members eventually resorting to suicide bombings in order to attempt to overthrow the vicious Cylon authority. It can be defined not only as a science fiction narrative, but dually as an American road narrative.
The prisoners unanimously decline, and from the group emerges a leader, Tom Zarek, an infamous political terrorist. Indeed, Apollo is the physical manifestation of this dialogue, and it is through this rational conversing between dominant and emergent values that a favorable compromise is reached.
Through their search for the origins of the song, at the time only unrecognizable musical notes, they all inexplicably converge to the same location, and begin to hum the now recognizable song. They come to the realization that they are Cylons—their reactions range from disbelief to rage, but as they eventually come to terms with this revelation, Colonel Saul Tigh, second in command of the Battlestar Galactica, proclaims: I am an officer in the colonial fleet.
Whatever else I am. Tigh chooses his own path even with the revelation that he has been and has created his own enemy, rather than suffer from a crisis of identity.
In the same way, through the stripping of political rhetoric and the revelations of the more controversial aspects of the War on Terror, Americans might find that America has become something that they do not wish it to be. It is understood that this is the present day, and in the city, two manifestations of what seem to be angel-like figures appear who have taken on the appearances of Gaius Baltar, former President of the colonies, and Six, a Cylon.
They reflect on the pilgrimage of the fleet and discuss the future of the planet, to which the angel Baltar asks: While this line is traditionally interpreted to be referring to the advancing robotic technology in the present day, it is also densely packed with allegorical meaning.
The framework established in this paper can be extended to any number of these issues in order to further explore the complexities that genre redefinition introduces into previously well-established narrative interpretations.
I want to see gamma rays! I want to hear X-rays! And I want to—I want to smell dark matter! Do you see the absurdity of what I am? But I know I want to reach out with something other than these prehensile paws!
And feel the wind of a supernova flowing over me! And I can know much more! I can experience so much more. Because my five creators thought that God wanted it that way!
Works Cited Battlestar Galactica. The Official Guide to Battlestar Galactica. Critical Studies in Battlestar Galactica. Negotiating Music and the Aural Space. Potter, Tiffany, and C. Battlestar Galactica and the Things That Matter.
Romance of the Road:The Cylons of the miniseries and Battlestar Galactica series are fundamentally different from the Cylons of the original / series. In the new version, the Cylons were created by humans as cybernetic workers and soldiers.
As in the original series. Jan 14, · It's been 10 years since Battlestar Galactica aired the first episode of its excellent ongoing television series. But there's one aspect of Battlestar that threatens. NBC and Universal were the first out the gate with the TV series Battlestar Galactica, which turns 40 this month.
From Glen A. Larson, a veteran TV writer and producer of some '70s cop shows—and. Battlestar Galactica: A Vehicle of the American Road Caroline Jones.
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In its original ’s form, Battlestar Galactica was a science fiction narrative that would have fit the stereotypical absurdity that some ascribe to the genre, with its inclusion of robot dogs and unicorn planets. However, the reimagined Battlestar Galactica with Ronald D.
Moore at the.