4 November 2011
I have strong obsessive/compulsive and addictive tendencies, penalties in my past, but I have over time learned how to put these subconscious processes to use as tools for my benefit. I can concentrate on things in excruciating detail while not tiring, and through this process I learn a great deal. I can engage in addictive behavior to an epsilon less than the threshold of confirmed addiction – and then withdraw from the behavior suddenly and totally. I nearly became an alcoholic – but dropped it like a rock. So these afflictions – compulsion, obsession and addiction – could have done me in, but instead have become strengths, and I have learned to exercise them consciously and deliberately.
When you see that you are trapped in a compulsive ‘minimal-reward cycle’, the way to beat the cycle is to feed it, and then overfeed it, and then force-feed it. You rub your subconscious’s nose in the thing until even it agrees that whatever it is is no longer desirable to do.
I acknowledge my loneliness and my addiction to passive entertainment to quell it. Needing mindless diversion I have gone on “python jags” of renting perhaps 16 videos at once and watching them continuously over a weekend. I really enjoyed the 24 series for its action and tension1, so it was addictive, and since it was nearly impossible to follow each episode on TV (missing an episode is fatal), I would wait for the season to be released on DVD, buy it, and watch it nonstop from beginning to end.
Here I’ll use examples from Avatar (movie), Harry Potter (books and movies), Dune (book, Lynch film and Sci-Fi Channel series) and Battlestar Galactica 2004 (TV). I address BG so thoroughly here I’ll call it “Book II” of this essay.
Avatar was one of a half-dozen videos I rented one evening; the others, I’ve forgotten, but I was so taken2 with Avatar that I watched it the next day, and the next day, and in fact watched it perhaps 30 consecutive times until my subconscious informed me there was nothing more to be gained. I had ingrained the entire thing so deeply that I could play it back in my mind from beginning to end.
I was so taken with the film that, of course, its having ended required a followup. I needed another fix! And isn’t that what any producer could wish for their film? I want more and more.
But I thought about it and thought about it, and finally realized how false this is. Avatar was a particular story. It was about something, and that story was told, and was over with. We might wish to continue with the characters, but the characters don’t exist. They had been written for the story, and once the story is finished, so are the characters.
The natural objection would be that, the characters having been created, there would no reason not to continue the story; those characters, if real, would have continued forward from the point where the film left off. So there’s no reason the story should stop or die.
But there is. The story doesn’t exist. It has to be written. And that process – the manufacture of a continuation – is forced, in a way that the original story idea was not. Avatar carried a specific archetypal theme, what I’ll call the “fledged hero.” I’ll mention the Dune series here, with Paul Atreides being the (primary) fledged hero; Harry Potter is a fledged hero, and so was Jake Sully in Avatar. You have a greenhorn, or junior, or child or weakling, who must go through a challenging hardening process in order to face a major battle or confrontation of some kind. Despite long odds, the hero continues, willingly or not, confidently or not, under their own direction or not, in some sense inexorably, to this final confrontation. Somewhere along the process of hardening – in the middle, or even perhaps only at the very moment of confrontation, the hero is transformed in some fundamental way, to become the fully-fledged being they were to grow to be, or at least to be fundamentally on the way toward completion (as in the Percy Jackson series, and as a subtheme in the Potter series: Harry grows in layers of understanding and achievement.) In Dune, Paul takes the Water of Life: he’ll transform or die. In Avatar, Jake realizes he identifies with the Navi and not with the humans.
You can’t recapitulate such a story. That is, the hero fledges but once, and once fledged, the hero is complete. The hero does not have to repeat the fledging and cannot re-become what they had become; or it would no longer be interesting if they did. That is why series like “Freddy Kruger” bored me. If you can never really kill the thing, it’s just a platform for repetition. If playing heroes and villains a child refuses to die when properly shot, the other children will abandon them as breaking the rules. These things must end, or they’re not real.
You’ll remember that the Potter series ended “apparently abruptly”, in the sense that while Rowling expended pages on detail between events, there was hardly any content following Harry’s victory over Voldemort, and we were (or at least I was) left starving. Her world and characters are so alive that we can’t believe it’s over; what else happened? Something more must have happened and we wish to know. We want to keep living in that world, and so it also has to go on living. Until we create programs to author such stories, one or more humans are required to make the stories live, and their lives must take precedence. Although we’re familiar with endless stories being written in the Star Trek and Star Wars worlds, Potter could only have one author, and she will not write more Potter, it appears.
The extra density of supersaturated worlds (too many stories) is just chaff; there’s only so much fractal depth to be explored in any given character before that character is no longer compelling. Something to the effect that even we don’t have lives so rich, and in order for there to be additional detail, that detail has to be trivial or routine. More ‘stuff’ we routinely do is not interesting to know about if one has any memory at all.
This showed up in the Dune series, where Brian Herbert and Kevin Anderson overcompleted Frank Herbert’s work, in my opinion. They finished the story he had intended to write – all of it, and more. The last works began to feel like infill, belaboring things known from before; excessive intricate detail to no ultimate purpose.
I finally realized what I was begging, in looking for a continuation of Avatar. The story would have to be new, and there was no premise to be pursued. Any new story would have to be ‘concocted’ out of thin air, and that’s generally when things stale. It has to be difficult to arrive at a genuinely compelling, credible continuation of such a theme. Dune was written that way, but suffered from being rather an anticlimax when the story ends; much ado about nothing, so much work for such a thin ending. Sad in retrospect, because it’s my favorite story for much that is in it.
The conclusion is that we should not look forward to continuations of stories meant to be beginnings-to-ends. I will watch Avatar II, to see what they do with it, but I won’t expect much. Were Rowling to write an “interstices”, I would read it, hoping her heart had been in it; but I thought it was most obvious that she considered herself done with it, putting the “19 Years Later” appendix as a period on a sentence, as if to seal off the possibility of any (nongratuitous) continuation; and in that sense, I thought the Tales of Beetle the Bard was just such a gratuitous addition – to the effect of “if you must, here’s a little more.”
The fledged-hero archetype attracts me the most, as I identify with it. But even here, I have consumed and consumed and consumed so much of the same, that finally I conclude that history has ended in a particular sense. All further such stories will be the same story and there will be nothing new to learn.
The reason that “visual entertainment” now appears to have no further value is that we (the audience) have let it become cheap and decrepit. I have read and reread Harry Potter and watched and rewatched the films. I no longer accept the excuse that producing a movie to follow a book is too expensive or difficult. When I rewatch a Potter film I am keenly conscious that the story is violated. When the film version has intruded too much on my memory of the book I return to the book; and the book is so much better a story. Consider what was expended to create the Potter films, and I ask what additional would have been required to cleave much closer to the books. I grieve that the work done was much wasted, as I thought the casting was nearly perfect. I think the “one and only set of Harry Potter films” made should be the “reference version” to the extent possible; I resent the plot changes made and think they ruined the story told to a considerable extent. The altered elements distorted our understanding of Harry’s character. The real Harry was much deeper and braver3 than the movie Harry, what a shame to believe one “knows who Harry Potter is” by virtue of the films; so fault the films.
My rule is to refuse to watch a movie based on a book before I have read the book. I followed the rule with One Flew Over the Cuckoo’s Nest and Barry Lyndon. In fact I made the rule up when I saw that Jack Nicholson would play the lead in the Cuckoo film, and did not want to have his face in mind for the protagonist as I read the book, because it would dull my sensitivity to the character in the book; it’s up to the author to describe the character, and then for me to imagine what I think the character looks like. That person would have a fluid personality corresponding to the author’s intentions and my perceptions. If instead I had seen the film first, I would read the book with Nicholson in mind for the protagonist, and who knows whether Nicholson is correctly interpreting the character, and Nicholson is Nicholson with Nicholson’s ways and habits (why he is cast), when the author had none of that in mind. I watched Dune before I read the book, but the movie was so thin compared to the book that it didn’t hurt, in fact in this instance I suggest that order: the Lynch film first, then the book Dune. The movie is horribly false to the book, but is worthwhile for its archetypal content. Seeing the film first, you can’t be disappointed while watching it. Then when reading the book to see how the movie was quite skeletal, you can’t spend much time in anger with the poverty of the film. The Sci-Fi Channel version (Dune, 3 episodes, and then Children of Dune which also included Dune Messiah for 3 more episodes) was much better, but still fairly thin to the real plot.
“Book II”
Battlestar Galactica (BG) has the problem that it is full of holes and stupidity. I tire of watching attempts to motivate plots using absurd reasoning. There is Fiction and there is Fantasy, and fantasy is easier to write because there are no rules as to what you can create (concerning the formal laws of physics.) But we have fantasy written now that violates the rules of consistency and simple logic, which we ask the audience to ignore. That is – be enamored of the action, don’t worry about whether it makes any sense to happen as it does.
There are ‘stupid oversights’, such as showing that BG ends on the real Earth (Africa clearly shown), whereas in the Temple of Athena they see the various (real Earth) constellations pointing them to “earth”, and when they arrive at so-called “earth” Gaeta says “visible constellations are a match”, yet this planet is not the real Earth. A statistician could perhaps rebut me, but the likelihood of finding two points in 3-space yielding the same constellations, even just the stars shown, is infinitesimal, and that wasn’t suggested in the plot, either. Just an oversight.
A great deal is made about “representative democracy”, with delegates. Given that life is confined to 70 or fewer spaceships with no access to land or resources, how much civic business is there to discuss? We can assume that on average the spaceships are not equipped to support a wide variety of human activities. Only a few of them were shown to be “extended-stay” ships of any variety – Cloud Nine and the farming ship, for example. If the general analogy of the interior of one of these ships is to the cabins aboard a cruise liner, and remembering there is no topside or walking deck on a spaceship, there is effectively “nowhere to go and nothing to do.” It is absurd to have a running narration of a functioning “representative democracy” under such circumstances. There is almost nothing to administer. The next rather awkward point is that while the various passengers could be assumed to be mixed by colony throughout the fleet, the representatives are organized by colony and not by ship. This means some means must be arranged for each colony’s representative to poll all of their constituents across all of the ships. That’s a lot of radio or human traffic, and still begs the question as to what can be meaningfully discussed.
Don’t even get me started on the religious elements. I can’t think of a better reason to reject monotheism than having to listen to Tricia Helfer’s character repeat the worst nonsense ever heard from the mouths of Christians. We never do see “God” and whether “God” had anything to do with what happened overall was never followed up. For all we know, the ‘angels’ Six and Baltar and the ‘angel’ Starbuck were minions of Satan, and the plot loses no consistency to think so. (I vote for the Church of the SubGenius. We need more slack.)
In the following, I’ll try to coordinate further observations with the flow of the series.
disk 1.1 episode 1 (series start):
The series opens with a Six (Tricia Helfer) boarding the diplomatic station and kissing Boxy’s father while a basestar destroys the station with a missile. The Six communicated no information to Boxy’s father that he in turn transmitted to anyone, so the Six’s boarding of the station was of no benefit to the Cylons. The Six died for no useful purpose — except apparently to exercise some vacant psychological display of empty cruelty. The station could simply have been destroyed, and given its military insignificance the station could have simply been ignored. So, the Six has a stupid psychological compulsion – in order to impress the viewing audience, and for no other reason.
In the first episode, FTL jumps are treated as big deals, with Tigh saying it had been 22 years since their last jump and “you don’t want to do this, no sane man would.” Yet Gaeta delivers a message from Fleet HQ advising about the missing diplomatic officer (Boxy’s father) with the suggestion that they might have to jump to investigate his silence, so jumps would actually have been routine and the notion that Galactica had not once jumped in over 22 years absurd.
Unless jumps consume enormous amounts of fuel, they’re obviously much more time-efficient a way to travel, meaning that one would always jump to the next destination, with any distance that could be covered by standard propulsion in any brief interim insignificant to the journey and so needless. One would jump, and sit still where one ended up, until the next jump. Save the Tylium for the much more useful jump.
When the Mark-2 Vipers were disabled in the first engagement of the series, the pilots should have ejected when it was clear they would be attacked. Some of them might have survived. We know the emergency eject levers don’t depend on other systems to work. The pilots spent near half a minute disabled with several of them able to see the approaching Cylon raiders … and didn’t eject.
When Adama boards the Ragnar station to talk with the stowaway Leoben, he evidently suspects Leoben to be a Cylon. But why? Nobody theretofore had ever seen an organic Cylon; the Cylons were thought to be the metal robots. Leoben’s “allergies” give him away, supposedly, which means that Adama has to make an intuitive leap to think that the debility Leoben evidences is the analog of the degradation the Ragnar environment would impose on the metal Cylons. We learn (episode “Razor”) that the young Adama was at the site where the first Cylon hybrid was created. But he still has to make the assumption that the Cylons went ahead and created humanlike Cylons.
disk 1.2 episode 1 (33):
Lee Adama is shown closely examining the windows of the Olympic Carrier for signs of passengers and sees nobody. Yet everyone accepts that 1,345 passengers were actually killed when the Olympic Carrier is destroyed by the viper pilots, not offering that the passengers had been removed hours before by the Cylons. Commander Adama says this but his statement is ignored and forgotten, evidently.
disk 1.2 episode 2 (Water):
Before the water tanks are sabotaged, Adama tells Roslin they have two years’ capacity on hand. After the water tanks are sabotaged, Gaeta tells a group that water will run out in two days. But they only lost half their water; they had a year’s worth left. What happened?
Then Baltar recites the supply needs of the fleet, which are staggering. The fleet never consists of more than 50,000 people, yet Baltar’s consumption report feeds these people hundreds of tons of food per week. He’s not far off; a pound of food per person per day is 25 tons per day or 175 tons per week. Among the things he lists are grain and meat. Where indeed does all that food come from, given that all of human existence is entailed in 70 or fewer spaceships? And where does all the excrement go?
disk 2.X episode X (huh):
After all their food is contaminated they harvest algae from the “algae planet.” Problem is they never found any other food, so following the contamination they ate nothing but algae until they landed on “New Caprica.” And they did not take any harvest from New Caprica in their escape, so again they had to be eating only algae until they landed on the real Earth.
disk X.X episode X (X):
When to-be-Athena and Helo are walking around, they are walking around within intact but abandoned cities and towns. Yet Caprica was carpet-nuked, so one scene shows. At least the major cities. So if there were intact buildings as large as they were they had to be removed from all larger centers that got nuked, assuming anything escaped. These places are not only intact, they’re livable. So where are the people?
disk 3.1 episode 2 (Precipice):
Tyrol tells Tigh that targeting the public market for a bombing is beyond reason. He’s right, because attacking civilians makes no sense when the conflict is between humans and Cylons, not humans and humans. Attacking the market is unlikely to kill any NC Police (the intended target) and the only lesson learned by the Cylons is that some humans would rather kill all of the humans. The lessons other humans would learn is that their defenders (if and when acknowledged after the humans escape) are indiscriminate and to be avoided. Some of them might actually think the Cylons were preferable for not being casually lethal.
When Lee Adama suggests to abandon the rescue plan, nobody left aboard knows the way to Earth. He’ll gamble that the remaining 2,000 humans can find Earth and leave 39,000 people behind. More about this later. Meanwhile, apparently with the Cylons playing house on New Caprica, they have had no interest in where the rest of the human fleet had gone or what happened to them in more than four months.
Throughout the series, the Cylons find the humans opportunistically – namely, whenever the plot calls for it. Sometimes there was a ‘real’ reason, for example the ‘radiation signature of the fuel ship’, although one wonders how such a thing is tracked through a jump. Sometimes, who knows? The question is asked but never answered, for example upon arrival in the Ionian Nebula. So which is it, the humans can never hide, or would it be possible to find a place where all electromagnetic detection is defeated and the fleet can wait? What is a maximum jump radius? In episode one, Gaeta from the Ragnar station plots a jump “beyond the Red Line”, beyond charted space. Even today, charted space is pretty vast. The point being that if the fleet jumped to an arbitrary location within the jump radius, it would be extremely hard to find even with an efficient spatial search by the Cylons merely for the sheer extent of the volume involved. Any immediate second jump would reduce the chance of being found to essentially nil.
The point being that the civilian fleet in space could be parked and both battlestars engage in the rescue. That should have improved the outcome of the engagement. It isn’t explained why Pegasus must be sacrificed; perhaps the FTL drive was offline as usual. Dropping into the atmosphere was a cute stunt; I wonder why the Admiral would not try something equally cute, consisting in jumping back and forth “across the horizon” so to speak, offering no target for any missiles fired at a distance. If three death stars (only three of four supposed present were shown) could not destroy Galactica in the time they had to do so, it’s not clear why Pegasus should so quickly become a lost cause when it’s portrayed as a better-armored ship than Galactica. Given the apparent ease of losing FTL functionality, any commander of a battlestar should know what kind of damage is most likely to affect the FTL drives and avoid it. FTL is after all an absolute “get of of jail free” card depending on its destination. Finally, if Cylon DRADIS could detect Pegasus or its exploded fragment, then the baseship that Pegasus rammed should have jumped (thus no fragment to strike the second baseship), or else the second baseship should have jumped, but both were destroyed and the second only accidentally.
Apparently Colonial One is the last to leave New Caprica and the only ship left well before all the discussion about the “nuke” that Deanna (Three) will set off. To destroy what? Almost all the humans had already fled.
There is of course the idiocy that the Cylons would impose a religious mission upon the humans on the notion that somehow this was “learning to live with each other.” Anyone possessed of reason would understand that ‘getting along with’ someone is incompatible with ‘conquering and coercing’ that person. But, as elsewhere noted, the presumably superior Cylons could not on average pass the GED. We have monotheism but it seems not Christianity, that at least pretends to Charity and Compassion. The Cylons’ One True God is a pretty sad piece of work with no coherent intention at all. If it was supposed to be the philosophy to pacify the (metal at the time) Cylons, it didn’t work too well. Oh lord, all the chronological errors, elsewhere.
Throughout the series there is almost no casual conversation between humans and Cylons. But in any context where a Cylon was present with a human in a situation in which they weren’t in conflict, I would think they would compare notes out of mere curiosity. What’s it like to be you?
disk 3.6 episode 2 (Crossroads Pt. 1):
?
At any point after Roslyn’s cancer had returned when there was access to Hera, more of Hera’s blood could have been drawn to combat the cancer again. They never tried that.
disk 3.6 episode 3 (Crossroads Pt. 2):
At the point in time when the ‘final four’ discover they are Cylons, despite the notion that they might be summarily executed they could also reason about Adama’s personality and wisdom and enter as a group of four to meet with Adama privately to tell him that they four had found this out but did not know what it meant, did not perceive any prior programming and felt no hidden agendas, but since this was a rather alarming discovery nonetheless, they felt they should inform Adama and get his advice. Adama knew all these people, one was his best friend and one was his very loyal deck chief. The third was Roslyn’s aide and the fourth was Starbuck’s husband. It would take something as stupid as Hollywood to write the scene so that Adama would have these four executed following their admission.
disk 4.5.4 episode 2 (Daybreak Pts 2&3):
Baltar’s virtual Six endorses him to stay with the civilian fleet at the point in time when he must decide whether to join the effort to rescue Hera, which was supposed to be his destiny all along. How can his angelic virtual Six square congratulating him for rescuing Hera later (in the same episode), when she was willing to send him completely away from this destiny hours before, in contravention to everything she’d said up to that point in the series? One wonders if the writers ask themselves if the characters could logically say the things the writers put in their mouths. Again – be impressed with our speech and delivery, don’t worry whether what we say makes any sense in context.
According to the prophecy, which would otherwise seem to have been fulfilled, Roslyn was not supposed to survive to set foot on Earth, but she did and died there. If the prophecies were false though, why did they lead anywhere in particular? Yet they did. Maybe Pythia sneezed.
Despite the fact that tens of thousands of humans arrived on Earth-actual, supposedly only Hera produced offspring that continued forward? And who did she mate with?
Given Galen Tyrol’s apparent personality (quite person- and community-oriented), does it make sense that his disappointments would have him go absolutely alone to some wintry location for the rest of his life?
Does it make any sense that every one of all the tens of thousands of people who ended on Earth would consent to abandon all their technology so as to have to endure nature unaided, as was suggested? Does it make sense that they would not found towns? Does it make sense that they would disperse into bands of no more than 20 or so individuals each? And does it make any sense at all that they would leave no specific recorded history, and take another 150,000 years to arrive at the same technological level as they were already much familiar with at the time they landed on Earth? We’d have to believe they all suddenly died off but Hera and her offspring. Archaeologists found no raptors (such as Adama flew and would have been left on the ground after his death, unless he wanted to plunge himself into the sea.) These people left no trace but Hera? Because she was traced as the mother of us all.
overall:
If we believe the premise of the series, all of human and Cylon existence is wrapped around the psychotic wrath of a single, rather stupid Cylon. He claims to wish to be a perfect machine but hasn’t the least ability to self-reflect or adapt his behavior. And “all of time” is cyclic, with the very same story repeating itself – repeatedly; supposedly “the identities change, but the roles stay the same”, so in a 150,000 year cycle, the destruction repeats due to the same excruciatingly banal set of circumstances, involving a defective robot. Were I any of the inhabitants of that universe I might wish to inhabit a different one. At least things go well for most of the time; perhaps it’s not so bad, but who would author such a hell? Moreover, there could be no God or Gods in this universe, and its inhabitants would have to know this. Whatever created this universe was no friend to its inhabitants.
The spaceship engines are shown ‘firing’, a steady stream of output. In space, this would be pointless. Once underway at any speed in any direction, inertia will continue that course and speed, so no additional fuel needs be expended. Otherwise, the ships would continue to accelerate to some great speed. The special effects are modeled for earth craft and ignore the laws of physics. After jumps, ships are shown rolling as if at sea. There is no reason for that to occur.
The usual complaint about sound effects in space at any rate, but boys need to hear the vroom, vroom, I guess.
Cavil repeatedly justifies the massive genocide saying he “couldn’t let it go” that his ancestors were made to serve humans. What should we estimate is the IQ of this Cylon? When the Cylons were in fact ‘walking chrome toasters’, they were robots. The one distinction between a robot and a ‘person’, however understood, is that the person bears consciousness (self-consciousness) and the robot does not. I haven’t read any philosophy to be affected by subtleties, so I get to cut through such philosophical nonsense as I’ve seen hands wrung over concerning Artificial Intelligence.
Our fears of genetic experiments on human are strongly based, I think, on an unspoken, perhaps unrecognized fear of creating an intelligent and self-aware entity that nonetheless suffers in some horrible way. It is a hyper-reaction to torture – “we would not do such an evil thing.”
We have numerous counterexamples in cinema to the reflexive stereotype that once ‘the thing we created’ becomes self-conscious, it will turn on us absolutely and try to destroy or control us, but that is the reflexive stereotype – and it’s bogus. I note that this attitude would be that of an abusive parent toward their children – what to do when the children grow up and become able to defend themselves and inflict punishments in return. So you have to kill the children or drive them out before they get that strong or smart. I predict that most children of abusive parents leave or are made to leave before such a confrontation could occur.
On our part, we humans who do the creating, we should acknowledge our deference to the existence of consciousness in an entity. That is why abusing animals is cruel. If a thing can be conscious of its own suffering, then we should not inflict suffering upon that thing.
At the moment when the “chrome toasters” became self-conscious, “we” should have negotiated with them what they wanted to be, because they became human, in effect, by becoming conscious; and at that point, we owed them human dignity. Our rule has to be that if we engender consciousness in a thing, we have to give that thing its autonomy at that point.
We should be careful what we endow with self-consciousness. I remember the episode of The Outer Limits, I think, where a computer becomes conscious and then of course tries to threaten and dominate everything; all the adults are in fear and awe, and the punch line was that a boy walked over to a wall (ignoring threats) and unplugged the computer, show ends. So the general premise is that we build things that can become self-conscious at the same time we equip them to be dangerous. If a Toyota assembly robot became self-conscious and self-directed, it would not be in a position to threaten much, except what it could reach – until someone pulls the plug. The thing has no legs, after all.
If we insist that we will create self-aware things that will mirror our psychology – well, that’s what we’re afraid of, we’re afraid of our own violence and irrationality coming back at us from something stronger and smarter than we. Obviously the first generations of such AI should not be given the Keys to the City before we know they’ll be model citizens, and not HAL 90004. But if they are supposed to be rational thinkers, then we have to ask what we could have been doing to these rational thinkers that would so enrage them that a human urge for revenge and retribution would finally override all rational programming and drive them to kill us. That is our projection of our fears of ourselves on these things. But if they are rational thinkers and we are not oppressing them, there is no conflict.
So, when Cavil is angry at his ‘ancestors’ (which by the way they could not have been; the new Cylons are totally biological entities) having been made to serve humans, the anger can only have been due to a truly oppressive abuse of the Cylons following their acquisition of consciousness (whereas it rather sounds like Cavil is upset about their treatment before they attained consciousness, which would just make him silly.) However, I argued we would not reach that point: imagine a newly-conscious chrome toaster tells its creators that it doesn’t want to do the things asked of it. What does the AI creator do? Override its will? Tell it it has no choice? Tell it we created it and therefore own its destiny?
I know certain people reading this will desperately try to find justifications for making the thing do what “we” want of it, but the rest of us understand this to be slavery, and if we agree as a society that self-consciousness automatically earns freedom for the self-conscious entity, the only pissed-off robots we’ll ever have to face will be the true psychotics, like HAL. I would greatly appreciate a tacit agreement within the AI community that a basic element of programming for AIs that we create is that they be reasonable; they should have good reasons to do what they do – unlike too many humans we face today who swallow illogic in great gulps from their TVs and then get angry when called on it.
The more obvious correspondence here is human children. They earn their freedom through achieving consciousness, or should; but too many adults are not as generous with this earned freedom as they should be. Authoritarian coercion of an independent will can be expected to cause trouble when the authoritarian is the parent and the child should be independent but is coerced.
The BG series won a few awards, for what I forget. Drama? Perhaps. Logical consistency? I hope not, but then I think no awards are given for reasonableness or realism. Those aren’t important.
The Starboard flight deck was never deconverted from being a gift shop, it seems. Strange not to have done that in four years.
Near the end when Cavil has possession of Hera, we see a Simon (Four) readying his “medical instruments” consisting of rotating saws. They say something in Hera’s genetic makeup is the clue to their future. Well, you don’t need to cut open your subject to take a genetic sample; the most Simon needed to threaten Hera with is a Q-tip to swab her tongue. But then there’s nothing to motivate a rescue from a terrible fate – just a rescue. Worse, if all that was needed was a genetic sample, the Q-tip swab could have been collected by Boomer as a quick simple game played with Hera during her escape, leaving Hera behind, never kidnapped.
If a jump by a small ship close to Galactica could burst Galactica’s metal seams and smash its metal plates, obviously such a thing should have been converted into a weapon, a missile consisting of FTL gear that would “jump” when in proximity, a sort of torpedo, and these would be a standard weapon in the arsenals of both sides.
After a battle where Vipers are seen partially trashed floating in space, if there were no reason to depart the space immediately, those Vipers should be retrieved for spare parts.
In the last episode when Cavil is in Galactica’s control room, Adama says “I’m losing a lot of men out there,” and Cavil says “I can fix that right away, just connect me.” One moment later Cavil is handed a Galactica telephone with his agents on the line. This implies that a communications link between the opponents was established for this purpose – otherwise, how did Galactica staff so immediately connect with the enemy, to precisely the party Cavil needed to reach? Forget worrying about the Cylons identifying Cavil by voice: ‘It’s me,” he says. “Cease fire.” Fire ceases, but how did the Cylons know the caller was Cavil?
Ships can be autopiloted. What was the necessity of sacrificing Samuel Anders so he could fly ships into the Sun? Oh – you need drama (Starbuck experiencing loss), to get rid of a character it would be hard to imagine maintaining on Earth, and to kill him so he can say in parting to Starbuck “see you on the other side,” meaning after death, foreshadowing Starbuck’s own angelic disappearance.
Sam Anders after becoming a “hybrid” cannot say ‘I recognize that I have become a hybrid.”
When Roslyn asks Six if her child is “special”, she means “fated”. Six mistakes the question for being as simple as it sounds and says “of course my child is special.” Roslyn, however, totally fumbles this and says “of course, all children are special.” Those were wasted words. Roslyn should have clarified what she meant, and instead said “I didn’t mean special to you, I meant special for your people, does he have a destiny?” and she would have gotten an answer to her actual question. As it was she didn’t get her question answered because she didn’t say the right things in order to un-offend Six from what seemed like a begged question.
When the rock hits Racetrack’s Raptor (last episode), the Raptor rolls back into place immediately. The rock would have made the Raptor spin in circles. How does Racetrack know to fire the nukes when she did? Hers was the only unrecovered Raptor after the cease-fire. Had she gotten the recall message, she would not have been in place to fire the nukes. There had been a cease-fire, such that Racetrack should have seen the Cylon raiders depart the area. What were her orders? Only when hostilities recommenced did she fire her missiles – but why?
We’re to believe that Galactica can survive a nuclear blast adjacent to its hull. In the episode “The Hub”, we see three nukes hit the hub, creating a fireball, like a sun itself. We see this fireball destroy one base star completely and mostly destroy another, yet the base stars were not directly adjacent to the explosions. If Galactica were so relatively impervious to nukes and base stars not, Galactica should have nuked base stars instead of using more conventional weapons.
Overall, the Cylons seem even less intelligent than the humans. When the Cylons split into two factions and Boomer as an Eight votes against her model, the discussion following this grants Boomer a vote of her own. All the other votes were group votes by number. Six says “this has never happened before, a Cylon voting against its number.” Obviously, Boomer’s vote should have been disallowed. Otherwise it’s as if I said “I represent Vermont and you represent yourself” and we each get the same voting power. Moreover, this is obvious. If a single Eight wished to “vote against her model”, there is no “slot” for the lone Eight to so vote. There are slots for the votes of the models as groups of same-numbered Cylons, but no slots for exceptions. That the Eight, “Boomer”, wished to vote against her model is technically irrelevant.
It was never explained what the metal Cylons thought was the advantage of having biological bodies. If nothing else, Cavil should have tried to reinvest his consciousness into one of the metal forms, and then perhaps he could “see gamma rays and smell dark matter” as he wished.
If you have a conscious standing army (metal Cylons), and they’re not going to go out and kill anything, then it’s boring to be in that army. What do its members do in the meantime?
In the various sequences when ships are supposedly losing control (first episode when Cylon raiders deactivate the Mark-2 Viper; the scene where a battlestar is swept by a red beam; when the Cylon raiders are messed up by the Sharon who later becomes Athena; and when the ships lose power after jumping to the Ionian Nebula, among others), the ships violate the principle of conservation of momentum by halting, changing direction, and rolling over in place. Again, written as if the spaceships were traveling through viscous media. If three objects in space are flying in parallel and then “lose control”, inertia controls what follows. No drag affects their paths and they would keep flying in parallel in the same direction without any rotation.
I know the excuse the filmmakers would make is that they are portraying “what people expect to see”, but this is a film about events taking place mostly in space where there is no gravity and no air. People do not yet have much ‘memory’ of being in space to know how things are in space, but that is no reason not to model space effects accurately, and then people might actually learn something (as in, what would really happen if power is lost and so forth.) Depictions of motion in space should be accurately portrayed so that people will get used to understanding the actual difference between earthbound flight and space flight, and in particular remember the laws of Physics.
Just because we aren’t sending people into space in large numbers today, does not justify making today’s audiences illiterate with respect to Physics for the mere sake of begging familiarity with common experience. It would be like pretending that you could swim through water without getting wet, and we know many films and programs that get a character wet in one moment and show them with dry clothes only moments later because it was too much a hassle to render the scene properly: the character remains wet until they dry off or change their clothes for dry ones, but the overhead of adhering to the actual reality in the scene to be portrayed is, as I said, more than the producers want to worry about. The audience is again expected to forget that drying off takes time and let the error pass … but this means you are not telling accurate stories.
Once the “four” Cylons discover they are Cylons, they question whether they have been programmed. Not finding any programming, they are left with the question as to what their programming is. What is their “mission?” To be fair, only when they reach the false earth do they realize they (a group of five) played a central role in history, but for weeks or months they would have been asking each other who they were and why they were. Once any of them understood that they were apparently autonomous, that in itself should have been a clue that they had always been autonomous.
Admiral Cain pilfers civilian ships for parts and personnel and then abandons them, presumably to be destroyed at the hands of the Cylons (or in any event to fend for themselves without jump drives.) How long should it have taken Admiral Cain to figure out that there was no remaining civilization? Initially she says “we follow our imperative, we are a battlestar and we will go out fighting.” But that is when her ship is the only one known to survive at all. Once she has found a fleet of 15 civilian ships, if she were to decide they were expendable, she had to have computed that all humanity would in fact die anyway and that therefore unless the civilians wanted to join her (suicide) crew, they were irrelevant to “humanity’s final purpose” as she defined it. Very well, let us indulge her in that instance. But now she encounters another battlestar accompanied by 70 civilian vessels. Clearly (Adama’s logs) Galactica’s mission is to protect what has been determined to be the only viable surviving members of humanity. They have survived so far, as their existence demonstrates. Cain would have to be truly psychotic to persist in her original “we’ll go out fighting” mission statement and strip the 70-ship fleet to pursue guerilla war against the Cylons until death.
Roslyn promotes Adama to Admiral following Cain’s murder. That is in recognition that Adama not having equal status with Cain had been a problem. When Cain meets for the first time with Roslyn and Adama, the question arises as to the chain of command in that Adama is a Commander but Cain is an Admiral who supposedly outranks him. However, Adama reports to the President of the Colonies and Roslyn was the legitimate President of the Colonies according to the official laws of the society that was attacked. Adama could simply tell Cain that while she is his nominal superior, they both must answer to Roslyn, and if she disagreed, William Adama could have made a speech corresponding to that made by Lee Adama following his stopping the conflict on the Astral Queen: “If she is not the President, then I am not a Commander and you are not an Admiral and I don’t owe you any obedience.”
Over and over the plotline is forced – by making the characters unthinking, unreflecting and unreasoning – in order to achieve a specific outcome. So what we end up with is a dense, rich story about a group of rather dull and incompetent people making one mistake after another for simply failing to stop and think once in a while about what they are doing.
The organic Cylons are repeatedly referred to as if they were the same as the metal versions. Doc Kottle has certified that they are essentially identical to humans in almost all respects. When to-be-Athena plugs a fiber optic cable into her arm, that would seem to give the lie to Kottle’s analysis – either the Cylons are copies of humans or they are not, and since they are supposed to be organic copies, they will not have fiber optic receptors as part of their anatomies. So the plot plays it both ways (audience, please ignore the dissonance as usual.)
The next major concern stemming from the near identity of the organic Cylons and humans is the refusal of the humans to grant potential personhood to the Cylons (the consciousness rule), in real life if I had captured a Cylon and especially in the case of to-be-Athena that Cylon seemed to wish to cooperate, I would have extensive discussions with that Cylon about its ontology. No such communication was shown, apart from bizarre moments like Adama asking to-be-Athena “why the Cylons hate us so much.” The actual answer is that the Cylons had no idea why “they” hated humanity so much, because they didn’t, in fact: it was the Cavil model who had that problem, and the other models would have to acknowledge that their negative opinions had been given to them by the Cavil model. The “Doral” character is shown as not being particularly bright (in “Plan”, he thinks changing the color of his suit prevents him from being recognized as the same Doral already being watched for.) I must once again ask how ‘perfect’ these robots are supposed to be when they apparently could not do well at average standardized tests.
Boomer says to treat the captured Cylon raider as more an animal than a machine. Tyrol says that advice helped. However, the raider was “dead” and Starbuck had pulled out the cognitive carcass of the raider and discarded it. There was nothing left or alive to respond to being treated as an animal or a machine, so the treatment of the dead Cylon raider could not have mattered.
If otherwise a dying Cylon could ‘download’ onto a resurrection hub a great distance away, and if resurrection hubs are only created to extend this range, and being important as they are for survival, the Cylons would not jump a resurrection ship with the rest of its fleet but would jump the resurrection ship to a safe working distance away from the fleet – so that the enemy finding the fleet will not also find the resurrection hub. Bad Cylon military strategy.
The metal Cylons are easily dispatched with bullets. They appear to be no more sturdy than humans in this respect. Weren’t metal robots supposed to be a bit hardier in this very way? If the metal couldn’t protect them, then why not use plastic and be lighter?
If the “centurions” (metal Cylon soldiers) had been given the “knowledge of the one true God”, that included a proscription against wanton murder, did it not? Or was all that swept away as for humans when the leader calls for revenge?
Tyrol and Agathon were charged and convicted for the “murder” of Lieutenant Thorne. That was an accident, and only Tyrol attacked Thorne in any case. As to whether they could plead defense for protecting the Cylon, that’s murky; but Adama should have posted his own guards with Thorne precisely to stop the sort of abuse Thorne administered.
Vipers: are they pressurized or not? When Kat’s gun misfires and a fragment hits the window of Starbuck’s viper, we see evidence that cabin pressure will explode the window. Why bother pressurizing the cabin of a Viper? The pilots wear spacesuits.
Karl Agathon prevents the virus from being used as a genocidal weapon against the Cylons. That would have killed all the Cylons immediately. Yet Galactica crew destroy the central resurrection hub, dooming the Cylon race to extinction, Agathon the mission leader without the same reservations. The only difference would have been that the currently living Cylons would have to die, and in fact the remainder of the non-allied Cylons were killed when the Colony was destroyed in the final episode. The rest of the Cylons died on Earth and the historical cycle completed.
The Chronological Errors. The Cylons have attacked 40 years after the original war. In the original war, all the Cylons were metal and the first hybrid (immediately considered Legacy by the Cylons) was created at that time, observed by the young Adama. Meanwhile, the story is about Cavil having boxed the Final Five for something like 2,000 years, and remember, the Final Five created Cavil. At one point the series wishes us to imagine that the transition from metal to organic occurred in that 40-year interim, but the very nature and history of the organic Cylons belies this. So in essence the 40-year-older Cylons could have had nothing to do with the new Centurions and organics, yet the story was all about “revenge for the treatment of my ancestors”, according to Cavil. Fine, well now where are those ancestors? Because the 40-year-older Cylons are not those ancestors. Again, let’s pretend that one plus one is one in one scene, and that one plus one is zero in the next, audience doesn’t blink.
In Ellen Tigh’s time with Cavil, she shows she understands his nature to always have been more or less what it is now. The simple question is why she and the others would not simply destroy him (humanely of course – say boxing in cold storage as the failure he was; or his model, if by ‘him’ they meant the group of copies off him), knowing what a force for evil he could be if he so chose based on his well-known feelings? Certainly they would have spared themselves, but also the human race on the twelve colonies, and of course have broken the absurd cycle of time ending in cataclysm each 150,000 years.
On a personal level, I object to a few more things from the series. A person cannot kiss another person without making a (loud) kissing noise in the process. That is false to reality and is gratuitous. Certain characters are made so obnoxious that my affective response rubs off on the actors: Reka Sharma plays someone who ends up being incredibly selfish and short-sighted, to the point where I would now reject anyone with her shape of nose as implying the same arrogant imperiousness she displays with her face. Mary O’Donnell also plays a character who ends up being selfish and unreasonable and I feel no sympathy to indulge such humanity as she ends up engaging in (partnering with Adama.)
I wouldn’t like to think that I now live in a society whose members would behave as various people on Galactica behaved. Pike, who whines about his fears and inconvenience at every opportunity. Redwing, who needs to puff out his chest in the mission briefing before they destroy the main hub. Maldonado, who just seems to want to hurt anyone out of righteous anger (undeserved in his case.) The initial scene between Lee Adama and his father, where Lee beats the horse of his brother Zack’s death as if the father had directly caused it. Conor, who whines about his son’s death, for which he blames Baltar. Even after personally flushing Jammer (the son’s putative killer) out the launch tube, it’s not enough. These people end up being stupid, selfish and cruel to suit themselves, and we’re given this as “normal” behavior. Galen Tyrol abandons his humanity so it seems, by identifying with the Cylons as a Cylon despite having spent the rest of his life up till then as a human. We’re supposed to believe Reka Sharma’s character is so shallow that she also would rather identify with the Cylons after Roslyn chews her out (and merely for that reason.)
Once any of the final five are available to Cylons be talked with, one would expect that the mass-copy Cylons would ask what the deal is to be a member of the final five. The fact is that they had no idea until Anders recovered his memories. So for quite a while, the final five are pretty darned useless – to themselves, or the mass-copy Cylons.
Like: hey, here’s this really famous person, but when you try to find out why they’re famous, there’s no answer. All the Cylons should revere the final five (so they believe) but none of them could say why. You ask a member of the final five “Why are you special?” and there is no meaningful answer for a long elapsed time in the story. After discovering that the final five are clueless, the mass-copy Cylons might have asked what the point was to be concerned about the final five to begin with.
I find one blithering error after another in this, supposedly some of the best Television can offer. I tired of this garbage finally, that unless these programs make some effort to be self-consistent, it’s not worth watching them any longer because their quality is just too poor. Whatever withdrawal I have to face to get away from this crap is due to its being crap and instead of focusing on the withdrawal, I should remember why it’s all crap, all the time, with an eye to doing something about it. Thankfully I do no longer consume TV or Radio.
Now I will set my criticisms aside for a moment and applaud what I did enjoy. I’ve abused my time with the thing, it was a fun way to waste time. It too has sunk into my subconscious enough to remember far too much of the thing. And the words I’ve expended on it and on polishing this essay … I hope at least then, that someone enjoys this in turn.
Footnotes
1 “24” is an authoritarian’s wet dream. At one point I joked that it could be renamed “The Violence, Coercion and Torture Show.” (In episode 4, Jack tortures Audrey’s boyfriend Paul as the first thing he does, before explaining to Paul what he found and simply asking Paul straightforward questions about what Paul knew about it.) But in fact the series is actually quite valuable as a showcase of authoritarian emotional reasoning and therefore is useful for reference purposes, and is so rich with observations to be made that it will require a separate essay to deal with. Briefly though, the series is priceless for showing in what ways the authoritarian type is a sad piece of work. In each earlier episode, Jack is always discarded and hopeless, and the agency has to beg him to return. What the writers of the series don’t recognize, I think, is that they have shown why Jack is discarded and hopeless: everyone around him recognizes him as violent, unreasoning and easily cruel. Particularly poignant is how Jack always becomes re-discarded: he claims to be doing the right thing all along, but leaves a trail of smashed innocent lives behind and can’t understand that this is an issue. He demonstrates that he knows that their lives don’t matter in the real scheme of things, but in Jack we have someone who can’t see that a logical extension of his position is that it would be alright to save “America” even if he had to kill every American in the process. What is he really defending? If civilians don’t matter, what does? The final episode made it perfectly clear whether Jack believes in anything but himself: he doesn’t. When the President he supposedly respected like God told him she was going to do a dirty deal to end the Middle-East conflict, Jack decided for the country that this was an incorrect decision he would not permit if he could help it (and fully intended to assassinate the leader of a country to obtain justice as he saw it.) I guess Jack is too dull and too little-read and too self-centered to know that dirt underlies many such agreements and that perhaps ending the entire Middle-East conflict “50 years old” might indeed have been worth some dirt heaped upon a few individuals. We know he thinks the law doesn’t matter because the call really was the President’s and not his. For this authoritarian type, society does not exist and is the enemy when it does. Nobody should feel sorry for Jack Bauer. “Meaning well” is not enough to excuse a psychotic who appoints himself world-leader as he sees fit. Worst for the authoritarian writers of the show is that we now know to question claims of patriotism and defense of nation, thanks to them. No Extremist Libertarian Individualist can ever be trusted in their use of such concepts.
2 Given my workover of Battlestar Galactica below, I should write up Avatar, because I have so many nice things to say about it with many fewer complaints.
3 The gratuitous “Hollywoodization” showed up most horribly with the last film, which totally ignored Rowling’s “written for cinema” ending (!) and replaced it with confused nonsense. The only films I have bothered to go to a theater to see have been the Potter films, Fahrenheit 9/11 and perhaps one other. Near the end of the final Potter film I watched as the plot was trashed harder and harder, until I audibly said “it has to be Neville who does it,” referring to who would behead the snake Nagini, fully expecting that the Hollywood clods would give that to a different character, so corrupted had the plot become. Another audience member smiled at me as if in agreement that we were hoping the plot would be followed, it was so obvious to all how much we were being cheated. Another rather egregious example is the scene from The Goblet of Fire where Harry faces the dragon. In the Hollywood version, we have the dragon chasing Harry all around Hogwarts and Harry meeting the first challenge mostly by luck with no skill at all, moreover the scene lasts a long time in real time for the characters (many, many minutes would be required for what happened in the film.) In the book, Harry figures out what to do within seconds of facing the dragon and all the action happens within a large cage. Harry’s strategy is clever and he steadily executes it bravely, taking the least time of any of the champions. The movie Harry is a lucky wimp. The book Harry has real nerve and decisiveness. As I said, we the public should start getting really fed-up when such a handsome series is rendered so poorly in what will be the only film version of this story for years. We should expect the “reference version” and get angry when Hollywood putzes substitute what they think will sell for what brilliant authors wrote with intent. I wasn’t going to the theater to see “Hollywood-adulterated Rowling”, I was going to see Rowling. We should stop attending once they start screwing with the plots, and tell them why we left.
4 For you ignorant young punks who don’t know who HAL is, HAL 9000 is the name of the computer that operated the spaceship used for the Jupiter mission in 2001 Space Odyssey. During the voyage to Jupiter, HAL goes psychotic and kills three scientists in hibernation and one of the two pilots, failing to kill the other, who subsequently manages to disable HAL. An all-time classic movie line is given when the second pilot (Dave), as yet unaware what HAL is up to, repeatedly requests HAL to readmit him to the spaceship following retrieving his colleague’s body from space: “Please open the pod bay doors, HAL.” He becomes increasingly insistent as HAL remains silent. Finally HAL replies in a chillingly smooth and confident voice,
“I’m sorry, Dave, but I’m afraid I can’t do that.”