yet more Laura Roslin thoughts

[pellucid]

I promise, someday I will stop making multiple BSG posts every week! Today is not that day, however.

Comments

[pellucid]

I can read it the way you do, as well. But I have to work at it, and that starts to feel more like fanwanking to me, which is frustrating. I think the biggest problem is really that they're not writing her consistently, period--motivations seem all over the place, and then aren't followed up on for weeks, and we're meant to think that, what, a month or two have passed since the discovery of Earth by this point? Yet we haven't gotten much emendation of what Laura's doing and why since the immediate aftermath. In the lack of a consistent picture, I think people tend to run with the interpretations that ping for them--and in my case, that seems to be a tendency to freak the hell out that I'm seeing things I find very worrisome. Even if that's not the only thing there, it's the thing that stands out to me, so I fret. No, it's not terribly logical, but it also feels no less logical to me than trying to fanwank some other interpretation. I feel like they have stripped away the logical character development at this point so all we're left with is the best of possible disparate interpretations of random and disconnected actions.

I do expect Laura to be a key player in the Opera House stuff--I mean, she just HAS to be, right? I'll be able to overlook some of this stuff that I've found so frustrating if they do amazing things with her in these last episodes, and although I've lost my ability to actually expect them to do anything at this point, I do continue to hope (cautiously) that she'll have some great things to do in the end.

[dionusia]

I can read it the way you do, as well. But I have to work at it, and that starts to feel more like fanwanking to me, which is frustrating. I think the biggest problem is really that they're not writing her consistently, period--motivations seem all over the place, and then aren't followed up on for weeks

I see. Well, that was my impression as I watched, and I didn't consider alternatives until I read others' posts. Because...yeah, a Laura who puts a relationship with Bill first is just not her.

I also felt like the first half of this season had an accelerator pedal on it, and that feeling has only increased. We always hear about epsiodes running way over time, and things that got cut. There's more story than there is time to tell it. It frustrates me that there are these gaps where we don't know what's going on with some characters and relationships -- it's like there are too many times we have to fill in the blanks. Everyone wants to see more of their favorites, to be sure, but I think with Laura and Lee in particular the case is more egregious. They are, after all, two of the four main leads.

do expect Laura to be a key player in the Opera House stuff--I mean, she just HAS to be, right?

I really think the last ep kickstarted that, yes, and we'll be seeing her soon. The music theme + Hera + Opera House all intersected at last.

I HAVE to believe this. Er. Fingers still crossed.

I'm going to resort to hybrid-quoting now. The dying leader shall know the truth of the Opera House! *g*

[pellucid]

I completely agree with you about the pacing--it all feels very rushed, and it seems like just about every episode has had stuff cut out, yes. Apparently last week's had a whole Adama-and-Roslin-deal-with-her-impending-death subplot that I can't decide if I'd want to see or not. Because on one hand it surely held some insight into Laura's state of mind (and I trust Weddle and Thompson with her state of mind a lot more than I trust Espenson or Angeli), but on the other hand I've hated, oh, most of what has gone on with A/R in these recent episodes, so the odds of liking whatever they'd have done with it here were not terribly good. Bah!

And I also agree that there has been an egregious lack of both Laura and Lee in these recent episodes. And not only is it lack of screentime, but it's lack of agency, as well--and that's something that extends to most of the main cast. The great movers and shakers of 4.5 so far have been Gaeta and Zarek for the mutiny plot and Ellen and Cavil for the Cylon plot; nearly everyone else has either reacted or sat idly by. And maybe that's part of the point, to show how tired they all are by now--I think it's definitely what they're trying to do with all of Bill's drinking and mooning, and maybe also with Laura's cancer--but they're not executing that terribly effectively. And I'm not sure it's at all what I want to see--as much as I enjoyed "No Exit" and am a fan of Cylons generally, I'd rather the show not become the Ellen and Cavil show.

I'm holding out for the truth of the Opera House, yes. And the end if this last episode does seem to be pointing us in the right direction. If only they hadn't sucked away most of my hope at this point...