I cannot figure out for the life of me who would have put that photograph of the Agathons up on that wall
I was thinking the same thing! And also, why in the world EVERYONE WE KNOW is volunteering for this suicide mission. Did someone tell them it's the series finale? I mean, it's great as a metaphoric statement here at the end, but in the reality of the world they're in it makes no sense at all. Grr, argh.
Did someone tell them it's the series finale? I mean, it's great as a metaphoric statement here at the end, but in the reality of the world they're in it makes no sense at all.
Maybe there was a fleet-wide memo! (On octagonal paper, of course.) I think that's my interpretation, because it entertains me.
I, too, have suspected Jessie as a robot and this week's episode just made that suspicious stronger. I'll be curious to see how it ends up.
One of the thoughts I had while watching the sub flashbacks in particular is how, if John IS alone in the future, I could actually seem him wanting to surround himself primarily with robots because they do what he tells them. For a guy who has taken on the whole of the resistance onto his shoulders, having soldiers he feels he can rely on perfectly would have to be tempting.
I could actually seem him wanting to surround himself primarily with robots because they do what he tells them. For a guy who has taken on the whole of the resistance onto his shoulders, having soldiers he feels he can rely on perfectly would have to be tempting.
katie_m has been developing a very strong theory that Future!John Is A Nutball. I think we're seeing more and more evidence. It strikes me that robots are also the perfect associates, because if he's learned the lesson that caring about the people around him makes him vulnerable--and that he endangers the people he cares about--then who else is he going to talk to? It seems like most of his interactions, even with people like Derek and Jessie, are passed on through machines.
And Cameron seems to think it's necessary, because presumably the John who reprogrammed her and sent her back thinks it's necessary. Which is Not Good.
Before Zak died, Kara was happy--funny, full of warmth, glowing. We've always kind of known that, but it's stunning now to see her without that edge of anger and self-doubt, before she took on the weight of that first death, and then the weight of all the others she felt responsible for.
We knew Zak's death and her guilt for her part in it changed her, but it wasn't until the flashback that I saw just how much it had changed her. And while I can look at Lee and see that, in many ways, he's changed for the better, he's a much more confidant and mature person, I just don't see Kara ever getting back to that person she once was.
Lee, conversely, was miserable and frustrated, and possibly already in love with his brother's fiancee.It's funny, I just read a post describing how happy and carefree Lee once was. I couldn't see her take and I'm not really seeing yours either. It's fascinating how we can all watch the same scenes and view them so differently
( ... )
It's funny, I just read a post describing how happy and carefree Lee once was. I couldn't see her take and I'm not really seeing yours either. It's fascinating how we can all watch the same scenes and view them so differently.
Huh. I would certainly not interpret a violent tantrum at a pigeon as a sign of happiness and carefreeness. My own interpretation also leaned on the brief glimpse we had of the Sudden Pregnant Girlfriend in Season 2, as well as his long past alienation from his father; it seemed like he wasn't getting anything he wanted, just living in the directions life left open for him. It's a contrast to what he's become, since he started taking charge of his own fate and doing what he wanted.
It's probably the only moment I've felt sorry for Jesse. She has no life outside of her mission. It was a nice parallel to Cameron who will stand and stare at the wall at night when she has nothing else to do. It also contrasts nicely with Derek, for as screwed up as he is and as single-minded as he can be, he does occupy his
( ... )
Well, we know they're not buoyant and can't swim, but I'm not convinced they're crushingly heavy. It would be pretty obvious if couches bowed in when they sat on them, for example. Vic was able to convincingly fool his wife, so I can't imagine that the difference in weight is huge.
I took the pigeons thing as them being not beautiful and undesirable as the whole point, he was trying to get rid of the things or emotions that bugged him. Not entirely sure of past day but in future day, Baltar is certainly like a pigeon, heh.
Yeah, I think the symbolism is of something in his interior space that he can't get rid of. But I doubt they'd film the same scene with him trying to make a rat scurry out of the room, and that's exactly what city pigeons are. So why not film it with a rat instead? Because someone's making an judgment that pigeons are more aesthetically pleasing. The problem for me is that I can't buy into that judgment, because I see a rat with wings, so it takes me out of the scene.
But I think rats are limited in their scope, they can only run on the ground. But pigeons on the other hand can fly up where you can't reach them, can go in lots of different directions making it hardger giving more of a reason to use them.
I thought it was interesting that John Henry's choice of music was "Three Blind Mice" - as in, Derek is unaware of Jessie's agenda, Sarah and John are unsure of Cameron's hidden activities, and James Ellison is unaware of Catherine Weaver's true identity or purpose.
All three are working to determine and control the future, and is there a greater significance than we yet know that both the Weaver and Conner threads are running concurrently in the same city, intertwined through Ellison?
I thought it was interesting that John Henry's choice of music was "Three Blind Mice" - as in, Derek is unaware of Jessie's agenda, Sarah and John are unsure of Cameron's hidden activities, and James Ellison is unaware of Catherine Weaver's true identity or purpose.
Oh, good point! (And my goodness, I hope Ellison has at least started suspecting Catherine Weaver, because I just can't believe he's that dumb.)
The story that's unfolding in my head is that Ellison is the moral center--now for John Henry, but eventually for a John Connor who is in danger of losing his bearings and his humanity. I would like to see that be his eventual connection to the Connors.
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I was thinking the same thing! And also, why in the world EVERYONE WE KNOW is volunteering for this suicide mission. Did someone tell them it's the series finale? I mean, it's great as a metaphoric statement here at the end, but in the reality of the world they're in it makes no sense at all. Grr, argh.
Reply
Maybe there was a fleet-wide memo! (On octagonal paper, of course.) I think that's my interpretation, because it entertains me.
Reply
One of the thoughts I had while watching the sub flashbacks in particular is how, if John IS alone in the future, I could actually seem him wanting to surround himself primarily with robots because they do what he tells them. For a guy who has taken on the whole of the resistance onto his shoulders, having soldiers he feels he can rely on perfectly would have to be tempting.
Reply
katie_m has been developing a very strong theory that Future!John Is A Nutball. I think we're seeing more and more evidence. It strikes me that robots are also the perfect associates, because if he's learned the lesson that caring about the people around him makes him vulnerable--and that he endangers the people he cares about--then who else is he going to talk to? It seems like most of his interactions, even with people like Derek and Jessie, are passed on through machines.
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that seems like something worth preventing
And Cameron seems to think it's necessary, because presumably the John who reprogrammed her and sent her back thinks it's necessary. Which is Not Good.
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We knew Zak's death and her guilt for her part in it changed her, but it wasn't until the flashback that I saw just how much it had changed her. And while I can look at Lee and see that, in many ways, he's changed for the better, he's a much more confidant and mature person, I just don't see Kara ever getting back to that person she once was.
Lee, conversely, was miserable and frustrated, and possibly already in love with his brother's fiancee.It's funny, I just read a post describing how happy and carefree Lee once was. I couldn't see her take and I'm not really seeing yours either. It's fascinating how we can all watch the same scenes and view them so differently ( ... )
Reply
Huh. I would certainly not interpret a violent tantrum at a pigeon as a sign of happiness and carefreeness. My own interpretation also leaned on the brief glimpse we had of the Sudden Pregnant Girlfriend in Season 2, as well as his long past alienation from his father; it seemed like he wasn't getting anything he wanted, just living in the directions life left open for him. It's a contrast to what he's become, since he started taking charge of his own fate and doing what he wanted.
It's probably the only moment I've felt sorry for Jesse. She has no life outside of her mission. It was a nice parallel to Cameron who will stand and stare at the wall at night when she has nothing else to do. It also contrasts nicely with Derek, for as screwed up as he is and as single-minded as he can be, he does occupy his ( ... )
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There's only so much you can fake.
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All three are working to determine and control the future, and is there a greater significance than we yet know that both the Weaver and Conner threads are running concurrently in the same city, intertwined through Ellison?
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Oh, good point! (And my goodness, I hope Ellison has at least started suspecting Catherine Weaver, because I just can't believe he's that dumb.)
The story that's unfolding in my head is that Ellison is the moral center--now for John Henry, but eventually for a John Connor who is in danger of losing his bearings and his humanity. I would like to see that be his eventual connection to the Connors.
Reply
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