Battlestar Galactica Miniseries
Script by Ronald Moore Part 1
Reviewed by Susan J. Paxton
From
its very first words, Ron Moore’s script for his “version” of Battlestar Galactica proclaims that the original is dead: The
Cylons were created by man.
But
of course the Cylons were not created by man. And therein lies the rub,
my friends.
I
am not one of those who is a “continuation or bust” person. I have always
been willing to accept a remake if
– and only if – that original
was faithful to the basic premises and themes of the original. Certainly
things could change, even be improved. There are vast flaws in the original,
largely a combination of rushed production and a lack of any feel for science
fiction by the production team. But some things are untouchable, and one of
the most important is the matter of the Cylons.
For
the Cylons were not “created by man.” The Cylons were once a race of
beings who allowed their technology to become too all-encompassing and finally
were overwhelmed by it. The Colonials did not meet the Cylons until after the
escape from Kobol and after the anti-technological interregnum that Adama
talks about in “Lost Planet of the Gods.” At some time the Colonials had
an ally race called the Hasaris, whom the Cylons wished to enslave. That was
the apparent casus belli of the Thousand Yahren War.
And
there was a deep mystery as well. In “War of the Gods” the Colonials
encountered Count Iblis, a man, apparently – a man who, according to Baltar,
had the voice of the Cylon Imperious Leader, a fact that only he was in a
position to know. Who really was Iblis, and what part had he played in the
tragedy of the Cylons? It was a wonderful, intriguing mystery.
But
no mystery here. In fact, the only mystery in Ron Moore’s Galactica is why Moore feels his version improves on the original
(and the real hell of it is, in a few places it arguably does).
The
first scene opens on a Colonial space station, apparently one constructed to
monitor the armistice between the humans and their malcontent machines who,
after the ending of the war in the fairly recent past, have moved off into
space. As a voiceover discusses the history of the humans and Cylons, we see a
Colonial officer who once a month comes to the station to wait and see if the
Cylons show up to talk. As the voiceover progresses, the officer ages and
moves up the rank ladder and the family photos he has on his desk change.
Every time, he leaves the station with no sign of the Cylons.
Until
at last the door snaps open (um, no docking warning?) and two Cylons enter the
room, followed by a beautiful woman, who proceeds to make a blatant,
ridiculously over-the-top sexual play for the Colonial officer, during which
first the Colonial officer’s shuttle explodes, then the entire station. The
cold war with the Cylons is about to go “hot” again.
The
scene cuts immediately to a corridor of the battlestar Galactica,
and a woman jogging. And once again Moore proclaims that, while he has
respected Star Trek and evidently so
respected Anne McCaffrey’s world of Pern that he pulled out of a miniseries
project, he will show no such respect to the creation of Glen A. Larson and
Leslie Stevens. For the jogging woman is Lieutenant Kara Thrace, whose call
sign is Starbuck.
One
of the interesting features of the original Galactica
is that it was military without being too recognizably based on Earthian
models, although I have argued elsewhere that perhaps Larson would have done
well to have hewed a little closer
to “wet navy” models. But Moore takes it too far. Not only is his Colonial
military based on a “wet navy,” it’s the US Navy by way of Top Gun. The pilots all have smarmy call signs, and the vipers
are painted suspiciously like US Navy fighters – warning stencils, NO STEP
signs, ship name painted on the tail in F-14 style, squadron emblems
(incredibly, the vipers are white instead of gull grey, but I digress) and so
on. And once again Moore flushes
any sense of mystery, any sense of otherness,
away for no good reason at all. Part of the fun of watching BG
week after week was trying to figure out when
it was all happening. Far in the past? Would the Colonials come to earth and
somehow inspire the Egyptians? Would they arrive in the far future? No
one knew. These people are all too recognizably us – and therein lies
another problem. If the Colonials are a civilization that’s been separated
from their brothers on Earth for thousands of years, why do they have names
like William? Paul? Sharon?
In
the next few scenes we encounter the Galactica’s
commanding officer, William Adama (portrayed in the miniseries by Edward James
Olmos), who back in his Top Gun days
was known as “Husker” (big Husker Dü fan, I guess), and his executive
officer, Colonel Paul Tigh, who evidently was never graced with a call sign.
Adama is busy composing a speech for the Galactica’s
retirement ceremony, scheduled for tomorrow, and Tigh is busy nursing a big
league hangover. In one of the nicer scenes in the script – and, to give
Moore his due, there are a number of these – the Galactica’s
ground crew present Adama with a restored viper, one he flew in his younger
days, repainted in his original markings, salvaged from the boneyard. Tigh,
meanwhile, merely staggers around. Evidently no one wants to give him
anything, although an invitation to AA would not seem amiss.
Cut
to a doctor’s office somewhere in the Colonies where Laura Roslin is getting
the bad news about her breast cancer – terminal. Surprisingly, a race with
faster than light spaceships still finds cancer a problem. Does no one think
this kind of thing through? This is especially glaring when Moore in certain
places in the script has made distinct improvements on the technology of the
original (explicitly equipping the ships with FTL drive, opening compartments
to space to extinguish fires, etc.). Afterwards we find Roslin aboard a
transport on her way to the Galactica.
As Minister of Education, she will be present for the decommissioning ceremony
at which the ship will be transferred to the custody of the Ministry of
Education as a museum vessel.
Next, Moore gets artistic, and cuts back to the Galactica,
an exterior scene. But instead of a traditional “hero” shot, the script
direction reads that we are to see the Galactica
“as if it were being seen from a hand-held camera aboard a plane flying
alongside the ship. The framing
is a little wobbly and the picture goes soft once or twice as our imaginary
cameraman struggles to keep the ship in focus.” Huh? Once again, why?
I know, I know, there’s no sound in space, etc, and in fact objects in space
don’t look a thing like the kind of model work we’re accustomed to see
(usually they are either insanely well lit or in absolute darkness, for one
thing), but instead of seeming clever and artistic I have a nasty feeling this
is going to come out looking like someone hired their kid nephew to do the
effects. Hopefully it will be rethought.
Aboard the soon-to-be-retired battlestar, a card game is underway in
the ready room, two of the players being the cigar-smoking (?!) Kara Thrace
and Colonel Tigh. A lot of fans have various problems with this scene, but
have missed the major one – since when does a senior officer play cards with
the pilots? This is not terrifically good for discipline. Tigh might be found
playing cards with Adama and some of the other command level officers, but I
rather doubt you’ll find the exec of an aircraft carrier drinking and playing games with
the pilots (of course in the US Navy you won’t find them drinking at all,
since US Navy ships are “dry”).
Tigh gets off rather on the wrong foot by baiting Kara about her call
sign. Kara shoots back a retort about Tigh’s wife, whose adultery is
evidently common knowledge aboard the ship (although whether it’s the cause
of or a result from Tigh’s alcohol addiction remains a mystery). Kara wins
the hand – evidently the fifth in a row – and Tigh accuses her of
cheating. Tempers flare, Tigh knocks the table over, and Kara belts him. Many
fans have a problem with a junior officer slugging a senior. That is bad, but
it’s worth noting that Tigh made the first move – and was wrong to put himself in the
situation in the first place. In the US military, they would both
end up in the brig and Tigh would probably be cashiered. In this early version
of the script the other pilots haul off Tigh’s smoking remains, and Kara
gathers up her winnings. Reportedly this scene has since been rewritten to
have Kara put in the brig. Like I said, they should both
end up there. But for some fans to run around tearing their hair out screaming
about how this scene will upset the military is just asinine. Perhaps someone
will tell me just which TV series has not taken insane liberties with the
military, up to and including former Marine Don Bellisario’s JAG, which makes the most effort of any
of them not to? Not to mention the displays of mass insubordination in “The
Living Legend”....
Back in the Colonies – and evidently in this version of the script
“The Colonies” are on one planet, Kobol (according to rumor changed since)
– we see a TV interview with the unconvincingly “brilliant” computer
scientist Dr. Gaius Baltar, whose view is that the ban on artificial
intelligence research set in place during the Cylon war should be lifted.
Later, in his apartment, we find Baltar and a good looking female all over one
another (another scene fans claim to find appalling although the original,
unaired version of the Starbuck/Cassiopiea launch tube scene was evidently not
much less explicit than this, and neither is most network TV at this point). At the height of passion, we see – but Baltar
does not – that her spine glows! Good heavens, a Cylon. Might as well paint
a sign on her. Moore probably feels that his “realistically flawed” Baltar
improves on the “insane, crazed” Baltar of Larson, but in fact this Baltar
is one of the weakest characters in the script. He’s not realistic on any
level. At least John Colicos could act.
This ends Act One; Ron’s directions call for a multiple split screen
to start Act Two, something he hopes will become a stylistic trademark of the
series. Uh, Ron, Earth calling – 24
has been doing this for two years now and it’s liable to start looking as
dated as what Moore has referred to sarcastically as the “70s hairstyles”
of the original.
As a tour group watches in interest, a viper comes aboard the Galactica (once again we cut to Top
Gun and the pilot has to “call the ball”), and out climbs Captain Lee
“Apollo” Adama. Friends, this is not the Apollo we know and love. While
our Apollo occasionally disagreed with his father, this Apollo hates his father.
Apollo is followed in by a two seater Raptor
(I have no idea if it’s coincidental or not that the new F/A-22 fighter is
also called Raptor) flown by Lieutenant Sharon
“Boomer” Valerii, who unlike our
Boomer seems to be a remarkably bad pilot. This will become more curious in
Part Two.
At this point Moore notes that both men and women are referred to as
“sir” in his Galactica universe,
and again this has been a nitpick with certain fans. I have no problem with
it, and in fact Star Trek II
introduced the same logical tradition into Star Fleet. We also learn that
Valerii is having an affair with her crew chief, which in our military is
automatic kick-them-both-out-of-the-service time. To their credit, the other
ground crewman find the whole thing rather disgusting (and to Moore’s
credit, the enlisted types get a lot more time in his BG
than they ever did in Larson’s; the ground crewmen are recurring characters
throughout the miniseries).
Meanwhile, Laura Roslin and her callow assistant arrive on board;
Billy, the assistant, is shocked by unisex heads and then attracted to one of
the female crewmen within. This is a boring and unnecessary subplot to waste
time on.
In his quarters, Adama is asking Tigh whether he wants to press charges
against Kara; Tigh decides not to but has revoked her flight status (again, it’s
been reported that the script has been rewritten to have Kara in the brig).
The sheer dysfunctionality of many of
the relationships – and another major and unwelcome difference from the
original – is emphasized in the ensuing discussion between the two men
regarding Tigh’s wife’s infidelity, his drinking problem, his desire to
leave the service, and the fact that although Lee Adama has arrived on board
over three hours previously he hasn’t bothered to inform his father of the
fact.
Although suspended from flight duty, Kara shows up in the ready room
for a briefing by Galactica’s CAG
(Commander Air Group – does he fly a viper with a “double nuts” modex?),
as does Lee Adama, who recognizes Kara. Lee will be taking the lead in a
decommissioning ceremony flyby flying the restored viper the ground crew
earlier presented to his father, something that thrills him not in the least.
The next scene features Adama and Laura Roslin discussing an idea she
has for the Galactica’s museum
ship status – an integrated computer system that will help visitors tour and
interpret the ship. Adama, wisely as it will turn out, refuses to have the
thing aboard, although in retrospect it’s a little hard to understand how a
ship the size and complexity of the Galactica
can be operated without one. Evidently the Colonials, suspicious of anything
that smells even faintly of AI thanks to their Cylon experience, have found a
way, presumably operating the ship by sneakernet.
Laura thinks Adama is a fossil, but he’ll be proved right soon enough….
After the briefing, Lee and Kara are catching up, having not seen one
another since the funeral of Lee’s brother, Zak. The reason for Lee’s
hatred of Adama becomes apparent; he blames his father for Zak’s death. Kara
tells him that he’s wrong about that, and tempers flare when she defends
Adama, a man who his entire crew obviously admire to the point of idolatry
(one of the rare flashes of the original series, by the way), something Lee
simply cannot comprehend. This is actually a well written scene, incidentally.
Moore can write, and he follows this
with another solid scene between Lee and Adama in which some of the reasons
for their antipathy are aired. Lee accuses his father of having pulled strings
to get Zak into flight school and as a result Zak was killed in a flying
accident. It is obvious that there is no common ground between the two men. I
believe this plotline is unfortunate, but to give Moore credit, it’s handled
fairly well here.
Night in Caprica City, and Baltar and his mysterious girlfriend are
wandering down a riverside talking about his computer network project for the
Fleet, one that she evidently had a hand in, against all regulations. Baltar
believes that although he’s broken rules, it will only result in an
advantage for the contractor she works for. As he walks away to meet someone,
we find out that the contractor she works for is in fact the Cylons, and his
indiscretion is about to cost a lot more than he thought.
Act Three
opens in one of the Galactica’s
hangar bays, already transformed into a museum with displays of artifacts and
preserved vipers, as the decommissioning ceremony begins with an invocation
and then a speech by Commander Adama. Remembering his confrontation earlier
with Lee, it’s not quite the speech he intended. He concludes, “We decided
to play god. Create life. And when that life turned against us, we comforted ourselves
in the knowledge that it wasn't really our fault, not really.
It was the Cylons that were flawed. But the truth is...we're the
flawed creation. We're the ones
that tried to manufacture life and make it serve us.
But you don't play God and then wipe your hands of what you've created.
Sooner or later...the day comes when you can't hide from what you've
done anymore. A day of reckoning.” And indeed that reckoning is closer than
anyone aboard the Galactica can
imagine.
Morning dawns on Kobol, and we see people going about their usual
activities, including Baltar, who gets caught by his mystery girlfriend in bed
with another chick. After his girlfriend (who we learn is named Number Six)
throws the interloper out, she begins what seems to Baltar an unnecessarily
theological discussion:
WOMAN
Children are born to replace their parents. That is God's plan. God plans the death of one's parents to be a critical component of a child's development into adulthood.
BALTAR
(trying to be light)
Nothing worse than parents that hang around too long. Mine certainly did.
Another
withering look.
BALTAR (cont'd)
Sorry.
WOMAN
God wants children to grow and develop on their own. He wants them to reach their full potential. And so it is that parents must die.
(beat)
But parents who stand in the way of
God's plan, who defy his will... they must be struck down.
The
hairs on the back of his neck are starting to rise.
Where the hell is this going...?
BALTAR
What's going on...?
WOMAN
Humanity's children are returning home.
(beat)
Today.
Back aboard the Galactica,
Roslin has boarded her transport, which is going to return to Kobol with Lee
as escort. Meanwhile, Adama and Kara are walking down a corridor in
discussion, Adama suggesting that Kara needs to get some staff time to ensure
her continued promotion. Then he asks her if Zak really was a good pilot. Kara
assures him that he was. The relationship between Adama and Kara,
incidentally, is considerably more like that between the Apollo and Adama of
the original and refutes fan claims that all
of the relationships are poisonous. Adama clearly has been a father figure and
a strong influence in Kara’s life. Fans have accused Moore of making all of
his characters idiots, but that’s a little unfair, and Kara and Adama are
the most interesting of the bunch; Kara Thrace, in fact, is probably the
strongest character in the show.
Adama and Kara are on their way to the Galactica’s
weapon control room, where Tigh is waiting to perform the act that will
signify the Galactica’s
decommissioning, the jettisoning of her weapon coils. That done, the Galactica’s teeth are truly pulled. Although she can still carry
her vipers and other craft, her main armament is now nonfunctional.
Cut back to Baltar and his Cylon girlfriend, who, in the grand
tradition of film and TV villains everywhere, is spilling the entire plot to
the horrified Baltar. He asks why, if everything is going to be destroyed, she
is still there, and learns that if her present body is destroyed, her memory
and consciousness will be immediately transferred to a new one. A distant
blast shakes the windows as the Cylon attack begins.
Act Four
brings an unexpected Red Alert aboard the supposedly
retired Galactica. After some expressions of doubt, it becomes obvious that
a massive attack is underway. Fleet headquarters on Kobol has already been
destroyed, and command of the fleet has passed to Admiral Nagala aboard the Atlantia.
As the Galactica’s fighters, which were in transit to Kobol for
reassignment, move out to attack, the situation continues to worsen. Thirty
battlestars, a third of the fleet, are destroyed in the first attack (a vast
improvement on Larson’s five, by the way), and severe damage done on the
planet. Adama calls Kara to the CIC and plans for the Galactica’s defense. Kara points out that they no longer have
vipers, but Adama disagrees – they do have 20 vipers that have been left on
board as part of the museum displays. Kara rushes with the pilots to the
launch bay, where the ground crews are yanking away velvet ropes and
descriptive signs. The real problem, it turns out, will be moving the ships to
the port launch bay, since the starboard has already been turned into a gift
shop….
Lee, escorting Roslin’s ship, has his own problems. The systems
aboard his viper are refusing to function correctly. Back aboard the Galactica,
word is starting to drift in that mysterious equipment malfunctions are pretty
much universal in the fleet, although the older Galactica remains
unaffected.
Galactica’s CAG and her
fighters run into two Cylon ships, which use some kind of ECM device to
disable them. All of the fighters are destroyed, except for Sharon Valerii’s
Raptor, which is somewhat farther back.
On Kobol, a panicked evacuation is already underway, and Baltar is
getting onto a transport ship. Ready to take off, the ship is grounded by a
power failure. Baltar leaves the ship and is wandering around the terminal in
a mass of panicked people, in a daze, as the city is destroyed by a nuclear
attack.
As Act Five begins, Adama informs his crew of the disaster to their
city, then we cut to Sharon and her copilot (WSO?), Helo, attempting to escape
from the attacking Cylons. Eventually they realize that the only way to
survive is to power down their already damaged Raptor, play dead, and coast
down towards Kobol.
Aboard her transport, Laura Roslin takes charge and puts the other
people on board to work checking supplies. Making contact with the government,
she learns that although a surrender was offered, the Cylons have ignored it.
Signing off, the transport pilot indicates that a Cylon missile is heading
their way.
Act Six opens with Lee’s attempts to save the transport ship.
Fortunately he is able to decoy the missile away, and in what could be an
exciting sequence he leads the missile on a chase into a viper training range
on a small moon that he knows intimately. He flips the viper end for end –
credit Moore with understanding how these things should be able to maneuver
– and destroys the missile with his lasers. But the chase has burned all of
his fuel, leaving him in a powerless viper drifting over the moon.
The Galactica finally has her antique vipers ready, and begins
launching. The Cylons once again try their ECM device on the Galactica’s
vipers, but the old vipers, with their hardwired avionics and simpler
computer systems, aren’t affected at all. In the ensuing dogfight, most of
the Cylons are mowed down, but one gets off a nuclear-armed missile, which
detonates near the Galactica. Again, with the addition of missiles and
ECM, Moore has made a distinct technical improvement on the original.
Act
Seven finds the damaged Galactica drifting in space,
venting air and fluids from her damaged areas, which include the port hangar
pod. As Kara watches in alarm from her viper, aboard the Galactica
Adama and Tigh are supervising damage control efforts. Although the damage is
serious, shielding protected the crew from dangerous levels of radiation. As
damage progresses through the crippled port hangar pod, Adama has to put his
trust in Tigh and sends him to take charge of the situation personally.
Arriving on the scene, Tigh sees that the only way to get ahead of the fires
is to decompress a section of the hangar, where over a hundred crewmen are
trapped. Not hesitating, he gives the order.
Fans have complained that Tigh is an irredeemable disgusting drunk, but
Moore allows him to find new strength in himself in this scene. Also, it must
be said that this is a gigantic improvement on “Fire in Space.”
Sharon Valerii and her copilot Helo have
landed their Raptor on an abandoned airstrip on Kobol and are watching as one
after another the mushroom clouds of nuclear attacks rise into the sky around
them while Sharon tries to repair their ship. Then Helo notices an oncoming
mob of refugees from the nearest destroyed city. One of them is Gaius Baltar.
Laura Roslin and her transport pilot, meanwhile, pay Lee Adama back for
his efforts in decoying the Cylon missile by recovering his fuel-less viper
from above the training asteroid. As he climbs out of his viper inside the
transport’s cargo bay, Lee learns that some people aboard the transport, led
by a man named Doral, whom we have previously seen as a tour guide aboard the Galactica, are less than inspired by Roslin’s leadership. Lee
finds her very much in charge, preparing the transport to take on refugees, as
the government has ordered a mass evacuation. Doral, clearly hoping that Lee
will take over, is startled when Lee backs up her orders.
Back at the landing strip, Sharon and Helo are having a hard time
trying to hold off the desperate civilians from their ship. This is another
powerful, genuinely harrowing scene; the pilots turn down money, but in the
end Sharon is moved by one woman’s request that they take her six year old
nephew – a boy whose face is familiar from a family photograph that the
officer at the armistice station, killed in the opening scene, had with him.
They realize that if they can take one boy, they might be able to get a few
more people into their ship as well. They take the five children there, and
can take three adults as well, and the people draw lots for the three adult
passengers.
Aboard the transport, a coded message comes in, indicating that the
government has been largely destroyed. Although forty third in the line of
succession after the President, Roslin sends her code back in reply. The message
that comes back confirms that she is now President of the Colonies – or what
is left of them. In the crowded cabin of the transport, in a scene reminiscent
of Dallas, 1963, she takes the presidential oath.
Lots are being drawn back at the Raptor, and three people are chosen.
An older woman near Baltar is one of those whose number is drawn; she’s lost
her glasses, can’t see the number. We never know if Baltar is going to do
something nefarious when Helo recognizes him and, feeling that one of the
greatest scientists in the Colonies might be useful, gives up his own seat to
Baltar, who, in the meantime, has mysteriously begun seeing visions of Number
Six.
The situation aboard the Galactica has been stabilized. Tigh’s
courageous order to decompress the hangar has cost the lives of 85 crewmen but
saved the ship. He joins Adama in the navigation station, where Adama is
seeking out a source of replacement weapon coils. The nearest possible
surviving site is
the abandoned Ragnar anchorage, three days travel away, and the Cylons are
between the Galactica and there. Tigh realizes that Adama has decided
to make a quick subspace jump to get there, and it has been over twenty years
since the Galactica made a jump. As the crew readies the ship, news
comes in that almost the entire fleet has been destroyed, and Adama is now in
command; he immediately sends out a message informing all units of his plan to
rendezvous at the Ragnar anchorage.
Roslin’s transport is approaching a crippled passenger liner when
Adama’s message is received. She immediately tells Lee to send a message
back requesting assistance. Again, fans are irritated by this, but it was
evident in the original also that the Colonials had a strong principle, as we
historically have, of civilian control of the military. Adama
is bound by his oath to obey the lawful orders of the government. Whether
her request is doable or not is one thing; she has the right to give the order
and Adama’s duty is to obey.
As the Galactica prepares to
make her first subspace jump in decades, Adama receives now-President Roslin’s
message from Lee and, as Lee had predicted, he doesn’t like it. He orders
the ship to proceed to the rendezvous; Lee has to remind him that the
President has given him an order. This is not one of Adama’s better moments in
the first half. He can respectfully disagree with the President, he can try to
reason with her, but disobedience is treason. Before he can do anything other
than complain about the President’s qualifications to lead, the transmission
is interrupted when the transport and the passenger liner it has docked to
come under Cylon attack. As Adama watches and the first night of the
miniseries ends, a massive explosion appears to destroy both ships….
Viewed in as neutral a manner as possible, the first two hours of Moore’s
script are a very mixed bag of OK, bad, and indifferent. If I was a fan who
was totally unfamiliar with the original Galactica,
I might like this. If I was a fan who was only vaguely acquainted with the
original, I still might like it. But as a fan deeply involved in the original,
I have to ask Moore why does he believe that the changes he has made are improvements? He actually writes and plots well. The first two hours are a
tight, exciting script. Some of the things fans profess to be most irritated
by – the sex, the relationship of the civilian power to the military, some
of the military details themselves, are, in my view, really not major issues.
But why change the relationship of the Cylons to the humans? This not only is
unnecessary, it adds nothing. The
human looking Cylons also add nothing except saving effects money, which I
suspect is why they’re here. Why remove the mystery by using common Earth
names and turning the Colonial world into a slightly more technically advanced
version of our own? Why the unnecessary character changes? While some of Moore’s
characters have real promise, they are no better or more involving or more
complicated than the
ones created by Larson, and in most cases they are less interesting and
certainly less inspirational. Is Tigh, for example, made more involving by his
being an alcoholic? Gaius Baltar is about as absorbing as Bill Gates (and
judging from early production photos has an even worse haircut).
What makes the script even harder to read is that there are
good things here. Moore has done a decent job in expanding the Colonial
military to realistic levels, improving the combat scenes, and adding at least
a modicum of science fictional sensibilities, even if these are inconsistent.
He’s also turned the holocaust from something disposed of by Larson in
fifteen minutes into a genuinely appalling disaster. It’s clear to me that
if Moore had hewed more closely to the original, or penned a continuation, he
could have written a first rate Battlestar
Galactica script that would truly have brought new life to the franchise
while honoring and expanding on what had gone before. Moore reportedly pulled
out of a miniseries version of Anne McCaffrey’s Pern novels because the
network involved refused to respect the original. Why
has he done what he protested against here?