Jammer's Review

Battlestar Galactica

"The Hub"

***1/2

Air date: 6/6/2008
Written by Jane Espenson
Directed by Paul Edwards

Review by Jamahl Epsicokhan

Not every series could or would attempt to put such a huge question mark at the end of an episode, then go the entire subsequent episode without even one scene from the point of view of the characters most crucially involved in that question. But not every series has as many players as Battlestar Galactica and gives them such equal emphasis. Take, for example, the exceptionally superb The Shield. It's also arc driven, but in terms of screen time, it's a little more biased toward Vic Mackey and the Strike Team. I don't think BSG has such a bias. It has a lot of characters and gives them all a lot of play. That's just a simple observation, not an opinion on whether one approach is inherently better than the other.

When you look at the three-episode structure of "Guess What's Coming to Dinner?", "Sine Qua Non," and now "The Hub," it's rather sublime. Rather than having three parts told chronologically, where we'd be crosscutting between all the characters, the writers have crafted two separate "part twos." The first part two addresses the story from the characters in the fleet, and the second part two addresses it from the characters on the basestar. Both episodes span the same time frame. It's fundamentally a simple concept, but also crafty.

I think it makes sense because the stories involved, while operating on a common thread, have very different themes. Even if told chronologically it would still necessitate two episodes of screen time. So by separating them and telling the stories on their own, they've actually made it easier to sustain narrative momentum in each thread. I admire that approach. It was also probably one of necessity; to show all of what goes on in each of these two episodes at the same time would not be easy. The story has grown so big that subplots have their own subplots.

But I'm getting too hung up on structure here. "The Hub" works because it's big, it's epic, it's emotional, and it's a major turning point in the BSG storyline. At the same time, it's also an intimate character study of Laura Roslin, who is very aware of her inevitable death, and realizes in her dreams/experiences/visions here that being the president has made her hard. The visions come every time the basestar makes an FTL jump. An FTL jump aboard this ship apparently has a special knack for bringing insight to people who need it. I like the notion itself that while you're in mid-jump, you might exist somewhere between reality and post-reality. It's kind of creepy, and also kind of comforting.

In these visions Roslin sees herself on her deathbed and is guided by the long-dead Priest Elosha, with whom Roslin was very close, and who laments the humanity Roslin has lost: "You don't love people," Elosha tells her. We realize in these scenes how the burden of being president has taken its toll on Roslin's soul. If indeed it's true that she doesn't love people, it's probably because she feels she can't afford to.

Back in the real world, the Hybrid's jumps are actually based on her own instincts; she's following the signatures left by the jumping resurrection hub, which means the daring attack plan might not be lost. If the Colonials can get into position once the basestar is in the hub's vicinity, they can launch their attack and destroy the Cylon resurrection ability forever.

The Hybrid also continues to speak its gibberish, which Roslin and Baltar mostly fruitlessly attempt to decode (both have experienced the Opera House) in strange quasi-comic scenes where they're both yelling at the Hybrid and trying to get its attention. I didn't think all the yelling worked as comedy or drama; it was merely loud goofiness. But in the Hybrid's gibberish we do learn that she knows Renegade Six was killed on Galactica, and a Sharon copy refers to her as "Natalie." (Like Pegasus Six aka "Gina" of season two, it's not until the character has been killed on-screen that we actually learn her name — hence the reason I've never used it in a review before, despite the fact SciFi.com revealed it before season four even started. It's not canon 'til it's on the screen.)

"The Hub" also keeps minor subplots alive in the background. For example, a prominent "guest" character here (played by a regular actor) is a copy of Sharon that knows how to massage Helo's shoulders. How does she know what only Helo's wife knew? Because she has accessed Athena's memories that were stored after she was last killed/downloaded (see "Rapture"). I'll henceforth call this Sharon clone Athena-2. This is a bizarre turn of events and a unique violation of Helo's trust and Athena's individuality (although one wonders if Athena expected to retain that privacy having gone through the download process), and it serves to remind Helo (and us) of the real difference between humans and Cylons. As long as this downloading process exists, it will always serve as a reminder that these people maybe aren't people in the true sense, because they cannot die. It's all the more interesting to ponder what it will mean to the Cylons when that capability is gone.

So the Colonials' daring plan goes ahead: A surprise attack on the hub's FTL drive will disable it so an extended attack can be launched and the Vipers can get in close enough to nuke it. This surprise attack will require the Vipers to be powered off and towed via cable by Cylon Heavy Raiders under the guise of a peaceful approach. It also means the human Viper pilots must put full trust in their Cylon allies amid a very tenuous alliance. Athena-2 makes an impassioned plea to the Viper pilots to trust her and the other Cylons like just they trust Athena-1. (Complicated enough?) What's important to note about this battle plan is that it's not based on complicated, meaningless technical or strategic details; it's about the more human military aspects, like trusting your ally not to betray you, and your wingman not to screw up.

But trust only goes so far. When it comes to the plan to rescue D'Anna, who knows the identities of the Final Five, Roslin takes no chances; she orders Helo to bring D'Anna straight to her after she's unboxed and (inevitably, successfully, by episode's end) rescued from the hub. Helo, always the man with a code who wants to do the right thing, objects to this deception. When he argues for trust in the Cylon allies — like he trusts his wife — Roslin has a coolly delivered response: "You are not married to the entire production line." Fair enough; Cylon copies are individuals, and as such, you can't simply trust them all to behave monolithically.

The actual attack on the hub is a powerful sequence. It features a beautiful, wonderfully realized visual effects sequence and a haunting score by Bear McCreary. It has an epic, poetic — even mournful — sweep to it. The reason it works so well is because the creative staff is keenly aware that this is not a typical visceral action sequence; it's an emotional piece about the very nature of the Cylon existence, and how humanity and rebel Cylons have teamed up to fundamentally change that existence. The gravity of what's happening is fully conveyed through editing, through music, through feelings. In short, after this happens, everything will be different. The question is how.

If "The Hub" has a flaw, it's that its scenes cut away from themselves to other threads and these transitions don't always feel organic. Crosscutting typically isn't a problem on this series (and it happens all the time), but here, when there's a major space battle, it has to be done with extreme care, and I thought that some of this at times felt like explosivus interruptus. The transition that cuts away from the battle to Baltar standing in a corridor, talking to a Centurion, has an odd momentum-killing quality. We go instantly from the macro to the micro: The Cylons are about to lose their resurrection ability, and Baltar is giving a religious monologue to a robot.

And yet there's something hilariously perfect about Baltar pointing out to a Centurion that it's the low man on the totem pole — a slave, in fact — and preaching to it the word of God. Baltar's evangelical mandate apparently now includes toasters. (Reminding me: We've heard "skinjob" a lot lately; "toaster" not so much). The fallout from the Centurions' sentience inhibitors being removed in "Six of One" hasn't been explored; I hope the issue returns in future episodes. Perhaps this is a hint of such.

Baltar is seriously wounded when the wall explodes behind him, and the only one on hand to treat him is Roslin, and this leads to a particularly intriguing scene. Roslin bandages him, and Baltar uses this opportunity to explain to her his enlightenment of faith.

The evolution of Baltar from an atheist to the leading voice of the monotheistic movement has been quite a journey. If I wasn't quite convinced by it in "Escape Velocity," I most definitely am now. This is a true character journey that finds a way to connect the dots. Baltar even uses faith as a way to wash away his past sins (and perhaps that was one reason that necessitated his conversion: so he could forgive himself). In demonstrating that notion he finally confesses to Roslin his biggest sin of all — that he gave up the access codes that allowed the Cylons to destroy the Colonies. Bang. Cards on the table. He juxtaposes himself to a Noah-like flood as described in Colonial scriptures: "Nobody blames the flood. The flood is a force of nature. Through the flood, mankind is rejuvenated and born again. I was not a flood. I blamed myself. God made the man that made that choice. God made us all perfect."

Hearing this is too much for Roslin, and she has a key decision here where she decides that Gaius Baltar must die to pay for his sins. She is prepared to let him bleed to death. She won't kill Baltar, but she won't save him, either. Is this the same as putting Baltar in the hands of God?

In Roslin's final vision, Elosha tells her that doling out death penalties cannot be done case by case. Roslin watches herself die, and sees the devastation it causes Adama. It's a powerful scene and it informs not only her epiphany about her relationship with Adama, but also her decision to make an about-face and save Baltar. Fascinating stuff. Watch Roslin's desperation as she tries to save Baltar, and avert her own massive sin.

Lastly, the Adama/Roslin relationship pays of here in wonderful fashion. Simply put, they love each other, and finally that fact is embraced and acknowledged. As a payoff, this is a revelation, and I'll tell you why. Love that is fully earned, so that you get true buy-in from the audience, is really hard to depict adequately on the screen. Really, really hard. Dysfunctional romances and coy trifles are a dime a dozen. But the kind of grown-up, mature, comfortable, trusting, fully complementing, intellectually aligned relationship that is Adama and Roslin — it's a big deal to pull off convincingly. This is a relationship that has been built on hours of nuanced storytelling and terrific performances by Edward James Olmos and Mary McDonnell, and when it comes together like it does in this final moment, it must be singled out for praise.

Footnote: I couldn't shoehorn this naturally into the general discussion, but I still wanted to mention the episode's big fake-out, when D'Anna tells Roslin that she's the final Cylon and then has a good laugh over the lie. Even the music plays along. Fun stuff, albeit cheeky.

Previous episode: Sine Qua Non
Next episode: Revelations

Season Index

28 comments on this review

Greg - Fri, Jan 16, 2009 - 5:19pm (USA Central)
Great review. I once again more or less agree with you. I think the only place where we differ in respect to this episode is the cross-cutting between battle and Baltar scenes. I didn't find it distracting at all. As a matter of fact, I found it quite interesting -- maybe for me one of the more interesting scenes from an entire series filled with interesting scenes.

Also, I'd like to thank you for getting these reviews (and good ones, at that) to your fans at such a high speed in time for the beginning of the next season. Great work man!
Cataclysm - Fri, Jan 16, 2009 - 8:33pm (USA Central)
I agree with Greg. The Baltar scenes were fun.

In fact, the entire purpose of Baltar in this episode was comedic release. The Hub is a very serious episode where the rebels fight, the re-activation of De'anna, the destruction of the Hub, and the betraying by Roslin. Add to the fact of Roslin watching herself dying and talking to a dead character. These are very grim scenes!

Baltar was very funny. I thought him preaching to the centurion was one of those funny moments. Baltar talking to the Hybrid was hilarious to me. "I don't believe it. I just opened myself up to it on a spiritual level, and it will not respond to me." "Hey, yes you, please stop jumping the ship." "I am not just shouting at it. I am focusing at it." (and then he begins to shout again)
Brendan - Fri, Jan 16, 2009 - 10:37pm (USA Central)
Yeah it was great to see funny Baltar back for this episode. He's been AWOL since season 2!
Matt - Sat, Jan 17, 2009 - 5:07pm (USA Central)
This is probably my favourite episode of the season. The attack on the hub is amazingly done - there's a calm and almost sadness to it that is beautiful. It's also got some of the series' best music (reminding me of the PS2 game Shadow of the Colossus, which has a similar air of mournful solemnity).
enniofan - Sun, Jul 5, 2009 - 4:30pm (USA Central)
Spectacular visuals for the Hub Attack.

wow. I especially liked the dogfights and then the shot where a baseship shot missiles towards the Rebel baseship and the camera tails the missiles across the battle area. wow.
Josh - Thu, Jul 30, 2009 - 10:45am (USA Central)
There is more learnings for Roslin here. I do think we're insisting of taking the Opera House overly literally.
NoPoet - Sun, Apr 11, 2010 - 2:27pm (USA Central)
It's good to see BSG getting back on track after several bizarrely religious episodes, which in my opinion were drifting beyond the realms of this show's carefully-crafted reality.

I generally agree with the review for this ep but I have got to say I felt Balthar's character was on form throughout. The shouting scene with Roslin and Balthar was amusing without being silly and I found the concept of Balthar preaching to the centurion to be extremely interesting, particularly when the Cylon inclined its head towards him, indicating for the first time that the centurions might be capable of more than simply pointing a gun and making a "vshhh, vshhh" noise.

I actually felt this preaching sequence to be interrupted by the battle rather than the other way around. If the centurion in question is now destroyed, is this scene meaningless? I wouldn't like to see further episodes with Balthar preaching to the robots; it's been done perfectly in this episode, and they have apparently thrown it away.

Roslin's sudden turnaround, sobbing over the dying Balthar and pleading for him not to die, again struck me as one of those nonsensical actions characters in BSG tend to take. Whether Balthar deliberately gave the toasters his codes, he continually covered this action up; he might forgive his unwitting ignorance, but his subsequent actions have been a constant string of betrayals.

This kind of "forgiveness" mentality seems peculiar to American shows such as BSG, Angel, Buffy and Stargate SG-1; it's not a mentality I fully understand as a non-American. Balthar is certainly guilty of crimes against humanity and I do not think he deserves forgiveness, no matter what journeys the characters have been on, and no matter how beautifully his character is played. He is a bad guy; to try to paint certain aspects of his villainy with shades of grey seems like an insult to the audience's intelligence.

BSG, the only show you can debate a single character for days. "Lost" cannot hope to come close to BSG in terms of scope, complexity and character motivation. The difference between BSG and Lost is that everything which happens in BSG means something; Lost is simply weird events provided in schizophrenic mis-sequence, none of which actually relate to most of what is happening. BSG may have been heading in the Lost direction with its annoying and unrealistic portrayal of religious devotion but it's pulled things around at the eleventh hour.
Max Udargo - Tue, Jun 29, 2010 - 10:00pm (USA Central)
I've enjoyed all of these well-written and well-thought-out reviews as much as everybody else, even though I arrived very late to the party, but one thing I've noted more than once, Jammer, is that you don't seem to get BSG's twisted, absurdist sense of humor. Whether it's Baltar spinning in a chair in the middle of his office with that insane grin on his face while petty domestic squabbles play out around him, or his string-puppet defiance in the face of an implacable door guard, or his competition with Roslin to prove who is better at communicating with the oracles, or, finally, his attempt to discuss religion with an appliance that ultimately results in the appliance's bemusement. I think all of these scenes are essential to defining the dark, surreal, melancholy tone of BSG. Because God is laughing his ass off, and we humans can't see just how absurd our sense of importance is. Kierkegaard would have loved BSG.
Luke - Mon, Aug 2, 2010 - 4:11am (USA Central)
Josh, I agree...for a few episodes now (I still haven't seen 4.5), I've thought that the Six and Baltar characters in Roslin's dream are in fact the angelic incarnations, not the physical characters. The angels, rather than stealing Hera from her mother, are protectively taking the Hybrid into the light (future), representing the shared future for both races, as Roslin and Sharon, representing humans and Cylons, must stay behind in the opera house (representing the past) that was left in ruins on Kobol.

And, I loved this episode. Season 4.0 has generally been one tremendous hit after another, though I was unconvinced by Sine Qua Non. I didn't mind the cut away to Baltar during the battle because it is very "Baltar" to focus on some apparent triviality during a hugely important scene.
AeC - Sun, May 22, 2011 - 11:28pm (USA Central)
That D'Anna/Roslyn fake-out was certainly a hold-over from Jane Espenson's time on Buffy, a show that had more than a few such (usually successful) fake-outs over its run.
Ilya - Sat, Jul 9, 2011 - 5:15pm (USA Central)
Great review as always.

Still, the Elosha, be she a ghost or just Roslin's subconscious, feel contrived to me. True, Roslin had been needing a kick in her Royal behind for a long time, but having it delivered by a sudden mythical epiphany feel like a cop-out. Jammer, I am surprised you approve of it while you criticized D'Anna learning about Hera from a prophet, and Baltar learning about the Algae planet from a Hybrid.
Nick P. - Fri, Jul 29, 2011 - 9:17am (USA Central)
Another awesome BSG episode. Is it perhaps to early to say that I am enjoying this series more than any series I have watched in my lifetime? I hope the last few episodes don't dissapoint. I am very excited for the next episode, "revelations" since it appears on lots of "Best episode of BSG" lists, and the momentum this season is creating is palpable.

My only disagreement with the rest of you was the music during the attack scenes. I din't like the melancholy, and it really took me out of the battle. I am for deep thinking as much as the next guy, but for a scene as militarily important as this one, I felt like a little star wars would be a better fit than the Schindler list sound that we got.

And I know we are all tough guys, but who didn't shed a "little tear" when Roslin said "I love you", and Adama said "about time.." Your right Jammer, this scene works so well because we have been waiting for it for at least 2 years. This scene shows what Kara-Lee could have been.
Weiss - Fri, Oct 7, 2011 - 5:08pm (USA Central)
NoPoet ... what are u talking about... what does BSG have anything to do about Lost... 2 completely different shows...1 is about war and extinction... the other is about regular relatable people dealing with each other...they both have a backdrop of fantasy.

both are emotional shows and that is probably the one common theme that makes (at least me) care for the characters and what happens to them. and yeah both have fascinating characters...
Nic - Sun, Nov 6, 2011 - 9:56pm (USA Central)
For some reason, I'm tempted to compare this episode with "Resurrection Ship, Part 2". I wouldn't hesitate to say that this is the weaker of the two, but it was still very interesting.

@NoPoet: I've always hated Baltar, but he's not 100% "evil". He's selfish and inconsiderate, but I don't think he'd ever hurt someone intentionally just for his own pleasure. I'm not saying he deserved to be acquitted (which is a different matter entirely), but if the human cycle of destruction is ever to end, we must learn to forgive. I am a little surprised and mystified as to why you attribute forgiveness as an American characteristic, but let's not get into that.
Michael - Thu, Dec 1, 2011 - 12:14pm (USA Central)
The beginning seemed inauspicious: Yet more absurd visions and hallucinations. But when it became obvious that it was a prelude to the hunt for the hub, it became clear it was on!!

As the raiding party started its advance on the hub and the cables were severed, I actually felt an adrenaline rush in me. That shot was extremely well done.

Nick: I found the melancholy music gave the whole endeavor an aura of inevitability, of disintegration. It was an epic and super-important battle, yes. But the musical score gave me a feeling like: Sic transit gloria mundi, nothing will ever be the same.

Baltar on his death bed, and particularly Roslin's angst and conflicted emotions, were not very moving scenes but they were profound and effective.

What DID get me choked up was Roslin and Adama's hug at the end. I can't stand either of them but I'm a sucker for romance, especially a romantic story years in the making through many a trial and tribulation.

Thought: Can the cylons not build another regeneration hub?

Another thought: Why didn't Adama's DRADIS go off when the basestar returned?

Lastly, I'll echo NoPoet's satisfaction with this show's finally breaking the sequence of "bizarre" (excellent description) B.S.G. episodes laden with religion and fantasy. This is the best Season 4 show so far bar none, and definitely worth solid four big ones.
Michael - Thu, Dec 1, 2011 - 12:15pm (USA Central)
*resurrection hub
Ryan - Sun, Mar 18, 2012 - 7:43am (USA Central)
I didn't care for the Roslin/Baltar storyline in this episode. At first she feels totally justified in letting him die, even though he says he didn't know he was giving up the access codes and had long harbored a deep guilt over it. But, hey, he still did it. He's a bad dude, right? Maybe so, whatever. My real problem is that when, after another vision, Elosha persuades her to save him, I got the impression that we were supposed to then view her as compassionate/wise/strong. Bunk; she wasn't doing the right thing because it was right, but because of the possible reward she'd get for doing it. Her conversation with Elosha (not a cosmic vending machine, et cetera) afterwards confirms this.

Her high-and-mighty, "I'm a strong, independent president who don't need no moral high ground" routine is becoming tiring, to say the least.

An otherwise enjoyable episode, though.
Keiren - Sat, May 12, 2012 - 9:09am (USA Central)
Hey! Not biased to any of the characters? Really? Whats happened to Dualla then??? :O
JR - Sun, Jul 22, 2012 - 3:07am (USA Central)
Another wonderful episode with equally wonderful music! And what a beautiful moment between Roslin and Adama - well earned, as Jammer says, and thus very satisfying and believable. Theirs is the best BSG romance - mature and deep and grounded in respect and friendship. The other romances are adolescent by comparison.

The Roslin-Baltar scene stands out to me in this episode because it encapsulates the episode's theme, which is Love. Baltar speaks of the fact that he is loved by God even though he committed a horrendous crime. Unconditional love (forgiveness, redemption) is a divine characteristic, and the only way to have "God in us" is to have that divine love in us. Roslin doesn't believe in Baltar's God, but in her visions she is reminded that love - that divine quality - is what makes a people worth saving. That declaration of love between Roslin and Adama at the end is all the more poignant because of the episode's exploration of love as the most important quality we can possess.
Michael - Sun, Jul 22, 2012 - 5:07pm (USA Central)
@JR:
Sorry to break it to you, buddy, but I for one am capable of unconditional love without any regard for any deity whatsoever. There is nothing divine or etheral about love, nor is reference to a "god" a necessary component of it.
JR - Sun, Jul 22, 2012 - 6:41pm (USA Central)
@Michael
I've read plenty of your comments and, boy, your unconditional love really shines through.

Maybe you missed the part where I mentioned that Roslin does not believe in Baltar's God (and we've seen evidence that she doesn't really believe in the Colonial gods either) but she recognizes the importance of love.

You say there is nothing divine about love - that's because you are thinking too narrowly. Have you never heard the expression "to forgive is divine"? You can take it literally or figuratively. Humans are selfish (to keep ourselves alive), and we don't have a natural instinct to forgive. Unconditional love doesn't come naturally to us. You don't naturally love your enemy (cf. Roslin doesn't naturally feel any love for Baltar). You're instinct is to kill your enemy. In order to forgive and show unconditional love to an enemy, we have to overcome our natural instincts. This is why "divine" is a useful way to describe it, whether you use the adjective metaphorically or literally. Essentially, it means it doesn't come naturally to us.

Look, I assume you are a decent person, but there is no need for you to get so defensive and uptight every time someone mentions God/faith/etc. This is part of human storytelling and language, and you cannot expunge all of these words and ideas from discourse, even if they make you feel uncomfortable.
Michael - Sun, Jul 22, 2012 - 7:40pm (USA Central)
@JR:
O.K., a misapprehension on my part>>> - again.

Yeah, I'm hypersensitive about religion because I've witnessed it -- in at least four different flavors -- ruin many lives.

Hehehehe Yeah, unconditional love's my middle name on this board ;) I can be quite a smartass at times; I'm aware of that. I might see a shrink about it someday.
Togah - Fri, Nov 2, 2012 - 2:30pm (USA Central)
That fake out really had me shaken for a minute there. Well played, indeed.

And as for the Roslin/Adama reunion at the end: these two have screamed "Power Couple" since season 1 in my opinion. I'm ecstatic that they've finally admitted it.
What can I say? I'm a hopeless romantic :D

Clint - Thu, Jun 27, 2013 - 7:38am (USA Central)
And with one hug and kiss, the future rule of King Adama and Queen Roslin is assured. At least they both have strong moral reservations against cronyism and nepotism - oh, wait...
David - Fri, Jun 28, 2013 - 4:57pm (USA Central)
Clint, all the big themes in this episode, just bursting from the seams, almost literally, and ALL you can find worth commenting on is ... well, basically that there is a core ensemble cast that tends to get featured in every storyline, hence this appearance of "cronymism & nepotism?"

Really?
TLoser - Sat, Nov 2, 2013 - 4:05pm (USA Central)
For all the romantics out there, we finally get the mutual affirmation of love between the pres and the admiral. I love the way the interaction actually went. It reminds me of the freezing chamber:
Leia - I love you
Solo - I know
Except Adama says, "it's about time" as a reply to Roslin, "I love you." I doubt it's an homage to the Star Wars line, but I think it is just as memorable. A great romance played by two great actors. What a deal! Another connection to Harrison Ford was of course EJO's role as detective Gaiff in blande runner. Talk about classif sci fi stuff. Man is BSG great or what.
Tloser - Sat, Nov 2, 2013 - 4:45pm (USA Central)
I have to comment on the disdain that some feel about all the religion-themed episodes. And I understand that as viewers, we all come with our own baggage, for example bad experiences with religion. I am an agnostic, although I show up in the synagogue occasionally. I hope I didn't misunderstand others, but I think some seem to think that sci-fi and fantasy can't co-exist happily. I dislike that notion because I personally love both sci-fi and fantasy. I love epics like the Marabharata, Romance of the 4 kingdoms, Nibelungen, Illiad and Edda, and to me BSG is a modern day epic set in sci-fi. I don't find it strange at all that in a sci-fi (hi-tech) setting that people are still heterogeneous with respect to personal believes be it polytheistic, monotheistic, agnostic or atheistic. Roslin takes the 12 gods metaphorically, while Baltar rails against anthropomorphic gods. I don't understand why some think that good sci-fi has to exclude normal aspects of humanity beyond science and logic?
D. Albert - Thu, Jul 24, 2014 - 12:39am (USA Central)
Good review. Thanks.

Baltar's biggest sin,of course, is giving the nuke to Damaged 6. And there is no forgiveness for that.

Submit a comment

Above, type the last name of the captain on Star Trek: TNG
Notify me about new comments on this page
Hide my e-mail on my post

Season Index

Copyright © 1994-2014, Jamahl Epsicokhan. All rights reserved. Unauthorized reproduction or distribution of any review or article on this site is prohibited. Star Trek (in all its myriad forms), Battlestar Galactica, and Gene Roddenberry's Andromeda are trademarks of CBS Studios Inc., NBC Universal, and Tribune Entertainment, respectively. This site is in no way affiliated with or authorized by any of those companies. | Copyright & Disclaimer