Battlestar Galactica
"Guess What's Coming to Dinner?"
Air date: 5/16/2008
Written by Michael Angeli
Directed by Wayne Rose
Review by Jamahl Epsicokhan
"Guess What's Coming to Dinner?" is an outstanding hour of tone and style, of quietly but implacably escalating foreboding, of characters having basic assumptions about their lives completely thrown into question, and has an ending that does not supply answers but only more questions. The plot puts its chips all-in on BSG's mythology aspects. If you are not already invested in BSG's mythology, you will be lost. If you are not riveted by BSG mythology by the end of this episode, then you likely never will be.
And yet, this episode is less about what happens than about how it happens, and how it feels as it happens. There's a confidence in purpose here, from one end to the other, that's almost hard to qualify. Speaking to my own tastes, this is an episode that outdoes The X-Files because it knows that plotting is only one attribute of an effective mystery, and it outdoes Mad Men because it knows that characterization can be more emotionally involving when it's tied to plot and expressed rather than constantly internalized. This is my kind of balancing act. The episode also manages to be philosophical without being tedious, complex without being confusing, and artful without being pretentious. It fires on all cylinders — without careening over the cliff.
Picking right up from "Faith," the Demetrius and the renegade Cylon basestar jump back to the fleet. But even the most routine procedure goes awry, and the Demetrius FTL drive has a glitch. So the basestar winds up in the fleet by itself, where it's assumed to be hostile, and the fleet is ordered into an emergency jump-away while the Galactica launches to action stations. This is the only real action in the episode, and it's very well staged, with the fleet gradually jumping away a ship at a time and Galactica gearing up to fight. (From Galactica's point of view, this process is a white-knuckled eternity where they could be killed at any moment.) Even though it's a foregone conclusion that the crisis will be averted, it manages to generate suspense: Will the Galactica open fire or jump away before the Demetrius can show up? I very much like that a disaster is averted by Tigh's order to hold fire, which is based on an inexplicable gut feeling (revisiting the ongoing theme that Fate once again intercedes).
So Renegade Six presents her offer to Adama and Roslin: The Cylons want to unbox the D'Annas from cold storage because she knows the identities of the Final Five, which supposedly know the way to Earth because they have been there. In exchange, Six will reveal the location of the Cylon resurrection hub, which, if destroyed, will make all Cylons mortal. Turning the Cylons into mortals would have an immediately obvious impact on the fundamental nature of the human/Cylon conflict.
So at last there seems to be some light at the end of at least one tunnel. But what's most immediately fascinating about this deal is that it introduces an urgent wrinkle into the Secret Four's lives: If this plan works, they will be exposed — and then what? Watch how Tigh quietly squirms and mentally starts doing the math, and then tries to set the plan in a direction that hopefully covers himself, but at the same time is completely in the interests of the Colonial fleet and the man Tigh always has been.
The plan itself depends on the ability for the renegade Cylons and the Colonials to trust each other, which is no easy task. Renegade Six gives up the hub location, but she still controls the Centurions on her basestar, which is the key to the entire plan. Only a basestar will be able to get anywhere near the hub before being attacked. The Colonial leadership discusses the merits of keeping their word on this alliance, and decides as a backup position to hold back on turning over the Final Five to the rebel Cylons.
Meanwhile, Renegade Six talks with her fellow Cylons about how she fully expects to be double-crossed and plans to take hostages as a contingency. "We've changed, but the humans haven't," she says. Isn't it exactly that kind of thinking that inspires mutual distrust? Paradoxically and ironically, her fears are justified; there is indeed scheming on both sides. It's circular logic: We can't afford to keep our word, because they are not to be trusted, and keeping our word thus puts us at a disadvantage. At what point does prudent self-preservation become destructive deception? Quite a dilemma for everyone. Ultimately, Six sees the error of her ways and tries to reverse course on her planned deception, and the Cylons then find themselves trying to slither out from under a deceit of their own making. Messy.
So that's the nuts and bolts. Beyond that is an avalanche of series mythology, and of characters reacting to what's happening around them.
Early in the episode, Lee confronts Roslin over Baltar's latest broadcast, which alleges that Roslin shares visions with Caprica Six and Sharon Agathon. Roslin admits that it's true, but asks Lee what good it would do the public to know that their leader is not only sharing hallucinations with the enemy, but also experiencing something that apparently goes contrary to the entire religious establishment. There's more at stake than Roslin's reputation.
How does Baltar know about this vision, anyway? Roslin sends Tory on an assignment to find out. She does this after a downright icy scene that pretty much announces the end of their cordial relationship. Roslin knows about Tory and Baltar: "You've been spotted down there enough times to be a charter member of his nymph squad." The thing worth noting about this scene, other than obvious hurt feelings between the two characters, is how you find yourself regarding Tory, who previously wrote herself a license to kill Cally. Put her on bad terms with the president, threaten her job, and what might she be capable of next?
When we follow Tory down to Baltar's lair, there are more layers of character to unveil. It turns out Caprica Six told Baltar about Roslin's Opera House vision months ago. Why did he wait until now to finally publicize it? Because only now was it a card he felt he had to play. The important thing about Baltar is that he's not a crazed lunatic hurling baseless indictments. He has a point of view that's legitimate; he has become increasingly bitter about Roslin's ongoing governance in secrecy, something she claims is in the best interests of security even as it leaves the public in the dark. This has interesting real-world parallels when you consider our own government's recent policies. Does security justify a lack of transparency as Roslin operates?
What's notable about this episode is its ability to milk great character mileage out of brief moments. For example, there's that bit where Lee finds himself, to his own surprise, cut out of the loop about the alliance. He thought the unique advantage he could bring to the Quorum was knowing how the military machine works, but here he finds his insider information has run dry. He's as out of the Adama/Roslin loop as everyone else. Later, he has a sobering discussion with Roslin about the spirit-crushing hopelessness that has taken hold of the fleet. The members of the Quorum feel as hopeless as anyone — maybe even more so, because they once thought they mattered.
More great mileage: How about Gaeta and his leg? Nice details here. He wants to be awake while they saw it off, so he won't have to wake up to it being gone. Later, he sings to try take his mind off the pain. His singing snakes through the episode like a poetic, ominous omen. Anders feels guilty about having shot him. Baltar goes to see him, but can't bring himself past the door; it's a nice little moment that recalls their messy history.
A key scene in the episode (although one could argue they are all key scenes) comes when Roslin takes Lee's advice and addresses the Quorum to provide some much-needed solace and get them on board with the uneasy Cylon alliance. She brings in Renegade Six, who makes a speech and extends an olive branch. This speech not only represents a milestone in Cylon/human relations, but reveals some things Six has personally learned during the Cylon civil war — about life, death, and her people. "For our existence to hold any value, it must end. To live meaningful lives, we must die and not return." On what she has realized about humanity: "Mortality is the one thing that makes you whole." While the Cylon civil war was kept almost completely off-screen, this speech helps us imagine what it might have meant. It's not a million miles away from the navel-gazing in Adama's speech about responsibility in the miniseries.
Six also says, "I believe it was no accident that we were found by Kara Thrace. It was destiny." Just like that the episode turns from hopeful to foreboding — because the Hybrid has assured Kara she is the harbinger of death.
So what about all this mythology? The episode brings it all together in the last two acts. Roslin, Caprica Six, and Sharon all have another shared vision where they chase Hera through the Opera House. The images are exactly as before. When Sharon wakes up to see Hera standing by her bed, Hera says, "Bye-bye." Shiver.
Sharon already has plenty of doubts about the Cylons in general, and about their interest in her daughter in particular. At the beginning of the episode Six had said to her about Hera, "We all know her name. You were blessed." Now she gets visions where Six takes Hera away from her. And then there's Sharon's horror upon seeing little Hera's coloring book, filled cover-to-cover with "6" and drawings of yellow-haired women — it makes for the trippiest shock I've seen on this series since "Crossroads, Part 2." It's unexpected and brilliant. What does it mean? Can't be good. Are the Cylons wired at birth to be drawn to each other? Pre-programmed with some sort of knowledge or directives? Seconds later, Hera wanders off into the corridors. More on this in a minute.
First let's revisit Roslin and Kara. Kara knows about Roslin's vision, because she has heard about it on Baltar's broadcasts. And she knows it's true because the Hybrid confirmed it. This comes as a revelation to Roslin that there is, absolutely must be, something going on here beyond the typical, physical, worldly realm. The sense of ominous mystery is palpable. It's downright spooky, especially because Mary McDonnell plays Roslin as so honestly disturbed by it. Everything she once assumed she knew about life has been turned upside down.
Roslin asks Kara for her help. Remember, this is the same Roslin that fired a gun at Kara in "He That Believeth in Me." Imagine the distance traveled from there to here. Bygones are not simply bygones, but beyond the pale of a second's thought. These are relationships renewed by the needs of the here and now. And the actors sell the hell out of it. They need answers, and they are going to try to get them from the Hybrid.
The final act of this episode is a visual storytelling tour de force, as Sharon frantically goes searching for Hera in the corridors while Roslin, Kara, et al (who have recruited Baltar into this because he's in the vision) go to the basestar to plug in the Hybrid and get answers. The former plays as imminent dread, the latter as intriguing mystery. The two sequences are intercut — and cut into the Sharon scenes are flashes from the vision, which in a way mirrors what happens in the action of Sharon's search through the corridors ... which is all on a collision course with Renegade Six.
To describe more details is pointless. Suffice it to say that a sequence this complex must have been awesomely difficult to script, direct, perform, shoot, and edit — let alone to do all of the above so masterfully in a way that makes sense. The sequence doesn't seem to have a literal meeting so much as a character-driven emotional meaning. Handled with less care, I can imagine this sequence easily falling apart. But not here. The end result is thrilling and brilliant.
Sharon, afraid Renegade Six is after her daughter for some unknown reason, guns Six down. When the Hybrid is plugged back into the basestar, it jumps away without warning to who-knows-where. All plans now lie in shambles.
This ending isn't a "cliffhanger." It's a giant question mark. What's the difference? This story knows the difference. It's all in the tone, style, and emotional arc. The final shot is of Gaeta singing.
Previous episode: Faith
Next episode: Sine Qua Non
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45 comments on this post
Thu, Jan 8, 2009, 1:07am (UTC -5)
Thu, Jan 8, 2009, 1:16am (UTC -5)
Thu, Jan 8, 2009, 2:04am (UTC -5)
Thu, Jan 8, 2009, 9:43am (UTC -5)
Thu, Jan 8, 2009, 10:26am (UTC -5)
However, I do want to say something on the tone of the review. I've read a great deal of what you've written on this site, but in your most recent BSG reviews you come off more excited than ever. You seem to really be having a good time with this show and I don't blame you because I am too. BSG this season is about the most exciting TV I have ever seen (rivaled only by The Shield's best seasons). The final half-season should be a roller coaster.
Looking forward to the rest of the reviews for 4.0. I'm especially waiting for your thoughts on my personal pick of the litter from this season, "The Hub".
Thu, Jan 8, 2009, 10:42am (UTC -5)
Great review Jammer! Definitely looking forward to the next one.
Thu, Jan 8, 2009, 10:56am (UTC -5)
Thu, Jan 8, 2009, 7:46pm (UTC -5)
Like Greg, I've also noticed your excited tone this season. But then it is a season worth such excitement.
-On a side note, I've thought for some time now that the title was "Guess What's Coming to Dinner" without a question mark, but didn't say anything because I wasn't sure. But the season 4 DVDs also have it without a question mark, so I just thought I'd let you know. Don't know if it's a big enough difference to merit changing what you have here, but, you know... might as well pass it along.
Thu, Jan 8, 2009, 10:24pm (UTC -5)
Fri, Jan 9, 2009, 12:20am (UTC -5)
Alone she sleeps in the shirt of man
With my three wishes clutched in her hand
The first that she be spared the pain
That comes from a dark and laughing rain
When she finds love may it always stay true
This I beg for the second wish I made too
But wish no more
My life you can take
To have her please just one day wake
Does it mean something? I'm guessing yes, at least in a vague suggestive sense.
Fri, Jan 9, 2009, 5:22am (UTC -5)
Sat, Jan 10, 2009, 9:41pm (UTC -5)
The episode was definitely a step in the right direction because it finally started priming things for the next leg in the show's final season by revisiting such threads as the Opera House vision from "Crossroads" and the characters finally began to compare notes and put things together but the episode still felt like it was lacking that special something to put into the "excellent" category. I think the lack of payoff was part of it.
Athena complicated Natalie's plan to stall to buy time for Leoben to deal with the centurions. I wonder if the Powers That Be intended that by sending Athena and Hera those visions.
Was the Demetrius missing its jump with the basestar interference from a third party/the supernatural forces at play? And was Tighe's "feeling" and order to halt the attack on the basestar another force trying to thwart it?
They went a little overboard with Gaeta's singing. Roslin had a pretty good quip for Tory with her "nymph squad" remark. I still could care less about the Quorum and Zarek.
I did like the companion scenes of the colonials debating double-crossing the Cylons and then later the Cylons debating double crossing the humans. It touched back on the question Baltar posed during the Occupation arc. When does the cycle end or will the Cylons and humans continue to distrust and hunt each other until one is totally wiped out. Where and when doe it end?
Tue, Jan 13, 2009, 8:38pm (UTC -5)
In contrast, I think Bradley Thompson and David Weddle aren't doing as well with the actual writing this season as they have in the past. I had problems with the writing in Believeth, and the few nitpicky problems I had with the superb Revelations stemmed from the writing as well.
Just thought I'd share that.
Wed, Jan 14, 2009, 5:20pm (UTC -5)
Wed, Jan 14, 2009, 10:29pm (UTC -5)
Wed, Jan 14, 2009, 10:33pm (UTC -5)
Wed, Jan 14, 2009, 11:54pm (UTC -5)
Thu, Jan 15, 2009, 1:13pm (UTC -5)
Cheers
Thu, Jan 15, 2009, 4:34pm (UTC -5)
Aside from that, I liked it.
Thu, Jan 15, 2009, 5:07pm (UTC -5)
Thu, Jan 15, 2009, 8:42pm (UTC -5)
Anyhow, great review as usual, Jammer. I always look forward to them.
Thu, Jan 15, 2009, 9:17pm (UTC -5)
Well, they were pretty obvious problems. The scene with the gun I STILL can't make a lot of sense of. They killed his cat... they don't deserve Lee... kill him? And then how did it go from being crazy to him saying "will you swear on that?"
And it took 2 watchings just to get THAT level of comprehension.
BUT, I did like the episode. The rest of it is strong I think, and this is but one thread.
Thu, Jan 15, 2009, 9:19pm (UTC -5)
Sun, May 24, 2009, 8:23pm (UTC -5)
"Imagine the distance traveled from there to here."
The distance traveled Roslin and Kara in that scene alone. At the start, Roslin appears to doubt the premise of the alliance because it is the fruit of Kara's supposed vision, which she must believe is more likely a Cylon trick. Until Kara mentions the opera house, which rattles Roslin enough to put aside her doubts.
"Just like that the episode turns from hopeful to foreboding -- because the Hybrid has assured Kara she is the harbinger of death."
Foreboding was not what I saw. Rather, I expected Kara to have another surprising revelation: "harbinger of death" refers to leading Cylons and humans to a new understanding of mortality. That is, death is positive, in light of what we've heard from Renegade Six and Emily the cancer patient. Instead, Kara did not react how I expected. (I haven't seen the finale yet, so I don't know if my interpretation is correct.)
Thu, Jul 2, 2009, 3:15am (UTC -5)
This episode, "Guess What's Coming to Dinner" is the first time I saw anything having to BSG. It was on Jan. 2nd of this year when I first saw it. My wife and I had seperated the day before. Having nowhere else to go I went to my mom's house for a while. I got on the computer looking to watch a movie or something on Hulu to get my mind off of my marriage crashing in such spectacular fashion.
I found episodes of BSG on there and "Guess What's Coming to Dinner" was the oldest one.
I was sucked in by the writing, the music, the acting and the documentary style cinematography that made the dark subject matter even more real and viceral! I let out an audible gasp when Six was assassinated.
Not knowing what was going on, the early scene with the Baseship jumping in and Tigh stopping a massacre with his command of "Weapons Hold!" was heartstopping.
I was enthralled and engrossed by this show from the first few minutes. When this was over, I watched the next episode online. By the time I watched "Revelations" I was kicking myself for having been blissfully unaware that a show of this caliber was airing for years and I was not watching it.
I now have seasons 1-4 on DVD.
Thu, Jul 30, 2009, 4:50am (UTC -5)
Thu, Mar 17, 2011, 12:00am (UTC -5)
This
Kobol's pt1-2
Pegasus
Exodus 2
Maelstrom
Someone to Watch Over Me
what an amazing show
Sat, Apr 16, 2011, 3:08pm (UTC -5)
K+L Forever
Wed, Jun 22, 2011, 6:11am (UTC -5)
Alone she sleeps in the shirt of man
With my three wishes clutched in her hand
The first that she be spared the pain
That comes from a dark and laughing rain
When she finds love may it always stay true
This I beg for the second wish I made too
But wish no more
My life you can take
To have her please just one day wake
Does it mean something? I'm guessing yes, at least in a vague suggestive sense. )
@Brendan: Good call putting this together, I was wondering the same thing. Reading it all together, it does seem awfully like it's coming from Renegade Six's perspective... as best I can interpet it...
Three is asleep, boxed, cold-storaged, "in the shirt of man" - like being dead, as humans die? Everything hinges on her, though, knowing the faces of the five. Renegade Six expresses the need to be mortal in order for life to be meaningful... spared the pain of immortality? Here's the clincher for me: Six has visions of Hera, and Three said that when she held Hera she would know true love ("This I beg for the second wish I made too")... then there is no third wish. But there is Three, who needs to be woken up, and Renegade Six dies at the end of this episode (My life you can take, To have her please just one day wake).
Thu, Jul 28, 2011, 6:35pm (UTC -5)
This was an absolutely brilliant hour of television, when Sharon was chasing Hera, I could literally FEEL my heartbeating!!!
This is not an episode I would recomend to someone who has never watched the show, that probably ended somewhere early in the third season.
Enough has been said about this brilliant hour, there is something I feel I must express about the series. There are some who don't seem to like the way things are going since late season 2 early 3, with the religion, mythology, the Cylon war, and the character arcs. I am sympathetic to many of those arguments. I think the Cylon civil war is ho-hum, the mythology can get a little over-powering, and I think I jumped off the Adama band-wagon back in season 2. Big Picture, I do think the show went a little from science fiction, to space drama, but who cares? this is still the best show on television (was), the acting, directing, writing, lighting, everything is perfect, and continuing to improve. How I did not see this series until it was over I feel is a crime. And for my argument about it just being space drama, the last 4-5 episodes have very successfully brought back in some exciting sci-fi elements that have been lacking for a while.
I would have to say that this is probably the best season so far. Every episode gets better, and I am so cannot wait to get home and finish this series up. BUT, I am also apprehensive knowing that I am reaching the end of the road with these characters that I have fallen in love with, faults and all.
Sat, Oct 29, 2011, 5:22pm (UTC -5)
Tue, Nov 29, 2011, 6:39pm (UTC -5)
Tigh's dramatic "hold fire" command at the last possible second, the tension, the relief... - WOW!!
I liked the scene near the beginning when Starbuck asks the three cylons if she's right to assume that D'Anna would be "doing the talking." They (the cylons) then look at each other briefly with a hint of confusion and uncertainty. I love how it reinforces and continues with the transformation of the image of cylons from being these uber-confident binary machines at the start of the show to being, well, "vulnerable" is the best description, i.e. more complex, bearing more depth.
I loved Roslin's dropping the bombshell on Tory: She knows Tory's been humping Baltar. The shock on Tory's face. Their entire exchange. Dynamite!
Hera's "bye-bye" to Athena when the latter wakes up from her dream/nightmare: Eerie and powerful. The frantic chase through Galactica's hallway and Athena shooting Six.
Gaeta's angst and torment.
Outstanding...
I'll have to disagree with Nick though: It is, of course, purely a matter of personal opinion but B.S.G's new "direction" doesn't work for me at all. I'm generally not big on fiction but the fictional universe of Seasons 1 and 2 made sense. It was corporeal and logical. When you start basing a show on people's "visions," you enter the realm of some fantasy neverland. Such stuff has its place (I personally never went in for it, even as a kid), but a sci-fi series is not it.
Anyway, this was an excellent show, so I'll savor the moment.
Tue, Nov 29, 2011, 6:40pm (UTC -5)
Tue, Nov 29, 2011, 10:17pm (UTC -5)
I can't pretend that I love this direction, however, I mentioned before, I am not sure you could maintain the hyper-realism of the 1st season and a half or so. That also assumes a hyper-realism fo the 1st couple seasons that I am not sure on the re-watch I am currently in, that I am not sure entirely exists.
All that being said, I agree the show gets a little to heavy on the fantasy mythology in the second half of the series, but like I have said before, this is the best acted TV show I have ever watched, the best special effects, among the best music, best written (generally), I can handle a couple cracks in the overall plotline.
I am quite curious your thoughts on the last episode.
Sun, Apr 29, 2012, 3:14pm (UTC -5)
Agreed.
Sun, Aug 5, 2012, 4:16pm (UTC -5)
Wed, Jun 26, 2013, 8:48am (UTC -5)
One thing I would very much like to see is the Cylon Centurions speaking. Now that their higher brain functions are active, wouldn't that make sense? I would just about wet my pants with happiness if I suddenly heard one of those Centurions say, "By your command!" But that's the old BG fan in me talking. It may be too much to wish for :)
Wed, Jul 23, 2014, 10:42pm (UTC -5)
I'm not. But, interestingly, neither is Sharon. She's chosen her side: family.
And that I can respect.
Wed, Dec 10, 2014, 1:02am (UTC -5)
Thu, Jan 22, 2015, 12:32pm (UTC -5)
Thu, Jan 22, 2015, 12:34pm (UTC -5)
Fri, Mar 31, 2017, 8:12am (UTC -5)
I had the same feelings about what "the shirt of man" was. Either boxed, or rendered human in form, or maybe (a stretch) rendered mortal via Resurrection Ship destruction... Depending on what reference in which ep, you can cherry pick both ideas (and thus either woman) out of it.
I guess all the Cylons relish finding love (or sex, or intimacy, or however it manifests to them). It's part of indulging in their fleshly form (vs. being pure machine a la Caviil's perspective).
Not intended as correction or debate....just curiosity....
Fri, Nov 10, 2017, 8:09pm (UTC -5)
How dare you, sir.
Wed, Jun 19, 2019, 10:24pm (UTC -5)
Mon, Apr 20, 2020, 8:34am (UTC -5)
Speaking of which, where was Hera for the whole Starbuck looking for Earth arc? For 2 months? Guess Cally and Chief never lectured Helo on putting husband and wife on the same mission when there's a kid at home...
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