Not only the best series of 2005, “Battlestar Galactica” had already verified by the end of its first full 13-episode season (on sale today in DVD form) that it is one of the best TV series ever in the history of history.
Its greatness lies in the fact that it is not so much a cross between “24” and “Star Trek” as it is a cross between “24” and “The Prisoner.” Or possibly “24” and “Twin Peaks.”
It shows us, yes, glimpses of what our lives might be like in the wake of apocalypse. Which is plenty interesting.
But there are also all these weird and fascinating questions lurking around its story; questions for which one hopes Ron Moore and his team have good answers. Why do the good guys embrace the “false” gods of Greek mythology while the bad guys are monotheists with Judeo-Christian commandments? Why are the Cylons so keen to breed with their enemies? If the fleshy, dying Cylons can transmit their consciousnesses to new bodies, why don’t their modems show up on x-rays? Why are the fleeing colonists so similar to Earthers in so many ways? Are the colonists our ancestors, our descendants, or something else entirely? How could a space-faring race not know the location of the planet it comes from? What is going on in Gaius Baltar’s brain?
Beyond the big, dizzying controversies, this 21st century version of “Galactica” is teeming with classic, indelible, “Twilight Zone”-caliber moments. The fifth episode, “You Can’t Go Home Again,” with Starbuck trapped on a hostile planet with a dwindling oxygen supply, has at least four of these: The hiding Helo realizing the toast (in the toaster!) is about to pop; Kara sucking oxygen out of a bloody Cylon trachea to survive; the shock on President Roslin’s face when an emotional Bill Adama throws “frak” into the middle of a phone conversation; and the emotion on Lee’s face when his father tells him what would be risked if Apollo was at stake.
“You Can’t Go Home Again” was genius. “33,” featuring the deadly marathon space-chase, was brilliant. “Water,” in which Boomer first suspects she might be a Cylon, was brilliant. “Litmus,” in which Adama shuts down Tyrol’s trial, was brilliant. “Six Degrees of Separation,” in which Baltar’s vengeful hallucination inexplicably becomes flesh (and gets Baltar jailed as a traitor), was brilliant. “Flesh and Bone,” the interrogation episode featuring the return of the mini’s Leobon, was brilliant. “Tigh Me Up, Tigh Me Down,” featuring the return of the executive officer’s out-of-control, ass-grabbing wife, was hilariously brilliant. “Colonial Day,” featuring Baltar’s strange ascent to vice president, was brilliant. “Kobol’s Last Gleaming,” the two-hour season finale, was just insanely exciting and shocking and insanely shocking. (Among many, many other things, there were all these beautiful naked girl-Cylons!)
On July 26, Best Buy began offering its four-disc version of “Battlestar Galactica’s” first season for $48.95 - but the Best Buy version doesn’t contain the miniseries, and it doesn’t contain any of the many Ron Moore commentaries.
The new $41.99 "Battlestar Galactica" season-one set on sale today contains everything the Best Buy edition does – all 13 first-season episodes, the deleted scenes, even the European main titles – PLUS a bunch of documentaries, sketches, art, the complete miniseries, Ron Moore’s commentaries on the mini, and Ron Moore’s commentaries on nine regular episodes.
Given the inscrutable nature of the episodes themselves, Moore’s frank commentaries are the reason to pony up the bucks. Moore tells whether he’s leaning toward or against the chip-in-Baltar’s-brain theory. He tells us whether Roslin is a Cylon or not. He has things to say about Sharon and Helo that I found astonishing. He tells us how they had to reshoot the Adama-Leobon fight because certain parties found it far, far too violent (sadly, that footage is not among the deleted scenes). We learn there was originally a more disturbing visual-effects plan for the human passenger ship Apollo destroys in “33” (ditto). Moore describes Centurion test footage that gave the robots an eerily human “cocktail swagger” (ditto again). He demonstrates that some of the series’ best and most enduring ideas emerged very late in the creative process, or as a by-product of budgetary considerations. He describes backstories for Adama, Tigh and Starbuck that put all three characters in surprising new lights. And Moore explains why there was absolutely nothing unrealistic about Starbuck fixing the hole in the Cylon craft with her flight-suit.