Podcast:Resistance - Revision history

Joe Beaudoin Jr.: Text replacement - "[[The Twelve Colonies (RDM)" to "[[The Twelve Colonies of Kobol"

2025-06-15T21:28:45Z

Text replacement - "[[The Twelve Colonies (RDM)" to "[[The Twelve Colonies of Kobol"

Catrope: +finished

2007-09-28T13:30:03Z

+finished

← Older revision		Revision as of 13:30, 28 September 2007
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	\|verified by=		\|verified by=
	\|length= 47:53		\|length= 47:53
			\|finished= Y
	\|scotch=		\|scotch=
	\|smokes=		\|smokes=

Catrope: Or maybe it is. Ah well

2007-09-28T13:04:11Z

Or maybe it is. Ah well

← Older revision		Revision as of 13:04, 28 September 2007
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	{{podcast\|~~author~~=Steelviper\|~~emailAuthor2~~=\|~~suffix~~=\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=A3}}		{{Podcast Data
			\|title= Resistance
			\|disamb= Resistance (episode)
			\|season= 2
			\|episode= 4
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_FULL.mp3
			\|posted date=
			\|transcribed by=[[User:Steelviper\|Steelviper]]
			\|verified by=
			\|length= 47:53
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==

Catrope: Removing podcast data template entirely: Template:Podcast Data is still under development and not yet production-ready until voted upon

2007-09-28T13:03:08Z

Removing podcast data template entirely: Template:Podcast Data is still under development and not yet production-ready until voted upon

← Older revision		Revision as of 13:03, 28 September 2007
Line 1:		Line 1:
	{{~~Podcast Data~~		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=A3}}
	~~\|title= Resistance~~
	~~\|disamb= Resistance (episode)~~
	~~\|season= 2~~
	~~\|episode= 4~~
	~~\|download link= http://media.scifi.com/battlestar/downloads/~~podcast~~/mp3/204/bsg_ep204_FULL.mp3~~
	\|~~posted date~~=
	~~\|transcribed by= [[User:The Merovingian\|The Merovingian]]<br/>[[User:Steelviper\|~~Steelviper]]
	\|~~verified by~~= ~~[[User:Peter Farago~~\|~~Peter Farago]]~~
	~~\|length~~= ~~47:53~~
	\|~~scotch~~= ~~[http://www.whisky.com/brands/glenrothes_brand.html Glenrothes]~~
	\|~~smokes~~= ~~[[w:Natural American Spirit~~\|~~Natural American Spirit]]~~
	~~\|rdm= Y~~
	~~\|mrsron= Y~~
	~~\|speaker1= [[Grace Park]]~~
	~~\|speakerimage1= Grace Park.jpg~~
	~~\|speaker2= [[Tahmoh Penikett]]~~
	~~\|speakerimage2= Tahmoh Penikett.jpg~~
	~~\|speaker3~~= ~~Mark Sheppard~~
	}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==

Catrope: Reverting Serenity's edit: I know the information isn't in the least correct, but that's not the point. It's about demonstrating as much as possible

2007-09-28T12:57:10Z

Reverting Serenity's edit: I know the information isn't in the least correct, but that's not the point. It's about demonstrating as much as possible

← Older revision		Revision as of 12:57, 28 September 2007
Line 6:		Line 6:
	\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_FULL.mp3		\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_FULL.mp3
	\|posted date=		\|posted date=
	\|transcribed by=[[User:Steelviper\|Steelviper]]		\|transcribed by= [[User:The Merovingian\|The Merovingian]]<br/>[[User:Steelviper\|Steelviper]]
	\|verified by=		\|verified by= [[User:Peter Farago\|Peter Farago]]
	\|length= 47:53		\|length= 47:53
	\|scotch=		\|scotch= [http://www.whisky.com/brands/glenrothes_brand.html Glenrothes]
	\|smokes=		\|smokes= [[w:Natural American Spirit\|Natural American Spirit]]
	\|~~wordoftheweek=~~
	\|rdm= Y		\|rdm= Y
	\|mrsron=		\|mrsron= Y
			\|speaker1= [[Grace Park]]
			\|speakerimage1= Grace Park.jpg
			\|speaker2= [[Tahmoh Penikett]]
			\|speakerimage2= Tahmoh Penikett.jpg
			\|speaker3= Mark Sheppard
	}}		}}

Serenity: Updating template info

2007-09-28T12:48:40Z

Updating template info

← Older revision		Revision as of 12:48, 28 September 2007
Line 6:		Line 6:
	\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_FULL.mp3		\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_FULL.mp3
	\|posted date=		\|posted date=
	\|transcribed by= ~~[[User:The Merovingian\|The Merovingian]]<br/>~~[[User:Steelviper\|Steelviper]]		\|transcribed by=[[User:Steelviper\|Steelviper]]
	\|verified by= ~~[[User:Peter Farago\|Peter Farago]]~~		\|verified by=
	\|length= 47:53		\|length= 47:53
	\|scotch= ~~[http://www.whisky.com/brands/glenrothes_brand.html Glenrothes]~~		\|scotch=
	\|smokes= ~~[[w:Natural American Spirit~~\|~~Natural American Spirit]]~~		\|smokes=
			\|wordoftheweek=
	\|rdm= Y		\|rdm= Y
	\|mrsron= Y		\|mrsron=
	~~\|speaker1= [[Grace Park]]~~
	~~\|speakerimage1= Grace Park.jpg~~
	~~\|speaker2= [[Tahmoh Penikett]]~~
	~~\|speakerimage2= Tahmoh Penikett.jpg~~
	~~\|speaker3= Mark Sheppard~~
	}}		}}

Shane at 21:10, 27 September 2007

2007-09-27T21:10:18Z

← Older revision		Revision as of 21:10, 27 September 2007
Line 1:		Line 1:
	{{podcast\|~~author~~=Steelviper\|~~emailAuthor2~~=\|~~suffix~~=\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=A3}}		{{Podcast Data
			\|title= Resistance
			\|disamb= Resistance (episode)
			\|season= 2
			\|episode= 4
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_FULL.mp3
			\|posted date=
			\|transcribed by= [[User:The Merovingian\|The Merovingian]]<br/>[[User:Steelviper\|Steelviper]]
			\|verified by= [[User:Peter Farago\|Peter Farago]]
			\|length= 47:53
			\|scotch= [http://www.whisky.com/brands/glenrothes_brand.html Glenrothes]
			\|smokes= [[w:Natural American Spirit\|Natural American Spirit]]
			\|rdm= Y
			\|mrsron= Y
			\|speaker1= [[Grace Park]]
			\|speakerimage1= Grace Park.jpg
			\|speaker2= [[Tahmoh Penikett]]
			\|speakerimage2= Tahmoh Penikett.jpg
			\|speaker3= Mark Sheppard
			}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==

DrWho42: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3] */ And so I though, ---> And so I thought,

2007-05-26T01:36:04Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_4of5.mp3 Act 3]: And so I though, ---> And so I thought,

← Older revision		Revision as of 01:36, 26 May 2007
Line 55:		Line 55:
	This is the scene I was alluding to earlier. [[Galen Tyrol\|Tyrol]] and [[Sharon Valerii (Galactica copy)\|Sharon]] down in the [[brig]] and then [[Gaius Baltar\|Baltar]] coming in and pulling a remarkable- making a remarkable turn here. This is something- I was working on the script, I was doing my polish on the script, and I was struggling with these scenes and I didn't know what to do with Baltar and I kept getting tired of [[Number Six\|Six]] just coming in and screwing around with him in his head and him playing games with Sharon and I didn't know what the point was, and I couldn't find a point to it. And at some- when you get- when you're off and when you're going 'round and 'round on scenes or storylines and you're having trouble cracking them it usually means that something fundamentally is wrong. It's usually not about the scene itself. It's usually about the story. And that was the case here. I just couldn't- I couldn't make the scenes work and I couldn't make it work and I finally just stepped back and said, "Let's just- screw this. Let's just try something completely different." And I just- I literally just started writing. And I brought him in and he- the scene just happened on the page. Which is really a great thing. I just started playing with it and he comes over and he seems to be taking blood test from Tyrol. Tyrol collapses, and suddenly it's, "He's dying, Sharon. He has moments to live and I want to know XYZ," and it's like, "Whoah! Wait minute. Baltar is suddenly gone much darker." And it's all layed out. The pieces are there. The [[Cally Tyrol\|Cally]]- Cally gettin' into his face and Tigh getting into his face and the pressures that he's under and the constant harping from Six and finally this man starts to turn a bit. And from this point forward in the season, he will slowly but surely start turning in a different direction. It doesn't mean that he's become an out and out villain or bad guy, but certainly he's started to take a more aggressive- a less kid-glove approach with everybody and is starting to advance his own agenda very strongly. I really like this scene. And I really like this performance of Sharon and Baltar in this scene. Of [[Grace Park\|Grace]] and [[James Callis\|James]]. James giving another stellar performance and Grace really delivering on the desperation involved in all this. And I really like the fact that you wonder where this is going. Now you go, "Wait a minute. What is Baltar up to? What- where is he gonna go with this?" And we were playing with the idea of what would he do? And what is he gonna do with Sharon as the thing towards the end? Which I'll come back to.		This is the scene I was alluding to earlier. [[Galen Tyrol\|Tyrol]] and [[Sharon Valerii (Galactica copy)\|Sharon]] down in the [[brig]] and then [[Gaius Baltar\|Baltar]] coming in and pulling a remarkable- making a remarkable turn here. This is something- I was working on the script, I was doing my polish on the script, and I was struggling with these scenes and I didn't know what to do with Baltar and I kept getting tired of [[Number Six\|Six]] just coming in and screwing around with him in his head and him playing games with Sharon and I didn't know what the point was, and I couldn't find a point to it. And at some- when you get- when you're off and when you're going 'round and 'round on scenes or storylines and you're having trouble cracking them it usually means that something fundamentally is wrong. It's usually not about the scene itself. It's usually about the story. And that was the case here. I just couldn't- I couldn't make the scenes work and I couldn't make it work and I finally just stepped back and said, "Let's just- screw this. Let's just try something completely different." And I just- I literally just started writing. And I brought him in and he- the scene just happened on the page. Which is really a great thing. I just started playing with it and he comes over and he seems to be taking blood test from Tyrol. Tyrol collapses, and suddenly it's, "He's dying, Sharon. He has moments to live and I want to know XYZ," and it's like, "Whoah! Wait minute. Baltar is suddenly gone much darker." And it's all layed out. The pieces are there. The [[Cally Tyrol\|Cally]]- Cally gettin' into his face and Tigh getting into his face and the pressures that he's under and the constant harping from Six and finally this man starts to turn a bit. And from this point forward in the season, he will slowly but surely start turning in a different direction. It doesn't mean that he's become an out and out villain or bad guy, but certainly he's started to take a more aggressive- a less kid-glove approach with everybody and is starting to advance his own agenda very strongly. I really like this scene. And I really like this performance of Sharon and Baltar in this scene. Of [[Grace Park\|Grace]] and [[James Callis\|James]]. James giving another stellar performance and Grace really delivering on the desperation involved in all this. And I really like the fact that you wonder where this is going. Now you go, "Wait a minute. What is Baltar up to? What- where is he gonna go with this?" And we were playing with the idea of what would he do? And what is he gonna do with Sharon as the thing towards the end? Which I'll come back to.

	Ok. Back to Cylon occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]] where these guys hang out. I put in the script, "Ok. Let's find-" You have to- I'm limited by what you can find on location or what we can build. Those are the parameters of television. You either build it or you find it, and you don't have a lot of money. And you're in Vancouver. And you can only drive so far. And so I ~~though~~, "Ok. Let's put 'em in an [[Delphi Union High School\|abandoned high school]] and maybe there's an abandoned high school up there in the hills someplace and that's their base of operations." And so they went out and they found- I don't think, I'm trying to recall what this is really. I don't think it is a high school. I think it's like an old institution or something like that. The unfortunate thing is reads to big. You look at it on camera and visually it just feels like it's too much and that it's too large a base and that the [[Cylons (RDM)\|Cylons]] should have found it and that it feels too exposed, but these are the things that happen and you just have to, as a writer/producer, sometimes you just have to suck it up and go on and ok, "That's the best we can find. Move on." Because that's dealing with television. Dealing on unforgiving deadlines and especially unforgiving budgets and you make the best choices. And ultimately choices like that, of the high school and problems in shooting the "''Gideon'' Massacre" scene and all this niggling things that I keep pointing out that I'm dissatisfied with in the show are ultimately my responsibility. It's- the responsibility for these kinds of things flows to the top. Ultimately I'm the one who signs off on all this stuff, or [[David Eick\|David]] and I sign off on all this stuff, and say that it's ok and that you can move with it. And then later you go, "Hmm. I wish had more time with that. I wish that I had been able to push for a different location. Or I wish that I had done more coverage in this area." But you makes you choices and yous live with them.		Ok. Back to Cylon occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]] where these guys hang out. I put in the script, "Ok. Let's find-" You have to- I'm limited by what you can find on location or what we can build. Those are the parameters of television. You either build it or you find it, and you don't have a lot of money. And you're in Vancouver. And you can only drive so far. And so I thought, "Ok. Let's put 'em in an [[Delphi Union High School\|abandoned high school]] and maybe there's an abandoned high school up there in the hills someplace and that's their base of operations." And so they went out and they found- I don't think, I'm trying to recall what this is really. I don't think it is a high school. I think it's like an old institution or something like that. The unfortunate thing is reads to big. You look at it on camera and visually it just feels like it's too much and that it's too large a base and that the [[Cylons (RDM)\|Cylons]] should have found it and that it feels too exposed, but these are the things that happen and you just have to, as a writer/producer, sometimes you just have to suck it up and go on and ok, "That's the best we can find. Move on." Because that's dealing with television. Dealing on unforgiving deadlines and especially unforgiving budgets and you make the best choices. And ultimately choices like that, of the high school and problems in shooting the "''Gideon'' Massacre" scene and all this niggling things that I keep pointing out that I'm dissatisfied with in the show are ultimately my responsibility. It's- the responsibility for these kinds of things flows to the top. Ultimately I'm the one who signs off on all this stuff, or [[David Eick\|David]] and I sign off on all this stuff, and say that it's ok and that you can move with it. And then later you go, "Hmm. I wish had more time with that. I wish that I had been able to push for a different location. Or I wish that I had done more coverage in this area." But you makes you choices and yous live with them.

	This is a great opportunity for [[Kandyse McClure\|Kandyse]]. I love Kandyse as an actress and [[Alessandro Juliani\|Alessandro]], who's coming into this scene in just a moment, and it's really great that we keep coming back to them as characters, even though they haven't had their own ep- We haven't done the "[[Anastasia Dualla\|Dualla]] episode". We've done "B" story lines with her and probably even less so with [[Felix Gaeta\|him]]. But, again, they're just part of the fabric of the show and the show would be seriously damaged if they weren't in it because I think they provide such important texture and humanity into the life aboard the [[Galactica type battlestar\|battlestar]] [[Galactica (RDM)\|''Galactica'']]. And just look in Kandyse's eyes. My God. It's just like- she has fabulous eyes. (Chuckles.) She has great eyes. And this little tiny moment here, with Alessandro, just the way he delivers that line, nods his head and then quickly moves forward says so much and delivers so much of the essence of the scene that it's just wonderful and it's just- that's really gold. You really- I really love things like that and seeing them- when I see them in dailies or see them in the cut. It just gives me such great pleasure to see the cast and the director and everybody giving it that extra bit of texture, which really makes the world work and really bring home the humanity of what we're trying to do on this show.		This is a great opportunity for [[Kandyse McClure\|Kandyse]]. I love Kandyse as an actress and [[Alessandro Juliani\|Alessandro]], who's coming into this scene in just a moment, and it's really great that we keep coming back to them as characters, even though they haven't had their own ep- We haven't done the "[[Anastasia Dualla\|Dualla]] episode". We've done "B" story lines with her and probably even less so with [[Felix Gaeta\|him]]. But, again, they're just part of the fabric of the show and the show would be seriously damaged if they weren't in it because I think they provide such important texture and humanity into the life aboard the [[Galactica type battlestar\|battlestar]] [[Galactica (RDM)\|''Galactica'']]. And just look in Kandyse's eyes. My God. It's just like- she has fabulous eyes. (Chuckles.) She has great eyes. And this little tiny moment here, with Alessandro, just the way he delivers that line, nods his head and then quickly moves forward says so much and delivers so much of the essence of the scene that it's just wonderful and it's just- that's really gold. You really- I really love things like that and seeing them- when I see them in dailies or see them in the cut. It just gives me such great pleasure to see the cast and the director and everybody giving it that extra bit of texture, which really makes the world work and really bring home the humanity of what we're trying to do on this show.

Mercifull: adding podcast list

2007-04-19T11:21:13Z

adding podcast list

← Older revision		Revision as of 11:21, 19 April 2007
Line 86:		Line 86:

	And that is the end of "[[Resistance (episode)\|Resistance]]", episode four. I, as I said earlier I'll be trying to get back and get you some- do "[[Fragged]]" at some point 'cause I think "Fragged" is one of my favorite shows of the whole season and I'd love to do commentary on that. I've been playing around with doing podcast things for you guys on other topics. There's a podcast I record in my car on the way to work, there- I've been trying to record writer's meeting with varying degrees of success, because of the audio quality. You may or may not be able to hear. I'm going to also attempt to get back to [http://blog.scifi.com/battlestar/ my blog], which is still neglected and which tortures me because I feel like I've made a promise to keep that up and I just haven't been able to as much as I would really like to. But in any case, this has been an interesting experience doing these podcasts. It's a really interesting forum. It's a really interesting way of delivering information to an audience in a very timely fashion. Immediately with the broadcast, so I'm really happy that [http://www.scifi.com/ Scifi.com] suggested this idea very early on and that I've been doing it and I will continue to try to do them for the rest of the episodes of the season, and hopefully I'll be able to throw you guys some other sort of types of podcasts as the year goes on. And I'll be talking to you next on episode five, "[[The Farm]]". Thank you very much, and I'll talk to you later. Bye.		And that is the end of "[[Resistance (episode)\|Resistance]]", episode four. I, as I said earlier I'll be trying to get back and get you some- do "[[Fragged]]" at some point 'cause I think "Fragged" is one of my favorite shows of the whole season and I'd love to do commentary on that. I've been playing around with doing podcast things for you guys on other topics. There's a podcast I record in my car on the way to work, there- I've been trying to record writer's meeting with varying degrees of success, because of the audio quality. You may or may not be able to hear. I'm going to also attempt to get back to [http://blog.scifi.com/battlestar/ my blog], which is still neglected and which tortures me because I feel like I've made a promise to keep that up and I just haven't been able to as much as I would really like to. But in any case, this has been an interesting experience doing these podcasts. It's a really interesting forum. It's a really interesting way of delivering information to an audience in a very timely fashion. Immediately with the broadcast, so I'm really happy that [http://www.scifi.com/ Scifi.com] suggested this idea very early on and that I've been doing it and I will continue to try to do them for the rest of the episodes of the season, and hopefully I'll be able to throw you guys some other sort of types of podcasts as the year goes on. And I'll be talking to you next on episode five, "[[The Farm]]". Thank you very much, and I'll talk to you later. Bye.

			{{Podcast list (RDM season 2)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T19:59:02Z

Kobol -> Kobol (RDM)

← Older revision		Revision as of 19:59, 13 April 2007
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	So I'm in the recap of last week's episode. [[Alex Quartararo\|Crashdown]]'s just died and "Resistance" is one of the episodes that, of course, I think I mentioned this before but, essentially the first six or so episodes of [[Season 2 (2005-06)\|season two]] were pitched and structured at the very beginning of the season in that we knew that we had a storyline that was gonna take several episodes to unfold. Stories dealing with the aftermath of the shooting of [[William Adama\|Adama]] and the various other cliffhangers and so "Resistance" was developed in that context. I went back and looked at some of the early things on "Resistance". What they did not have, in early story outlines, was this sequence. Was the idea of [[Galen Tyrol\|Tyrol]] being under suspicion of being a [[Cylons (RDM)\|Cylon]] and this subplot that happens throughout the show of Tyrol under suspicion, his incarceration, his somewhat rapprochement with [[Sharon Valerii (Galactica copy)\|Sharon]], and then ultimately Sharon's untimely death at the end. That was a somewhat more later developing subplot. This story was always conceived as- we kept calling it the [[Wikipedia:Kent State shootings\|"Kent State"]] episode, where [[Saul Tigh\|Tigh]]'s repressive leadership would essentially result in the [[Gideon\|deaths of civilians]]. There would be an explosion of outrage in [[The Fleet (RDM)\|the Fleet]], and this would prompt the prison break of [[Laura Roslin]] and the start of a counter-coup, or counter-revolutionary movement, within the Fleet, and at the end of the episode would culminate with the return of Commander Adama to the [[Galactica (RDM)\|''Galactica'']]. And that was always the concept of this show.		So I'm in the recap of last week's episode. [[Alex Quartararo\|Crashdown]]'s just died and "Resistance" is one of the episodes that, of course, I think I mentioned this before but, essentially the first six or so episodes of [[Season 2 (2005-06)\|season two]] were pitched and structured at the very beginning of the season in that we knew that we had a storyline that was gonna take several episodes to unfold. Stories dealing with the aftermath of the shooting of [[William Adama\|Adama]] and the various other cliffhangers and so "Resistance" was developed in that context. I went back and looked at some of the early things on "Resistance". What they did not have, in early story outlines, was this sequence. Was the idea of [[Galen Tyrol\|Tyrol]] being under suspicion of being a [[Cylons (RDM)\|Cylon]] and this subplot that happens throughout the show of Tyrol under suspicion, his incarceration, his somewhat rapprochement with [[Sharon Valerii (Galactica copy)\|Sharon]], and then ultimately Sharon's untimely death at the end. That was a somewhat more later developing subplot. This story was always conceived as- we kept calling it the [[Wikipedia:Kent State shootings\|"Kent State"]] episode, where [[Saul Tigh\|Tigh]]'s repressive leadership would essentially result in the [[Gideon\|deaths of civilians]]. There would be an explosion of outrage in [[The Fleet (RDM)\|the Fleet]], and this would prompt the prison break of [[Laura Roslin]] and the start of a counter-coup, or counter-revolutionary movement, within the Fleet, and at the end of the episode would culminate with the return of Commander Adama to the [[Galactica (RDM)\|''Galactica'']]. And that was always the concept of this show.

	There was a Sharon-[[Gaius Baltar\|Baltar]] storyline early on in this episode, that dealt with Baltar being back aboard ''Galactica'' now and getting his hands on Sharon. He was supposed to be interrogating Sharon, developing a psychological- an interest in her psychologically. Trying to get inside her brain so you know, here's a Cylon, who is now at my mercy, more or less. She would be incarcerated. She was going to be held in very difficult circumstances and Baltar was gonna be sent in to figure out who she is, what she is, how we can counter beings like her in the future. And there were a couple of drafts of story and, I think, even structure that explored that idea, but ultimately it wasn't that satisfying and what we started to come around to was the fact that Sharon had returned to- or, I'm sorry, that Tyrol had returned to ''Galactica'', it felt like, well, here's the guy that was in love with Boomer. Here's the guy that protected Boomer. Here's the guy that everybody on the ship knew was involved with Boomer. So wouldn't he be under some kind of suspicion? And that's- as soon as we landed on that, I don't recall off the top of my head who came up with that notion, but once we angled the story that direction it became much more intriguing. It's like, ok, let's open with Tyrol sitting in the room with Tigh. Let's start the episode there. Here's the guy that just went through this horrific ep- encounter down on [[Kobol]] and he comes back and suddenly he's in [[brig\|jail]].		There was a Sharon-[[Gaius Baltar\|Baltar]] storyline early on in this episode, that dealt with Baltar being back aboard ''Galactica'' now and getting his hands on Sharon. He was supposed to be interrogating Sharon, developing a psychological- an interest in her psychologically. Trying to get inside her brain so you know, here's a Cylon, who is now at my mercy, more or less. She would be incarcerated. She was going to be held in very difficult circumstances and Baltar was gonna be sent in to figure out who she is, what she is, how we can counter beings like her in the future. And there were a couple of drafts of story and, I think, even structure that explored that idea, but ultimately it wasn't that satisfying and what we started to come around to was the fact that Sharon had returned to- or, I'm sorry, that Tyrol had returned to ''Galactica'', it felt like, well, here's the guy that was in love with Boomer. Here's the guy that protected Boomer. Here's the guy that everybody on the ship knew was involved with Boomer. So wouldn't he be under some kind of suspicion? And that's- as soon as we landed on that, I don't recall off the top of my head who came up with that notion, but once we angled the story that direction it became much more intriguing. It's like, ok, let's open with Tyrol sitting in the room with Tigh. Let's start the episode there. Here's the guy that just went through this horrific ep- encounter down on [[Kobol (RDM)\|Kobol]] and he comes back and suddenly he's in [[brig\|jail]].

	And here we begin the [[Caprica Resistance\|resistance]] storyline on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This sequence, initially, as you might imagine in several drafts and even of the script was more traditionally plotted where we would have started with [[Karl Agathon\|Helo]] and [[Kara Thrace\|Kara]] out in the woods trying to plan their escape or plan their way to find a Cylon air base and then you cut out to these guys out in the woods watching them and that the guys in the woods are saying, "I think that they're Cylons." And it was fine, but it felt very pedestrian and there was something vaguely unsatisfying about it all the way along and so there came a point where I believe it was the director, but I could be wrong, [[Allan Kroeker]], who directed this episode, I believe it was his suggestion that we start with the resistance and begin with their point of view, and I immediately thought that was a great idea because it just- it's a more intriguing way to start this little sequence, which really isn't very much. This is a very traditional plot move. It's like, ok, good guys are about to be shot by other good guys. Ooh, scary. But, by beginning it on the other foot, by starting with these people that you don't know and haven't seen before, wondering where- you're lost for a moment and trying to catch up and like, "Ok. Wait a minute. What's going on? Who are these guys? Who are they seeing out there? Ok. They seem to be- they're humans. I guess they're fighting Cylons. And..." It's just enough to hide the moment that it's actually Kara and Helo. I'm sure sharp-minded viewers can jump ahead, but basically if you're watching the episode it's a nice effective way to just hold off the reveal.		And here we begin the [[Caprica Resistance\|resistance]] storyline on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This sequence, initially, as you might imagine in several drafts and even of the script was more traditionally plotted where we would have started with [[Karl Agathon\|Helo]] and [[Kara Thrace\|Kara]] out in the woods trying to plan their escape or plan their way to find a Cylon air base and then you cut out to these guys out in the woods watching them and that the guys in the woods are saying, "I think that they're Cylons." And it was fine, but it felt very pedestrian and there was something vaguely unsatisfying about it all the way along and so there came a point where I believe it was the director, but I could be wrong, [[Allan Kroeker]], who directed this episode, I believe it was his suggestion that we start with the resistance and begin with their point of view, and I immediately thought that was a great idea because it just- it's a more intriguing way to start this little sequence, which really isn't very much. This is a very traditional plot move. It's like, ok, good guys are about to be shot by other good guys. Ooh, scary. But, by beginning it on the other foot, by starting with these people that you don't know and haven't seen before, wondering where- you're lost for a moment and trying to catch up and like, "Ok. Wait a minute. What's going on? Who are these guys? Who are they seeing out there? Ok. They seem to be- they're humans. I guess they're fighting Cylons. And..." It's just enough to hide the moment that it's actually Kara and Helo. I'm sure sharp-minded viewers can jump ahead, but basically if you're watching the episode it's a nice effective way to just hold off the reveal.

← Older revision		Revision as of 13:03, 28 September 2007
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	{{~~Podcast Data~~		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=A3}}
	~~\|title= Resistance~~
	~~\|disamb= Resistance (episode)~~
	~~\|season= 2~~
	~~\|episode= 4~~
	~~\|download link= http://media.scifi.com/battlestar/downloads/~~podcast~~/mp3/204/bsg_ep204_FULL.mp3~~
	\|~~posted date~~=
	~~\|transcribed by= [[User:The Merovingian\|The Merovingian]]<br/>[[User:Steelviper\|~~Steelviper]]
	\|~~verified by~~= ~~[[User:Peter Farago~~\|~~Peter Farago]]~~
	~~\|length~~= ~~47:53~~
	\|~~scotch~~= ~~[http://www.whisky.com/brands/glenrothes_brand.html Glenrothes]~~
	\|~~smokes~~= ~~[[w:Natural American Spirit~~\|~~Natural American Spirit]]~~
	~~\|rdm= Y~~
	~~\|mrsron= Y~~
	~~\|speaker1= [[Grace Park]]~~
	~~\|speakerimage1= Grace Park.jpg~~
	~~\|speaker2= [[Tahmoh Penikett]]~~
	~~\|speakerimage2= Tahmoh Penikett.jpg~~
	~~\|speaker3~~= ~~Mark Sheppard~~
	}}

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/204/bsg_ep204_1of5.mp3 Teaser]==

← Older revision		Revision as of 01:36, 26 May 2007
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	This is the scene I was alluding to earlier. [[Galen Tyrol\|Tyrol]] and [[Sharon Valerii (Galactica copy)\|Sharon]] down in the [[brig]] and then [[Gaius Baltar\|Baltar]] coming in and pulling a remarkable- making a remarkable turn here. This is something- I was working on the script, I was doing my polish on the script, and I was struggling with these scenes and I didn't know what to do with Baltar and I kept getting tired of [[Number Six\|Six]] just coming in and screwing around with him in his head and him playing games with Sharon and I didn't know what the point was, and I couldn't find a point to it. And at some- when you get- when you're off and when you're going 'round and 'round on scenes or storylines and you're having trouble cracking them it usually means that something fundamentally is wrong. It's usually not about the scene itself. It's usually about the story. And that was the case here. I just couldn't- I couldn't make the scenes work and I couldn't make it work and I finally just stepped back and said, "Let's just- screw this. Let's just try something completely different." And I just- I literally just started writing. And I brought him in and he- the scene just happened on the page. Which is really a great thing. I just started playing with it and he comes over and he seems to be taking blood test from Tyrol. Tyrol collapses, and suddenly it's, "He's dying, Sharon. He has moments to live and I want to know XYZ," and it's like, "Whoah! Wait minute. Baltar is suddenly gone much darker." And it's all layed out. The pieces are there. The [[Cally Tyrol\|Cally]]- Cally gettin' into his face and Tigh getting into his face and the pressures that he's under and the constant harping from Six and finally this man starts to turn a bit. And from this point forward in the season, he will slowly but surely start turning in a different direction. It doesn't mean that he's become an out and out villain or bad guy, but certainly he's started to take a more aggressive- a less kid-glove approach with everybody and is starting to advance his own agenda very strongly. I really like this scene. And I really like this performance of Sharon and Baltar in this scene. Of [[Grace Park\|Grace]] and [[James Callis\|James]]. James giving another stellar performance and Grace really delivering on the desperation involved in all this. And I really like the fact that you wonder where this is going. Now you go, "Wait a minute. What is Baltar up to? What- where is he gonna go with this?" And we were playing with the idea of what would he do? And what is he gonna do with Sharon as the thing towards the end? Which I'll come back to.		This is the scene I was alluding to earlier. [[Galen Tyrol\|Tyrol]] and [[Sharon Valerii (Galactica copy)\|Sharon]] down in the [[brig]] and then [[Gaius Baltar\|Baltar]] coming in and pulling a remarkable- making a remarkable turn here. This is something- I was working on the script, I was doing my polish on the script, and I was struggling with these scenes and I didn't know what to do with Baltar and I kept getting tired of [[Number Six\|Six]] just coming in and screwing around with him in his head and him playing games with Sharon and I didn't know what the point was, and I couldn't find a point to it. And at some- when you get- when you're off and when you're going 'round and 'round on scenes or storylines and you're having trouble cracking them it usually means that something fundamentally is wrong. It's usually not about the scene itself. It's usually about the story. And that was the case here. I just couldn't- I couldn't make the scenes work and I couldn't make it work and I finally just stepped back and said, "Let's just- screw this. Let's just try something completely different." And I just- I literally just started writing. And I brought him in and he- the scene just happened on the page. Which is really a great thing. I just started playing with it and he comes over and he seems to be taking blood test from Tyrol. Tyrol collapses, and suddenly it's, "He's dying, Sharon. He has moments to live and I want to know XYZ," and it's like, "Whoah! Wait minute. Baltar is suddenly gone much darker." And it's all layed out. The pieces are there. The [[Cally Tyrol\|Cally]]- Cally gettin' into his face and Tigh getting into his face and the pressures that he's under and the constant harping from Six and finally this man starts to turn a bit. And from this point forward in the season, he will slowly but surely start turning in a different direction. It doesn't mean that he's become an out and out villain or bad guy, but certainly he's started to take a more aggressive- a less kid-glove approach with everybody and is starting to advance his own agenda very strongly. I really like this scene. And I really like this performance of Sharon and Baltar in this scene. Of [[Grace Park\|Grace]] and [[James Callis\|James]]. James giving another stellar performance and Grace really delivering on the desperation involved in all this. And I really like the fact that you wonder where this is going. Now you go, "Wait a minute. What is Baltar up to? What- where is he gonna go with this?" And we were playing with the idea of what would he do? And what is he gonna do with Sharon as the thing towards the end? Which I'll come back to.

	Ok. Back to Cylon occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]] where these guys hang out. I put in the script, "Ok. Let's find-" You have to- I'm limited by what you can find on location or what we can build. Those are the parameters of television. You either build it or you find it, and you don't have a lot of money. And you're in Vancouver. And you can only drive so far. And so I ~~though~~, "Ok. Let's put 'em in an [[Delphi Union High School\|abandoned high school]] and maybe there's an abandoned high school up there in the hills someplace and that's their base of operations." And so they went out and they found- I don't think, I'm trying to recall what this is really. I don't think it is a high school. I think it's like an old institution or something like that. The unfortunate thing is reads to big. You look at it on camera and visually it just feels like it's too much and that it's too large a base and that the [[Cylons (RDM)\|Cylons]] should have found it and that it feels too exposed, but these are the things that happen and you just have to, as a writer/producer, sometimes you just have to suck it up and go on and ok, "That's the best we can find. Move on." Because that's dealing with television. Dealing on unforgiving deadlines and especially unforgiving budgets and you make the best choices. And ultimately choices like that, of the high school and problems in shooting the "''Gideon'' Massacre" scene and all this niggling things that I keep pointing out that I'm dissatisfied with in the show are ultimately my responsibility. It's- the responsibility for these kinds of things flows to the top. Ultimately I'm the one who signs off on all this stuff, or [[David Eick\|David]] and I sign off on all this stuff, and say that it's ok and that you can move with it. And then later you go, "Hmm. I wish had more time with that. I wish that I had been able to push for a different location. Or I wish that I had done more coverage in this area." But you makes you choices and yous live with them.		Ok. Back to Cylon occupied [[The Twelve Colonies (RDM)#Caprica\|Caprica]] where these guys hang out. I put in the script, "Ok. Let's find-" You have to- I'm limited by what you can find on location or what we can build. Those are the parameters of television. You either build it or you find it, and you don't have a lot of money. And you're in Vancouver. And you can only drive so far. And so I thought, "Ok. Let's put 'em in an [[Delphi Union High School\|abandoned high school]] and maybe there's an abandoned high school up there in the hills someplace and that's their base of operations." And so they went out and they found- I don't think, I'm trying to recall what this is really. I don't think it is a high school. I think it's like an old institution or something like that. The unfortunate thing is reads to big. You look at it on camera and visually it just feels like it's too much and that it's too large a base and that the [[Cylons (RDM)\|Cylons]] should have found it and that it feels too exposed, but these are the things that happen and you just have to, as a writer/producer, sometimes you just have to suck it up and go on and ok, "That's the best we can find. Move on." Because that's dealing with television. Dealing on unforgiving deadlines and especially unforgiving budgets and you make the best choices. And ultimately choices like that, of the high school and problems in shooting the "''Gideon'' Massacre" scene and all this niggling things that I keep pointing out that I'm dissatisfied with in the show are ultimately my responsibility. It's- the responsibility for these kinds of things flows to the top. Ultimately I'm the one who signs off on all this stuff, or [[David Eick\|David]] and I sign off on all this stuff, and say that it's ok and that you can move with it. And then later you go, "Hmm. I wish had more time with that. I wish that I had been able to push for a different location. Or I wish that I had done more coverage in this area." But you makes you choices and yous live with them.

	This is a great opportunity for [[Kandyse McClure\|Kandyse]]. I love Kandyse as an actress and [[Alessandro Juliani\|Alessandro]], who's coming into this scene in just a moment, and it's really great that we keep coming back to them as characters, even though they haven't had their own ep- We haven't done the "[[Anastasia Dualla\|Dualla]] episode". We've done "B" story lines with her and probably even less so with [[Felix Gaeta\|him]]. But, again, they're just part of the fabric of the show and the show would be seriously damaged if they weren't in it because I think they provide such important texture and humanity into the life aboard the [[Galactica type battlestar\|battlestar]] [[Galactica (RDM)\|''Galactica'']]. And just look in Kandyse's eyes. My God. It's just like- she has fabulous eyes. (Chuckles.) She has great eyes. And this little tiny moment here, with Alessandro, just the way he delivers that line, nods his head and then quickly moves forward says so much and delivers so much of the essence of the scene that it's just wonderful and it's just- that's really gold. You really- I really love things like that and seeing them- when I see them in dailies or see them in the cut. It just gives me such great pleasure to see the cast and the director and everybody giving it that extra bit of texture, which really makes the world work and really bring home the humanity of what we're trying to do on this show.		This is a great opportunity for [[Kandyse McClure\|Kandyse]]. I love Kandyse as an actress and [[Alessandro Juliani\|Alessandro]], who's coming into this scene in just a moment, and it's really great that we keep coming back to them as characters, even though they haven't had their own ep- We haven't done the "[[Anastasia Dualla\|Dualla]] episode". We've done "B" story lines with her and probably even less so with [[Felix Gaeta\|him]]. But, again, they're just part of the fabric of the show and the show would be seriously damaged if they weren't in it because I think they provide such important texture and humanity into the life aboard the [[Galactica type battlestar\|battlestar]] [[Galactica (RDM)\|''Galactica'']]. And just look in Kandyse's eyes. My God. It's just like- she has fabulous eyes. (Chuckles.) She has great eyes. And this little tiny moment here, with Alessandro, just the way he delivers that line, nods his head and then quickly moves forward says so much and delivers so much of the essence of the scene that it's just wonderful and it's just- that's really gold. You really- I really love things like that and seeing them- when I see them in dailies or see them in the cut. It just gives me such great pleasure to see the cast and the director and everybody giving it that extra bit of texture, which really makes the world work and really bring home the humanity of what we're trying to do on this show.

← Older revision		Revision as of 19:59, 13 April 2007
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	So I'm in the recap of last week's episode. [[Alex Quartararo\|Crashdown]]'s just died and "Resistance" is one of the episodes that, of course, I think I mentioned this before but, essentially the first six or so episodes of [[Season 2 (2005-06)\|season two]] were pitched and structured at the very beginning of the season in that we knew that we had a storyline that was gonna take several episodes to unfold. Stories dealing with the aftermath of the shooting of [[William Adama\|Adama]] and the various other cliffhangers and so "Resistance" was developed in that context. I went back and looked at some of the early things on "Resistance". What they did not have, in early story outlines, was this sequence. Was the idea of [[Galen Tyrol\|Tyrol]] being under suspicion of being a [[Cylons (RDM)\|Cylon]] and this subplot that happens throughout the show of Tyrol under suspicion, his incarceration, his somewhat rapprochement with [[Sharon Valerii (Galactica copy)\|Sharon]], and then ultimately Sharon's untimely death at the end. That was a somewhat more later developing subplot. This story was always conceived as- we kept calling it the [[Wikipedia:Kent State shootings\|"Kent State"]] episode, where [[Saul Tigh\|Tigh]]'s repressive leadership would essentially result in the [[Gideon\|deaths of civilians]]. There would be an explosion of outrage in [[The Fleet (RDM)\|the Fleet]], and this would prompt the prison break of [[Laura Roslin]] and the start of a counter-coup, or counter-revolutionary movement, within the Fleet, and at the end of the episode would culminate with the return of Commander Adama to the [[Galactica (RDM)\|''Galactica'']]. And that was always the concept of this show.		So I'm in the recap of last week's episode. [[Alex Quartararo\|Crashdown]]'s just died and "Resistance" is one of the episodes that, of course, I think I mentioned this before but, essentially the first six or so episodes of [[Season 2 (2005-06)\|season two]] were pitched and structured at the very beginning of the season in that we knew that we had a storyline that was gonna take several episodes to unfold. Stories dealing with the aftermath of the shooting of [[William Adama\|Adama]] and the various other cliffhangers and so "Resistance" was developed in that context. I went back and looked at some of the early things on "Resistance". What they did not have, in early story outlines, was this sequence. Was the idea of [[Galen Tyrol\|Tyrol]] being under suspicion of being a [[Cylons (RDM)\|Cylon]] and this subplot that happens throughout the show of Tyrol under suspicion, his incarceration, his somewhat rapprochement with [[Sharon Valerii (Galactica copy)\|Sharon]], and then ultimately Sharon's untimely death at the end. That was a somewhat more later developing subplot. This story was always conceived as- we kept calling it the [[Wikipedia:Kent State shootings\|"Kent State"]] episode, where [[Saul Tigh\|Tigh]]'s repressive leadership would essentially result in the [[Gideon\|deaths of civilians]]. There would be an explosion of outrage in [[The Fleet (RDM)\|the Fleet]], and this would prompt the prison break of [[Laura Roslin]] and the start of a counter-coup, or counter-revolutionary movement, within the Fleet, and at the end of the episode would culminate with the return of Commander Adama to the [[Galactica (RDM)\|''Galactica'']]. And that was always the concept of this show.

	There was a Sharon-[[Gaius Baltar\|Baltar]] storyline early on in this episode, that dealt with Baltar being back aboard ''Galactica'' now and getting his hands on Sharon. He was supposed to be interrogating Sharon, developing a psychological- an interest in her psychologically. Trying to get inside her brain so you know, here's a Cylon, who is now at my mercy, more or less. She would be incarcerated. She was going to be held in very difficult circumstances and Baltar was gonna be sent in to figure out who she is, what she is, how we can counter beings like her in the future. And there were a couple of drafts of story and, I think, even structure that explored that idea, but ultimately it wasn't that satisfying and what we started to come around to was the fact that Sharon had returned to- or, I'm sorry, that Tyrol had returned to ''Galactica'', it felt like, well, here's the guy that was in love with Boomer. Here's the guy that protected Boomer. Here's the guy that everybody on the ship knew was involved with Boomer. So wouldn't he be under some kind of suspicion? And that's- as soon as we landed on that, I don't recall off the top of my head who came up with that notion, but once we angled the story that direction it became much more intriguing. It's like, ok, let's open with Tyrol sitting in the room with Tigh. Let's start the episode there. Here's the guy that just went through this horrific ep- encounter down on [[Kobol]] and he comes back and suddenly he's in [[brig\|jail]].		There was a Sharon-[[Gaius Baltar\|Baltar]] storyline early on in this episode, that dealt with Baltar being back aboard ''Galactica'' now and getting his hands on Sharon. He was supposed to be interrogating Sharon, developing a psychological- an interest in her psychologically. Trying to get inside her brain so you know, here's a Cylon, who is now at my mercy, more or less. She would be incarcerated. She was going to be held in very difficult circumstances and Baltar was gonna be sent in to figure out who she is, what she is, how we can counter beings like her in the future. And there were a couple of drafts of story and, I think, even structure that explored that idea, but ultimately it wasn't that satisfying and what we started to come around to was the fact that Sharon had returned to- or, I'm sorry, that Tyrol had returned to ''Galactica'', it felt like, well, here's the guy that was in love with Boomer. Here's the guy that protected Boomer. Here's the guy that everybody on the ship knew was involved with Boomer. So wouldn't he be under some kind of suspicion? And that's- as soon as we landed on that, I don't recall off the top of my head who came up with that notion, but once we angled the story that direction it became much more intriguing. It's like, ok, let's open with Tyrol sitting in the room with Tigh. Let's start the episode there. Here's the guy that just went through this horrific ep- encounter down on [[Kobol (RDM)\|Kobol]] and he comes back and suddenly he's in [[brig\|jail]].

	And here we begin the [[Caprica Resistance\|resistance]] storyline on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This sequence, initially, as you might imagine in several drafts and even of the script was more traditionally plotted where we would have started with [[Karl Agathon\|Helo]] and [[Kara Thrace\|Kara]] out in the woods trying to plan their escape or plan their way to find a Cylon air base and then you cut out to these guys out in the woods watching them and that the guys in the woods are saying, "I think that they're Cylons." And it was fine, but it felt very pedestrian and there was something vaguely unsatisfying about it all the way along and so there came a point where I believe it was the director, but I could be wrong, [[Allan Kroeker]], who directed this episode, I believe it was his suggestion that we start with the resistance and begin with their point of view, and I immediately thought that was a great idea because it just- it's a more intriguing way to start this little sequence, which really isn't very much. This is a very traditional plot move. It's like, ok, good guys are about to be shot by other good guys. Ooh, scary. But, by beginning it on the other foot, by starting with these people that you don't know and haven't seen before, wondering where- you're lost for a moment and trying to catch up and like, "Ok. Wait a minute. What's going on? Who are these guys? Who are they seeing out there? Ok. They seem to be- they're humans. I guess they're fighting Cylons. And..." It's just enough to hide the moment that it's actually Kara and Helo. I'm sure sharp-minded viewers can jump ahead, but basically if you're watching the episode it's a nice effective way to just hold off the reveal.		And here we begin the [[Caprica Resistance\|resistance]] storyline on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This sequence, initially, as you might imagine in several drafts and even of the script was more traditionally plotted where we would have started with [[Karl Agathon\|Helo]] and [[Kara Thrace\|Kara]] out in the woods trying to plan their escape or plan their way to find a Cylon air base and then you cut out to these guys out in the woods watching them and that the guys in the woods are saying, "I think that they're Cylons." And it was fine, but it felt very pedestrian and there was something vaguely unsatisfying about it all the way along and so there came a point where I believe it was the director, but I could be wrong, [[Allan Kroeker]], who directed this episode, I believe it was his suggestion that we start with the resistance and begin with their point of view, and I immediately thought that was a great idea because it just- it's a more intriguing way to start this little sequence, which really isn't very much. This is a very traditional plot move. It's like, ok, good guys are about to be shot by other good guys. Ooh, scary. But, by beginning it on the other foot, by starting with these people that you don't know and haven't seen before, wondering where- you're lost for a moment and trying to catch up and like, "Ok. Wait a minute. What's going on? Who are these guys? Who are they seeing out there? Ok. They seem to be- they're humans. I guess they're fighting Cylons. And..." It's just enough to hide the moment that it's actually Kara and Helo. I'm sure sharp-minded viewers can jump ahead, but basically if you're watching the episode it's a nice effective way to just hold off the reveal.