Podcast:Taking a Break From All Your Worries - Revision history

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

2025-06-15T21:30:01Z

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

← Older revision		Revision as of 21:30, 15 June 2025
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	RDM: Act two. As I was saying, the [[Interrogation drug\|drugs]] were then more of a mental and psychological way to torture [[Gaius Baltar\|Baltar]] to get information out of him, which was in stark contrast to the way that the [[Cylons (RDM)\|Cylons]] dealt with him.		RDM: Act two. As I was saying, the [[Interrogation drug\|drugs]] were then more of a mental and psychological way to torture [[Gaius Baltar\|Baltar]] to get information out of him, which was in stark contrast to the way that the [[Cylons (RDM)\|Cylons]] dealt with him.

	There was a little bit more in the script about the fact that [[William Adama\|Adama]] had used drugs like this on prisoners in the past, that we never really addressed who those prisoners were and what they- who they use them on. But the implication was that they were certainly- they were used on other human beings. They were used on [[The Twelve Colonies ~~(RDM)~~\|Colonials]] 'cause they had no reason to use them on Cylons, certainly, before the [[Fall of the Twelve Colonies\|attack on the Colonies]].		There was a little bit more in the script about the fact that [[William Adama\|Adama]] had used drugs like this on prisoners in the past, that we never really addressed who those prisoners were and what they- who they use them on. But the implication was that they were certainly- they were used on other human beings. They were used on [[The Twelve Colonies of Kobol\|Colonials]] 'cause they had no reason to use them on Cylons, certainly, before the [[Fall of the Twelve Colonies\|attack on the Colonies]].

	Again, look at the way- look at the faces, look at the energy of the scene and the emotional- we're in tight here a lot. This is a lot of bringing you in to a very tense moment and really feeling the desperation that people are pushed and pulled by. Then we start this intercut. I think one of the interesting things that Eddie did in his director's cut was the way he intercut all the different story lines. It was much more aggressive than what we usually do and I would- say that it's thematically intercut instead of cutting on action. I like to intercut scenes a lot. You see that- a lot of the teasers that I write, or that I rewrite, I use that technique a lot of cross-cutting between disparate elements and giving them- discovering a thematic tie as you go along. Eddie's choices, and the editorial choices here by [[Andrew Seklir]], our editor, are much more in tune with the emotion of the scene and sometimes changing up the emotion of the scene by cutting to something to counterpoint it, other times to continue just the emotion of the moment, but a lot of the intercuts and where they occur were not scripted. This beat was not scripted to go in this place. This beat actually occurred much later in the script.		Again, look at the way- look at the faces, look at the energy of the scene and the emotional- we're in tight here a lot. This is a lot of bringing you in to a very tense moment and really feeling the desperation that people are pushed and pulled by. Then we start this intercut. I think one of the interesting things that Eddie did in his director's cut was the way he intercut all the different story lines. It was much more aggressive than what we usually do and I would- say that it's thematically intercut instead of cutting on action. I like to intercut scenes a lot. You see that- a lot of the teasers that I write, or that I rewrite, I use that technique a lot of cross-cutting between disparate elements and giving them- discovering a thematic tie as you go along. Eddie's choices, and the editorial choices here by [[Andrew Seklir]], our editor, are much more in tune with the emotion of the scene and sometimes changing up the emotion of the scene by cutting to something to counterpoint it, other times to continue just the emotion of the moment, but a lot of the intercuts and where they occur were not scripted. This beat was not scripted to go in this place. This beat actually occurred much later in the script.
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	I like the fact that Baltar admits that there are- mistakes were made. I think that- I think that this is a really interesting revelatory moments for the character and how he truly sees himself. He feels bad. He knows that terrible things were done and that he was in on it, but he doesn't want to adm- want to say that he was actually guilty of it. He doesn't want to say he was responsible for it. 'Cause he doesn't truly think that.		I like the fact that Baltar admits that there are- mistakes were made. I think that- I think that this is a really interesting revelatory moments for the character and how he truly sees himself. He feels bad. He knows that terrible things were done and that he was in on it, but he doesn't want to adm- want to say that he was actually guilty of it. He doesn't want to say he was responsible for it. 'Cause he doesn't truly think that.

	And this beat where Baltar's head comes up, and there's the many burned children. This was also an area of great controversy, as you might imagine. We cut the- there was a wider angle that you could see that they were all children, and they were all looking down at him. Oh. There's one of the wide shots that we managed to hold on to. There were more cutaways of the kids. More cutaways of- the kids were symbolic of all the many victims, the innocence of the people that died when he was President and the people that died in the apocalypse of [[The Twelve Colonies ~~(RDM)~~\|the Twelve Colonies]]. And there's the big question, isn't it. Are you a [[Cylons (RDM)\|Cylon]]? No, or I don't know would be closer to it. I think even there he's lying to himself. I think even there he's- that's what he- that's his honest answer to it, but does he actually know? He doesn't know. He was- still wonders. And then the girl comes down. And this, I think is a great shot. This is one of the best shots in the whole show, of the girl taking Baltar down, down, down in the depths. That's a great sequence. Just a really inspired choice by Eddie. I don't- I might be wrong, but I don't believe that this was in the script at all. I think this was something that Eddie came up with on his own.		And this beat where Baltar's head comes up, and there's the many burned children. This was also an area of great controversy, as you might imagine. We cut the- there was a wider angle that you could see that they were all children, and they were all looking down at him. Oh. There's one of the wide shots that we managed to hold on to. There were more cutaways of the kids. More cutaways of- the kids were symbolic of all the many victims, the innocence of the people that died when he was President and the people that died in the apocalypse of [[The Twelve Colonies of Kobol\|the Twelve Colonies]]. And there's the big question, isn't it. Are you a [[Cylons (RDM)\|Cylon]]? No, or I don't know would be closer to it. I think even there he's lying to himself. I think even there he's- that's what he- that's his honest answer to it, but does he actually know? He doesn't know. He was- still wonders. And then the girl comes down. And this, I think is a great shot. This is one of the best shots in the whole show, of the girl taking Baltar down, down, down in the depths. That's a great sequence. Just a really inspired choice by Eddie. I don't- I might be wrong, but I don't believe that this was in the script at all. I think this was something that Eddie came up with on his own.

	This we shot much later. The Lee losing the wedding ring and hunting around for it. We shot later. I think it was always scripted, but we cut it during production 'cause they were running long and we couldn't get to it and there was a hope that maybe we didn't need it after all. But when we saw the cut without this little sequence, you never quite had the beat where Lee made his choice, where Lee had to- where you saw what the marriage meant to him. This gives you the desperation of the man at the thought of losing the wedding ring. It brings it all into focus for him, at last.		This we shot much later. The Lee losing the wedding ring and hunting around for it. We shot later. I think it was always scripted, but we cut it during production 'cause they were running long and we couldn't get to it and there was a hope that maybe we didn't need it after all. But when we saw the cut without this little sequence, you never quite had the beat where Lee made his choice, where Lee had to- where you saw what the marriage meant to him. This gives you the desperation of the man at the thought of losing the wedding ring. It brings it all into focus for him, at last.
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	This beat is a little underplayed, that- on Kara's side. We don't quite have enough- we didn't quite script enough material here to get Kara back with Anders, or to demonstrate that she was seriously considering being with Lee and then made her decision. It's implicit, it's there between the lines, but I'm not sure it's entirely clear. I think she got- her character got a little shorted, I think, in the cutting of the script and the cutting of the episode.		This beat is a little underplayed, that- on Kara's side. We don't quite have enough- we didn't quite script enough material here to get Kara back with Anders, or to demonstrate that she was seriously considering being with Lee and then made her decision. It's implicit, it's there between the lines, but I'm not sure it's entirely clear. I think she got- her character got a little shorted, I think, in the cutting of the script and the cutting of the episode.

	{{podcastref\|Baltarstoryline\|38:23}}There was another whole storyline that was going to be setup here that had to do with not just what Baltar is saying here in the scene. There were also allusions to another matter which was going to figure prominently in the trial episode which had to do with a whole storyline that we developed at length, and ultimately dropped, which- back on [[New Caprica]] there was a subset of people, the [[The Twelve Colonies ~~(RDM)~~#Sagittaron\|Sagittarons]], which will be dealt with in another episode, and the way the Sagittarons were treated during New Caprica and that they were a colony that the other colonies weren't too fond of. They were the victims of not quite racism but some kind of prejudice, essentially, and that there was a nasty little story that took place back on New Caprica which was one of the few things that they could actually nail Baltar directly on, that he had hand in directly killing somebody and there were witnesses to him killing somebody and Baltar's conversation there with Gaeta was starting to edge into those directions of the guilt about what had happened on- about the Sagittarons and that was also- and that Baltar was also blaming Gaeta for that, and that also was what prompted Gaeta to attack Baltar there in the cell that's coming up, here in a second. That storyline was developed quite a bit, as I say, into subsequent episodes and then later dropped, and so we had to go back and excise all those little bits and pieces from this episode, because ultimately, that was not a storyline that was going anywhere so we didn't want to set up this expectation that there was this whole secret between the two of them that then went nowhere. In fact, I think it might have been part of what Baltar was whispering there in Gaeta's ear. I think part of that had to do with the Sagittarion backstory on New Caprica and the fact that Baltar was gonna implicate him in what had happened if it all- if things really- push came to shove, that Gaeta was really the one responsible, and that pushed Gaeta right over the edge, 'cause he knew that he had nothing to do with that and...		{{podcastref\|Baltarstoryline\|38:23}}There was another whole storyline that was going to be setup here that had to do with not just what Baltar is saying here in the scene. There were also allusions to another matter which was going to figure prominently in the trial episode which had to do with a whole storyline that we developed at length, and ultimately dropped, which- back on [[New Caprica]] there was a subset of people, the [[The Twelve Colonies of Kobol#Sagittaron\|Sagittarons]], which will be dealt with in another episode, and the way the Sagittarons were treated during New Caprica and that they were a colony that the other colonies weren't too fond of. They were the victims of not quite racism but some kind of prejudice, essentially, and that there was a nasty little story that took place back on New Caprica which was one of the few things that they could actually nail Baltar directly on, that he had hand in directly killing somebody and there were witnesses to him killing somebody and Baltar's conversation there with Gaeta was starting to edge into those directions of the guilt about what had happened on- about the Sagittarons and that was also- and that Baltar was also blaming Gaeta for that, and that also was what prompted Gaeta to attack Baltar there in the cell that's coming up, here in a second. That storyline was developed quite a bit, as I say, into subsequent episodes and then later dropped, and so we had to go back and excise all those little bits and pieces from this episode, because ultimately, that was not a storyline that was going anywhere so we didn't want to set up this expectation that there was this whole secret between the two of them that then went nowhere. In fact, I think it might have been part of what Baltar was whispering there in Gaeta's ear. I think part of that had to do with the Sagittarion backstory on New Caprica and the fact that Baltar was gonna implicate him in what had happened if it all- if things really- push came to shove, that Gaeta was really the one responsible, and that pushed Gaeta right over the edge, 'cause he knew that he had nothing to do with that and...

	(Laughs.) I like this beat. 'Cause I like the fact that Laura comes up and is doing this- the hostage negotiator talk to him, try to reason, try to reach out to him, and then (Laughs.) [[William Adama\|Adama]] just clocks him. Just decks this guy.		(Laughs.) I like this beat. 'Cause I like the fact that Laura comes up and is doing this- the hostage negotiator talk to him, try to reason, try to reach out to him, and then (Laughs.) [[William Adama\|Adama]] just clocks him. Just decks this guy.

Catrope: {{podcast data}}

2008-02-27T21:17:14Z

← Older revision		Revision as of 21:17, 27 February 2008
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	{{podcast\|~~author~~=Steelviper\|~~emailAuthor2~~=\|~~suffix~~=\|~~additionalCopyright~~= ~~and Terry Dresbach~~\|~~season~~=3\|~~episode~~=D}}		{{Podcast Data
			\|special=
			\|season=3
			\|episode=13
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/313/bsg_ep313_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by= [[User:Steelviper\|Steelviper]]
			\|verified by= [[User:PrePressChris\|PrePressChris]]<br/>[[User:Catrope\|Catrope]]
			\|length= 43:46
			\|finished= Y
			\|verified= Y
			\|scotch= Glenross <!-- Link? -->
			\|smokes= [[w:Nat Sherman\|Shermans]]
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}
	== Teaser ==		== Teaser ==

Mercifull: adding podcast list

2007-04-19T11:03:18Z

adding podcast list

← Older revision		Revision as of 11:03, 19 April 2007
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	It's an interesting episode. I've watched it now several times and each time I see something new in it, and I take different reactions and feelings away each time I see the episode. I really like it. It's a really intriguing one. The mood of the piece and the tenor of the scenes and the performances always draw me into the show. You could probably tell that I kept checking out during the podcast, just getting absorbed in watching the show again. Hat's off to everybody. Good show. Good job of the writing, directing especially, the acting. Good episode. Be with you again next week for episode thirteen, which will feature our friend and Ka- our friend [[Karl Agathon\|Helo]] in an interesting chain of events. Thank you for listening. Good night and good luck.		It's an interesting episode. I've watched it now several times and each time I see something new in it, and I take different reactions and feelings away each time I see the episode. I really like it. It's a really intriguing one. The mood of the piece and the tenor of the scenes and the performances always draw me into the show. You could probably tell that I kept checking out during the podcast, just getting absorbed in watching the show again. Hat's off to everybody. Good show. Good job of the writing, directing especially, the acting. Good episode. Be with you again next week for episode thirteen, which will feature our friend and Ka- our friend [[Karl Agathon\|Helo]] in an interesting chain of events. Thank you for listening. Good night and good luck.
	<!-- 43:46 -->		<!-- 43:46 -->

			{{Podcast list (RDM season 3)}}

Steelviper: alpha sort

2007-02-27T18:43:43Z

alpha sort

← Older revision		Revision as of 18:43, 27 February 2007
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	{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright= and Terry Dresbach\|season=3\|episode=13}}		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright= and Terry Dresbach\|season=3\|episode=D}}
	== Teaser ==		== Teaser ==

Steelviper: + season, episode variables

2007-02-27T17:45:09Z

+ season, episode variables

← Older revision		Revision as of 17:45, 27 February 2007
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	{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright= and Terry Dresbach}}		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright= and Terry Dresbach\|season=3\|episode=13}}
	== Teaser ==		== Teaser ==

PrePressChris: /* Act 4 */ + dropped words (41:38)

2007-02-17T17:57:57Z

Act 4: + dropped words (41:38)

← Older revision		Revision as of 17:57, 17 February 2007
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	What will become of Gaius Baltar? This is a question that we will follow for the rest of this season. What's he guilty of? What are his crimes? What can be proven in a court of law? What does the audience think his crimes are? What should his crimes be? Where does this guy go and what do we do with him?		What will become of Gaius Baltar? This is a question that we will follow for the rest of this season. What's he guilty of? What are his crimes? What can be proven in a court of law? What does the audience think his crimes are? What should his crimes be? Where does this guy go and what do we do with him?

	See? This- This scene, again, after the Caprica-Six conversation that was cut from the show that's now a deleted scene. This is also, in a subtle way, setting up a revelation for Laura that will happen later in the season, just the staging of this scene and the emotion of it and where it's going. This is also foreshadowing certain events that will happen later- later this season.		See? This- This scene, again, took place after the Caprica-Six conversation that was cut from the show that's now a deleted scene. This is also, in a subtle way, setting up a revelation for Laura that will happen later in the season, just the staging of this scene and the emotion of it and where it's going. This is also foreshadowing certain events that will happen later- later this season.

	Eddie, the pragmatist- or Adama, the pragmatist. And I like Laura's just very gentle, "No." She's- she just- this is not in her. She just doesn't want to do that. And that's the big difference to Laura. He's one of them. Give him a trial.		Eddie, the pragmatist- or Adama, the pragmatist. And I like Laura's just very gentle, "No." She's- she just- this is not in her. She just doesn't want to do that. And that's the big difference to Laura. He's one of them. Give him a trial.

PrePressChris: /* Act 3 */ various

2007-02-17T17:46:04Z

Act 3: various

← Older revision		Revision as of 17:46, 17 February 2007
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	RDM: I'm not stopping for you, honey.		RDM: I'm not stopping for you, honey.

	I like the fact that Baltar admits that ~~the~~ are mistakes were made. I think that- I think that this is a really interesting revelatory moments for the character and how he truly sees himself. He feels bad. He knows that terrible things were done and that he was in on it, but he doesn't want to adm- want to say that he was actually guilty of it. He doesn't want to say he was responsible for it. 'Cause he doesn't truly think that.		I like the fact that Baltar admits that there are- mistakes were made. I think that- I think that this is a really interesting revelatory moments for the character and how he truly sees himself. He feels bad. He knows that terrible things were done and that he was in on it, but he doesn't want to adm- want to say that he was actually guilty of it. He doesn't want to say he was responsible for it. 'Cause he doesn't truly think that.

	And this beat where Baltar's head comes up, and there's the many burned children. This was also an area of great controversy, as you might imagine. We cut the- there was a wider angle that you could see that they were all children, and they were all looking down at him. Oh. There's one of the wide shots ~~in there, just~~ to hold on to. There were more cutaways of the kids. More cutaways of- the kids were symbolic of all the many victims, the innocence of the people that died when he was President and the people that died in the apocalypse of [[The Twelve Colonies (RDM)\|the Twelve Colonies]]. And there's the big question, isn't it. Are you a [[Cylons (RDM)\|Cylon]]? No, or I don't know would be closer to it. I think even there he's lying to himself. I think even there he's- that's what he- that's his honest answer to it, but does he actually know? He doesn't know. He was- still wonders. And then the girl comes down. And this, I think is a great shot. This is one of the best shots in the whole show, of the girl taking Baltar down, down, down in the depths. That's a great sequence. Just a really inspired choice by Eddie. I don't- I might be wrong, but I don't believe that this was in the script at all. I think this was something that Eddie came up with on his own.		And this beat where Baltar's head comes up, and there's the many burned children. This was also an area of great controversy, as you might imagine. We cut the- there was a wider angle that you could see that they were all children, and they were all looking down at him. Oh. There's one of the wide shots that we managed to hold on to. There were more cutaways of the kids. More cutaways of- the kids were symbolic of all the many victims, the innocence of the people that died when he was President and the people that died in the apocalypse of [[The Twelve Colonies (RDM)\|the Twelve Colonies]]. And there's the big question, isn't it. Are you a [[Cylons (RDM)\|Cylon]]? No, or I don't know would be closer to it. I think even there he's lying to himself. I think even there he's- that's what he- that's his honest answer to it, but does he actually know? He doesn't know. He was- still wonders. And then the girl comes down. And this, I think is a great shot. This is one of the best shots in the whole show, of the girl taking Baltar down, down, down in the depths. That's a great sequence. Just a really inspired choice by Eddie. I don't- I might be wrong, but I don't believe that this was in the script at all. I think this was something that Eddie came up with on his own.

	This we shot much later. The Lee losing the wedding ring and hunting around for it. We shot later. I think it was always scripted, but we cut it during production 'cause they were running long and we couldn't get to it and there was a hope that maybe we didn't need it after all. But when we saw the cut without this little sequence, you never quite had the beat where Lee made his choice, where Lee had to- where you saw what the marriage meant to him. This gives you the desperation of the man at the thought of losing the wedding ring. It brings it all into focus for him, at last.		This we shot much later. The Lee losing the wedding ring and hunting around for it. We shot later. I think it was always scripted, but we cut it during production 'cause they were running long and we couldn't get to it and there was a hope that maybe we didn't need it after all. But when we saw the cut without this little sequence, you never quite had the beat where Lee made his choice, where Lee had to- where you saw what the marriage meant to him. This gives you the desperation of the man at the thought of losing the wedding ring. It brings it all into focus for him, at last.

PrePressChris: /* Act 3 */ more Terry

2007-02-17T17:39:46Z

Act 3: more Terry

← Older revision		Revision as of 17:39, 17 February 2007
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	Terry: You can smell it all the way down the hallway.		Terry: You can smell it all the way down the hallway.

			Go ahead.

	RDM: I'm not stopping for you, honey.		RDM: I'm not stopping for you, honey.

PrePressChris: /* Act 3 */ decyphered Terry

2007-02-17T17:38:21Z

Act 3: decyphered Terry

← Older revision		Revision as of 17:38, 17 February 2007
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	[[Terry Dresbach\|Mrs. Ron]] has entered and is shooting me another disapproving look.		[[Terry Dresbach\|Mrs. Ron]] has entered and is shooting me another disapproving look.

	Terry: ~~(unintelligible)~~ smell ~~(unintelligible)~~		Terry: You can smell it all the way down the hallway.

	RDM: I'm not stopping for you, honey.		RDM: I'm not stopping for you, honey.
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	I like the fact that [[Laura Roslin\|Laura]], who had pushed, and pushed, and pushed for this very thing was willing to do almost anything else, ultimately was the one that was the most moved by Baltar's plight.		I like the fact that [[Laura Roslin\|Laura]], who had pushed, and pushed, and pushed for this very thing was willing to do almost anything else, ultimately was the one that was the most moved by Baltar's plight.
	<!-- 32:33 -->		<!-- 32:33 -->

	== Act 4 ==		== Act 4 ==
	<!-- 32:34 -->		<!-- 32:34 -->

PrePressChris: /* Act 2 */ typo

2007-02-17T17:15:24Z

Act 2: typo

← Older revision		Revision as of 17:15, 17 February 2007
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	There was a little bit more in the script about the fact that [[William Adama\|Adama]] had used drugs like this on prisoners in the past, that we never really addressed who those prisoners were and what they- who they use them on. But the implication was that they were certainly- they were used on other human beings. They were used on [[The Twelve Colonies (RDM)\|Colonials]] 'cause they had no reason to use them on Cylons, certainly, before the [[Fall of the Twelve Colonies\|attack on the Colonies]].		There was a little bit more in the script about the fact that [[William Adama\|Adama]] had used drugs like this on prisoners in the past, that we never really addressed who those prisoners were and what they- who they use them on. But the implication was that they were certainly- they were used on other human beings. They were used on [[The Twelve Colonies (RDM)\|Colonials]] 'cause they had no reason to use them on Cylons, certainly, before the [[Fall of the Twelve Colonies\|attack on the Colonies]].

	Again, look at the way- look at the faces, look at the energy of the scene and the emotional- we're in tight here a lot. This is a lot of bringing you in to a very tense moment and really feeling the desperation that people are pushed and pulled by. ~~The~~ we start this intercut. I think one of the interesting things that Eddie did in his director's cut was the way he intercut all the different story lines. It was much more aggressive than what we usually do and I would- say that it's thematically intercut instead of cutting on action. I like to intercut scenes a lot. You see that- a lot of the teasers that I write, or that I rewrite, I use that technique a lot of cross-cutting between disparate elements and giving them- discovering a thematic tie as you go along. Eddie's choices, and the editorial choices here by [[Andrew Seklir]], our editor, are much more in tune with the emotion of the scene and sometimes changing up the emotion of the scene by cutting to something to counterpoint it, other times to continue just the emotion of the moment, but a lot of the intercuts and where they occur were not scripted. This beat was not scripted to go in this place. This beat actually occurred much later in the script.		Again, look at the way- look at the faces, look at the energy of the scene and the emotional- we're in tight here a lot. This is a lot of bringing you in to a very tense moment and really feeling the desperation that people are pushed and pulled by. Then we start this intercut. I think one of the interesting things that Eddie did in his director's cut was the way he intercut all the different story lines. It was much more aggressive than what we usually do and I would- say that it's thematically intercut instead of cutting on action. I like to intercut scenes a lot. You see that- a lot of the teasers that I write, or that I rewrite, I use that technique a lot of cross-cutting between disparate elements and giving them- discovering a thematic tie as you go along. Eddie's choices, and the editorial choices here by [[Andrew Seklir]], our editor, are much more in tune with the emotion of the scene and sometimes changing up the emotion of the scene by cutting to something to counterpoint it, other times to continue just the emotion of the moment, but a lot of the intercuts and where they occur were not scripted. This beat was not scripted to go in this place. This beat actually occurred much later in the script.

	I like the fact that [[Samuel Anders\|Anders]] is turning out to be a much more interesting character, I think, than anybody anticipated at the beginning when he was created, in that his feeling for [[Kara Thrace\|Kara]] is star- is equaling her feeling for him. That he's not just a very simple jock. He actually has interesting complexities and layers, and that this woman means a lot to him, and that he's seeing bigger pictures. He's aware that she's somebody special. He's aware of her relationship with [[Lee Adama\|Lee]]. This is not a stupid man. This is a man who thinks about his life and is trying to make his way through a very difficult situation. He's not a military guy, and so he approaches this entire series from a different perspective than most of our other regulars do, 'cause he's not a man with a mission. He's now a man who's back on [[Galactica (RDM)\|''Galactica'']] and what's he supposed to do with his life? We had talked about in the writers' room various- lots of other ideas for Anders. He was gonna go into the [[Colonial Marine Corps\|Marines]]. He was gonna go into flight training. There was a lot of different notions that came up of giving him a job, and they just kept falling away by the wayside 'cause they took up time. It didn't seem like they were exploring new ground with him. It didn't quite feel correct for Anders. There seemed to be something right that as Kara was drifting and Kara was unsure what she would do with her life that Anders would not completely leave her orbit and was gonna try to solidify that. That the relationship between those two was as important as it was to her.		I like the fact that [[Samuel Anders\|Anders]] is turning out to be a much more interesting character, I think, than anybody anticipated at the beginning when he was created, in that his feeling for [[Kara Thrace\|Kara]] is star- is equaling her feeling for him. That he's not just a very simple jock. He actually has interesting complexities and layers, and that this woman means a lot to him, and that he's seeing bigger pictures. He's aware that she's somebody special. He's aware of her relationship with [[Lee Adama\|Lee]]. This is not a stupid man. This is a man who thinks about his life and is trying to make his way through a very difficult situation. He's not a military guy, and so he approaches this entire series from a different perspective than most of our other regulars do, 'cause he's not a man with a mission. He's now a man who's back on [[Galactica (RDM)\|''Galactica'']] and what's he supposed to do with his life? We had talked about in the writers' room various- lots of other ideas for Anders. He was gonna go into the [[Colonial Marine Corps\|Marines]]. He was gonna go into flight training. There was a lot of different notions that came up of giving him a job, and they just kept falling away by the wayside 'cause they took up time. It didn't seem like they were exploring new ground with him. It didn't quite feel correct for Anders. There seemed to be something right that as Kara was drifting and Kara was unsure what she would do with her life that Anders would not completely leave her orbit and was gonna try to solidify that. That the relationship between those two was as important as it was to her.