Podcast:The Farm - Revision history

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

2025-06-15T21:28:48Z

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

Catrope: {{podcast data}}

2008-02-27T19:33:52Z

← Older revision		Revision as of 19:33, 27 February 2008
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	{{podcast\|~~author~~=Steelviper\|~~emailAuthor2~~=\|~~suffix~~=\|~~additionalCopyright~~=\|~~season~~=2\|~~episode~~=B}}		{{Podcast Data
			\|special=
			\|season=2
			\|episode=5
			\|download link= http://media.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_FULL.mp3
			\|local=
			\|posted date=
			\|transcribed by= [[User:Steelviper\|Steelviper]]
			\|verified by= [[User:PrePressChris\|PrePressChris]]
			\|length=
			\|finished= Y
			\|verified= Y
			\|scotch=
			\|smokes=
			\|wordoftheweek=
			\|rdm= Y
			\|mrsron=
			}}
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_1of5.mp3 Teaser]==

Catrope: God --> God (RDM)

2007-06-21T14:43:49Z

God --> God (RDM)

← Older revision		Revision as of 14:43, 21 June 2007
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	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. {{podcastref\|farms}}And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God (RDM)\|God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. {{podcastref\|farms}}And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

	This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.		This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==

	Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing was that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.		Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God (RDM)\|God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing was that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.

	This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.		This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.

Catrope: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3] */ +podcastref; someone please provide timestamp

2007-05-10T13:55:40Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]: +podcastref; someone please provide timestamp

← Older revision		Revision as of 13:55, 10 May 2007
Line 60:		Line 60:
	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. {{podcastref\|farms}}And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

	This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.		This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.

Catrope: Earth --> Earth (RDM)

2007-05-01T13:44:54Z

Earth --> Earth (RDM)

← Older revision		Revision as of 13:44, 1 May 2007
Line 60:		Line 60:
	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

	This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.		This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.

Mercifull: adding podcast list

2007-04-19T11:21:32Z

adding podcast list

← Older revision		Revision as of 11:21, 19 April 2007
Line 83:		Line 83:

	And that is the end of "[[The Farm]]". Which- when I saw the first cut of this episode I loved it. I thought this was one most powerful and emotional shows that we've ever done. [[Terry Dresbach\|My wife ]] watched it a couple times, even without me. And I'm very moved by this one. I'm moved by the performance of Katee Sackhoff. I'm moved by the direction of- and the cast and just the whole feeling of this show really appeals to me. It touches me. And it makes me very proud of the series. That that the series is willing to go to these places and these darker corners and to explore psychological and emotional things that I think- it's hard and is not easy for the audience to go there with you. But I think it's challenging and I think it's asking a lot of our- of the people who watch our show. It's asking them to really think about things. It's asking them to invest in some difficult situations. It doesn't offer you easy answers and speak down to you and condescend to you in any way. And I, I don't know. There's something about this particular episode, its style of storytelling, that really appealed to me. But maybe I'm just crazy. And I will, with that note, I will bid you farewell and then next time we will be discussing episode six, "[[Home, Part I]]". And take care. I'll talk to you then.		And that is the end of "[[The Farm]]". Which- when I saw the first cut of this episode I loved it. I thought this was one most powerful and emotional shows that we've ever done. [[Terry Dresbach\|My wife ]] watched it a couple times, even without me. And I'm very moved by this one. I'm moved by the performance of Katee Sackhoff. I'm moved by the direction of- and the cast and just the whole feeling of this show really appeals to me. It touches me. And it makes me very proud of the series. That that the series is willing to go to these places and these darker corners and to explore psychological and emotional things that I think- it's hard and is not easy for the audience to go there with you. But I think it's challenging and I think it's asking a lot of our- of the people who watch our show. It's asking them to really think about things. It's asking them to invest in some difficult situations. It doesn't offer you easy answers and speak down to you and condescend to you in any way. And I, I don't know. There's something about this particular episode, its style of storytelling, that really appealed to me. But maybe I'm just crazy. And I will, with that note, I will bid you farewell and then next time we will be discussing episode six, "[[Home, Part I]]". And take care. I'll talk to you then.

			{{Podcast list (RDM season 2)}}

Steelviper: Kobol -> Kobol (RDM)

2007-04-13T19:57:52Z

Kobol -> Kobol (RDM)

← Older revision		Revision as of 19:57, 13 April 2007
Line 44:		Line 44:
	We're back on [[Galactica (RDM)\|''Galactica'']]. And this is another example of Adama's emotions starting to get the better of him. This is something he would've never done prior to the gunshot, as he reads these words from [[Laura Roslin\|Laura]] and just the outrage that boils up within him and his inability to control it resulting in him smashing this clipboard, in the middle of [[CIC]]. I mean, it's just something he'd never have done. And he immediately feels bad and guilty and vaguely ashamed of himself. But he- this is who he is now. He's trying to keep it under control as best he can.		We're back on [[Galactica (RDM)\|''Galactica'']]. And this is another example of Adama's emotions starting to get the better of him. This is something he would've never done prior to the gunshot, as he reads these words from [[Laura Roslin\|Laura]] and just the outrage that boils up within him and his inability to control it resulting in him smashing this clipboard, in the middle of [[CIC]]. I mean, it's just something he'd never have done. And he immediately feels bad and guilty and vaguely ashamed of himself. But he- this is who he is now. He's trying to keep it under control as best he can.

	And then Laura- there she's- how many people are gonna follow Laura to Ko- back to [[Kobol]]? And that he would just say, "You know what? Screw those people. You wanna go back? Go back."		And then Laura- there she's- how many people are gonna follow Laura to Ko- back to [[Kobol (RDM)\|Kobol]]? And that he would just say, "You know what? Screw those people. You wanna go back? Go back."

	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]==

Steelviper: + season, episode variables

2007-02-27T21:00:59Z

+ season, episode variables

← Older revision		Revision as of 21:00, 27 February 2007
Line 1:		Line 1:
	{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=}}		{{podcast\|author=Steelviper\|emailAuthor2=\|suffix=\|additionalCopyright=\|season=2\|episode=B}}
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_1of5.mp3 Teaser]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_1of5.mp3 Teaser]==

PrePressChris: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4] */ various (edited offline)

2006-10-30T00:29:32Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]: various (edited offline)

← Older revision		Revision as of 00:29, 30 October 2006
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==

	Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing is that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.		Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing was that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.

	This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.		This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.
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	This coming up beat with Sharon standing in the doorway of the Raider is a remarkable shot and it's completely CGI. There is no set, here. This is just Sharon standing in front of a greenscreen and people running up a ramp, also in green. There's no actual structure there. There's no set piece. There's no... nothing. It's just a CGI effect. And that's an instance where CGI did save us money. We couldn't afford to build that set, especially for a quick little piece like that. It would have been exorbitantly expensive for like, what is it, a ten second shot, a fifteen second shot. But [[Gary Hutzel]] and his team of wizards could gin up a shot there for us for a fraction of the price of building it practically.		This coming up beat with Sharon standing in the doorway of the Raider is a remarkable shot and it's completely CGI. There is no set, here. This is just Sharon standing in front of a greenscreen and people running up a ramp, also in green. There's no actual structure there. There's no set piece. There's no... nothing. It's just a CGI effect. And that's an instance where CGI did save us money. We couldn't afford to build that set, especially for a quick little piece like that. It would have been exorbitantly expensive for like, what is it, a ten second shot, a fifteen second shot. But [[Gary Hutzel]] and his team of wizards could gin up a shot there for us for a fraction of the price of building it practically.

	This is, again, one of my favorite beats in the story and in the season so far. I really like this. This is intriguing to me. He went down and saw [[Leoben Conoy\|Leoben]]'s body [[Season 1 (2004-05)\|last season]]. So [[William Adama\|Adama]] goes back to the morgue and there she is. There's [[Sharon Valerii (Galactica copy)\|Sharon]]. And the- and just imagine the feelings that churn within him of this girl. This girl that he knew that was part of his family who shot him. And there she lies on the slab. And he remembers it so well. And what does he feel? It's rage. It's sorrow. It's question. It's agony. It's just all those things and look at it all register in [[Edward James Olmos\|Eddie]]'s face. And it's a naked performance, I have to say. You don't often ask your lead male character to really break down. To really show this kind of vulnerability and raw emotion and just break down and cry and just cry openly and sob. And we ask that Eddie here. And he does it and it just- it's just- it's heartbreaking. It's this great man, this powerful man is reduced to this by the sight of the woman that shot him. By the sight of the woman that shot him and that the human power of that, the connection between him and her, it just- I think it's great. I think it's one of the best things in the whole series. I really do. I just- I love that.		This is, again, one of my favorite beats in the story and in the season so far. I really like this. This is intriguing to me. He went down and saw [[Leoben Conoy\|Leoben]]'s body [[Season 1 (2004-05)\|last season]]. So [[William Adama\|Adama]] goes back to the morgue and there she is. There's [[Sharon Valerii (Galactica copy)\|Sharon]]. And the- and just imagine the feelings that churn within him of this girl. This girl that he knew that was part of his family who shot him. And there she lies on the slab. And he remembers it so well. And what does he feel? It's rage. It's sorrow. It's question. It's agony. It's just all those things and look at it all register in [[Edward James Olmos\|Eddie]]'s face. And it's a naked performance, I have to say. You don't often ask your lead male character to really break down. To really show this kind of vulnerability and raw emotion and just break down and cry and just cry openly and sob. And we ask that of Eddie here. And he does it and it just- it's just- it's heartbreaking. It's this great man, this powerful man is reduced to this by the sight of the woman that shot him. By the sight of the woman that shot him and that the human power of that, the connection between him and her, it just- I think it's great. I think it's one of the best things in the whole series. I really do. I just- I love that.

	And then we're back on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] once again. And this is- this is a great little scene because there's a lot of exposition that has to come out of this scene. This is where we're explaining all the things that I've been talking on the broadcast about what was going on on the farm, what the Cylon plan was, how many [[farms]] are there, why are Helo and Sharon different. This is a big expositional scene. What makes the scene work, really, are these actors. Because Katee is playing a lot of leftover emotion and frustration and trying to understand what the hell's going on, but she's still in the moment of it. Helo is lost in his complicated feelings for Sharon. Look at ~~the~~ look on Katee's face. I mean, my God. And Grace is over her just trying to deal with these people that are- she's trying to help. And there's so much emotion in this scene that the exposition just flies past you and it means something because it means something to these people. It's not just actors standing around mouthing words that we've given them. They're actually in the scene. They're feeling what's happening to them. They're understanding what the scene is really about. And, man, if you have a cast like that. If you have a cast that can step up to the plate and deliver these kinds of scenes, boy, you have gold. And these actors are just gold. We are just really, really blessed. I can't say enough great things about our cast. And Kara is special. Kara has a destiny. She has something that Leoben alluded to and that everyone had mentions every once in a while that Kara is not just another person. That there is something that's gonna happen to her. And what do they do to Kara? They took her ovaries? They took some of her ovaries. And what are they gonna do with those? Are they do- are gonna be just growin' little Katee's back here. Little Kara's back here on Caprica. If they can figure out ways to conceive children other than falling in love. Who knows? It leaves her damaged. It leaves her having taken a loss. And it leaves her changed as well. And she wants to go after these farms and wreak havoc and vengeance down on those things and [[Samuel Anders\|Anders]] has to be- this time Anders is the smarter guy. We opened the- this show with Kara being clearly the more level-headed one. The more realistic one. And now Anders at the end is the one being realistic.		And then we're back on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] once again. And this is- this is a great little scene because there's a lot of exposition that has to come out of this scene. This is where we're explaining all the things that I've been talking on the broadcast about what was going on on the farm, what the Cylon plan was, how many [[farms]] are there, why are Helo and Sharon different. This is a big expositional scene. What makes the scene work, really, are these actors. Because Katee is playing a lot of leftover emotion and frustration and trying to understand what the hell's going on, but she's still in the moment of it. Helo is lost in his complicated feelings for Sharon. Look at that look on Katee's face. I mean, my God. And Grace is over her just trying to deal with these people that are- she's trying to help. And there's so much emotion in this scene that the exposition just flies past you and it means something because it means something to these people. It's not just actors standing around mouthing words that we've given them. They're actually in the scene. They're feeling what's happening to them. They're understanding what the scene is really about. And, man, if you have a cast like that. If you have a cast that can step up to the plate and deliver these kinds of scenes, boy, you have gold. And these actors are just gold. We are just really, really blessed. I can't say enough great things about our cast. And Kara is special. Kara has a destiny. She has something that Leoben alluded to and that everyone had mentions every once in a while that Kara is not just another person. That there is something that's gonna happen to her. And what do they do to Kara? They took her ovaries? They took some of her ovaries. And what are they gonna do with those? Are they do- are gonna be just growin' little Katee's back here. Little Kara's back here on Caprica. If they can figure out ways to conceive children other than falling in love. Who knows? It leaves her damaged. It leaves her having taken a loss. And it leaves her changed as well. And she wants to go after these farms and wreak havoc and vengeance down on those things and [[Samuel Anders\|Anders]] has to be- this time Anders is the smarter guy. We opened the- this show with Kara being clearly the more level-headed one. The more realistic one. And now Anders at the end is the one being realistic.

	I don't know why I like this little piece of business, but I do. This wasn't something that was scripted. I think we told them it was in a dumpster or something. Some hiding place. But there's something really cool about this. That it's in the water underneath the thing. And the music cue is wonderful and pulls out [[Arrow of Apollo\|the arrow]] that we haven't talked about and even seen in quite a while. And there's something about the golden arrow in this moment that elevates it to something mythic. That this really is a passing of a torch, as it were, from one to the other. And that she would carry this back to [[Galactica (RDM)\|''Galactica'']] 'cause this was her purpose for coming here. This scene now obligates us to return to this storyline. We had some question about whether we wanted to. Should Anders have died on Caprica? Should he be left behind, and he's just a forgotten man. Should he be doomed? But when Kara says, "I'll come back," she means it. And I think Kara is someone who really will take that to the bank. She will do everything she can to come back for this man. And I think it's important part of her character and so now it's important part of the show. Her connection to Anders, whether or not that could ever work out, whether or not there's really a future for them. You could debate all those things all you want. Fact of the matter is, she was here, they were together, she felt something, and she looked him in the eye and said, "I'm coming back." And she will. And, again, it's a nice little gender reversal for us that it's usually the guy- that it's usually the guy who's gettin' on that plane to get out of here. Has a job to do and, "I'll come back for you someday, honey," and, "I'll come back to 'round these parts someday if- I promise, and I'll leave you a talisman." And she leaves him one of her [[Identification tags\|dog tags]]. Which I think is a powerful thing. It was Katee's idea. She wanted to leave something behind and they talked about it on the set and she went- soldiers- that's my daughter, by the way- that soldiers carry two dog tags around their neck at all times. One to be taken from you if you are shot or if you're wounded or killed so that they have something to identify you with. And the other one remains on you at all times. So it's a way of- it's a macabre detail, but that's what they- that's why you have two dogtags. And so by leaving one of her dog tags here with Anders it really is- it's symbolic. It's- there's a part of me here and I'm coming back. And then we have this great goodbye shot. And we're leaving the episode, not on one of our heroes, not back on ''Galactica''. We're leaving you the audience here on Caprica with the resistance that's still trying valiantly to fight back against the Cylons.		I don't know why I like this little piece of business, but I do. This wasn't something that was scripted. I think we told them it was in a dumpster or something. Some hiding place. But there's something really cool about this. That it's in the water underneath the thing. And the music cue is wonderful and pulls out [[Arrow of Apollo\|the arrow]] that we haven't talked about and even seen in quite a while. And there's something about the golden arrow in this moment that elevates it to something mythic. That this really is a passing of a torch, as it were, from one to the other. And that she would carry this back to [[Galactica (RDM)\|''Galactica'']] 'cause this was her purpose for coming here. This scene now obligates us to return to this storyline. We had some question about whether we wanted to. Should Anders have died on Caprica? Should he be left behind, and he's just a forgotten man. Should he be doomed? But when Kara says, "I'll come back," she means it. And I think Kara is someone who really will take that to the bank. She will do everything she can to come back for this man. And I think it's important part of her character and so now it's important part of the show. Her connection to Anders, whether or not that could ever work out, whether or not there's really a future for them. You could debate all those things all you want. Fact of the matter is, she was here, they were together, she felt something, and she looked him in the eye and said, "I'm coming back." And she will. And, again, it's a nice little gender reversal for us that it's usually the guy- that it's usually the guy who's gettin' on that plane to get out of here. Has a job to do and, "I'll come back for you someday, honey," and, "I'll come back to 'round these parts someday if- I promise, and I'll leave you a talisman." And she leaves him one of her [[Identification tags\|dog tags]]. Which I think is a powerful thing. It was Katee's idea. She wanted to leave something behind and they talked about it on the set and she went- soldiers- that's my daughter, by the way- that soldiers carry two dog tags around their neck at all times. One to be taken from you if you are shot or if you're wounded or killed so that they have something to identify you with. And the other one remains on you at all times. So it's a way of- it's a macabre detail, but that's what they- that's why you have two dogtags. And so by leaving one of her dog tags here with Anders it really is- it's symbolic. It's- there's a part of me here and I'm coming back. And then we have this great goodbye shot. And we're leaving the episode, not on one of our heroes, not back on ''Galactica''. We're leaving you the audience here on Caprica with the resistance that's still trying valiantly to fight back against the Cylons.

	And that is the end of "[[The Farm]]". Which- when I saw the first cut of this episode I loved it. I thought this was one most powerful and emotional shows that we've ever done. [[Terry Dresbach\|My wife ]] watched it a couple times, even without me. And I'm very moved by this one. I'm moved by the performance of Katee Sackhoff. I'm moved by the direction of- and the cast and just the whole feeling of this show really appeals to me. It touches me. And it makes me very proud of the series. That that the series is willing to go to these places and these darker corners and to explore psychological and emotional things that I think- it's hard and is not easy for the audience to go there with you. But I think it's challenging and I think it's asking a lot of our- of the people who watch our show. It's asking them to really think about things. It's asking them to invest in some difficult situations. It doesn't offer you easy answers and speak down to you and condescend to you in any way. And I, I don't know. There's something about this particular episode, its style of storytelling, that really appealed to me. But maybe I'm just crazy. And I will, with that note, I will bid you farewell and then next time we will be discussing episode six, "[[Home, Part I]]". And take care. I'll talk to you then.		And that is the end of "[[The Farm]]". Which- when I saw the first cut of this episode I loved it. I thought this was one most powerful and emotional shows that we've ever done. [[Terry Dresbach\|My wife ]] watched it a couple times, even without me. And I'm very moved by this one. I'm moved by the performance of Katee Sackhoff. I'm moved by the direction of- and the cast and just the whole feeling of this show really appeals to me. It touches me. And it makes me very proud of the series. That that the series is willing to go to these places and these darker corners and to explore psychological and emotional things that I think- it's hard and is not easy for the audience to go there with you. But I think it's challenging and I think it's asking a lot of our- of the people who watch our show. It's asking them to really think about things. It's asking them to invest in some difficult situations. It doesn't offer you easy answers and speak down to you and condescend to you in any way. And I, I don't know. There's something about this particular episode, its style of storytelling, that really appealed to me. But maybe I'm just crazy. And I will, with that note, I will bid you farewell and then next time we will be discussing episode six, "[[Home, Part I]]". And take care. I'll talk to you then.

PrePressChris: /* [http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3] */ various (batch edited offline)

2006-10-28T20:11:40Z

[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]: various (batch edited offline)

← Older revision		Revision as of 20:11, 28 October 2006
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]==

	Now back in the next act. [[Laura Roslin\|Laura]] and company, [[Tom Zarek\|Zarek]], they would have now transferred back to the ''[[Astral Queen]]'' which is Zarek's prison ship. There's some potential points of confusion in here, in jumping between the ships, when did that happen? We tried to write in all kinds of business of them being chased by [[Galactica (RDM)\|''Galactica'']] and ducking into shuttles and getting from one ship to another and it just became cumbersome and time consuming and we just decided to jump ahead and shorthand and ok, she went between ships.		Now back in the next act. [[Laura Roslin\|Laura]] and company, [[Tom Zarek\|Zarek]], they would have now transferred back to the ''[[Astral Queen]]'' which is Zarek's prison ship. There's some potential points of confusion in here, in jumping between the ships, when did that happen? We tried to write in all kinds of business of them being chased by [[Galactica (RDM)\|''Galactica'']] and ducking into shuttles and getting from one ship to another and it just became cumbersome and time consuming and we just decided to jump ahead and shorthand it, and ok, she went between ships.

	This, I think is interesting because Laura decides, as a tactic, to play the religious card, as it were. To embrace the path that she's on about being a prophet and [[Sacred Scrolls\|the scriptures]], which she now believes to hold some very literal truths in them. And she embraces that role publicly and calls people to her banner in the name of [[Religion in the Twelve Colonies\|their faith]]. And then has a consequence. People start looking at her differently. They ask for blessings. They look at her as a prophet. A spokesman of the gods. A spokeswoman of the gods. And that eventually that's gonna come back and bite Laura on the ass. And I think that's interesting. I think it's- what began as something- a tactic of the moment, as something to get her through a crisis, then carries larger and more profound implications, morally, spiritually, ethically, down the line. And I think that's really interesting stuff.		This, I think is interesting because Laura decides, as a tactic, to play the religious card, as it were. To embrace the path that she's on about being a prophet and [[Sacred Scrolls\|the scriptures]], which she now believes to hold some very literal truths in them. And she embraces that role publicly and calls people to her banner in the name of [[Religion in the Twelve Colonies\|their faith]]. And then has a consequence. People start looking at her differently. They ask for blessings. They look at her as a prophet. A spokesman of the gods. A spokeswoman of the gods. And that eventually that's gonna come back and bite Laura on the ass. And I think that's interesting. I think it's- what began as something- a tactic of the moment, as something to get her through a crisis, then carries larger and more profound implications, morally, spiritually, ethically, down the line. And I think that's really interesting stuff.

	Back on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This is- this scene was going to be originally at night and you would have seen them all coming in with flashlights and the headlights of the vehicles and them searching the ground. For various production reasons we couldn't do it at night. Had to do it in the daytime. I probably should have rewritten the scene so that it- I don't know. There's something about the tenor of this scene that just tells me that it was meant to be done at night. The way they're talking to each other. The lines they're saying. Even the action feels like a darkness kind of a scene. Right now it doesn't play as well, I think, in the daytime.		Back to [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This is- this scene was going to be originally at night and you would have seen them all coming in with flashlights and the headlights of the vehicles and them searching the ground. For various production reasons we couldn't do it at night. Had to do it in the daytime. I probably should have rewritten the scene so that it- I don't know. There's something about the tenor of this scene that just tells me that it was meant to be done at night. The way they're talking to each other. The lines they're saying. Even the action feels like a darkness kind of a scene. Right now it doesn't play as well, I think, in the daytime.

	There was a bit of business where after this, after [[Sharon Agathon\|Sharon]] agrees to help- or they agree to let Sharon help them, where we were gonna cut ~~and~~ cold and you would be on the tarmac of an airbase someplace. And camera would pull back from the tarmac to find dead [[Cylons (RDM)\|Cylons]], [[Cylon Centurion\|Centurions]] and [[Cylon agent\|humanoid Cylons]] all over. Just literally littering the tarmac. And then pull back again all silent in one shot. And there would be Sharon standing on the tarmac with a gun in her hand looking down at all the ones she had just killed in some ambush. And she would just walk off camera towards the [[Heavy Raider]]. And we cut it, unfortunately. I miss it, but again these episodes- there's not a lot of running time and you gotta make some choices.		There was a bit of business where after this, after [[Sharon Agathon\|Sharon]] agrees to help- or they agree to let Sharon help them, where we were gonna cut in cold and you would be on the tarmac of an airbase someplace. And camera would pull back from the tarmac to find dead [[Cylons (RDM)\|Cylons]], [[Cylon Centurion\|Centurions]] and [[Cylon agent\|humanoid Cylons]] all over. Just literally littering the tarmac. And then pull back again all silent in one shot. And there would be Sharon standing on the tarmac with a gun in her hand looking down at all the ones she had just killed in some ambush. And she would just walk off camera towards the [[Heavy Raider]]. And we cut it, unfortunately. I miss it, but again these episodes- there's not a lot of running time and you gotta make some choices.

	This is- [[The Fleet (RDM)\|the Fleet]] fractures here. This is- how many people are gonna follow Laura? Well, it turns out a lot of people are gonna follow Laura. And that that's a real problem.		This is- [[The Fleet (RDM)\|the Fleet]] fractures here. This is- how many people are gonna follow Laura? Well, it turns out a lot of people are gonna follow Laura. And that that's a real problem.

	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're usually with her~~. We~~'re always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

← Older revision		Revision as of 14:43, 21 June 2007
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	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. {{podcastref\|farms}}And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God (RDM)\|God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. {{podcastref\|farms}}And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

	This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.		This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.
Line 66:		Line 66:
	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==

	Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing was that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.		Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God (RDM)\|God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing was that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.

	This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.		This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.

← Older revision		Revision as of 13:55, 10 May 2007
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	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. {{podcastref\|farms}}And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

	This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.		This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.

← Older revision		Revision as of 13:44, 1 May 2007
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	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth (RDM)\|Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.

	This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.		This, to me, is a fantastic beat. Where Kara Thrace, Starbuck, our bravest of the brave pilots is scared out of her mind. She's trapped and she has nowhere to turn to and she's really scared. And that scares me. When Kara gets scared, I'm scared. And it's just an amazing performance by [[Katee Sackhoff\|Katee]]. I just can't say enough about Katee in this episode.

← Older revision		Revision as of 00:29, 30 October 2006
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_5of5.mp3 Act 4]==

	Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing is that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.		Like I said earlier Kar- [[Karl Agathon\|Helo]] and [[Sharon Agathon\|Sharon]] were together in a very specific experiment because the [[Cylons (RDM)\|Cylons]] came up with this idea that maybe the one thing that was missing, maybe the reason they couldn't biologically reproduce was that they lacked [[God]]'s love. And that God is love, and that without love, perhaps they can never truly be people. And- so they put Helo and Sharon together as a way of trying to make him fall in love with her. They knew things about Sharon. They knew that she and Helo had traded looks, that there was something going on, that it wasn't- that there was an attraction there. So they put Helo in a situation where he's made to feel protective of her, to guard her, to care for her. She saves him, and they're on the road together for a while. They're bonding. And his true feelings for her come out and she responds and Helo does fall for her. And the amazing thing, and it's great to talk about love while there's blood spurting across the screen, but the amazing thing was that Sharon fell in love with Helo. And that she turned on her own people out of love. And that that was a wildcard that they hadn't really anticipated. That love, true love, would cut both ways. And so Helo and Sharon then went on the run and they did conceive a child. So the experiment worked. There really is a validity in this universe to the notion that there is such a thing as love. It is stronger than science. And that perhaps it is bestowed by God or by [[Religion in the Twelve Colonies\|the Gods]] to people and even Cylons. And that there's something special about that in the Galactican universe. That love is just not a series of chemicals that react a certain way in your brain but that there's actually something of substance to it. That love is a powerful force in and of itself and it helped a Cylon- Cylons and human conceive a child. And I- that's a really interesting idea.

	This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.		This scene is always been part of the concept. That you would go into a room and see the other people that are all being experimented on. These are the other experiments the Cylons are doing. There is [[Sue-Shaun]] who was also a member of the [[Caprica Buccaneers]], established earlier, who had been captured and held and that [[Kara Thrace\|Kara]] would try to free them and essentially destroy the mechanism. I don't really like this sequence even though I was a proponent of it and did a polish on it, had many discussions with it. And to me I just keep- whenever I look at this sequence I always feel like I'm in the wrong show. It's to me, the big tombs and all the stuff. I know why it's there, I know why I fought for it. I know why it's important to make it play in this episode, but I don't know. It just feels a little over the top. It feels a little cheesy in some ways. And I wish we hadn't done it or had done it differently, but again, there's no- I don't point any fingers in that criticism of it. It's self-criticism in how I crafted this particular episode. I mean, to be fair, without seeing the other people in this building, without seeing the other women being held and experimented on, any talk of it being a farm, any talk of there being wide scale experiments is just that. It's just talk. It doesn't mean anything. You have to put a human face to these other victims to understand that there was something larger going on here. So, again, I understand the undergir- the underlying logic of why we did this, but, I don't know, it's one of the least satisfying pieces of the episode to me.
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	This coming up beat with Sharon standing in the doorway of the Raider is a remarkable shot and it's completely CGI. There is no set, here. This is just Sharon standing in front of a greenscreen and people running up a ramp, also in green. There's no actual structure there. There's no set piece. There's no... nothing. It's just a CGI effect. And that's an instance where CGI did save us money. We couldn't afford to build that set, especially for a quick little piece like that. It would have been exorbitantly expensive for like, what is it, a ten second shot, a fifteen second shot. But [[Gary Hutzel]] and his team of wizards could gin up a shot there for us for a fraction of the price of building it practically.		This coming up beat with Sharon standing in the doorway of the Raider is a remarkable shot and it's completely CGI. There is no set, here. This is just Sharon standing in front of a greenscreen and people running up a ramp, also in green. There's no actual structure there. There's no set piece. There's no... nothing. It's just a CGI effect. And that's an instance where CGI did save us money. We couldn't afford to build that set, especially for a quick little piece like that. It would have been exorbitantly expensive for like, what is it, a ten second shot, a fifteen second shot. But [[Gary Hutzel]] and his team of wizards could gin up a shot there for us for a fraction of the price of building it practically.

	This is, again, one of my favorite beats in the story and in the season so far. I really like this. This is intriguing to me. He went down and saw [[Leoben Conoy\|Leoben]]'s body [[Season 1 (2004-05)\|last season]]. So [[William Adama\|Adama]] goes back to the morgue and there she is. There's [[Sharon Valerii (Galactica copy)\|Sharon]]. And the- and just imagine the feelings that churn within him of this girl. This girl that he knew that was part of his family who shot him. And there she lies on the slab. And he remembers it so well. And what does he feel? It's rage. It's sorrow. It's question. It's agony. It's just all those things and look at it all register in [[Edward James Olmos\|Eddie]]'s face. And it's a naked performance, I have to say. You don't often ask your lead male character to really break down. To really show this kind of vulnerability and raw emotion and just break down and cry and just cry openly and sob. And we ask that Eddie here. And he does it and it just- it's just- it's heartbreaking. It's this great man, this powerful man is reduced to this by the sight of the woman that shot him. By the sight of the woman that shot him and that the human power of that, the connection between him and her, it just- I think it's great. I think it's one of the best things in the whole series. I really do. I just- I love that.		This is, again, one of my favorite beats in the story and in the season so far. I really like this. This is intriguing to me. He went down and saw [[Leoben Conoy\|Leoben]]'s body [[Season 1 (2004-05)\|last season]]. So [[William Adama\|Adama]] goes back to the morgue and there she is. There's [[Sharon Valerii (Galactica copy)\|Sharon]]. And the- and just imagine the feelings that churn within him of this girl. This girl that he knew that was part of his family who shot him. And there she lies on the slab. And he remembers it so well. And what does he feel? It's rage. It's sorrow. It's question. It's agony. It's just all those things and look at it all register in [[Edward James Olmos\|Eddie]]'s face. And it's a naked performance, I have to say. You don't often ask your lead male character to really break down. To really show this kind of vulnerability and raw emotion and just break down and cry and just cry openly and sob. And we ask that of Eddie here. And he does it and it just- it's just- it's heartbreaking. It's this great man, this powerful man is reduced to this by the sight of the woman that shot him. By the sight of the woman that shot him and that the human power of that, the connection between him and her, it just- I think it's great. I think it's one of the best things in the whole series. I really do. I just- I love that.

	And then we're back on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] once again. And this is- this is a great little scene because there's a lot of exposition that has to come out of this scene. This is where we're explaining all the things that I've been talking on the broadcast about what was going on on the farm, what the Cylon plan was, how many [[farms]] are there, why are Helo and Sharon different. This is a big expositional scene. What makes the scene work, really, are these actors. Because Katee is playing a lot of leftover emotion and frustration and trying to understand what the hell's going on, but she's still in the moment of it. Helo is lost in his complicated feelings for Sharon. Look at ~~the~~ look on Katee's face. I mean, my God. And Grace is over her just trying to deal with these people that are- she's trying to help. And there's so much emotion in this scene that the exposition just flies past you and it means something because it means something to these people. It's not just actors standing around mouthing words that we've given them. They're actually in the scene. They're feeling what's happening to them. They're understanding what the scene is really about. And, man, if you have a cast like that. If you have a cast that can step up to the plate and deliver these kinds of scenes, boy, you have gold. And these actors are just gold. We are just really, really blessed. I can't say enough great things about our cast. And Kara is special. Kara has a destiny. She has something that Leoben alluded to and that everyone had mentions every once in a while that Kara is not just another person. That there is something that's gonna happen to her. And what do they do to Kara? They took her ovaries? They took some of her ovaries. And what are they gonna do with those? Are they do- are gonna be just growin' little Katee's back here. Little Kara's back here on Caprica. If they can figure out ways to conceive children other than falling in love. Who knows? It leaves her damaged. It leaves her having taken a loss. And it leaves her changed as well. And she wants to go after these farms and wreak havoc and vengeance down on those things and [[Samuel Anders\|Anders]] has to be- this time Anders is the smarter guy. We opened the- this show with Kara being clearly the more level-headed one. The more realistic one. And now Anders at the end is the one being realistic.		And then we're back on [[The Twelve Colonies (RDM)#Caprica\|Caprica]] once again. And this is- this is a great little scene because there's a lot of exposition that has to come out of this scene. This is where we're explaining all the things that I've been talking on the broadcast about what was going on on the farm, what the Cylon plan was, how many [[farms]] are there, why are Helo and Sharon different. This is a big expositional scene. What makes the scene work, really, are these actors. Because Katee is playing a lot of leftover emotion and frustration and trying to understand what the hell's going on, but she's still in the moment of it. Helo is lost in his complicated feelings for Sharon. Look at that look on Katee's face. I mean, my God. And Grace is over her just trying to deal with these people that are- she's trying to help. And there's so much emotion in this scene that the exposition just flies past you and it means something because it means something to these people. It's not just actors standing around mouthing words that we've given them. They're actually in the scene. They're feeling what's happening to them. They're understanding what the scene is really about. And, man, if you have a cast like that. If you have a cast that can step up to the plate and deliver these kinds of scenes, boy, you have gold. And these actors are just gold. We are just really, really blessed. I can't say enough great things about our cast. And Kara is special. Kara has a destiny. She has something that Leoben alluded to and that everyone had mentions every once in a while that Kara is not just another person. That there is something that's gonna happen to her. And what do they do to Kara? They took her ovaries? They took some of her ovaries. And what are they gonna do with those? Are they do- are gonna be just growin' little Katee's back here. Little Kara's back here on Caprica. If they can figure out ways to conceive children other than falling in love. Who knows? It leaves her damaged. It leaves her having taken a loss. And it leaves her changed as well. And she wants to go after these farms and wreak havoc and vengeance down on those things and [[Samuel Anders\|Anders]] has to be- this time Anders is the smarter guy. We opened the- this show with Kara being clearly the more level-headed one. The more realistic one. And now Anders at the end is the one being realistic.

	I don't know why I like this little piece of business, but I do. This wasn't something that was scripted. I think we told them it was in a dumpster or something. Some hiding place. But there's something really cool about this. That it's in the water underneath the thing. And the music cue is wonderful and pulls out [[Arrow of Apollo\|the arrow]] that we haven't talked about and even seen in quite a while. And there's something about the golden arrow in this moment that elevates it to something mythic. That this really is a passing of a torch, as it were, from one to the other. And that she would carry this back to [[Galactica (RDM)\|''Galactica'']] 'cause this was her purpose for coming here. This scene now obligates us to return to this storyline. We had some question about whether we wanted to. Should Anders have died on Caprica? Should he be left behind, and he's just a forgotten man. Should he be doomed? But when Kara says, "I'll come back," she means it. And I think Kara is someone who really will take that to the bank. She will do everything she can to come back for this man. And I think it's important part of her character and so now it's important part of the show. Her connection to Anders, whether or not that could ever work out, whether or not there's really a future for them. You could debate all those things all you want. Fact of the matter is, she was here, they were together, she felt something, and she looked him in the eye and said, "I'm coming back." And she will. And, again, it's a nice little gender reversal for us that it's usually the guy- that it's usually the guy who's gettin' on that plane to get out of here. Has a job to do and, "I'll come back for you someday, honey," and, "I'll come back to 'round these parts someday if- I promise, and I'll leave you a talisman." And she leaves him one of her [[Identification tags\|dog tags]]. Which I think is a powerful thing. It was Katee's idea. She wanted to leave something behind and they talked about it on the set and she went- soldiers- that's my daughter, by the way- that soldiers carry two dog tags around their neck at all times. One to be taken from you if you are shot or if you're wounded or killed so that they have something to identify you with. And the other one remains on you at all times. So it's a way of- it's a macabre detail, but that's what they- that's why you have two dogtags. And so by leaving one of her dog tags here with Anders it really is- it's symbolic. It's- there's a part of me here and I'm coming back. And then we have this great goodbye shot. And we're leaving the episode, not on one of our heroes, not back on ''Galactica''. We're leaving you the audience here on Caprica with the resistance that's still trying valiantly to fight back against the Cylons.		I don't know why I like this little piece of business, but I do. This wasn't something that was scripted. I think we told them it was in a dumpster or something. Some hiding place. But there's something really cool about this. That it's in the water underneath the thing. And the music cue is wonderful and pulls out [[Arrow of Apollo\|the arrow]] that we haven't talked about and even seen in quite a while. And there's something about the golden arrow in this moment that elevates it to something mythic. That this really is a passing of a torch, as it were, from one to the other. And that she would carry this back to [[Galactica (RDM)\|''Galactica'']] 'cause this was her purpose for coming here. This scene now obligates us to return to this storyline. We had some question about whether we wanted to. Should Anders have died on Caprica? Should he be left behind, and he's just a forgotten man. Should he be doomed? But when Kara says, "I'll come back," she means it. And I think Kara is someone who really will take that to the bank. She will do everything she can to come back for this man. And I think it's important part of her character and so now it's important part of the show. Her connection to Anders, whether or not that could ever work out, whether or not there's really a future for them. You could debate all those things all you want. Fact of the matter is, she was here, they were together, she felt something, and she looked him in the eye and said, "I'm coming back." And she will. And, again, it's a nice little gender reversal for us that it's usually the guy- that it's usually the guy who's gettin' on that plane to get out of here. Has a job to do and, "I'll come back for you someday, honey," and, "I'll come back to 'round these parts someday if- I promise, and I'll leave you a talisman." And she leaves him one of her [[Identification tags\|dog tags]]. Which I think is a powerful thing. It was Katee's idea. She wanted to leave something behind and they talked about it on the set and she went- soldiers- that's my daughter, by the way- that soldiers carry two dog tags around their neck at all times. One to be taken from you if you are shot or if you're wounded or killed so that they have something to identify you with. And the other one remains on you at all times. So it's a way of- it's a macabre detail, but that's what they- that's why you have two dogtags. And so by leaving one of her dog tags here with Anders it really is- it's symbolic. It's- there's a part of me here and I'm coming back. And then we have this great goodbye shot. And we're leaving the episode, not on one of our heroes, not back on ''Galactica''. We're leaving you the audience here on Caprica with the resistance that's still trying valiantly to fight back against the Cylons.

	And that is the end of "[[The Farm]]". Which- when I saw the first cut of this episode I loved it. I thought this was one most powerful and emotional shows that we've ever done. [[Terry Dresbach\|My wife ]] watched it a couple times, even without me. And I'm very moved by this one. I'm moved by the performance of Katee Sackhoff. I'm moved by the direction of- and the cast and just the whole feeling of this show really appeals to me. It touches me. And it makes me very proud of the series. That that the series is willing to go to these places and these darker corners and to explore psychological and emotional things that I think- it's hard and is not easy for the audience to go there with you. But I think it's challenging and I think it's asking a lot of our- of the people who watch our show. It's asking them to really think about things. It's asking them to invest in some difficult situations. It doesn't offer you easy answers and speak down to you and condescend to you in any way. And I, I don't know. There's something about this particular episode, its style of storytelling, that really appealed to me. But maybe I'm just crazy. And I will, with that note, I will bid you farewell and then next time we will be discussing episode six, "[[Home, Part I]]". And take care. I'll talk to you then.		And that is the end of "[[The Farm]]". Which- when I saw the first cut of this episode I loved it. I thought this was one most powerful and emotional shows that we've ever done. [[Terry Dresbach\|My wife ]] watched it a couple times, even without me. And I'm very moved by this one. I'm moved by the performance of Katee Sackhoff. I'm moved by the direction of- and the cast and just the whole feeling of this show really appeals to me. It touches me. And it makes me very proud of the series. That that the series is willing to go to these places and these darker corners and to explore psychological and emotional things that I think- it's hard and is not easy for the audience to go there with you. But I think it's challenging and I think it's asking a lot of our- of the people who watch our show. It's asking them to really think about things. It's asking them to invest in some difficult situations. It doesn't offer you easy answers and speak down to you and condescend to you in any way. And I, I don't know. There's something about this particular episode, its style of storytelling, that really appealed to me. But maybe I'm just crazy. And I will, with that note, I will bid you farewell and then next time we will be discussing episode six, "[[Home, Part I]]". And take care. I'll talk to you then.

← Older revision		Revision as of 20:11, 28 October 2006
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	==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]==		==[http://www.scifi.com/battlestar/downloads/podcast/mp3/205/bsg_ep205_4of5.mp3 Act 3]==

	Now back in the next act. [[Laura Roslin\|Laura]] and company, [[Tom Zarek\|Zarek]], they would have now transferred back to the ''[[Astral Queen]]'' which is Zarek's prison ship. There's some potential points of confusion in here, in jumping between the ships, when did that happen? We tried to write in all kinds of business of them being chased by [[Galactica (RDM)\|''Galactica'']] and ducking into shuttles and getting from one ship to another and it just became cumbersome and time consuming and we just decided to jump ahead and shorthand and ok, she went between ships.		Now back in the next act. [[Laura Roslin\|Laura]] and company, [[Tom Zarek\|Zarek]], they would have now transferred back to the ''[[Astral Queen]]'' which is Zarek's prison ship. There's some potential points of confusion in here, in jumping between the ships, when did that happen? We tried to write in all kinds of business of them being chased by [[Galactica (RDM)\|''Galactica'']] and ducking into shuttles and getting from one ship to another and it just became cumbersome and time consuming and we just decided to jump ahead and shorthand it, and ok, she went between ships.

	This, I think is interesting because Laura decides, as a tactic, to play the religious card, as it were. To embrace the path that she's on about being a prophet and [[Sacred Scrolls\|the scriptures]], which she now believes to hold some very literal truths in them. And she embraces that role publicly and calls people to her banner in the name of [[Religion in the Twelve Colonies\|their faith]]. And then has a consequence. People start looking at her differently. They ask for blessings. They look at her as a prophet. A spokesman of the gods. A spokeswoman of the gods. And that eventually that's gonna come back and bite Laura on the ass. And I think that's interesting. I think it's- what began as something- a tactic of the moment, as something to get her through a crisis, then carries larger and more profound implications, morally, spiritually, ethically, down the line. And I think that's really interesting stuff.		This, I think is interesting because Laura decides, as a tactic, to play the religious card, as it were. To embrace the path that she's on about being a prophet and [[Sacred Scrolls\|the scriptures]], which she now believes to hold some very literal truths in them. And she embraces that role publicly and calls people to her banner in the name of [[Religion in the Twelve Colonies\|their faith]]. And then has a consequence. People start looking at her differently. They ask for blessings. They look at her as a prophet. A spokesman of the gods. A spokeswoman of the gods. And that eventually that's gonna come back and bite Laura on the ass. And I think that's interesting. I think it's- what began as something- a tactic of the moment, as something to get her through a crisis, then carries larger and more profound implications, morally, spiritually, ethically, down the line. And I think that's really interesting stuff.

	Back on [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This is- this scene was going to be originally at night and you would have seen them all coming in with flashlights and the headlights of the vehicles and them searching the ground. For various production reasons we couldn't do it at night. Had to do it in the daytime. I probably should have rewritten the scene so that it- I don't know. There's something about the tenor of this scene that just tells me that it was meant to be done at night. The way they're talking to each other. The lines they're saying. Even the action feels like a darkness kind of a scene. Right now it doesn't play as well, I think, in the daytime.		Back to [[The Twelve Colonies (RDM)#Caprica\|Caprica]]. This is- this scene was going to be originally at night and you would have seen them all coming in with flashlights and the headlights of the vehicles and them searching the ground. For various production reasons we couldn't do it at night. Had to do it in the daytime. I probably should have rewritten the scene so that it- I don't know. There's something about the tenor of this scene that just tells me that it was meant to be done at night. The way they're talking to each other. The lines they're saying. Even the action feels like a darkness kind of a scene. Right now it doesn't play as well, I think, in the daytime.

	There was a bit of business where after this, after [[Sharon Agathon\|Sharon]] agrees to help- or they agree to let Sharon help them, where we were gonna cut ~~and~~ cold and you would be on the tarmac of an airbase someplace. And camera would pull back from the tarmac to find dead [[Cylons (RDM)\|Cylons]], [[Cylon Centurion\|Centurions]] and [[Cylon agent\|humanoid Cylons]] all over. Just literally littering the tarmac. And then pull back again all silent in one shot. And there would be Sharon standing on the tarmac with a gun in her hand looking down at all the ones she had just killed in some ambush. And she would just walk off camera towards the [[Heavy Raider]]. And we cut it, unfortunately. I miss it, but again these episodes- there's not a lot of running time and you gotta make some choices.		There was a bit of business where after this, after [[Sharon Agathon\|Sharon]] agrees to help- or they agree to let Sharon help them, where we were gonna cut in cold and you would be on the tarmac of an airbase someplace. And camera would pull back from the tarmac to find dead [[Cylons (RDM)\|Cylons]], [[Cylon Centurion\|Centurions]] and [[Cylon agent\|humanoid Cylons]] all over. Just literally littering the tarmac. And then pull back again all silent in one shot. And there would be Sharon standing on the tarmac with a gun in her hand looking down at all the ones she had just killed in some ambush. And she would just walk off camera towards the [[Heavy Raider]]. And we cut it, unfortunately. I miss it, but again these episodes- there's not a lot of running time and you gotta make some choices.

	This is- [[The Fleet (RDM)\|the Fleet]] fractures here. This is- how many people are gonna follow Laura? Well, it turns out a lot of people are gonna follow Laura. And that that's a real problem.		This is- [[The Fleet (RDM)\|the Fleet]] fractures here. This is- how many people are gonna follow Laura? Well, it turns out a lot of people are gonna follow Laura. And that that's a real problem.

	Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're usually with her~~. We~~'re always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.		Back on Caprica. [[Kara Thrace\|Kara]] coming to one more time. You notice that we're- usually with her, we're always discovering things when Kara does. We never cut outside the building. We never cut down the hallway. You're with her. You only know what she knows. So as she tries to figure things out, you try to figure things out. And she has another wound, another injury.

	Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.		Oh. What I was saying earlier. I'm sorry, I've been a little disjointed today. My apologies. This thing about biological reproduction with the Cylons. This all flowed out of [[Karl Agathon\|Helo]] and Sharon last season. Why are the Cylons putting them together? What's the game that's going on? What are they trying to get out of him? 'Couldn't be any useful military information. I mean, he doesn't know where ''Galactica'' is or [[Earth]] or any of that. He's just a pilot. Well what are they doing? And this notion came out of long discussions about who the Cylons really are, what are the things that they lack, what is it that they want to be, what is their image of [[God]], what does it mean to be a person? And what it came to was, they can't biologically reproduce. They cannot have children. And they have tried. And they tried, and they have tried. But they are unable to fulfill that. To fulfill that role as biological, living people. Because they can't have children. And that in their view that makes them something less than people. God created [[Life Forms of the Twelve Colonies\|animals and plants]] and people, all of whom can reproduce on their own. And the Cylons can build many copies, and many bodies, and download conciousness, and do all these amazing things. But they cannot do the simple act of having a child. And that makes them something less than us. And they are determined to figure that out. So they embark on these programs. And this farm that Kara is part of is one of many, that are strewn all over Caprica and the other colonies, trying to conceive, trying to figure out ways that they can reproduce. And when we presume that they're using human women and in other facilities they're using human men, and a variety of in vitro programs are being tested in test tubes and all kinds of different projects, but that the project that Helo and Sharon were caught up in was an experiment. That there was a theory. And I'm gonna pause here and come back to this later just because I love this moment.