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The storyline came out of a lot of pretty interesting discussions in the writer's room about the black market and what would be happening in the Fleet. Our discussions centered around the notion of, "What is really happening out there economically? Where are people getting things? Who are they turning to? What criminal elements crop up at some point, if not well before now, at least it could be acknowledged now? And how do the people, and the government, and the military deal with these kinds of problems? There is no (quote-unquote) "police force" that's been established in the Rag Tag Fleet and it doesn't seem realistic that there could've been a police force established in the Rag Tag Fleet to date. So Adama and ''Galactica'' and now ''Pegasus'' are really the only enforcement that they have. And what happens when people on- the new arrivals on ''Pegasus'' have their own agendas, their own backstories, their own motivations. What happens when you move them into this mix and maybe the new man at the top gets involved with the black market. I think one of the difficulties of the show, conceptually, is that the black market is a difficult concept, in this particular world, to get your mind around. In a world of ''Galactica'' where the Rag Tag Fleet is out on its own, there is no socio-economic structure beyond the Rag Tag Fleet. There's no government. There's no social system. There's no nothing. Other than these particular ships. Isn't everything black market? Isn't everything to be bartered? One starts to wonder what the distinctions are that Laura is upset about. We gravitate towards place where we said, "Well the criminal element and the black market is essentially taking essential goods and holding them hostage and extorting other goods from other people and some kind of system of distribution for rations or for goods is being upset because people are starting to exert undue pressures in certain directions." It's a heady, intellectual argument. It doesn't have the visceral nature of, "Well, there's the thriving drug trade," or "There's a white slavery ring," or something like that. Which isn't really where we wanted to go. It was supposed to delineate forth the socio-economic difficulties that the Rag Tag Fleet is dealing with while also at its core focusing, of course, on Lee Adama. This is a "Lee story". And the insp- the place that the "Lee story" starts from in this telling is from Lee classicly going up the river. That's an allusion to Conrad's ''Heart of Darkness'' which is the basis for "Apoclypse Now". It's a model that is tossed about a lot in writers' rooms in a lot of industry of discussion has to do with... My apologies. You're probably picking up a great deal of gardening noise today and sorry, that's the risk that you run with these podcasts. Anyway, ''Heart of Darkness'' is one of those archetypes that is tossed about a lot in writers' rooms where you're taking a character and he is either literally or metaphorically going up a river of darkness, getting darker and darker and going to places that the character never really thought that he would go. And so this is Lee's journey up the river, ultimately finding Kurtz, as it were, the Bill Duke character. I think we were all in love with the notion on a character level, well, I'll get back to that. I was gonna talk about Lee and the prostitute. | The storyline came out of a lot of pretty interesting discussions in the writer's room about the black market and what would be happening in the Fleet. Our discussions centered around the notion of, "What is really happening out there economically? Where are people getting things? Who are they turning to? What criminal elements crop up at some point, if not well before now, at least it could be acknowledged now? And how do the people, and the government, and the military deal with these kinds of problems? There is no (quote-unquote) "police force" that's been established in the Rag Tag Fleet and it doesn't seem realistic that there could've been a police force established in the Rag Tag Fleet to date. So Adama and ''Galactica'' and now ''Pegasus'' are really the only enforcement that they have. And what happens when people on- the new arrivals on ''Pegasus'' have their own agendas, their own backstories, their own motivations. What happens when you move them into this mix and maybe the new man at the top gets involved with the black market. I think one of the difficulties of the show, conceptually, is that the black market is a difficult concept, in this particular world, to get your mind around. In a world of ''Galactica'' where the Rag Tag Fleet is out on its own, there is no socio-economic structure beyond the Rag Tag Fleet. There's no government. There's no social system. There's no nothing. Other than these particular ships. Isn't everything black market? Isn't everything to be bartered? One starts to wonder what the distinctions are that Laura is upset about. We gravitate towards place where we said, "Well the criminal element and the black market is essentially taking essential goods and holding them hostage and extorting other goods from other people and some kind of system of distribution for rations or for goods is being upset because people are starting to exert undue pressures in certain directions." It's a heady, intellectual argument. It doesn't have the visceral nature of, "Well, there's the thriving drug trade," or "There's a white slavery ring," or something like that. Which isn't really where we wanted to go. It was supposed to delineate forth the socio-economic difficulties that the Rag Tag Fleet is dealing with while also at its core focusing, of course, on Lee Adama. This is a "Lee story". And the insp- the place that the "Lee story" starts from in this telling is from Lee classicly going up the river. That's an allusion to Conrad's ''Heart of Darkness'' which is the basis for "Apoclypse Now". It's a model that is tossed about a lot in writers' rooms in a lot of industry of discussion has to do with... My apologies. You're probably picking up a great deal of gardening noise today and sorry, that's the risk that you run with these podcasts. Anyway, ''Heart of Darkness'' is one of those archetypes that is tossed about a lot in writers' rooms where you're taking a character and he is either literally or metaphorically going up a river of darkness, getting darker and darker and going to places that the character never really thought that he would go. And so this is Lee's journey up the river, ultimately finding Kurtz, as it were, the Bill Duke character. I think we were all in love with the notion on a character level, well, I'll get back to that. I was gonna talk about Lee and the prostitute. | ||
This is sequence is- this is what's wrong with the episode. | This is sequence is- this is what's wrong with the episode. This is far too conventional. I think if I had to sum up what's wrong with this episode in my opinion, it's that this time we went free a much more tv, conventional tale and execution. The murder of Fisk with the gadget. The reveal of the villain smoking the cigar. You feel like this is a scene from another series. And I think that's disturbs me the most is that it just this doesn't feel as much like ''Galactica'' as it should. This feels a little bit more of television. Which sounds like a slap against television and it kinda is. A lot of television is very comfortable, very predictable. The stories are quite conventional. You tune into most hour-long dramas on the air and you know where the story's going as soon as you tune in. And there's a- there's a familiarity and a comfort to that- that audiences look forward to on some level. | ||
Revision as of 18:11, 15 August 2006
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Hello, and welcome to the podcast for episode 14, "Black Market." I'm Ronald D. Moore, executive producer and developer of the new Battlestar Galactica. And today's podcast we're gonna be something a little bit different, actually, than the norm. We're going to be talking about an episode that I don't particularly like (Chuckles) and discussing maybe the reasons why it doesn't work and the problems I think are inherent in this particular episode. I think I should also make it clear from the outset that the criticisms and implied criticisms of this episode really should not be laid at the doorstep of the production team, or the cast, or crew, or the writing staff, or anybody else. It's really my responsibility as head writer and one of the executive producers. The decisions that led to this episode being something that I'm not as enamored with really can all be tracked back to decisions that I made at various stages in the creative process. So this is really a- a podcast devoted to self-examination, self-criticism, more than anything else, and going through why this particular episode doesn't seem like it fits as well within the- the pantheon of what we've established.
Ok. Here we are at the top of the show. This particular opening was not scripted this way. This was the ending. And it is- it's a flash-forward to the end of the show, with Lee facing down Bill Duke's character and the question of whether he's going to shoot him or not and then this provides, essentially, the frame for the entire episode. But this was not as scripted. This came out- this move of putting the confrontation of Lee pointing the gun at Phelan came out of desperation, more than anything else. I saw the cut of "Black Market" initially and I was depressed. I wasn't happy. I was really disappointed in the show and myself and what we had done and didn't feel like the episode really had anything going for it. That it started to slowly, that the initial scenes were not engaging, the story wasn't grabbing me and so one of the ways that we set out to try to fix the episode and to get the best episode that we could. I came up with this idea of, "Well let's take..." It's a classic device. This is not rocket science. It's take the end and put a piece of the end at the head of the episode so that you tease the drama. You're essentially setting up a jeopardy situation that's intriguing and compelling, one would hope, and let that pull the audience into the show so that they will then hang on that- "What was that confrontation about? Who was the Bill Duke character? Why is Lee pointing a gun? Is he gonna shoot him?" And that kind of tension undergirds the rest of the episode. I think the theory works, surprisingly. (Chuckles). It does provide a certain amount of tension throughout the episode. In fact it's one of the few things the episode has going for it, in my opinion, is that we do have that underlying question of, "What is that confrontation about? When are we going to get to it?"
The storyline came out of a lot of pretty interesting discussions in the writer's room about the black market and what would be happening in the Fleet. Our discussions centered around the notion of, "What is really happening out there economically? Where are people getting things? Who are they turning to? What criminal elements crop up at some point, if not well before now, at least it could be acknowledged now? And how do the people, and the government, and the military deal with these kinds of problems? There is no (quote-unquote) "police force" that's been established in the Rag Tag Fleet and it doesn't seem realistic that there could've been a police force established in the Rag Tag Fleet to date. So Adama and Galactica and now Pegasus are really the only enforcement that they have. And what happens when people on- the new arrivals on Pegasus have their own agendas, their own backstories, their own motivations. What happens when you move them into this mix and maybe the new man at the top gets involved with the black market. I think one of the difficulties of the show, conceptually, is that the black market is a difficult concept, in this particular world, to get your mind around. In a world of Galactica where the Rag Tag Fleet is out on its own, there is no socio-economic structure beyond the Rag Tag Fleet. There's no government. There's no social system. There's no nothing. Other than these particular ships. Isn't everything black market? Isn't everything to be bartered? One starts to wonder what the distinctions are that Laura is upset about. We gravitate towards place where we said, "Well the criminal element and the black market is essentially taking essential goods and holding them hostage and extorting other goods from other people and some kind of system of distribution for rations or for goods is being upset because people are starting to exert undue pressures in certain directions." It's a heady, intellectual argument. It doesn't have the visceral nature of, "Well, there's the thriving drug trade," or "There's a white slavery ring," or something like that. Which isn't really where we wanted to go. It was supposed to delineate forth the socio-economic difficulties that the Rag Tag Fleet is dealing with while also at its core focusing, of course, on Lee Adama. This is a "Lee story". And the insp- the place that the "Lee story" starts from in this telling is from Lee classicly going up the river. That's an allusion to Conrad's Heart of Darkness which is the basis for "Apoclypse Now". It's a model that is tossed about a lot in writers' rooms in a lot of industry of discussion has to do with... My apologies. You're probably picking up a great deal of gardening noise today and sorry, that's the risk that you run with these podcasts. Anyway, Heart of Darkness is one of those archetypes that is tossed about a lot in writers' rooms where you're taking a character and he is either literally or metaphorically going up a river of darkness, getting darker and darker and going to places that the character never really thought that he would go. And so this is Lee's journey up the river, ultimately finding Kurtz, as it were, the Bill Duke character. I think we were all in love with the notion on a character level, well, I'll get back to that. I was gonna talk about Lee and the prostitute.
This is sequence is- this is what's wrong with the episode. This is far too conventional. I think if I had to sum up what's wrong with this episode in my opinion, it's that this time we went free a much more tv, conventional tale and execution. The murder of Fisk with the gadget. The reveal of the villain smoking the cigar. You feel like this is a scene from another series. And I think that's disturbs me the most is that it just this doesn't feel as much like Galactica as it should. This feels a little bit more of television. Which sounds like a slap against television and it kinda is. A lot of television is very comfortable, very predictable. The stories are quite conventional. You tune into most hour-long dramas on the air and you know where the story's going as soon as you tune in. And there's a- there's a familiarity and a comfort to that- that audiences look forward to on some level.