I finished watching the last three second season episodes of NBC’s Life. If the show doesn’t end up getting picked up by USA Network as rumored, then at least the last episode served as a satisfying and entertaining series finale.
And also maybe a timely remedy, considering how for weeks I’ve been walking around in a gobsmacked stupor after watching the once astounding Battlestar Galactica collapse into a sloppily resolved, disappointing mess. And, no, I’m not just talking about the finale. I’m talking the last six episodes. When Tyrol showed Adama the fractures in Galactica’s hull after the failed mutiny, he might as well have been pinpointing weak points in the overall storyline. As the cracks in the hull started to widen, so did plot holes and lapses in characterization.
One could say that it’s unfair comparing two series from two different genres. Life only lasted two seasons compared to Galactica’s four. But why do I think Life turned out to be a better series? Why would I buy both of Life’s season DVDs and not any of Galactica’s? Because in the end, Life’s creators proved to be the better storytellers.
True, the Zen-free start of the second season screamed network interference. Crews seemed more obsessed with his ex-wife than learning who was behind the conspiracy that sent him to prison. However, the mysteries and characters were still offbeat. And, more importantly, because the show started the season on the bubble I appreciated the creators’ consideration not to delve too deeply into the conspiracy and start something they couldn’t finish unless they got a full season commitment. Once they did, the show returned to its Zen roots. And kicked ass. Then when I worried Sarah Sahi’s pregnancy might hamper the narrative, in came Gabrielle Union as a great cast addition and substitute partner for Crews.
It’s just not that one show managed to end on a high not while the other languished. The key difference is that Life’s creators had a clear idea where their main storyline (the police conspiracy) was headed while in Ron Moore’s case raising intriguing questions and mysteries proved easier than actually providing and incorporating credible answers and resolutions.
And despite some commendable episodes and performances, Moore ultimately squandered much of the final season’s potential by favoring certain characters over others. If instead of Battlestar Galactica the show was called The Epic Love Story of Adama and Roslin then it could be deemed a great success. And I never thought I’d say it, but there could’ve been a little less Baltar. Cylons supposedly lost the ability to resurrect. Yet Moore still found a way to bring back D’Anna and Ellen. Meanwhile, Boomer, Athena and Helo continued to be treated more like plot devices to move the action along rather than complex characters with relationships worth exploring.
Treating Boomer like an afterthought shortchanged the season on so many levels. Boomer was an essential part of the first season; and her connection to Tyrol needed to be explored in depth over several episodes. Not only because they continued pining for one another even after Cally gunned her down; but because Boomer’s identity crisis after discovering she was Cylon paralleled Tyrol’s. It also significantly contrasted with Tory’s, who should’ve been the one to abduct Hera, not Boomer. I firmly believe Galactica’s final season would’ve turned out better if Boomer hadn’t escaped during “The Hub” episode and was brought back along with D’Anna.
I’ve read a synopsis of Moore’s original plot for the fourth season’s second half before the writer’s strike halted production. And although the fates of certain characters seemed better realized, it too lacked the cohesive complexity of the first two magnificent seasons.
Maybe it’s the sci-fi genre that’s to blame. Moore might’ve come down with the same case of creative hubris that hobbled other fanboy idols like George Lucas and Frank Miller. He got lazy or became convinced of his own cleverness; and instead of crafting meaningful storylines, he compensated with shocking scenes or gratuitous action to generate message board buzz.
This is the real reason behind Lee’s sudden and unbelievably accepted decision to go Luddite and plunge the fleet and all its technology into the sun. It was actually Ron Moore’s thinly veiled intention of burning all the toys of his franchise so Sci-Fi Network or some other creative team won’t be able to write BSG: The Next Generation.
Or maybe it’s the television medium. Even prolific television writers such as JJ Abrahms and David E. Kelley became so successful that they spread their creative energies too thin developing other shows and ended up neglecting the very series that made them famous in the first place. Developing the prequel, Caprica probably distracted Moore. Maybe that’s why so many of the cast like Tahmoh Penikett and Dean Stockwell got so much say in the storyline, especially the finale.
Maybe it was a combination of all three.
But I also found certain story elements of Life to be much more entertaining and meaningful than Galactica’s. I’d prefer listening to Charlie’s Zen tape on a loop than Baltar’s monotheistic ramblings. And I also thought Roman turned out to be a greater nemesis than Cavil. Not just more cunning, but more ruthless. If Roman had a ship, he’d ruthlessly pursue Galactica and the fleet all over the galaxy like a pitbull after a pack of rabbits. And be nonchalant about it the whole time.
Sure, there were themes running throughout Galactica concerning theology, humanity, and wartime politics. But, then again, themes can be found in mediocre writing too. How well they are handled distinguishes the mediocre from the inspired. And those themes were handled much better in the first two and a half seasons.
Am I sorry I ever watched Battestar Galactica? Not as sorry as if I’d watched the show weekly instead of as complete seasons. I’ll watch The Plan movie this fall, but not without some trepidation.
I will buy both seasons of Life on DVD though. And the only thing I’ll be disappointed with was that it ended too soon.