Yay! Got the episode number right this time. grumble grumble
So, where are we at:
Not a lot of plot movement over the last couple of episodes. On reflection, this is actually part and parcel for the show so far, and it goes to one of the basic truisms of storytelling: Endings are hard, but middles are harder.
Consider the first half of season two, which after a very strong opening saw us frakkin’ around with the crash survivors on Kobol for a frustrating couple of episodes. Or even season one, which dragged out the Boomer/Helo-on-Caprica plot through the middle section, until they finally revealed where they were going.
The primary challenge in long-form narrative is not to wrap up the story in a satisfying fashion; the challenge is to get all your balls into the air and then juggle them successfully while the plot develops. If you do that, the ending writes itself. Screenwriters say to one another, “the second act is always the hardest,” and it’s true. And if you look at the type of storytelling BSG is trying to pull off, it’s basically a big, long movie, broken into chunks, which is in marked contrast to the standard TV model of telling standalone 41-minute stories that reset at the end.
The trick in longform narrative is, after establishing the main plot, to then advance it at just the right pace. Not too fast, or the ending’s an anticlimax; and not too slow, or tension is lost and the ending is rushed. If you find yourself struggling in the middle, the temptation will be to pad the story with one-off episodes that go off into cul-de-sacs and accomplish not much more than burning off time.
The thing about BSG, though, is that they’ve got the focus squarely on the characters, rather than the technical details of the plot, so they can treat these cul-de-sacs as rich opportunities to explore personality and relationship, instead of just a waste of an hour. From that point of view, I enjoy episodes like “Scar” and “Sacrifices,” even though they don’t relate much to the main story, because I like getting to know these people. And it’s where an episode like “Black Market” really falls flat, because the character stuff is inconsistent and poorly handled and it doesn’t advance the plot.
The point of all this? I’m still enjoying the show, and look forward to it more than anything else on TV, but the last few installments, I haven’t been rabid about the way I was with “Kobol’s Last Gleaming” or “Pegasus,” the arc closers, or “33” or “Scattered,” the arc openers. If Ron Moore is going to sustain this show over several seasons, he’s going to have to figure out how to solve the middle-of-the-arc problem that is clearly developing.
And on the upside, after tonight, we’ve got just three episodes left this season [:eek:], so if history is any sort of guide, we should be in for a socko finish, and it’s time to get excited again.
Thoughts?