Day 2 of Comic-Con is over and now, the Convention is really underway! Todays ScriptPhD.com coverage has a heavy focus on television, and sci-fi television to be specific. Really, is there any other kind? We spent time in the press room with the stars and producers of SyFy Channel hits Caprica and Stargate Universe, our favorite geeky physics show Big Bang Theory and the exciting (first-time ever!) Comic-Con Discovery Channel unveiling of their new scripted series Reign of the Dinosaurs. As always we try to pay hommage to the roots of Comic-Con with coverage of the design tricks behind comics and graphic novels. Additionally, we provide pictorial documentation of the costumes and happenings of the Con, and our Day 2 Costume of the Day. Complete coverage under the continue reading cut. Continue reading Comic-Con 2010: Day 2→
ScriptPhD.com is extraordinarily proud to present our first ever Science Week! Collaborating with the talented writers over at CC2K: The Nexus of Pop Culture and Fandom, we have worked hard to bring you a week’s worth of interviews, reviews, discussion, sci-fi and even science policy. We kick things of in style with a conversation with Professor Malcolm MacIver, a robotics engineer and science consultant on the SyFy Channel hit Caprica. While we have had a number of posts covering Caprica, including a recent interview with executive producer Jane Espenson, to date, no site has interviewed the man that gives her writing team the information they need to bring artificial Cylon intelligence to life. For our exclusive interview, and Dr. MacIver’s thoughts on Cylons, smart
No one has been more excited about the premiere of Battlestar Galactica prequel Caprica than ScriptPhd.com. We eagerly joined the cast and crew of both shows last May during their joint panel at the Los Angeles Paley television festival. We were also one of the first sites to review the Caprica 2 hour pilot. And now, at long last, one of the most anticipated sci-fi prequels ever will premiere on the SyFy Channel this Friday. ScriptPhD.com’s Bryy Miller reviews the first three episodes and talks about the show’s early conceptualization and long-term promise. We are also extraordinarily fortunate and proud to bring you an Editor’s interview with series executive producer and show runner Jane Espenson, in which she talks about what we can expect from Caprica. Please click “continue reading” for full content.
It seems like we just can’t seem to stop saying goodbye to Battlestar Galactica. Perhaps the defining science fiction show of my generation, BSG’s post-finale swan song has included a bevy of cast appearances, an issue of the complete series on DVD and Blu-Ray, a recent Bryan Singer-helmed feature film announcement, and now, an upcoming two-hour television movie event. Battlestar Galactica: The Plan takes viewers on a journey of the events that transpired two weeks before the Cylon colony attacks, and their subsequent war with the humans, all from the Cylons’ viewpoint. Compiled with a combination of new footage and key plot highlight clips over the course of the show’s run, The Plan is designed to be the ultimate retrospective with a different perspective. ScriptPhD.com review + trailer under the “continue reading” jump. Continue reading REVIEW: Battlestar Galactica: The Plan→
Airs on SciFi Channel starting early 2010. DVD including an extended version of the pilot, bonus scenes, interviews, and video blogs was released April 21, 2009.
Set fifty-eight years before the Cylon genocide attacks and the subsequent events of Battlestar Galactica, Caprica details the genesis of the first Cylons amidst the backdrop of two rival families—the Adamas and the Graystones.
For those bereft fans tuning into Caprica as a means to replicate the magic of Battlestar Galactica, you will be sorely disappointed. Oh, sure, there’s Cylons, and Adamas, and pyramid ball and plenty of ‘frak’s flying left and right. But as the pilot streamed with a bang onto the enormous screen of Hollywood’s ArcLight Cinema Dome, I was reminded in a not unpleasant way that this was not going to be the same show. And oh what a bang it was!
The action breaks in a club of sorts. Although patronized by teenagers, we meander through various provocative “rooms”—Fight Club-style combat, erotic dancing, sex shows—as three friends congregate. Suddenly, one of them spots their exact twin and we cut to the same friends, Zoe Graystone, Ben Stark and Lacey Rand, at a futuristic high school conspiring to escape their Caprica colony for the greener pastures of Geminon. On the train out of the city, however, Ben reveals himself as a suicide bomber acting in the name of the ‘Soldiers of the One’ monotheistic religious movement and commits an astounding act of terrorism that kills Zoe, among others. What had seemed like ephemeral teenage fancy is revealed to have much darker roots with wide-ranging
ramifications. Because as it turns out, Zoe is the daughter of surgeon Amanda Graystone and brilliant scientist Daniel Graystone, who has been consulting for a company entrusted with building the perfect government war machine. We recognize the faulty prototype as an early-model Centurion Cylon.
Bereft with grief over the loss of his daughter, Daniel forms an unlikely bond with earnest, honorable young lawyer Joe Adams, who also lost his wife and child in the explosion. In the search for answers, Daniel discovers Zoe was a chip off the old block. Using a hollaband, a computerized headband, that teleports him to the virtual nightclub where Zoe’s twin resides, he reunites with his dead daughter. The virtual twin from the virtual nightclub was not a twin at all, but an engineered digital life copy into whom Zoe downloaded her DNA and personality, the Zoe-A.
Preying on Joe’s grief and guilt over losing his family, Daniel poses the tantalizing possibility of being with them again through artificial computerized human replication. In setting up the major moral and philosophical conflict of the show, Daniel cajoles Joe into stealing the missing component for the war machine robot—a ‘metacognitive processor’, an artificial brain—from the rival Virgis Corporation from his own native Tauron. Adams’s reunion, however, is not nearly as heartfelt as his daughter’s replicon, trapped in a soulless black nothingness, is frightened by her very being. Buoyed by this realization, Adams reclaims his responsibility to embracing the living, namely his young son William, in a deliciously cheeky early peek at the eventual Galactica Admiral. He recounts for his son their family’s cultural and ethnic lineage from Tauron, where vicious civil wars left them orphaned strangers in a strange land. “Our name is not Adams,” he tells his son. “It’s Adama.” Nevertheless, it is too late to stop Graystone. As the Centurions flashing LED eyes change from orange to red, a Cylon—a cybernetic life node—is born, but at what cost, and at what consequence?
Caprica’s departure from the BSG shadow is immortalized in more than plot and core conflict (to build or not to build artificial intelligence), but in a cinematic majesty and geek-chick technological marvels that make for some visually appealing television. The gadgets of Caprica are bright, sleek, modern, oozing with cool, in direct contrast to the simple, practical, dilapidated equipment of the aging Galactica ship. Hollabands, paper-thin computing sheets with lit-up displays, cyber-chamberlains reminiscent of Rosie the Maid from the Jetsons, virtual mental computing, streamlined transportation hubs that we can only dream about. The cinematography of the show is split between rich, vibrant oranges and yellows for outdoor scenes and fresh blue-green hues for indoor scenes. Caprica also take advantage of Vancouver’s glorious outdoor settings in a way Battlestar could not within the location limitations of … er … space.
Another critical divergence for Caprica will be its serialized storytelling and focus on the linear dramatic development of Cylon creation and the ethical and moral quandaries posed therein. “It’s more about their personal lives,” series producer/writer Jane Espenson remarks. “They don’t have the threat of death breaking down their neck every moment so that you can feel more lived in, you can explore this culture more.” Adds Ronald D. Moore, “It’s a different show. I mean, losing the action-adventure is a risk…. [But] since there’s no Cylons coming in to sort of destroy the Galactica every once in a while, fate and humanity doesn’t hang in the balance yet.” Instead of the salvation of humanity, Caprica will probe on the very essence of what it is. “Find those things that make you cry, that make you feel,” Joseph Adama pleads of Daniel Graystone. “That’s what makes you human.” The Adama/Graystone schism certainly forms the show’s psychological nucleus, but other important questions are also raised: the roots of the monotheistic vs. polytheistic religious conflict, the greediness of the very corporate vultures that ordered the beta Centurion war models, racial and ethnic strife between the Twelve Colonies unified under one government, and the very limits of artificial intelligence and the human essence. “[These complex and difficult themes] are to Caprica what the space battles were to Battlestar,” remarks producer David Eick.
Ultimately, it is difficult for any show to escape the looming shadow of such an accomplished and critically acclaimed predecessor, especially when their plots are indelibly linked. Thankfully, Caprica has decided to step out of that inimitable shadow, contextually and stylistically, to create its own identity, and some pretty good frakkin’ television along the way. There’s enough sentimental peeks into a familiar world that we already know—so that’s how Bill Adama gained that sense of honor!—but enough new compelling characters to keep us coming back for more than just nostalgia. I, for one, plan to tune in to see what happens.
On a recent sweltering evening in late April, the ScriptPhD ventured out to Los Angeles’s majestic ArcLight Cinema Dome, which was playing host to the tenth night of the 26th Annual William S. Paley Television Festival, a preservation and celebration of the very best the small screen has to offer. Each year, a handful of select shows are selected by the Paley Center for Media to screen an episode and engage in a question and answer session with onscreen and production talent. This year, writers, producers and actors from the recently completed epic space opera Battlestar Galactica, and its forthcoming prequel Caprica, delighted a small audience with a sneak peek at the Caprica pilot and a candid behind-the-scenes look at the creative process behind both shows.
Fans at the beginning of the line had queued up as early as 11 AM to witness what may be the last gathering of BSG cast and crew for quite a while, while others paid thousands of dollars for VIP after-party access to the cast and crew. Echoing the diverse fanbase that Battlestar Galactica was able to reach and appeal to, the crowd around me was composed of all ages, races, and genders, of the geeky, the giddy and the gaudy.
And speaking of geeky and gaudy, the evening’s festivities were moderated by actor Seth Green, sporting a rockin’ blue Mohawk and more than a tad bit of fanboy revelry. At times starstruck, at times nonsensical and at times spot-on hilarious, but always a bit too verbose, Green came across as a genuine, appreciative fan. Like yours truly, Green came onboard after two obsessivethrilling catch-up seasons on DVD, provided a two minute monologue about all the reasons to love BSG and why it rocked his world, and then, the evening really began. (I kid Seth Green, with love and affection. But seriously, for comparison’s sake, Kevin Smith, who moderated last summer’s Comic*Con BSG panel, infused the perfect mix of humor, awe and order into the Q&A while still allowing the panel to be front and center for the fans.)
As a preamble to the screenings and panel discussion covered below, the heart and soul of Battlestar Galactica, producers David Eick and Ronald D. Moore (I’ll let you decide who’s who), thanked the two people responsible for the success of bringing Caprica to the attention of Sci-Fi network, writer Remi Aubuchon and director Jeffrey Reiner. They then brought an always-refreshing bit of mayhem to an otherwise dignified event by kicking off Caprica’s first major screening with a few good-luck tequila shots from a flask (ohhhh these are MY kind of people!).
When the event planners said “A Look Back and a Look Ahead”, they weren’t kidding folks! Perhaps for the sake of nostalgia, or for the sake of making us appreciate just how far science fiction has really come, Caprica was pre-empted by a clip of the 1963 sci-fi series Outer Limits. The series, with a rotating cast each week, tackled everything from hard science, space travel, time travel, and human evolution as it tried to answer the question, “What is the nature of man?” Remind you of something? Thankfully this trip to Cheesy Bad Production Land was followed by a savory preview of Battlestar Galactica: The Plan, the Edward James Olmos-directed 2-hour movie event set to air in November of 2009. If you missed it during the series finale (like some of us who don’t subscribe to cable!) here’s a link to the YouTube version:
Finally, we were treated to a pre-DVD release screening of the Caprica pilot in its entirety. My pilot review may be found in a separate post. Caprica will start airing on the Sci-Fi channel in 2010. The pilot is available on DVD.
Click “continue reading” to find the only full, unedited, word-for-word transcript of the BSG/Caprica panel to be found on the internet. Until the Paley Center releases the DVDs of the event next year, the only place to truly find out what happened without missing a beat? ScriptPhD.com!