Act of Contrition, You Can’t Go Home Again and Litmus
While the whole show is about telling a story with characters, these episodes are about telling stories about relationships between characters. We get to explore more about the relationships of Kara/Lee/Adama, Adama/Lee, Adama/Tigh, Gaius/Head Six, Sharon/Helo, Sharon/Tyrol, Tyrol/Deck Gang and Adama/Roslin.
Kara’s story richens with Act of Contrition and You Can’t go Home Again. Her relationships with Lee and the Old Man are explored, uncovered, and rubbed raw. The scene in Adama’s quarters is pure heartbreak; Adama’s “walk out of this cabin, while you still can,” through gritted teeth pulls out so much emotion from the two characters. Of course, the guilt at this dismissal is heightened when Adama has to face abandoning Kara on the moon. But the scene that really shows a little bit more of who Kara is, is the scene in the hospital with the Old Man. She asks if her knee will be ok, and he, supportively, suggests that Starbuck is such a fighter that there is no way it could not be ok. The look of anguish on Kara’s face as she turns away to hide her tears speaks of many possibilities: of her literal pain; of thinking of the coming stress of rehab; of facing the thought of her fellow pilots fighting without her while she is bedridden; or that maybe, just maybe, she was looking for a reason to never get in a viper again.
I love the development of the Father/Son relationship between the Commander and Lee. They unite together in their determination to find Kara, no matter what the cost, putting aside whatever wounds have been re-opened of late about Zak. But Lee's heart-wrenching question to the Old Man after they decide to give up the search and leave the moon seems to splinter this sudden alliance: would the Commander actually never leave, if it were Lee down there? We may get an answer to this in a similar predicament later in the series...
We also get to see a little bit about how rank and friendship intermingle in the military. When Tigh admonishes Adama’s decisions to remain on the search for Kara, Adama “pulls rank” and dismisses him. Tigh’s immediate salute shows how much he values the importance of the chain-of-command and respect for the Old Man above all else. Regardless of personal feelings, the Old Man is the boss, in any situation. Further conflicts of rank and familiarity are shown in
The moment in the hallway where Gaius and Head Six are arguing is an interesting and expository scene. We are still wondering who, what and why this vision of Six is in Gaius’s head, but her forcing him against the bulkhead just brings questions to any theories of her nature. How can she physically affect Gaius if she is just in his head? What is going on!?
(Aside: I always found the description of her character as “Head Six” a little misleading; I don’t like the opportunity for it to be confused as meaning “Leader-Six” or “Boss-Six” instead of “In-Gaius’-Head-Six.” Before reading that this is the term used to identify her, I always referred to her as “Gaius’ Six,” which I like better. But, in the efforts of avoiding confusion, I will use the preferred nomenclature.)
The advancement of the story of Helo and
I love the irony of the witch-hunt tribunal focusing on
All told, there is nothing better than watching fledgling President Roslin rise up on her shaky legs and spank the Adama boys into obedience to reason. Her power in that scene speaks to the person and leader she will become: strong, reasonable, powerful, understanding, convincing, and – very often - right. The growing mutual respect between Commander and President begins here, with them both better understanding how to work with, instead of against, each other.
Next week, we get the unambiguous excitement of Shelley Godfrey, Leoben Conoy and Ellen Tigh. Can’t hardly wait!!!