Battlestar Galactica

When Glen A. Larson conceived Battlestar Galactica in 1978, he designed it to be television’s response to Star Wars, the recently released hit feature film. The story followed humanity in a universe where Earth had been left behind, in favor of twelve separate planets, dubbed the twelve colonies. Humanity’s greatest achievement was the Cylons, a race of robots that were designed as servants to the humans. The show begins as the Cylons rebel against humanity, destroying the twelve colonies and forcing the crew of the Battlestar Galactica to escape out into the universe, alone. This plot was the encasing around Larson’s episodic adventures of the crew of the Galactica, and it quickly become a cult phenomenon, constantly serving up potential sequels to the franchise long after it’s cancellation in 1980.

When Ron Moore, then writer on Star Trek: Deep Space 9 announced that he would be developing a miniseries on Sci-Fi based on the hit 1970’s show, many people were surprised and taken aback at attempting to recreate what had largely been perceived as a very campy show. While Sci-Fi was known for its campy nature at the time, Ron Moore seemed to be a science fiction icon, a rising star that could create bold new visions and stories few series and movies dared to attempt. Even with that said, nobody could have ever assumed that what Ron Moore would create with his 2003 Battlestar Galactica reboot would become one of the most beloved, poignant, and relative television series in history.

Battlestar Galactica at its very core follows the same plot as the original series, with one major twist. After the Cylons rebelled and left Earth, they continued developing technology, soon gaining the ability to transform their appearance into that of a human. This theme struck deep chords with America, especially in a series that was so close to the terrorist attacks of September 11^th. The show was no longer about a clear war between good and evil, but a story of faith, trust, understanding, and fear of an unknown enemy that could quite possibly be living next door, or worse yet, could be you. The series not only tied to today, but it pulled political issues from all over American history, dealing with the fear and paranoia of the McCarthy era, and handling the moral ethics of torture that arose during the second Iraq war.  It was far more than a simple space series; Battlestar Galactica is a deep political drama, one that delves into the lives of the government, the military, and its citizens.

After the series ended, Ron Moore and the cast of Battlestar Galactica was asked before the United Nations, to perform a discussion of human rights set in the Battlestar universe. That alone should be a testament to those show’s political power and relevancy. It tells a story that is much more meaningful than initially perceived. Battlestar was there to deal with issues that America, and humanity was facing right now. In Season 3’s premiere episode, the people of humanity must deal with the ethics of suicide bombing. In a time after the recent Bali bombings, Battlestar dealt with the ethics of these issues greater than any form of media ever did, and is easily one of the best hours of television in history.

Battlestar Galactica is a remake done right. It wasn’t here to recreate the original series; it was here in order to take what an interesting concept, and move it to a far deeper and more meaningful level. The product has resulted in some of the best television in history

Starbucking the Trends

Katee Sackhoff’s career in television is one of unfortunate typecasting. Her first major role was that of Starbuck on Ron Moore’s reboot of the series Battlestar Galactica. Her work on the series was brilliant, representing a hardened, strong female character that can equal the strength, toughness, and masculinity of her male-dominated society. Yet Sackhoff’s personality is the furthest from that, which perfectly reflects her brilliance of an actor, in her ability to create such a complex character from little personal influence.

When Battlestar Galactica’s reboot first aired, people were shocked by the decision to make the lead character of Starbuck a woman. The character, once played by Dirk Benedict in the original series, had to maintain the character’s traits of being a gambler, talented leader, and seducer while incorporating all of those assets into a female character. The result of Sackhoff’s ability to capture the persona of Starbuck in a woman’s body is a perfect representation of a feminist reversal on a character, yet brings out gender bias that exists in viewers of the series.

Starbuck in the original Galactica was seen as a womanizer, and was prided on his ability to seduce women. Sackhoff’s Starbuck was regarded as a “slut” by many viewers, though her character possessed the exact same trait. Ron Moore originally cast her not to bring out any of these gender biases, but instead to avoid the stereotype of the rouge pilot with a heart of gold, yet when the series aired, and the initial backlash settled, Sackhoff was able to create Starbuck into one the staples of feminist icons in television. Her character was emotional, complex, and, to be brash, completely badass.

Even Moore himself was challenge by gender stereotypes when he was casting the role. Sackhoff’s real life personality is nowhere near to that of Starbuck, she came in as a very feminine 23 year old, and while Moore and Executive Producer David Eick were both very impressed by her acting abilities, they both said she was too feminine for the 30-something tough woman they envisioned. They both sat back and continued watching audition tapes, concerned by the fact they couldn’t find a Starbuck that fit their role, and it wasn’t until Eick’s wife entered the room and said “What’s wrong with you? She’s right there!” that they both realized that Sackhoff was perfect for the role.

Sackhoff herself admitted that she played the role to fit the criteria of a man playing a woman’s role initially, and it wasn’t until she matured and began to take grasp of her own character the Starbuck stood out as one of the most rich and rounded characters of the series. Her role, while becoming a tough obstacle in Sackhoff’s career, has ultimately created a character which is not only a perfect argument against gender bias, but has become a feminist television icon that will be regarded and used to create strong female roles for generations of television to follow.

The Unsung Heroes of Advertising

Film Posters have always been a source of inspiration and excitement for me. A well designed poster can elicit a feeling of excitement, mystery, or confusion for those who anticipate seeing the attached film. The artists who construct these pieces are some of the most underrated workers in the art industry, and very few have been able to make names of themselves. One of the very few who have made an amazing career of their poster art is Richard Amsel, the masterful genius known for work such as the posters for Indiana Jones, The Dark Crystal, The Muppet Movie, and The Sting. One of his greatest works is that of his poster for Raiders of the Lost Ark, a poster that would further define the franchise for its entire history.

The poster is foreboding, mysterious, historical, and exciting all at the same time. It is important to note when this poster appeared in theaters, Indiana Jones didn’t yet have the cultural status that he does today. It was a poster that would have to sell the franchise to an audience, and it’s execution is perfect in that regard. One of the many challenges for poster artists is that their work largely exists in reprints. Original poster art is a rare commodity, and even double-sided original reprints for theaters are rare and expensive. This work has to be created on hundreds of different printer, all with different standards of quality. The is an inability to create real texture as there is in a painting, but Amsel’s Raiders poster does exactly that.

The post instantly captures the time period of the film, not by using common tropes from the era, but by capturing Harrison Ford’s image as a clearly hand-drawn piece, using crosshatched lines and different forms of pencil shading to create his face and outfit. The whole piece is placed on a background that gives the image the feel of being printed on old leather or stone. It doesn’t have to have a huge depiction that the film is a 1930’s adventure serial; it says it all right on the poster itself through the subtle use of beautiful hand-drawn imagery. It’s so well designed that the rest of the added poster details, such as the film logo and credits seem painfully out of place, something that is clearly reflected in the poster’s decision to give the image its own place on the poster, instead of covering it with too many words.

Small images on the bottom, such as car chase, a mysterious figure, and Indiana and Marion dropping from the ceiling on a rope don’t give away specific scenes in the film but instead allude to the adventure that is to come. Amsel’s work is made to sell tickets to an unestablished franchise, and his work clearly captures the excitement, adventure, and historical mystery of the film. His work defined generations, and even his work on Indiana Jones itself would later become a major inspiration for Drew Struzan, who went on to create posters for the rest of the series, as well as Star Wars, Hook, and Back to the Future. Amsel mixes a blend of art and advertising amazingly, and captures the emotional tone of the film in a perfect representation.

Thank You For Smoking

Tobacco companies have always been a main staple of hatred and criticism in politics. The corporations who manufacture cigarettes have always been perceived as horrible, corrupt businesses that will do anything to hock their cancer-inducing product to American consumers. Thank You For Smoking, Jason Reitman’s 2006 adaptation of a book of the same name does no different, but adds an extra layer of thought to the issue, what about the fault of the consumer?

 The film stars Aaron Eckhart as Nick Naylor, a popular tobacco lobbyist who works for The Academy of Tobacco Studies, a tobacco company funded research group tasked with finding a link between nicotine and lung cancer. His job involves convincing the American public that tobacco isn’t as bad as it seems, and is tasked with bringing cigarettes back into popular culture via product placement. He does this by reported well-designed “facts” to those who listen to him speak regarding the issue, and simultaneously spin the conversation to his favor.

Naylor is set to appear before U.S. Congress and protest a bill which requires tobacco companies to place a skull and crossbones logo on their packaging when he is kidnapped and poisoned by being covered in nicotine patches. After waking up in a hospital, he is informed that he may never smoke again, as his exposure to nicotine has made him hypersensitive to the chemical. When he begins a relationship with a journalist, Heather Holloway (played by Katie Holmes), Naylor mistakenly puts his trust in her and tells her all about his career of twisting real facts to his favor. Holloway publishes an article exposing his lies and Naylor falls into a horrible depression. His son, who Naylor has been educating about the business of a political lobbyist, rejuvenates him by explaining that everybody needs to be defended, even those who don’t deserve a defense.

The film ends with a brilliant speech from Naylor explaining that adding a skull and crossbones to each logo is further emphasizing a point that is already known across America. It’s not the tobacco corporation’s intent to kill Americans, it’s to sell a product, and it’s the consumer’s choice to be ultimately responsible for the consequences. The knowledge is out there, it’s up to America to decide what they want.  

The film captures this inner working of perceived “evil” in a corporation while simultaneously explaining how these corporations aren’t inherently evil, but are working to simply sell their product. The fault of tobacco use isn’t in the company; it’s in those who use their products. Naylor’s success is reflected in this, as he is again regarded as a hero to lobbyists everywhere, and continues to educate those whose businesses are under fire for dangerous products and practices on how to overcome these challenges. The film is easily regarded as a satire in the purest sense, but it’s ability to convey both humor and morality at the same time make Thank You For Smoking a fantastic piece of political film.

A Piece With No Name

Banksy’s work as a public artist has captured the attention of the world. His pieces have grown beyond graffiti to legitimate pieces of public art, ones that capture the zeitgeist of the moment through his amazing ability of visual sarcasm. He comments on issues in journalism, media, the police, and much more by creating stencils that not only entertain, but provoke thought. One piece, located on the corner of Randolph and Peoria in Chicago is the perfect description of his work and its influence through popular culture and current social issues.

One of Banksy’s trademarks is to create art by adding to features that already exist on his wall of a canvas. Another work of his in Chicago captures this perfectly, as the work is created simply by adding a word bubble next to a cracked concrete wall (See Right).

The piece on Randolph and Peoria does this as well, featuring a simple stencil of a baby carriage and doorway to create a piece of artwork. The staircase is created by the hollow remains of the staircase of a formerly-adjacent building, an untarnished glimpse through the white paint which covers the wall, staring into the bricks beneath. The carriage is seen tumbling down the steps into an open white doorway, child in tow. The piece is clearly referential to The Untouchables, whose infamous staircase scene is well engrained into popular culture.

The piece was created in May of 2010, at the height of the health care debacle in the United States. There was mounting concern over the issues of health care for children, and the piece clearly displays a commentary on that issue, showing a child in danger, falling down a staircase which doesn’t exist. The piece ends in a white doorway, possibly reflecting hope, or possibly death.

But what may be the most interesting component of this piece is not Banksy’s commentary on political issues, but on Banksy himself. Banksy is largely believed to be British, but May of 2010 was an important time for him. Exit Through the Gift Shop, a widely-popular documentary reported directed by Banksy himself had become a international hit. Banksy began spreading word of his film not through traditional advertising, but through a multi-city tour of public art, placing pieces all across the country. May was the very same month his film was released in Chicago, and it is certainly an interesting point to consider that this work wasn’t simply made for a statement, but for the benefit of Banksy’s other work.

Banksy has remained an icon throughout the past few years because of his sarcastic and clever commentaries on political issues through his pieces which capture our own pop culture. His work establishes him not only as a successful artist, but a successful businessman, who has managed to retain his integrity while balancing the commercial element of his work as well.

John Cage Has a Secret

John Cage has always been a source of controversy. There has always been constant discussion regarding whether his compositions are real sources of music or just random compilations of sound. Yet, when one hears Water Walk, it is difficult to understand this. Cage’s defense had always been that he believes and orchestrated group of sounds is considered music, and Water Walk proves this to an amazing degree. He uses everyday household objects to construct a piece of music that delivers fear, tension, and laughter. The music is much less rooted in pure sound, but the visuals of performing the composition.

 Cage walks through this group of items with a stoic, emotionless tone, performing his tasks as if they were a daily routine. Yet, when one steps back and listens to the composition of the sounds that he is putting together, they begin to fit and elicit an emotion from the listener. If listening to the pure sounds of Water Walk, it delivers a feeling of tension and fear, and it seems as if all these random assortments of sounds are about to result in some massive payoff. Yet there is no finale, it simply ends, almost designed in a Rube Goldberg-esque fashion to have a series of unrelated events handle a meaningless task.

 Some of sounds, from putting a vase of flowers in a bathtub, to dropping a cymbal in a pool of water feel humorous and ridiculous from a visual standpoint, but the sounds alone that they create are unearthly and confusing. It’s this mixture of emotion from the senses that makes the piece so understandable and relatable; it creates an amazing conflict in the listener that truly marks the piece’s success. It’s nearly impossible to recreate John Cage’s performances today, yet when it’s done, they always carry different feels, because his performance is so rooted in his actions and specific choice of items.

In an auditory understanding alone, the piece is rooted in the themes of water. In a 1960 performance of Water Walk on the game show I’ve Got a Secret, he explains that the piece is titled as such simply because there’s water involved, and he walks a lot during it. The performance is largely covered by laughter, though Cage himself jokingly approves of it, saying he prefers laughter to tears. It’s almost as if the audience’s reaction to his work is part of the piece itself. There are moments in this tense, strange auditory composition that surprise the viewer. The I’ve Got a Secret performance especially reflects that, as a portion of the piece that involves turning on a radio had to be edited due to union conflicts regarding who should plug in the radios. His edit, involving hitting the top of them, and ultimately pushing them off the table, elicits a roar of laughter from the audience.

That reaction perfectly captures Water Walk. It’s music because it uses these strange compositions of sound to elicit an emotion, but it simultaneously exists as a performance piece, as the result of merely hearing it and actually viewing it are two completely difference experiences.

The Wire vs. Detroit 1-8-7: A Comparison of Networks

The Wire and Detroit 1-8-7 take the same concept and adapt it in two different directions. There are many reasons for this, the initial being network content vs. cable, as well as the show’s need for ratings. For example, The Wire sets itself in the city of Baltimore, and focuses on different facets of life in the city. It deals with issues of crime, violence, politics, journalism, and racism on a realistic level in a city known for its high crime and violence. Detroit 1-8-7 in its first season has largely taken the role that The Wire did in their initial season as well. It investigates the life of the police as they deal with the high rates of crime that plague their city. Unfortunately, where The Wire succeeds at capturing a realistic city with identifiable characters, Detroit 1-8-7 falls into the standard tropes that most shows of its kind do.

                The Wire never dealt with the issue of the Murder-A-Week scenario. Plotlines weren’t begun and ended in the same episode, as the show’s main plot ran over a series of episodes, and in many cases, the entire season. Detroit 1-8-7, as a network television program, must attract weekly ratings, and provide the viewer with a complete storyline in 42 minutes. These result in the issue of having little to no feel of the repercussions of actions that the show’s characters make. They find a murder, investigate it, and solve it by the end of the show. In addition, the tropes they use to make this happen are pulled straight from police dramas dating all the way back to Hill Street Blues. No process is shown, they simply find their “guy,” bring him in, question him for information, and then move on to finding their next “guy.” The Wire never showed any continuing issues of investigation, because it focused on the realism of the police, and crime in general. Criminals weren’t fast talking jerks or angry morons; they were people who came with their own reasons for what they did.

                The overall reasoning comes to the fact that these shows, while both maintaining the premise of dealing with social issues in a debilitated city, have entirely separate demographics and intentions. The Wire was on a channel where ratings weren’t everything, like on network TV. Being on a channel of paid subscribers allowed David Simon, the show’s creator, to push the boundaries and depict a violent, sexual, and racist environment that simply couldn’t be displayed on Detroit 1-8-7. The closest that show ever deals with sex is a wacky side-story regarding who of the detectives who “get it on” in the interrogation room. It’s meant as procedural drama.

                Detroit 1-8-7 fails where The Wire succeeded due to its lack of ambition and commitment to making any sort of real statement regarding the city’s issues. Police procedurals are a dime a dozen in today’s television landscape, and to stand out and make a difference, a show needs to move beyond the standard weekly bad guy, and move on to deeper and more realistic themes.