This is a funny one, because while everything that happens, each piece of the episode, is awesome, nothing actually happens. It's a great episode; don't get me wrong. Pretty much everything that I've complained about is gone here. But it feels like such a setup that it's funny to take it apart and talk about it. I very much enjoyed every single second of it, for sure, but, like, I don't really remember anything that happens, after the fact, and there's so much momentum toward the finale that it's a strange little thing. Ron Moore -- whose wife, I think, is the best in the world -- said something interesting about that: basically, that endings are less fun to write than beginnings, because with endings, you have to wrap everything up and make it all click, whereas with episodes like this, you take every ball you have, and toss it in the air, and that's more satisfying to write. I get that, because he already knows where it's going. But we don't. So it's like when the window comes down at a peep show, at the end. Or so I would assume.
The following segment includes some violent content. Parental discretion is advised. They are not kidding. The previouslies are introduced by James Callis, and include Kara somehow having a conversation with Laura that takes place simultaneously on Kobol, in a forest, and on Galactica, in the sickbay. Apparently, at some point while Laura was on bedrest, they had this magical conversation and it changed Laura's mind about returning to Kobol -- even though that's the last thing she would have agreed to on her deathbed. I'm surprised Laura didn't airlock Starbuck's ass just for asking. Maybe she was distracted by the fact that she was suddenly in a forest and it was an entire season ago, and still with the cancer. I think it's probably best we haven't seen this conversation before, since clearly it would have been confusing. Or maybe next week we'll learn that Laura's back on the chamalla and it all came to her in a dream. The subconscious is a poor editor, but this show is generally brilliant on that front. This episode in particular, I think, is a standout precisely because of the editing. Normally, you don't notice good editing, because that's the point of good editing, but when it hits so many emotional and narrative points, like a thousand home runs in every act, that's a whole other level of good.
Anyhow. Welcome to the longest teaser in the history of television. I love this, because it gives you a whole insight into how this episode is going to go: lots of energy, cutting across fifteen separate lives like a razor. All the loss of faith in the audience suggested by the ham-fisted dialogue in "Downloaded" is repaid in this one, with interest. It's brilliant. This despite nothing really happening; everything that happens has the immediacy and the viscerality of life, and none of the follow-through of fiction. It's awesome.