Finally, Boomer is irritated. "Why won't you answer my question? Does the Fleet know I'm on Galactica?" It's pretty scary: the last time randoms got in, Cally shot Boomer's ass dead. She has reason to keep a low profile. But also: remember why? Remember how Boomer shot Adama, and he's never really trusted her, and only their post-Pegasus interaction was really all that civil, but then the next time he saw her, he tried to tie her down and abort her baby, and then they haven't really spoken? How fucking ambiguous is that, really? Instead of giving us this "While we were busily reversing all show stances on gender equality and jacking off into storytelling culs-de-sac, a bunch of actual story and character development happened. You saw flashes of it in the form of awkwardly pasted-on exposition scenes that barely suited the directorial style of the last four episodes, but that's all you're ever going to get. Let's see what happened next, and we hope you enjoy jumping in midstream!" business, why not...show us the shit? That stuff we actually want to see? Instead of this MOTW crap? You know I liked "Scar" as a well-done story, but in the middle of a lackluster and unrepentantly heterogeneous season, I could have done without. Not to mention that, somehow, during that episode Lee started dating Dualla (immediately after specifically rejecting her, and pushing her specifically back to Billy, in the previous episode), but it was so fucking secret that even we didn't get to see it, and also, he was completely focused on Kara that episode, but anyway. There's a silence after Adama's just ignored Boomer's question a few times, and then: "Oooh. It's the baby. She's kicking." He looks at her belly, then her face. It's complicated: thinking she's acting, it means she's trying to play him as a mammal and a dad. Thinking she's not playing him, she's still a military asset carrying a political timebomb. Which is worse? Conflicted, Adama signals the guards. "The Fleet knows. That'll be all for today. Guards." Boomer looks up at him -- wary perhaps, or hurting at the withdrawal of a warmth we never got to see -- and is escorted from the room. The price of carrying the burden of a race's pain and fear is becoming a sacrifice yourself.
Past cast members of 24 have talked about the stress of having to act totally creepy and sketchy all the time because who knew what the writers would come up with, who would be the next big twist, so they all had to act like the mole all the time, and like they were simultaneously in love and secretly planning to kill each other. But honestly I think the real problem is that it's just a symptom, of the writers not planning things out far enough to justify the meandering, and needing a lot of blank room in the margins to scribble their last-minute ideas, which would be harder if the characters were allowed any emotional arc across the season. Not to mention that as the technology of focus groups and network notes and ratings and such get closer to realtime, the storyline can be adjusted to suit the whim of whomsoever's wearing the biggest jock in the room -- which means those long-term plans don't mean shit, because who doesn't like to swing it around every now and then, just for fun, not to mention that everybody in management or production, whatever the industry, has this big idea that their notes are going to be the thing that puts their stamp on it, that they're going to make their name by suggesting that Apollo start fucking hookers because they're "bad" even though they're not, or whatever. I'm clearly no different, which is why this paragraph exists, but fuck it. That's not what I'm getting paid for.