We’re back for another round. The challenge: write a story in 20 minutes using the following prompts:
Characters: Heart surgeon and Astronaut
Setting: A wine cellar
Genre: Cozy mystery
Trope: A very cheap date
POV/tense: Third person future
And the result:
The Case of the Orange Feather
It will be Betty who first notices the safe. Open, with a single orange feather resting on the bottom.
“That wasn’t like that before,” she’ll tell Alex.
“What do you mean?”
“When you first brought me here, down here to this wine cellar, of all places…”
“Of all places, what do you mean by that?” Alex will say.
“A first date is supposed to be romantic. Dinner, candlelight. Not, mildew and hypothermia.”
He’ll slide up close to her and wrap an arm around her. “How could I ever impress the best heart surgeon in the county by dropping five Benjamins at a steakhouse. I know that a woman like you deserves better. So I figured I’d bring you to a wine cellar—I was on the space shuttle a decade ago with the guy who owns it—and we can explore a little.”
“Explore as crack open a bottle of something pricey?”
He’ll raise his hands in mock surrender. “Hold on now, these bottles go for a grand a pop. I don’t think so.”
She’ll grunt at him, deservedly so, but she won’t be ready to end the date, not quite yet. “What about the safe?”
“What about it?”
“I know for a fact it was locked when we came down here. Did your friend, this mysterious friend, come back in when you were leading me through one of the caverns here?”
Alex will scratch his chin. “No.” He’ll reach in the safe and pick up the feather. “Strange. My friend has a parrot back home. But I don’t think it had orange feathers. Or did it. Hey, do birds have orange feathers?”
“I don’t know.”
Suddenly the lights will turn off. Betty will yelp and Alex will reach for her hand in the dark. She’ll find it and grab it. Then he’ll whip out his phone and shine the flashlight, revealing nothing but dark rows of dusty wine bottles.
Behind them, a crash.
“What was that?”
“I…I don’t know,” Alex will say.
“If this is some kind of practical joke, or scheme to make you fall for me…I know about how adrenaline can affect people, and I’m telling you, I’m not falling for it.”
“This isn’t a game. Trust me.”
Together they’ll walk closer toward the sound of the noise. They’ll turn a corner and see on the floor a busted bottle of 1901 Pinot Noir, the red wine flowing in a rivulet until it reaches a man’s loafer, and attached to the loafer a leg, and a body. While Alex shines the light on the man Betty will reach down and with her trained hands she’ll determine that the man is indeed…
“Dead,” she’ll say.
“I’m guessing he was stealing this prized bottle when he bit it,” Alex will say.
Betty will raise her hand to her mouth. “Who could have done this?”
Alex will hear a rustling from above. He’ll shine his light up and spot the biggest parrot he’s ever seen, the proof of what the parrot did on its claws and beak.
“Guard parrot,” he’ll say. “Who would’ve seen that coming?”
Recently I checked out the 2024 indie film I Saw the TV Glow. Ask me what genre it is and I’d have to take a moment. Somewhere in the dark contemporary fantasy camp. Not quite horror but wishing it could be.
First off, what it’s about.
High schooler Owen befriends an older student, Maddy. They bond over a cult TV show called the Pink Opaque, which is about two psychic girls who fight bad guys. Owen is too young to watch the show at home, so he sneaks over to Maddy’s house. Stuff happens. Maddy is a lesbian and Owen is apparently asexual (more on that later). Owen’s mother dies of cancer and he’s stuck with his ignoring father. Maddy runs away then returns claiming that they are really the characters from the Pink Opaque and have been trapped in this fake world, then she’s gone again and Owen is left to figure out what’s what for himself.
My overall take is that there are things I enjoyed about it. The movie had a fun retro indie shoestring vibe (I mean that as a compliment). It had heart. It was a little goofy and it played to the tropes. Also, the show within the movie, the Pink Opaque, was clearly a callback to one of my favorite TV shows, Buffy the Vampire Slayer, including the font used in the credits, and a cameo by Amber Benson, who played Tara in Buffy (Fred Durst, the Limp Bizkit frontman, also has a very small role).
And I didn’t mind that the ending is left vague. In fact I liked that ending. And the writers earned it.
What hold the movie back, massively, is the character of Owen.
I’m of the camp that protagonists are make or break to your story. They don’t have to be likeable or noble or superhuman. They don’t even have to be relatable or identifiable. But there is one thing that every protagonist absolutely must have. He or she must WANT SOMETHING. It can be a small something (to go get a Slurpee) or a big thing (to save the universe from collapse), but there has to be something.
Poor Owen. He didn’t seem to want anything. Clearly he was disconnected from the world. He tells Maddy in a key scene that he doesn’t have any sexual feelings whatsoever, like he’s been scooped out hollow. If he was just a normal human like one of us that would be sad and probably a cause to get therapy. In a piece of fiction? It’s a huge red flag. It signifies your character is disconnected from his own wants and desires.
Now this could be a great launching point. How does that character reconnect with his internal desires? How does he take concrete action to fix this?
But that’s not what we get in this movie. Instead Owen drifts passively through life. His voice rarely rises above a whisper. His facial expression barely changes. Clearly this is a guy with some serious low-grade depression. Again, normal in the real world but do we want to watch this play out for two hours?
By the time we get toward the end of the movie, after Maddy returns and tells Owen that he’s really one of the characters from the Pink Opaque, trapped in this fake identity, we’re aching for Owen to do something, but all we get is nothing. Even after the climactic scene, the one where you can make a case that a) yes, he really is that trapped character or b) no, he’s just seriously mentally ill, Owen is back to being the same old mopey Owen we all know and don’t love.
Like I said, there was a lot of goofy charm to this movie. I really wanted to like it. But poor Owen left me not caring in the least what happened to him. So my take: give your protagonist a purpose. Give him a goal. Make us root for him.
Bringing back Trope or Choke, but this time live. The pressure’s on to write a story in 20 minutes.
The set-up:
Characters: A retired witch and a pimp
Tense: first person past
Tropes: Never too old for an adventure
Setting: Backstage at a concert
Genre: Historical romance
And the result:
Love Me Do
Her name was Lily. I knew she wasn’t supposed to be there. First she was old enough to be someone’s grandmother. And she wore this long black dress that reached down past her ankles, like something straight out of the 1920s. How she got backstage I don’t know but there she was, too close to Ringo, the kid was all bug eyed gawking at her, as if she put a spell on him, and for a moment I thought the girls I got him were all wrong. Maybe he was into older women.
I circled around the rear of the stage. The Beatles finished playing their first stateside concert not 20 minutes earlier. I still couldn’t get the screams out of my ears. I had it all lined up for them, two girls each, blondes for Paul, brunettes for John, they could take one or both, not my concern, as long as they paid cash money. But this lady, she was like a dragonfly buzzing around, regal and purposeful, and the last thing I wanted was for Ringo to ditch my girls, or I’d lose that fee.
“What’s your name?” she asked me. I didn’t know how she managed to get so close, like she suddenly materialized out of thin air.
“Rick,” I told her.
I’m Lily,” she said. “I know you from somewhere.”
I laughed. “I doubt you’re too familiar with my line of work.”
“Which is what?”
“Let’s just say I’m in the entertainment business. Listen, about Ringo, he has a prior commitment.”
“How entertaining,” she said. Then the stared at me so directly I had to swallow hard. I felt myself flush as she peered even closer, like she was opening doors and walking through each one. All around us people buzzed but all I could see was those eyes like green fields and suddenly I felt dizzy. I crouched down to steady myself and closed my eyes, the rush of people and clamor of voices hammering my ears and then it was all gone. I kept my eyes closed and kept my crouch and then she speaks to me.
“Yes, it’s you. We had a past life together. You burned me at the stake in 1542.”
I kept my eyes closed. “Lady you’re nuts.”
She laid her hand on my head and it’s the softest, most beautiful thing I’d ever felt. “But before that, many lifetimes, in fact, we were in love.” Then she sighed. “I thought I’d never find you in this lifetime. I retired, in fact. I gave it all up. But something told me to come here, to see these Beatles, and I did and I’m so glad. Open your eyes.”
I rose slow and unsteady. The rush of voices was gone. All I heard was birds and running water. When I opened my eyes we weren’t backstage anymore but in a sunlit forest, and Lily was young and beautiful again. She reached up and kissed me. “Let’s go, Rick. We’re never too old for an adventure, that’s what you always used to tell me.”
What should we do with the era of Covid? As a society? As writers?
It’s an understatement for sure to say that it was a difficult time. I look back in anger, and maybe not for the reasons that you might, and that fact makes reckoning with that time period all the complicated–we probably see different villains.
Nevertheless, as writers, our lives bleed into our work. It better to some degree, unless you want writing that’s sterile.
With that said, back to my original question – what do we do with the Covid era? I touched upon it from a distance in my recently published story, One More Darrell, by zeroing in on the isolation of the main character (isolation being one of the Big Bads of that time period for me).
I’ve heard chatter that writers SHOULD be incorporating the Covid era more concretely and directly into stories. Fine, do that. I likely won’t read it. I don’t want to be reminded of it. Forgetting is the best medicine (weird cliche but go with it). Unfortunately (or fortunately) I slipped up and read Emily St. John Mandel’s time-hopping novel Sea of Tranquility, and while it is not about the big C per se, it hits on epidemics. Hard.
Luckily, Mandel, who wrote the mega-successful Station Eleven, is talented enough to push me past my resistance. Also, it helps that it’s not a story ABOUT pandemics. It’s about rips in the fabric of space and time. It’s about people from different eras sharing a common experience. And it asks what is the real nature of the world we live in?
Sea of Tranquility opens with a British nobleman migrating to Canada on the eve of World War 1. He’s a lost soul in the sense that he’s purposeless, and he stumbles on a strange incident in the forests of British Columbia he stumbles upon a strange incident that leaves him forever changed.
From there the novel time jumps ( from the 1910s to the 1990s-2020s, the 2200s, the 2400s, and back and forth). We meet characters including a novelist, Olive Llewelyn, and a time traveler named Gaspery-Jacques Roberts. To explain more of the plot wouldn’t do this book justice (and frankly it’s not so easy to explain without giving it all away). But I will say this. At its heart, Sea of Tranquility is a time travel story. I love time travel stories, but they’re damn near impossible to pull off (the series Dark did it well, so did the movie 12 Monkeys).
But Mandel manages to do it, successfully. She ties together all the back and forth and the here and there that ranges from cities on the moon to the forests of western Canada. It’s a small story; it’s not about the end of the world, or saving the world, or anything like that. It’s just about a group of people who become tied together across space and time through a series of events. Lives are lived and lost and remembered. Sea of Tranquility is a quick read, it has a compelling storyline, and the characters are drawn well.
But I’ve got to knock a star off of my review, and the reason why comes back to my question way at the beginning: what do we do with the Covid era? In Sea of Tranquility, Mandel harkens back to the particularly paranoid aspects of that time, and while it all made sense in the story, it ripped me right out of the book. Nevertheless, I enjoyed my time spent reading it. Time travel plus beautiful prose is the key to my heart.
Story ideas are all around. You just have to open your ears. You can find them in all manner of places, including a pub in Ireland in a town called Renvyle on the Connemara coast, a pub called Paddy Coynes, small and dark and warm, which would’ve been smoky in another era, over a pint of Guinness, naturally.
That’s where I first came up with the idea for my story, The Two Burials of Francisco Collins, recently published in Folklore Review.
I was in that pub with my cousin and his wife. We were spending the weekend in Renvyle celebrating their tenth anniversary (they were married there, not the pub but the town), and that night over that pint my cousin’s wife told me of an Irish documentary about a man in Ireland whose body was buried twice. The documentary is called Con Carey and the Twelve Apostles, and I never got around to listening to it (probably will today after I write this) but it gave me a hell of an idea for a story.
An idea that stuck. That’s what good ideas do. They stick. Often I’ll tell myself I’m going to use something I hear or see in a story, but oftentimes it doesn’t stick. This one did. The premise was simple enough, but the question I needed to confront was this: why would a person be buried twice?
For that I went to one of my neglected literary loves: magic realism. The king of that is Gabriel Garcia Marquez, and truth be told I’m woefully deficient in my knowledge of magic realism, but to me it’s a close cousin of speculative fiction. It deals with events that are fantastical and improbable or impossible in our world, but totally in keeping with the fictional world in which they occur.
That’s my baseline for this story. In it, an old man recounts the true story of the events surrounding the two burials of the title character, a patriarch of a ranching family, and what led his son, Xavier to do what he did.
So the documentary gave me the idea, the genre gave me the vehicle, and for the heart of it all (every story needs a heart) I went to my own.
It’s been several years since my own father was killed in a plane crash, so I drew up my own personal experiences and feelings around his life and death, our relationship, and I funneled them into this story. Sometimes things get complicated. Sometimes people are complicated. Sometimes relationships are complicated. And truth be told it’s not always easy to reveal some personal things. But that’s my job as a writer: to put it all on the page, to leave a piece of myself behind, for the reader to see, for the world to witness.
Here’s the latest entry in the structured, timed prompts series. This one’s called Person, Place, and Thing.
The set-up: take ten minutes to write intensively about a thing, a person, and a place (that’s ten minutes for each). And then, take another ten minutes to weave all three into a story. The purpose behind this exercise is to develop descriptive skills, to learn how to really get into the language behind whatever it is you’re writing about.
Here are my results:
Thing
No one knew where this lighter came from. There were no identifying markings on it. No made in China or USA or wherever such things are fabricated. No name. Not a single word to place it somewhere in the universe. It was larger than most lighters typically are. It felt meaty, solid in your palm, like something forged for a king or a queen. Its case was gold, not pure gold but steel colored in gold, or so one assumed. On one side the image of a dragon with ruby stones for eyes, its scales raised as if it longed to break free of its metal prisons. On the other side was a heron with a slender neck and long beak that jutted out to a sharpened point. Its feathers felt light to the touch, almost. If you stroked your finger along them you might think they were real, as if a bird could be shrunk and trapped in metal. Its lone eye visible in profile was a purple gem.
The lid sat tight on its hinges, with two fingers needed to pry it up, the light wheel so finely serrated it almost felt like silk, and it glided with just a flick of your finger and sent a spark that blinked and sputtered, and then the flame, uncontrollable and ravenous and shooting up inches into the sky, so bold and cruel that if you held it too close to your face it would singe your eyebrow clean away.
Person
Molly wasn’t a crier, that’s what she always insisted but she knew in her heart it wasn’t the truth. She’d only cry alone, in her bedroom, the place where she could lock the world out, the place where she could see herself as she believed herself to be: old at 45, too old. She wore clothes that never quite fit her right: too tight in the middle or too loose in the shoulders, never hugging her hips as she believed they should, but always colors, the bolder the better, a dare to herself; she never wanted to be looked at, but she insisted she needed to get over that silly insecurity, though she never did. Hair that never fell just right, light brown that frizzed with the slightest humidity, resistant to any product, hair in a constant state of rebellion, a rebellion that the teenage Molly never dared to partake in.
She considered herself not quite pretty but not quite plain. But there was one thing she appreciated about herself—appreciated more than loved—her eyes, wide and violet, an almost unreal color, blue edging close to purple, and with those eyes she compensated for the litany of shortcomings that looped through her mind. She used her eyes to capture people. Tame them. Her eyes made friends of enemies.
She’d tell herself out loud that she could heal all those old wounds that never seemed to stay closed, that she needed to, and she’d wring her hands together until her joints burned. But even with all of this she managed to hold on to that one bit of crucial hope that despite the past, the future would be hers, her lined and unlipsticked mouth set firm with a smile.
Place
Somewhere in the distance a fire burned. Smoke not unpleasant but somehow rude, filtered through air that carried the scent of the sea. Just a few people sat out here on this beach with sand so fine-grained that it almost felt like water, sand that seemed as if it would swallow you up but not with any evil intent but with love. The water lapped the shoreline with slow rolls that emanated a hum, rhythmic like a heartbeat that pulsed along the sand and reverberated through your body. A smattering of palm trees weak and lonely edged the sand behind you, and behind them, the lights of the houses, eyes that stared at the ocean that stretched out into a black infinity. Every so often a voice would carry through the night, a woman’s shrill laugh, a man’s rough bark, these noises alien and jarring, interrupting the calm, breaking something precious. Figures moved near that distant firelight, jostling and rolling and shifting, so distracting that you’d have to blot them out from your existence and focus solely on the warm breeze and the fell of the sand and the sheen of salt that hugged your skin and the forever ocean that whispers to you that there’s so much more to this world than what’s behind you.
And the story
Truth be told Molly hated that lighter. It belonged to her grandfather, and he willed it to her thinking that he’d done her a favor but she couldn’t help see it as a curse. It was bigger than a normal lighter, gold but not real gold, weighing heavy in her hand. She did love the dragon on one side. When she was a girl she’d named him Clyde and imagined that this red-eyed beauty would break free of its metal cage and swoop out and burn everything down, everything except for her, of course. Or that the heron on the other side, with its one eye a purple so close in color to her otherworldly eyes, would fly free and carry her off to that secret kingdom where she was originally from, the one she belonged in. She’d named the heron Matilda.
Still, she hated the lighter because it was the last remnant she had from her own family but she could never get rid of it. She stared out at the ocean, so black and calm and endless. She felt the pulse of the waves as they lapped the shore in time with her own heartbeat and she wished she could stay on this moonlit beach the rest of her life, her frizzy hair be damned. The world would just have to get used to her wildness, then.
She caught the scent of the bonfire, far away but not far enough. Who were they? Those happy people laughing and shouting, moving ghoullike in the glow of the fire. She considered going up to them, luring them in, making new friends but she declined. Not this night of all nights.
It was a necessary thing, she told herself, and she would cry about it later. Perhaps. But she’d only do it alone. Not in front of anyone, not ever. She cradled the lighter in her hand and on a whim she pried open the too-stiff top and flicked the light wheel and watched the flame soar and flicker and she shone it on her bare ring finger with its band of pale flesh and she felt no sadness, no regret. She hovered the flame close to her skin, just enough to feel the heat but she had no intention of hurting herself. She vowed she wouldn’t do that to herself, ever. She was single, once again, as she always should have been, perhaps. She closed the lighter’s lid and let the moonlight coat her and she stared out into the black sea that promised her some new forever.
You might recognize that song lyric. If not, it’s from Britney Spears’ song Hit Me Baby One More Time. Believe it or not, that lyric was the inspiration for my story, My Loneliness Is Killing Me, which was just published in the literary magazine Periwinkle Pelican (note, you have to download a PDF to read the story, but it’s free).
So how’d this one come about? Actually it originated from a very common phenomenon: when you get a song stuck in your head, no matter if you’re a fan or not, and it gets lodged in your brain and plays on repeat. FOREVER. Until it vanishes. Usually it’s a Bon Jovi song for me for some reason (not a fan, but I don’t hate them).
This story came from that. As luck would have it, on that particular day I didn’t have much to do. It was a Saturday. A beautiful day. A HOT day. So I went into Manhattan and bummed around with that lyric repeating in my head.
And an image. Of someone day drinking. Wasted and wasting their life away.
The weekend before I was with a bunch of people drinking and we watched the Sydney Sweeney rom-com Anyone But You. I’m not a rom-com fan but the idea of romance was still thick in my mind. As I walked around the city, this story came to life for me. I would run the lines through my head and then stop at random points and scribe lines into my phone. At one point I passed this white hipster guy who had this perfectly styled mustache, just short of cheesy, but great all the same, and I knew that his mustache had to be a part of my story (which it is).
By the end of my sweaty sojourn through the city, and after a few frozen margaritas (hence the Slurpee reference), I pretty much had the story all written. It’s short and fierce and I’m immensely proud of it. It’s not the type of story I usually write–nothing supernatural at all in it–but it’s loads of fun. And I have to give credit to a great writer, whose work I was reading and whose freewheeling style was most definitely an inspiration: Bud Smith. Check out his great collection Double Bird. His writing taught me you can be ridiculous as long as you’re getting to the guts of your character.
And my favorite part of this story? The opening line: Fuck off, Britney.
During my exploration of the reboot of Battlestar Galactica I’ve been pretty non-critical of how they handled the series (See Parts 1, 2, 3, and 4 here). Just so I don’t sound like a mindless fanboy, I’ll delve a little deeper into some of my criticisms of the series. After all, nothing in life is perfect. So here goes…
New Caprica By the end of season two, the colonists are cramped on their ships, tired of fleeing the cylons and giving up on searching for an Earth that doesn’t want to be found. Life isn’t going so good for them.
Meanwhile, the cylons are having issues of their own. Their plan of domination isn’t as simple to achieve as they imagined. And, we have a couple of prominent cylons who begin to doubt the plan. After Boomer shoots and nearly kills Adama, she’s killed and resurrected and is living in conquered Caprica City as a hero among the cylons. Caprica Six, the one who got the nuclear codes from Gaius Baltar, is also in Caprica City, and also a cylon celebrity. She’s been seeing an “angel” in the form of Gaius, and she’s having her doubts about the cylons’ plan of wiping out all of humanity. Together Boomer and Six convince the cylons to try and live together with the humans, rather than wipe them out.
Only “live together with” doesn’t quite mean what we think it should mean. When the humans find a barely habitable planet (named New Caprica), they vote to abandon the search for Earth and settle there. All’s going so-so and then the cylons arrive, not to slaughter the humans but to lord over them. For several episodes (it felt like forever), we’re treated to a planet-bound show about insurgencies and counter-insurgencies. Not exactly thrilling.
I remember reading that the writers were trying to write a commentary about the US invasion and occupation of Iraq. ATTENTION ALL WRITERS: be careful using your fiction to critique real-world events. Most times it lands with a thud.
The New Caprica storyline was planet-bound and plodding and, like the colonists, mired in the mud. We got time jumps, which were kind of cool, and we got to see the cylons battling each other, but that’s about it in terms of excitement. I for one was glad when they abandoned that planet and that story for good.
Apollo Loves Starbuck Another storyline we were forced to deal with during the New Caprica muddle was this stupid romance plot. Let’s leave aside the fact that in the original series, Apollo and Starbuck were a couple of dudes and definitely didn’t hook up. But I guess that with Starbuck’s sex change, the writers decided, hey why not have them bang?
Honestly that’s what it felt like: dumb and crude.
The Starbuck in the reboot wasn’t just some random pilot. She’d been engaged to Apollo’s brother, who died in an accident before the events of this series. She was almost his sister in law. They were almost family, they were friends, they were co-workers. And, again, I repeat myself, the writers decided, hey, why not have them bang?
The writers used this storyline not just to bore us, but also to foul up the marriages of Apollo and Dee, and of Starbuck and Sam. Those relationships could have been much more interesting. Instead they were tossed aside. Plus, while the actors who played Starbuck and Apollo were fine, there wasn’t much chemistry between them.
Rather than a full-blown affair, an undercurrent of unrequited lust would have worked much, much better.
Too much filler We were blessed to get 74 or so one-hour episodes of the series spread over four seasons (plus the miniseries and a couple of webisodes). But with all that time to fill, you’re inevitably going to get some filler episodes. And boy did we. The one that stands out most for me was called Black Market, where Apollo investigates the fleet’s black market. We get corruption. We get mafia. We even get a prostitute. Hell, we might as well have been watching a wholly different series.
There’s more, of course, and I won’t go through it all, but I think we’ve been spoiled by the Netflix and Amazon Prime model of television viewing. It used to be that a series got picked up season by season for a preset number of episodes, say 20, per season, and the writers were expected to deliver all those hours. Today the series is sold all planned out, if not the entire arc of the show over several seasons, then as one complete season. We’ve become used to tighter stories with less filler.
This leads to another of my critiques, which is…
Plot Holes All the best shows and books and movies have them. Battlestar Galactica isn’t immune. The most glaring to me, even though I loved the storyline, was the Final Five. When Saul Tigh, Adama’s oldest and closest friend, was revealed to be one of the Final Five, I kept trying to untangle the timeline. He fought in the first cylon war, but he also came to the metal cylons from the bombed-out version of Earth, helped them end the war and create the humanoid cylons.
Or something like that.
Can someone explain that timeline to me?
I get what the writers were tying to do. Having Tigh and his wife, Ellen, be cylons was dramatic and Tigh’s “betrayal” hit Adama, the most prominent character, the hardest. The others: Ellen, Sam, Callie, Tyrol, I could totally buy, and I liked them as cylons. But Tigh? It just felt like a sinkhole-sized plot hole, and it made the identities of all the Final Five feel shoehorned in, as if the writers decided sometime during season two to add them to the show. (Evidence for this, Tyrol and Callie’s son was revealed to be a product of her unfaithfulness. He had to be, otherwise, Athena as the human/cylon hybrid wouldn’t be special.)
Another plot misstep was the mythical nature of Kara Thrace, aka Starbuck. The writers threw in something vague about her father, and childhood visions from the Lords of Kobol, and then she’s the harbinger of doom and she vanishes and reappears and then she finds her own corpse on the bombed-out Earth and at the very end she vanishes while Apollo is talking to her as if she’s an angel or a ghost or something. If there was a plan here, lord knows I had no clue.
Speaking of plans, we were continually reminded that the cylons had a plan. What exactly was this plan? Kill every last human? Breed with them? Live in harmony with them? The Caprica Six in Gaius’s head (an angel or something) continually talked about God’s plan. Which was what? I swear I’m not dumb but this plan was always cloudy to me. It didn’t detract from my enjoyment of Battlestar Galactica, but when you’re reminded every episode that the cylons have a plan, it’s hard to get it out of your mind.
So that’s it for my review of the reboot of Battlestar Galactica. Despite the theme of this final post I truly loved this series, and if you haven’t watched it for some reason, start tomorrow. Or maybe now.
Read by Kevin 