#gina (cylon model number six)

[maaruin]

Fanfic Idea: Purgatory Galactica

Set after the last episode of the series (but probably before the epilogue in that episode):

The souls of Cavil, Boomer, Cain, Gina, Tory, Gaeta, Cally, and possibly Zarek, Dualla and D'anna died before they were ready to come to God but also with some seeds for redemption in them. So now they are in the Inbetween, where they have to face their sins. They interact with each other and with angels and maybe even with Jesus (yeah, I would combine BSG with Catholic theology for this - question is how explicit I would get).

I think most of these characters show some amount of contrition before their death, though some more imperfect than others:

Cavil tries to make peace with the humans.

Boomer freed Hera.

Cain decided against going through with the assassination of Adama.

Gina was aware that suicide is a sin, but didn't seem to see another way.

Gaeta surrendered by not jumping the Galactica away after his mutiny had failed to gain the results he hoped for.

Cally let herself be convinced by Tory not to kill herself and her son, only to then be murdered.

Tory at least somewhat tried to come clean. (She is the most doubtful of this group.

For three persons we don't have enough information:

For Zarek, it is not clear if he showed any contrition. We don't really see his final moments and his internal state is somewhat enigmatic anyways.

Dualla and D'anna seem more in control of their themselves when they commit their suicides than Gina. I'm a bit uncertain on how I'd view them. Are they already ready to meet God, or does their decision completely preclude them from this.

Now, I believe in universal salvation, so I would probably write them into this story. But it will be more difficult to build the redemption of those three than for the others.

There are also two characters who I'd say are in need of redemption at the end of the story but are still alive. They could be tied into the story in some ways:

Tyrol's vice is that he abandons the people he loves during times of hardship. He can be haunted by Boomer and Cally.

Athena has twice killed people out of impulse in a situation where this wasn't justified - Natalie and Boomer. She has very strong black-and-white, ingroup-vs-outgroup thinking. It is stated that Hera died young (we can infer that she had at least two children), so it is plausible that Athena outlived her daughter. Her death would likely cause her to spiral down... enough so that she can have visions of Hera going to Boomer after her death, and that will give, after a time of crisis, an opportunity for reconciliation. Leading to Athena becoming ready for taking responsibility for her grandchildren and growing her ingroup outwards.

(Maybe also Leoben? Leoben is weird, gets spooked by Kara's undeath and then more or less disappears from the story. I guess there needs to be something to bring him to a satisfying end as well.)

Unfortunately I don't really plan on writing fanfiction, so this sketch of the story may be all I ever produce of it.

[shadowsong26x]

A week or so ago, I posted a summary of a BSG fanmix I made a decade+ ago. I made two other mixes around the same time, and yeah let’s go ahead and give them the same treatment XD

This one is Heart of the Machine, and it is a (mostly) complete set of all canonical ships* involving at least one Cylon.

Full disclosure: this one, I’d found at least the tracklist awhile ago, so there weren’t any Surprises on here the way there were for Days Upon Our Knees. And...like...there are a few tracks on here that I could have done better, for various reasons, but there aren’t any that Confused me the way there were on the other mix? I more or less can figure out what I was thinking with each choice. And there are quite a few that are just. Perfect. (I particularly like tracks two, ten, twelve, and sixteen)

*So, I don’t have any of the notes involved in Constructing this mix--it was done for a fandom charity auction back in the day, i think help_japan after the earthquake?--but to the best of my recollection the rules were:

1. Canonical pairs only; meaning the couple had to have an Explicit romantic or sexual encounter On Screen.      1a. There is a pair that I apparently forgot--I haven’t gotten there in my rewatch, but I am told that this actually happened and wasn’t just made up for a TFLN blog so whoops.      1b. Presumably there was a Threshold for what counts as a ‘romantic or sexual encounter’; because there are a few I can think of that are borderline ‘was this just general flirting or could I have included it’ (and there’s another that...even if it met the threshold requirement (which I’m not sure it does) it’s. Like. I’ve built Corinne/Armistice Station Six up in my head recently but she’s not really. Uh. We don’t actually know anything about her so...yeah. but I like her and her name is Corinne in my head which is the main reason I brought it up lol)      1c. There are two others that technically count that I don’t remember being discussed; I’m not sure why Caprica/Head!Baltar was excluded (other than maybe redundancy?); the other is a Spoiler for late S4 and was doing something Very Cruel and Specific and I’m not sure I could have found a song for it anyway.      1d. There were three that were specifically excluded for squick reasons; namely Gina/Cain; Cavil/Boomer; and Cavil/Ellen.

2. The pair has to involve At Least One Cylon.      2a. Fairly self-explanatory, lol.      2b. Eleven of the twelve Cylon models are included here nobody loves Doral      2c. If we count by model, the Sixes (unsurprisingly) have the most tracks, with six (heh) total.      2d. If we count by individuals, the highest number (five tracks) is not actually a Cylon. Three guesses. The first two don’t count.

With those rules in mind, I ended up with the seventeen pairs listed below. The mix is structured in model order--the Significant Seven in number order, then the Final Five. I don’t 100% know why I ordered them the way I did, other than I think I started where I did for Alphabetical reasons but then didn’t stick with it for whatever reason. With one exception, for Cylon/Cylon pairings, I went with the lower model number. That exception made for an Excellent final track, though, so there it is. Within a model number, I went more or less chronologically in terms of when in canon the relationship starts.

...I think that covers it, lol. Lots of notes on this one XD Tracklist (complete with youtube links, as before) is behind the cut! (I should dig up the covers for these, I know I have them saved somewhere...)

1/one/tough!six - so immortal (international victim)      so this is probably the weakest on the list, mostly because...they’re a hard pair to find a song for, lol. i do think it fits, and i don’t think i could do better, but it is what it is. (also i named her vera for serenissima and the name has stuck so whenever i see her i’m like “VERA! :D :D :D” anyway i love her)

2/leoben/kara - on the street where you live (my fair lady)      tell me i’m wrong.

3/d’anna/baltar - dangerous game (jekyll and hyde)      i go back and forth on whether this one works better when it’s gender-flipped or not, but the vibe works. i do think i could do better than this for these two, but i don’t have anything specific in mind, if that makes sense?

4/d’anna/caprica - strange and beautiful (drew sarich)      yeaaaaah i cheated again on the ‘no repeating artists’ rule, like i did with the other mix. i think i did for all three mixes i made...anyway, that aside. this is another pair that’s hard to find something for, because we don’t get much that’s about them. it’s all about either the triad as a whole or the baltar/d’anna arm. that being said, i do like this song for d’anna/for what little we do get of them. (do i remember why i split the triad and picked two songs? nope! but i am glad i did; i might even--if i were doing this now--do three songs; one for each arm (other than the one accounted for Elsewhere) and then one for the triad as a whole)

5/simon/gianna - the next ten minutes (the last five years)      i love this song, and i love the...simon knows what’s coming And Yet. that whole sense of ‘for as long as this lasts’ has a Whole Different Meaning in this context and i think it’s beautiful. basically, i love them, and i think this song really fits for them.

6/caprica/baltar - measure of a man (clay aiken)      so i think this is actually one of the weaker examples on this mix. not because it doesn’t work--it does; it fits where they land at the end of the series--but because there are so many better songs for them. i don’t know why i settled on this one specifically, but i think i’d pick something else if i were doing this now.

7/gina/baltar - lithium (evanescence)      it’s hard for me to listen to this song without thinking of these two and their Extremely Fucked Up This Could Never Be A Happy Or Healthy Relationship dynamic now. not because it’s a Perfect Match necessarily, but...just...the Vibe.

8/lida/baltar - crash and burn (savage garden)      i don’t have much in the way of commentary on this one but i like it. it’s a pretty song, and it suits what’s going on in-story here.

9/boomer/chief - without you (rent)      not much to say about this one, either. but it’s a good fit for how they are in the back half of season 1, after he breaks things off.

10/athena/helo - as long as you love me (backstreet boys)      shut up it’s perfect okay

11/sweet!eight/gaeta - hallelujah (jeff buckley)      i think this works really well for the two of them (and for my best beloved most ironically named man in the universe felix gaeta in general, i think). i don’t know that there’s anything better i could pick, but i almost wish i had found something different? this song is such a heavy hitter, and i wish i’d saved it for...idk, maybe the season 4 mix i never got around to making, or a gaeta mix? ah well.

12/anders/kara - smoothie king (bowling for soup)      HOLY MOOD WHIPLASH BATMAN XD

13/anders/tory - when i’m down (chris cornell)      this is another pair that’s hard to pin down. but they’re definitely sleeping together during crossroads when sam is at his lowest and they’re being pushed towards activation and...i don’t know, it felt right? still does.

14/tory/baltar - spy (carly simon)      don’t really have all that much to say about this one either, lol. but it Works.

15/chief/cally - nothing without you (vienna teng)      this song is less Frantic and Scared and Angry than the moment it lines up with in canon, it’s more...sad. such a hard bit to watch, though, and i can’t say it doesn’t fit. ...also i know enough of the behind-the-scenes about why cally left the show that. well.

16/saul/ellen - grace is gone (dave matthews band)      SUFFER WITH ME. also, fun fact--the recording i have goes ‘take my heart/take my eyes’ (which. i’m pretty sure is taken Way more literally in this context than in the original lol). but EVERY SINGLE VERSION, whether lyrics or an actual recording, that i’ve been able to find online says ‘take my eyes/take my heart’??? and since i got my version on a burned cd and i forget who gave it to me i will Never Know the original source or why it’s different, lol. it’s definitely not because it’s a cover, i know that much for sure. his voice is Distinctive. (i do think heart-eyes flows better than eyes-heart but that’s a separate conversation)

17/saul/caprica - and so it goes (billy joel)      look, we all know this is a find-and-replace relationship. explicitly so on his end, implicit on hers (as upset as she is with the corporeal version at this point in the timeline, head!baltar is still hanging around sooooo). also it’s...just a nice song to end the mix on, i think.

[ethanalter]

‘Battlestar Galactica’ EP David Eick Revisits 5 Episodes That Remain Relevant

The cast of ‘Battlestar Galactica’ (Credit: Justin Stephens/Syfy/NBC/Getty Images)

Leading up to the 20th anniversary of the March 10, 1997 premiere of Buffy the Vampire Slayer, Yahoo TV is celebrating “Why Genre Shows Matter” and the history of how these shows have tackled universal themes (i.e. how much high school sucks) and broader social issues.

On the surface, Battlestar Galactica is the story of a ragtag fleet of interstellar travelers, searching the cosmos for a new home after their old world was destroyed by a robot army. At least, that’s the basic premise shared by the 1978 version of the series that aired on ABC for a single season, and its reboot, which aired on the Sci-Fi Channel (later rechristened Syfy) from 2003 to 2009, first as a miniseries and then an ongoing four-season show.

But the latter incarnation also doubles as a history of early 21st century America, as showrunners Ronald D. Moore and David Eick filtered real world events through the lens of genre television. “Both Ron and I were political news junkies, and really connected about that even before we started Battlestar,” Eick tells Yahoo TV. “What was going on in the world — like elections and troop movements in the Middle East — sucked a lot of oxygen out of any room that we were in together, so it naturally began to infect what the stories were about.”

‘Battlestar Galactica’ showrunners David Eick and Ronald D. Moore at a Syfy upfront in 2010 (Photo: Gilbert Carrasquillo/FilmMagic)

Certainly, watching Battlestar Galactica from the vantage point of 2017 — which you can do on Hulu, where the entire four-season run is available to stream — is akin to skimming news headlines from a turbulent decade that saw America confronting divisive events like 9/11, the Iraq War, and the administration of George W. Bush. And those real world parallels didn’t go unnoticed while the show was airing; in fact, mere days before the 2009 series finale, the cast and crew of Galactica — including stars Edward James Olmos and Mary McDonnell, who played Commander William Adama and President Laura Roslin respectively — were guests at the United Nations for a celebration of the show’s provocative political commentary.

Reflecting on the show eight years later, Eick insists that Galactica‘s social relevance was more of a “natural evolution” than a hard-and-fast plan. “To a certain degree, it became an outlet for us, because the goings on in the real world were getting heated and heightened, and suddenly we had this kind of weaponized narrative to express reactions to it,” he says. “Once we got a handle on it, with a little more self-awareness and deliberation, we started to purposely attempt to subvert expectations about who the characters represented in the real world.” There are times when Eick, who’s now an executive producer on Freeform’s Beyond, misses having that particular sci-fi universe through which to express his thoughts on our real one. “I sat in on a small salon with Henry Kissinger and listened to him talk about China,” he says. “It made me wish I had a Battlestar TV show to write an episode about everything he was saying!”

To illustrate how Galactica tackled social issues in a genre context, we spoke with Eick about five specific episodes that used the real world as a jumping off point to tell alternately thrilling and thoughtful sci-fi stories.

(Credit: NBC)

The Issue: Suicide Bombing The Episode: “Litmus” (Season 1, Episode 6)

The first inkling that the new Battlestar Galactica is going to venture to thematic places its predecessor hadn’t comes in the opening moments of “Litmus,” when a Number Five Cylon model strolls through Galactica in a suicide vest, setting it off when Adama confronts him. Viewers who watched that episode live when it premiered on Feb. 11, 2005, could have been forgiven for thinking the show had been interrupted by a “Breaking News” bulletin. At that point, the U.S. military was two years into the Iraq War, and reports of suicide bombings were a regular staple of news coverage. Within the world of the show, that incident instigated a security crackdown, as well as the organization of an independent tribunal that felt empowered to make examples of those it deemed responsible for the attack. In that way, the episode is actually less about the bombing, and more about the reaction — or, as some might say, overreaction — it inspired.

Interestingly, Galactica would revisit the subject of suicide bombing during the “New Caprica” arc of Season 3. Only this time, the bombers were our supposed heroes. In order to thwart the Cylon invasion of their new home, the human fleet resorted to the same guerilla tactics that had previously been used against them. The dramatic power of that reversal is made all the more potent because of an episode like “Litmus.”

Eick: I would call that [“Litmus” episode] “kicking the tire.” It was more of a situational echo chamber; a specific kind of violent act that was definitely going to ring the bells of anyone watching the 11 o’clock news, but didn’t really go beyond that. It was just that event, and then we moved on and told the story. There’s no question that it was allegorical in terms of what was happening in the world, but it was somewhat limited to the events of that 45-minute story.

Generally, I would be on the front lines to deal with the network’s first reaction [to an episode], and I do remember that incident being somewhat controversial. Not as controversial as other debates we had with the network, [but] their concern was that we not be viewed as cloying or attempting in any way to disrespect the reality of the incident. That was the only concern, and it was our concern, too.

The first season was such a fight to get greenlit that by the time we were finished with those 13 episodes, we felt like we had done 1,000. So when they came to us in the second season and said, “Do 20,” it was terribly daunting. After we did those 20, the last thing we wanted to do was think about Season 3, but we had to. The “eureka” moment about Season 3 was choosing to make the season of the Cylon’s point of view. Thematically, we would be seeing the world from a vantage point where we may find ourselves actually agreeing with the Cylons. That woke us back up and, in a way far more purposeful than in previous seasons, made us sink our teeth into the allegory. [Now] the humans are the insurgents, and we are definitely telling the story in this world that parallel events in our world. It’s not an accident and we’re not being cute either. We’re making a statement about something, which is forcing you to sympathize with the side that’s [using] improvised explosive devices.

Edward James Olmos and Michelle Forbes in ‘Battlestar Galactica’ (Credit: Carole Segal/NBC/NBCU Photo Bank via Getty Images)

The Issue: Military Dictatorship The Episode: “Pegasus” (Season 2, Episode 10)

After assuming that they’re the only survivors of the Cylon attack on the Twelve Colonies, the fleet is thrilled to discover the existence of another military vessel: the Battlestar Pegasus, commanded by Admiral Cain (Michelle Forbes). But that joy quickly turns sour when it becomes clear that her wartime experiences have left Cain far less open to the idea of sharing power in a tenuous democracy. Instead, she implements top-down rule, ignoring both Adama as well as President Roslin as she pursues her own agenda. Cain’s moral authority is called further into question when it’s discovered that she’s ordered the systematic torture of a Number Six model, Gina (Tricia Helfer). The treatment that this designated enemy combatant is subjected to immediately recalls the horrific abuses of Iraqi prisoners at Abu Ghraib, a story that broke in the spring of 2004, a year before “Pegasus” premiered.      

Eick: I recall the heart of that episode emerging from a place where we felt that we needed to challenge Adama in a way that he hadn’t been challenged yet. He couldn’t be challenged by Laura or by his son [Apollo] or by anybody else [on the Galactica]. He could really only have someone literally pull rank on him. A similar thing happened in an episode of the original series, so we were excited there was an opportunity to give that show a nod, number one. Number two, to put a woman in the role [of Cain] was exciting. And thirdly, [we wanted] to show by contrast the greatness of Adama. How else could you really appreciate the valor, courage, and decency of this man unless you can see how he might have been? I think those principals were more at work with “Pegasus” than a political or sociological statement.

Tricia Helfer as abused Cylon prisoner Gina in ‘Pegasus’ (Credit: NBC)

Once we got started looking at the details of the story and asking ourselves how to make it an effective piece of drama, then yes, we were inspired by events moving us emotionally in the real world. I’ll tell you, the reason [the Gina storyline] works is because Tricia Helfer rose to the occasion. She had never done anything like that, but we frequently did that on Battlestar; we threw a lot of characters into the deep end of the swimming pool just to see what would happen. What’s remarkable about Tricia is that she would do those scenes, and on a dime snap out of it, tell you a dirty joke, and go have lunch. [Director] Michael Rhymer chose angles and positioned her in such a way that you couldn’t help but feel like you were watching Abu Ghraib. That could have been shot and performed any number of ways, and it may not have had quite the same effect. In this particular case, I would attribute a great deal of that metaphorical power to the execution, to the choices that were made on the set and on the day.

Baltar (James Callis) takes the oath of office in ‘Lay Down Your Burdens’ (Credit: NBC)

The Issue: Electoral Fraud The Episode: “Lay Down Your Burdens, Part 2” (Season 2, Episode 20)

Stop us if this sounds familiar: Thanks to the timely intervention of a bombshell piece of information — in this case, the discovery of a habitable planet — the fleet’s contentious presidential election swings in favor of a political outsider rather than the more experienced female candidate. Since the second half of Galactica‘s Season 2 finale originally aired in March 2006, a full decade before the 2016 Presidential election and its last-minute FBI letters, we’ll have to chalk those similarities up to an uncannily accurate bit of foreshadowing.

But what happens next is inspired by the ghosts of elections past, rather than those yet to come. When it becomes clear that Gaius Baltar (James Callis) will defeat Roslin, the incumbent President attempts to preserve the status quo by okaying an operation to “lose” her rival’s winning 5,000 votes. It’s the ever-honorable Lt. Gaeta (Alessandro Juliani) who discovers the fraud while closely studying ballot totals, much like the nation did in the wake of the 2000 election when George W. Bush and Al Gore were separated by a mere 537 votes.

Eick: [The 2000 election] was not the outcome that most of us wanted and, furthermore, kind of a terrifying exhibition of authoritarianism from the judicial branch. It was such a scary and depressing thing that it was as though we needed to exorcise it through these episodes. At a certain point, we had the election take up much more of the narrative than it wound up being. It became a bit too navel gaze-y and talky. It felt more about us expressing our rage at the situation than telling a story with some momentum. We had to go back and really think through a story to layer and thread into that situation so that it wouldn’t feel like an echo chamber of the actual election.

I can’t remember at what point that specific idea [of discovering New Caprica] emerged, and that that circumstance would dovetail into Baltar’s inevitable election. It was great, because it’s real. We know that those things happen to the least deserving amongst us frequently; anybody who has every checked the newspaper to see what a competitor’s accomplished that they haven’t yet knows what I’m talking about. When you see somebody get something that seems ill-deserved, it grabs you. I think that story point rings true in a way that recent events prove.

The only thing I posted on my Facebook page after the [2016] election was, “Movies and music are about to get crazy good again.” I know that was the sentiment of a lot of people; it’s certainly true that when you go through long periods of relative peace and quiet you can kind of forget the importance of talking about what’s going on. Then when something unexpected or loud or disruptive happens, suddenly science fiction has a whole other agenda and purpose. A science fiction piece made today is going to have the potential to be much more profound than a piece of science fiction from six months ago. That’s just the reality.

Tyrol (Aaron Douglas) confronts the harsh conditions faced by the rest of the fleet in ‘Dirty Hands’ (Credit: NBC)

The Issue: Class Conflict The Episode: “Dirty Hands” (Season 3, Episode 16)

Although Galactica is just one ship in a larger fleet, the demands of serialized storytelling mean that the majority of the show’s action takes place in its corridors. What’s happening aboard the other vessels is largely left up to the imagination. But Eick and Moore did make a point of venturing off Galactica whenever possible to give a sense of what daily life was like elsewhere in the fleet. The plot of “Dirty Hands,” for example, involves the unpleasant circumstances aboard the refinery ship the Hitei Kan, where laborers of all ages (including children) endure long hours and perilous surroundings to produce a constant supply of fuel for the other spacecrafts.

It’s a harsh, thankless existence compared to the relative comforts enjoyed by those in the military and civilian government. So it’s no wonder that the citizens aboard the Hitei Kan harbor the kinds of resentments that are often cited in discussions of the cultural divides between Red States and Blue States or the working classes and the upper classes. That also makes them susceptible to the persuasive arguments of ex-President Baltar, who has refashioned himself as the voice of the oppressed.

Eick: Part of the original sale of the show was that we would be investigating and experiencing life on the other ships for no other reason than to give the audience and the network some visual variety. The biggest barrier standing between us and a pick-up [at the time] was, “How do you force network executives who don’t want to look at a spaceship to be inside of a spaceship all the time?” And our answer was, “We’ll go to different ships!” The truth is, we could never afford to do it. Beyond that, we never had a reason to do it other than episodic circumstances. Maybe you could do an episode about the ship that carries all the food, but otherwise, there wasn’t a compelling reason to go to the other ships.

What happened in Season 3, though, was that we were able to marshal enough resources to say, “Okay, now we actually have a reason to experience what life is like on these other ships.” Class had become important in the season’s discussion of who is the decision maker — and who died and put them in the decision making chair. In that regard, the audience needed to see other people, other ships, and other points of view in order to sort of reconcile that drama. The only significance of it being a mining ship had to do with how do you make the situation make sense with the larger mission of the fleet. To the extent that it’s a class theme, it’s a mining ship because miners aren’t admirals, captains, and lieutenants, and they have different challenges and different things to worry about.

Roslin (Mary McDonnell) talks spirituality with another dying woman in ‘Faith’ (Credit: NBC)

The Issue: Religion The Episode: “Faith” (Season 4, Episode 8)

By the fourth and final season, some of Galactica‘s more pointed political commentary started to fall away as the writers had to focus on the story’s endgame. Central to the planned resolution was the issue of religious belief, something that had been part of the show since the beginning and took on an increased prominence in the last year to the annoyance and outright hostility of a sizeable segment of fans. An episode like “Faith,” where a dying Roslin has an extended conversation about God with another patient at death’s door, is an example of the earnest, if sometimes awkward, way that Galactica sought to wrestle with religion as the show approached the end of its lifespan.

Eick: It started with a comment made by the head of the studio when he read the script for the Galactica miniseries. There was a line from Six to Baltar in which she said, “God is love.” It was kind of a throwaway line, just sort of to be provocative. This executive gave us a note that we took and ran as fast as we could with in the next re-write. His basic thought was, “What if the Cylons were believers in a single god, unlike their creators who were polytheists? And what if the Cylons believed, as we understand from an evolutionary perspective, that the only way they can truly move on to their next evolutionary stage is to rid themselves of their parents? In that sense, they’re following God’s plan, and they’re enshrouded in a holy mission.” That suddenly allowed us a great deal of narrative and character flexibility, because once you introduce a theological agenda, all kinds of crazy behavior can be justified and rationalized. So it was a perfect kind of note from an executive who was willing to push us in an unorthodox direction.

This was baked into the cake from a very early point, so when you get to Season 4, and start trying to play out the various theological storylines that you’ve introduced, you suddenly go from the metaphorical to the literal and specific. Once you do that, you run into problems that have to do with certain peoples’ preconceptions about religion and how it’s used and what it means, and other people who are viewing this as a very secular tale. You have two different perspectives on it, so by the time you resolve it, there’s no version that leaves everyone happy because you touched a third rail called religion.

I think if Ron and I were known as outspoken conservatives, the appropriate ending to the show may have been the opposite [of what we did]. It may have been a realization that they had been misled by the folly of their arcane religious beliefs. When you have two godless liberal Hollywood TV guys telling a story that involves religion, the last thing you expect is that the resolution is going to involve any kind of embrace of that idea. I was hopeful that we would surprise them. It wasn’t the network’s favorite choice, because when you’re dealing with religion, you’re dealing with controversy whether you call it Christianity or you call it perhaps something else.

Battlestar Galactica is currently streaming on Hulu.

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