Finding Battlestar Galactica

When Battlestar Galactica reappeared in 2003-a revamp of the original series in which a "rag-tag fugitive fleet" of the last remnants of mankind flees pursuing aliens while simultaneously searching for Earth-it redefined what television science fiction should be about. Since then it has been critically claimed as one of the best shows on television while growing TV's strongest cult fandom of 2 million viewers. Now, as the series comes to its conclusion, fans aremore eager than ever for more BSG. Acclaimed television experts Lynnette Porter, David Lavery and Hillary Robson, authors of the top-selling unauthorized Lost guides, provide fans with an in-depth look at the history, politics, themes and philosophies of the hit show. Topics include: --Battlestar Then and Now --Positions of Power --The Transformation of Baltar --Aliens Among Us: Political Realities and the Culture of Fear --Battlestarand the Bush Era --Thirty Years of Battlestar Fandom

Why did it seem strange when Battlestar Galactica ended its narrative on a religious note instead of providing a scientific explanation? And what does this have to do with gender? This book explores the connection between the triumph of religion and the dominance of femininity in Battlestar Galactica and its prequel series Caprica. Both series breached science fiction’s convention of representing the “irrationality” of femininity and religion. Analyzing the connections (and disconnections) between women and men, and theology and technology, the author argues that the “Battlestarverse” depicts women as zones of contact between the seemingly contradictory spheres of science and religion by simultaneously employing and breaking gender stereotypes.

The reimagined television series Battlestar Galactica (2005 to 2009 on the Sci Fi Channel), features religion and theology among its central concerns—but does not simply use its myriad faiths as plot devices or background material. Battlestar Galactica is, in and of itself, a theological text. Over the course of 87 episodes and two television movies, the series’ narrative arc explores the meanings of salvation, prophecy, exile, apocalypse, resurrection, and messianism, and clearly demonstrates the working of a divine will in a material world. The book offers a systematic theology for each of Battlestar Galactica’s invented religions and surveys echoes of American Christianity in the groundbreaking series.

Looking at a television franchise like Battlestar Galactica (BSG) is no longer news within the discipline of International Relations. A growing number of scholars in and out of IR are studying the importance of cultural artifacts – popular or otherwise – for the phenomena that make up the core of our discipline. The genre of science fiction offers the analyst an opportunity that cannot be matched by more mimetic genres, namely the chance to look at how sets of widely-circulating expectations of the social serve to constrain authors as they work to introduce as yet unexplored problematiques, the fantasy aspect in much of science fiction storytelling is premised simply on a material difference. As such, while the physical setting of a science fiction tale might appear novel, its imaginative life world will likely retain many elements of the world we already live in and which we can readily recognize as similar to our own. For Critical IR scholarship then, BSG presents an opportunity to examine how these purported homologies or elements of redundancy between the fantastic and the real have been drawn and perhaps to consider, too, whether the show can teach us things about world politics, its various logics and structures, which we might not otherwise be sensitive to. Tackling some of the key contemporary issues in IR, the writers of BSG have taken on a range of important political themes and issues, including the legitimacy of military government, the tactical utility of genocide, and even the philosophical implications of artificial intelligence technologies for the very category of what it means to be 'human'. The contributors in this book explore in depth the argument that one of the most important aspects of popular culture is to naturalize or normalise a certain social order by further entrenching the expectations of social behaviour upon which our mentalities of rule are founded. This work will be of interest to student and scholars of international relations, popular culture and security studies.

Although the last three decades have offered a growing body of scholarship on images of fantastic women in popular culture, these studies either tend to focus on one particular variety of fantastic female (the action or sci-fi heroine), or on her role in a specific genre (villain, hero, temptress). This edited collection strives to define the "Woman Fantastic" more fully. The Woman Fantastic may appear in speculative or realist settings, but her presence is always recognizable. Through futuristic contexts, fantasy worlds, alternate histories, or the display of superpowers, these insuperable women challenge the laws of physics, chemistry, and/or biology. In chapters devoted to certain television programs, adult and young adult literature, and comics, contributors discuss feminist negotiation of today's economic and social realities. Senior scholars and rising academic stars offer compelling analyses of fantastic women from Wonder Woman and She-Hulk to Talia Al Ghul and Martha Washington; from Carrie Vaughn's Kitty Norville series to Cinda Williams Chima's The Seven Realms series; and from Battlestar Galactica's female Starbuck to Game of Thrones's Sansa and even Elaine Barrish Hammond of USA's Political Animals. This volume furnishes an important contribution to ongoing discussions of gender and feminism in popular culture.

This volume was first published by Inter-Disciplinary Press in 2012. The chapters assembled in this e-Book are a taste of an ongoing discussion on evil and magic which promises to last as long as ‘the only thing necessary for the triumph of evil is for good men to do nothing’ and while the realisation that ‘magic is believing in yourself: if you can do that, you can make anything happen’ does not become a global motto. The first group of chapters, collected in Part I, addresses the ethics and effects of translating magic into literary representations, as well as real-life current practices, of creativity and personal change on the one hand, and of the harmful, malevolent infliction of pain on a third party on another, thus challenging the boundaries of the cultural binary constructions of magic as either good or evil. In Part II, the second group of chapters examines several philosophical, theological, historical, literary, political and pop culture attempts towards understanding different meanings, and kinds, of evil, thus broadening our perception of what evil is and how it has been theorized from Plato to contemporary international politics. This is our time, our call, our responsibility, to undo evil by carrying the magical torch of good to the next station – so that good, as if by magic, can also become contagious among the human kind.

In attempting to retain her "human" side, does Sharon really have free will? Is killing a Cylon murder or garbage disposal? These are some of the questions addressed in this thoughtful collection of writings on the philosophical underpinnings of Battlestar, Galactica. The book includes a brief analysis of the original 1970s and 80s series but concentrates primarily on the episodes, characters, and issues from the entirely reimagined current series (including its fourth and final season, scheduled for airing in early 2008) as well as the two-hour TV movie and direct-to-DVD release Razor.