timeimmortal

Well, I have to say that this was one of the best episodes of the current season of Battlestar Galactica to date, and certainly one of the better ones in the whole series. Not only did it take a very reasonable look at the twin concepts of death and dying, but it did so in a way that certainly hammers home just how much of a departure the show’s themes are from what could be called the “traditional” treatment of Religion in science fiction. And unlike Babylon 5, in BSG it seems to be the case, more and more, that God is real and, what is more, that He is actively involved in the Universe.

Barb Nicolosi has an excellent analysis of this and a few other themes, and I will probably borrow some of the structure of her post in my own reflections.

> Theology

I think it’s clear that the producers and writers of Battlestar are attempting to communicate the reality of God within the show; He exists and, what is more, is very personal and present. The theme of “I am with you” resonates throughout the show, with the line being uttered by several different characters (always in relation to death, and in particular in relation to consolation in times of suffering and fear of what lies “beyond”). The experience of God’s “I am with you” is described (by Nana Visitor, who turns in one heck of a guest performance) as being accompanied by a sense of being warm and safe. That same sense resonates at the end of the episode when Samuel Anders consoles the dying Number Eight, and then with the same words.

This also speaks to the agentic actions of God in the series; not only does he address people directly, as in the case of Emily Kowalski, but He speaks through other people (as in the case of Anders). Of course, God’s speaking through other characters had been alluded to in previous episodes, in reference to the Cylon Hybrids, and it serves to note that once again a basestar’s Hybrid serves in a prophetic role. More on that later.

Also, I can’t help but observe that this is another instance in the series in which impending death and the passage between death and life has been abstracted with imagery involving water. In Faith, the imagery involves a ship crossing a river, where lost loved ones await the arrival of the recently deceased with open arms in an air of joy and celebration. (Grace noted that she’d heard a similar analogy of the passage between life and death from a priest at her church in Vermilion.) In Resurrection Ship, Part II, when Lee Adama is slowly dying of oxygen deprivation in the cold of space, the imagery invovles him at first floating, and then slowly sinking, into a dark abyss of water.

And I think that these scenes not only communicate the reality of God and His actions in the Universe in BSG, but also the realities of heaven and hell. One observes that William Adama is an atheist, and certainly Lee Adama has shown no religious sentiments in any episode of the series so far (and in fact, it could be argued that the way in which he discusses sacramentality with Starbuck in this episode demonstrates an “outside looking in” perspective).

The connection is tenuous, I realize, but the sense that one comes away with is that there is a connection between these different bits of visual imagery that relates to the people having them. For the secular Lee, the passage across the water is despairing and doomed. For the religious Emily, it is a time of joy and hopefulness.

At any rate, the existence of both a personal and present God and an afterlife is quite clearly communicated. There is a supernatural dimension to the Universe in BSG, and what is perhaps most impressive about it is that it is being demonstrated, more and more, in such a way that shows that the existence of the supernatural is an idea which is compatible with empirical realities, albeit in ways that at times require understanding things in ways that could be termed “outside the box.”

> Prophecy and Kara Thrace’s destiny

“The destiny” is back with a vengeance in this episode, especially with the Hybrid’s prophecy as she is being disconnected: “Thus will it come to pass. A dying leader will know the truth of the Opera House. The missing Three will give you the Five who come from the home of the Thirteenth. You are the harbinger of death, Kara Thrace. You will lead them all to their end. End of Line.”

The prophecy would seem to start out by referring to Laura Roslin, who has made forays into the Opera House before. In light of Roslin’s experiences with Emily Kowalski in this episode, the “truth” of the Opera House could possibly refer to a future repudiation of the Colonial religion by Roslin (which would mean the claims of Gaius Baltar’s “Head Six” back on Kobol, in which she claimed that the Colonial Scriptures are lies, fabricated to cover up the reality of life on Kobol, which included ritual human sacrifice).

Alternatively, it could mean that Roslin will be the one to whom the identity of the fifth Cylon is first revealed.
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James McGrath writes in to provide some alternative commentary on the issue of Battlestar Galactica’s Theology, which I discussed in this article.

I thought I’d draw attention to some of the posts on my blog about BSG and theology (I’m a religion professor who is also a fan), such as :

http://exploringourmatrix.blogspot.com/2008/05/gospel- according-to-gaius.html

http://exploringourmatrix.blogspot.com/2008/04/bartlestar- theodica.html

I’d welcome your comments!

While I could say more for Professor McGrath’s opinions regarding Bart Ehrman (my own views on the “problem” of evil and theodicy are well known; I don’t see the existence of evil and/or suffering in the world as any kind of challenge to the Christian conception of God, and regard those who use said issue(s) as an objection to Religion as being, shall we say, rather deluded themselves), some of his views on BSG and the theology of Gaius Baltar’s new religious movement (itself a derivation of the Cylon religion) are rather interesting.

For example, McGrath remarks thusly concerning the first episode of the latest, and final, season of BSG:

In the BSG Season 4 premiere, entitled “He That Believeth In Me“, a more relevant verse would seem to be “Whosoever seeks to save his life will lose it…” Gaius Baltar moves from an unwilling Messiah disgusted by the gaudy Hindu-style flashing votive lights surrounding his picture, to one who seems genuinely willing to give up his life to save another. The “one true God” has yet to be explored fully as a concept on the show, but in the mean time, interesting questions continue to be asked about how we live our lives and what matters most to us.

I observed to my wife, while we were watching the latest episode of the series to date, that Baltar seems unable to avoid some manner of beating in each and every episode he has been in this season. I’d have to go over all the episodes again (we have them on tape), but I can’t recall yet a time when Baltar has not been pistol-whipped, choked, or punched during the course of an episode since the fleet departed the Ionian Nebula

And in each and every case, Baltar’s personal sufferings have been intimately relevant to the narrative of the show. Indeed, through examples as varied as the knife attack on Baltar in the head to Galen Tyrol attempting to choke him, the series has demonstrated in almost every episode this season that the God whom Baltar is preaching effects His plan for humanity in part through human suffering.
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