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March 31, 2009 10:44 AM

Though his MySpace page lists his home as "nowhere," when last we wrote about Richard Swift he was, as writer Jeremy Ohmes put it, a mustachioed Cottage Grover. Now, he's the latest artist to premiere his new album on MySpace — The Atlantic Ocean (which guest-stars the likes of Ryan Adams) is streaming on his page a week ahead of its April 7 release. (You can also download "Lady Luck" at his record label's site.)

Swift's tour dates currently only have him stopping in Portland, but perhaps he'll drop in at the ol' Axe & Fiddle before long.

March 26, 2009 05:13 PM

Update, August 2009: Sadly, Bar 201 is now for sale.

The corner of Charnelton and West Broadway just got an upgrade. Bar 201, which fills the space most recently left empty by the closing of the Moxie, is quite a charmer: a clean, urban space with quirky touches like feathery lamps and a wall tiled with green and gray squares that look, somewhat playfully, like they belong on a climbing wall. As bar manager Richard Geil said, it's reminiscent of a Pearl District spot.

Keep reading for more details and pictures.

We arrived early, while it was still light out, but this is a space that really comes together once it gets dark. Small hanging lamps spotlight the bar, and the feathery light fixtures that hang throughout (with one angular oddball in a corner) soften the feel of the dark, simple flooring and furniture. Behind the bar, glass shelves hold the liquor; the ubiquitous mirrors behind the bottles make the room a little bigger, though it’s plenty comfortable to begin with — especially once you wander into the east side of the bar, where a low countertop against the wall of windows offers peoplewatching on Charnelton Street.

Two glass tubs sit midway through the liquor lineup: one holds the pineapple-habanero infusion that was popular at Bel Ami — where Geil and bartender Aidan Keuter previously worked — the other a strawberry infusion that Geil says they haven’t decided what to do yet. Geil’s also got a bottle of grapefruit bitters brewing, and the dark and stormy is made with house-made ginger beer. More house-made ingredients slip into other drinks, including the cranberry gastrique in the flor de baya.

My companion chose the #201, made with gin, Clear Creek pear brandy and lime, while I went for the jade gimlet, with vanilla, vodka and lemon (or was it lime?). We tried the house-made tonic (in the glass above), which currently has a fruity kick thanks to the addition of kumquats, and eventually opted for a small array of favorite cocktails, including a lovely French 75, a gorgeous Manhattan and a bright negroni. We didn’t get food, but my nose twitched when the table next to us ordered from the small menu of burgers, sandwiches and salads — it smelled delicious. The bar’s happy hour, which is more of a happy evening, is worth noting; it runs from 4 pm to 7 pm daily.

Our evening started fairly quietly — and nicely so, with one bartender’s iPod playing Yo La Tengo in the background — but picked up as it grew dark out. A few other Eugene bartenders came through, along with Oakshire's Jeff Althouse and BoozeWeek's Elliot Martinez, notepad in hand. Two tables, the bartenders noted, were filled with people who’d just passed by and opted to come in. And with good reason: Bar 201 is doing pretty much everything right (though a few more bottled beer options wouldn't hurt). It's a superbly put together, appealing space; the drinks taste great; the bartenders are friendly, talented and excited about what they’re doing; and the bar's character is something a little different for Eugene. The emphasis is on cocktails, but it’s not a restaurant bar; it’s located downtown, at the edge of the Barmuda Triangle, but it’s mellow and intimate and a little bit spare (the closest comparions that come to mind in terms of the space are Uva Wine Bar, with its slightly cozy-industrial feel, and tiny but superb bar at Marché). Bar 201 doesn’t so much replace another stop in your libation rotation as give you a welcome new option — one I think I'll be taking fairly regularly.

... and while I'm speaking of new options, Albee’s N.Y. Gyros, on 11th between Lincoln and Lawrence, is a welcome addition to the list of near-to-downtown lunch options. I could do without the non-recyclable styrofoam take-out containers, but these suckers are so big they don’t fit tidily into a piece of foil. Five-dollar gyros in no time at all? Yes, please. (Dear vegetarians: falafel and spanakopita are also on the menu. I plan to try them all, and soon.)

March 26, 2009 06:01 PM

The Indigo District is (almost) dead; long live the District!

After one last dance party on April 11 (10:30 pm; black clothing preferred), the Indigo as we know it will close its doors for good — for a few weeks. On April 24, the remodeled District will arrive, in all its daytime-coffeeshop-having, weekend-dance-club-retaining glory. As the press release explains,

The District will cater to college students, locals enjoying Downtown Eugene and the office crowd. It will be a place to study or work, grab a cup of coffee, enjoy a meal, see a great live show, or have a few drinks. Customers will also be able to enjoy The District’s free WiFi along with the relaxed atmosphere.

The District's coffeehouse side will be a nonprofit, with proceeds from coffee sales going to help dog owners pay for lifesaving surgery for their pups. And hey, they'll have both vegan and traditional Philly cheesesteaks. I think I see a lunch date in my future.

March 25, 2009 11:15 AM

Interim Police Auditor Dawn Reynolds’ attorney issued a statement denying an allegation that Reynolds improperly disclosed confidential information.

Reynolds’ attorney Margaret Wilson said the interim auditor’s “conduct was professional and entirely consistent with her public duties.”

Wilson compared the complaint to a previous unfounded complaint against Beamud. “These controversies are spawned by those opposed to civilian oversight and those who do not understand that transparency cannot be achieved if absolute and unreasoned secrecy is required.”

“The essence of this complaint goes to the heart of the public policy behind transparency and government,” Wilson wrote. “Now the community must ask itself, does the oversight system represent and serve the entire community or is it a branch of the Eugene Police Department?”

Munir Katul, a physician who resigned three months ago after serving on the Civilian Review Board with Reynolds, also defended the interim police auditor. Katul said in an interview that the council should not have put the auditor on administrative leave before hearing from Reynolds, who is recovering this week from eye surgery. “It’s not like a cop shooting and killing somebody,” Katul said of the council action. “I think this is ridiculous. This is implying far greater guilt for the auditor.”

Here’s the full statement from interim Police Auditor Dawn Reynolds’ attorney:

Reynolds Press Release 032409

Publish at Scribd or explore others: Business elizabeth southworth margaret wilson

March 25, 2009 04:10 PM

After decades of complaints about spiraling legal costs and potential conflicts of interest, Eugene City Manager Jon Ruiz has decided to hire an in-house attorney rather than having all the city’s legal work done by a private law firm.

Ruiz announced in a press release today that Eugene will have at least one in house lawyer starting July 1 and could expand to three attorneys working as city employees. City managers have given the private law firm of Harrang Long Gary Rudnick, P.C. exclusive contracts for almost all the city’s legal work for the past three decades.

“Ruiz made the determination that having in-house legal staff would be beneficial to the City primarily for operational reasons,” the press release states without explanation. “The change is also expected to help accomplish budget efficiencies,” says the press release, which does not mention conflicts of interest.

The city spends more than $3 million a year on legal bills, according to its budget document. Harrang Long has worked for the city while also working for tobacco companies and local big businesses. City Councilors have expressed concerns that the city attorney serves the unelected city manager’s interests rather than the elected city council or city as a whole.

Ruiz announced that he has selected Glenn Klein, who currently does the same job for Harrang Long, as the new city employee city attorney for his “essential institutional knowledge.”

At the same time, Ruiz announced that he had extended Harrang Long’s exclusive contract for all the city legal work not done in house for up to four more years.

March 25, 2009 04:28 PM

Let's take a look at the image above, shall we?

What you see there is one burned CD, a single word written on it in fine-point Sharpie.

This is what came in a plain brown envelope earlier this week.

Just this.

No bio. No track list. Not even a flimsy little slip of a cover for the poor naked CD.

Here's the thing: We get a lot of mail. While it'd be nice to be able to thoroughly research every piece of mail that arrives, there is this thing called time — limited amounts of it. Things that take extra time are the first things to get shoved aside until a later that often takes its own sweet time getting here.

I'm not saying you need to do a lot of work to get our attention, mind you. I'm saying that a tiny bit of information goes a long way. For example, had this plain silver CD come in a paper sleeve with a sticker with the name of the band and the album, the band's website and any relevant tour dates, it would have been a whole different item. Not an example of what not to do.

While I'm talking about the difference between useful and frustrating items, let me offer up a quick reminder about calendar and music deadlines:

Calendar submissions are due by noon on the Thursday prior to the issue in which your listing should appear. Calendar submissions should be emailed to cal at eugeneweekly dot com; the receipt of these messages cannot be confirmed due to the sheer volume of email in the calendar editor's box. If you send interesting, high-resolution photos along with your listings, they are more likely to get in the paper. Tiny, poorly Photoshopped images of you on a mountain or four dudes leaning against a wall are regarded with heavy sighs, and your SonicBids link isn't helpful if the photos there are the size of postage stamps.

The deadline for consideration for a music story is the Thursday two weeks prior to the issue in which a story would appear. This does not mean two weeks before the show, but two weeks before the relevant issue. Please be sure to include (in your email to music at eugeneweekly dot com) all the pertinent information about your show: who, where, when, price, etc. Local CD releases are a priority, but nothing is guaranteed; the space we have available for music previews is limited, unfortunately. I wish it were otherwise. (Another aspect of the limited space is that we don't run CD reviews that are not associated with an upcoming show.)

When you're sending stuff to the calendar or music editor — or anyone at EW, really — please be sure to include the basic information in the body of the email; a too-brief message with an attachment is often greeted with mild expletives.

Any questions? I would very much like to answer them.

(The amusing postscript to this story is that, against my better judgement — who's to say it wasn't going to contain some weird virus that, oh, eats all my email? — I popped the mysterious Europeans CD into the computer. It wasn't too bad.)

March 24, 2009 12:39 PM

The allegations that resulted in the Eugene City Council putting interim Police Auditor Dawn Reynolds on leave are “disturbing and disruptive” and lack merit, Eugene’s previous auditor Cris Beamud said in a written statement.

“I have had an opportunity to speak with Dawn Reynolds, and I do not believe that the allegations against her are meritorious,” wrote Beamud, who left Eugene last summer to head the police oversight system in Atlanta.

Interim deputy auditor Elizabeth Southworth accused Reynolds of disclosing confidential information and the city council met in a session closed to the public on Saturday and put Reynolds on administrative leave while investigating the complaint.

“It doesn’t sit well that the auditor would be exposed to such scrutiny for so little,” said Beamud in an interview.

“The information that she [Reynolds] disclosed to the lawyer representing a complainant was not privileged or private or even investigatory in nature,” Beamud wrote in her statement. “You cannot take otherwise public information and transform it into privileged information by putting it in a file. That is exactly what some members of the police department would like to do.”

Beamud continued, “No human being can withstand the twisted scrutiny that the police would like to impose on the auditor. This is a very difficult position, and I do not believe that any person can do this type of work without the support of the city council. The city council needs to examine the nature of the allegation, including the Auditor’s perspective before doing anything that undermines her authority and ability to do her work.”

Munir Katul a physician who resigned three months ago after serving on the Civilian Review Board said he agreed with Beamud. He said the council should not have put the auditor on administrative leave before hearing from Reynolds, who he said is recovering from surgery. “It’s not like a cop shooting and killing somebody,” Katul said of the leave. “I think this is ridiculous. This is implying far greater guilt for the auditor.”

March 24, 2009 05:18 PM

Sometimes, you just need a dose of cute animals and insanely catchy (if intensely weird) little songs:

With thanks to Cute Overload for that late-afternoon picker-upper.

(The Battlestar Galactica finale post? Still coming. For reals.)

March 20, 2009 02:24 PM

The first time through, I hated "Deadlock" — especially coming on the heels of the dense, if awkward, "No Exit," which offered a ton of information in an awkward plot device.

Now, I don't hate "Deadlock" — except for one particular moment — but I think it's the season's weak link.

Here, let me tell you why...

Things that don't make sense: Caprica walking around Dogsville alone. Starbuck out flying patrols after sitting at Sam's bedside for who knows how long, seeming not the least bit shaken or distracted. And, most of all, the thing about Caprica's pregnancy proving Saul loves her. But I'll get to that.

There's actually something elegant about Starbuck greeting the raptor from Cavill's baseship and being the one to bring in Ellen and Boomer. The scene when the raptor lands is the highlight of the episode, from the Chief smoldering as he stares intently at the Eight, saying "Nice to see you" to her before telling Roslin and Adama "This is Boomer."

And Hot Dog, asking, "How many dead chicks are out there?" — voicing something a skeptical viewer might ask. Though I immediately want to ask why it's always dead chicks: As plenty of us have noticed before, the show does have a habit of killing off far more women than men, in terms of recognizable characters.

It's telling, though I'm not sure what it tells, that Ellen's demeanor with Adama is instantly different that it's been with Cavill. It's sort of sly, a little bossy, not that patient parent with an unruly child she was on the baseship. And she shifts from this weird, sultry Ellen behavior to the straightforwardness with which she asks Adama and Roslin to imagine that instead of 50,000 survivors, there are only five. It's another level to the everything happening before, and everything happening again — demonstrating that it's not always the same losers, the same deaths, the exact same battle.

Caprica starts to have trouble with the baby the instant Saul and Ellen start having sex. How could you really program a Cylon to depend on love to carry a child? All Ellen hears, when the Six and Eight and Tory start talking about reasons to go back to the baseship and jump away, is the news that Caprica is pregnant, and that news is what this entire episode pivots on — somewhat annoyingly.

(For one last time: I'm still having impossible problems with the idea that the Chief - who's otherwise putting so much effort into saving Galactica - would instantly vote to go. I just don't buy it. When has he ever demonstrated that he'd rather be with Cylons than with humanity? Is it related to Boomer's appearance?)

The Gaius plot, with Paula taking over in his absence, is problematic, but the demonstration that humanity is still self-serving, still only looking out for itself (and Gaius looking out for himself, with the pretty mother), is an interesting counterpoint, I suppose, to the Cylons doing the same thing, trying to take care of themselves - even as Cylon tech is fixing the ship. What does humanity currently have to offer the Cylons? Gaius isn't thinking about that, as we see later; everything he does is to get his people bigger guns, even as he explains to Adama that "this," whatever it is, is the last "human" solution he's going to get. I'm still wary of Baltar's self-serving nature, and wary of where this situation – what he describes as not a mutiny, but a rebellion — is going to take this part of humanity. And, of course, what the Six in his head — the one exec producer Ron D. Moore has said is from a higher power — has to do with it all. Why's she wearing white this time?

It's a nice bit of foreshadowing when Starbuck asks the barkeep when he got a piano, and the bartender just looks at her. And Slick in the background, his cheerful music at odds with the bitterness coming off both Starbuck and the Chief.

But everything is about love, and Caprica's unborn baby. It proves Saul loves her, somehow, in some weird Cylon logic that links reproduction to the nebulous, undefinable, intangible idea of love. But it's also about brotherly love, about Ellen proving to Saul, to herself and to Caprica that Saul loves Adama, the ship and the uniform more than any of them, including the baby. She says she just wanted to hurt Saul by pointing this out, but it appears to have immediate consequences for the fetus — and Ellen, with her certainty that the fetus proved loved, had to know that. Is her fatal flaw, her most human quality, always going to be a thoughtless selfishness that hurts those around her more than she can fix? Is that what it was on New Caprica, too?

As the Cylons vote to leave, to strand humanity — with Anders and Saul the dissenting votes (and, in my mind, the Chief a third; show, I cannot forgive you for this) — the Galactica becomes more and more blended. I'm not sure whether the point here is that humanity needs the Cylons more than the Cylons need humanity, or simply that even the blending isn't enough to save everyone, since the ship obviously has a limited lifespan (as I type this, Adama is yelling in previews about Galactica's last mission). If the Cylon goo saves the ship, Adama says, she'll be Galactica on the outside, but won't know what she is anymore. Is the ship mirroring Starbuck?

The best part of this episode could very well be the simple grace of the perfectly human display that is Cylon part of the memory wall. "It's already happened, hasn't it," Adama says. And yes. It has to. Now it's just left to see who fights it, and who adapts.

Ending on a random note, I'm still thinking about how it's Saul - formerly the strongest Cylon-hater, now the most human Cylon - who points out that purity on either side doesn't work. And it's Ellen who claims that the Cylons didn't invent their compassionate god. Both of these things are clearly going to play out in the finale - I hope.

On to "Someone to Watch Over Me."

March 20, 2009 04:57 PM

Previously on Battlestar Galactica: "Someone to Watch Over Me".

What follows, after the break down there, are a few thoughts on "Islanded in a Sea of Stars," the penultimate episode, if you count both parts of "Daybreak" as the finale — which, for the purpose of live(ish)blogging, I intend to. Comments on those will go up tomorrow, or possibly tonight, once it's all over.

This has been fun. Slightly frantic, but fun. When it's all over, I intend to get a little more reflective, a little more analytic, and a little less recappy than today, which has been "Watch and post! Watch and post!" just about as fast as I can. Reaction — now! Go! Go! Go! But even in that semi-frantic timeline, it's been fascinating seeing how this season fits together all at once – so I can't wait to see how the whole series fits together when it ends in a few hours.

Thoughts on "Islanded" are a little briefer than previous posts.

This episode begins with one of those moments that doesn't exactly change the show as we know it, but does introduce something we've never heard of, or had reason to believe exists, before: the colony (see also: the resurrection hub). "I guess you could call it home," Ellen says of the place where Cavill has hidden out, and the place where whatever remains of resurrection technology is stashed. Adama's sick and tired of destiny — even from Kara, who explains about the song that her father taught her, that switched on the final five, that led them to Earth — but even he can't argue with the simple fact that they're still alive, and that everyone agrees that Hera's fate is important.

But his mind is only on his ship, which the new Quorum is already trying to claim, piece by piece. Other things happen in this episode — like Baltar trying to claim that Kara is an angel, a scene which leads to a lovely moment between Kara and Lee where he tells her he doesn't care what she thinks she is; like Boomer finding, to her surprise, that she's connection with Hera (and not just because of Cylon projection) on their way to the colony — but what it's all about is everyone preparing for the end. For them, it's not the end of the show; it's the end of Galactica, their home, refuge and protector. It's home, as Roslin says later when she tells Adama that she's not sure she's ever felt as home as she has on the ship — even though now, if he doesn't let the ship go, they might both die on it. But who will Admiral Adama be if he's not the captain of Galactica?

• Gaius talks about angels, a voiceover on the wireless, while we're looking at Kara. I keep wondering if she was somehow one of the people who appeared to warn the five of the impending attack on Earth.

• Gaius and Caprica, having what I imagine is one last moment to show how far they've come — or not come — since their first moments together.

• A dying Eight muttering "Too much confusion," to Tigh as she fades.

• Ellen telling Saul that while the child he almost had died, he already had children. Millions of them. And once again highlighting that the central friendship in this show is Tigh and Adama, the human and the Cylon, one of the two pairs around whom the entire show turns.

• Starbuck in a toilet stall, goading Gaius, who goads her back until they're in a strange position where she almost has to ask him something, but being Starbuck, phrases it as a challenge instead.

• Starbuck, period. The show's playing with us, backlighting her as she says, "There's one thing I know for sure. I am not an angel." Her scenes in this episode are mostly fairly quiet, but when she goes in to sit with Sam, determined again, on a quest that may have no ending, acknowledging that it didn't matter after all that he was a Cylon, it's only one of the moments here in which she starts accepting things as they are. Slick told her that sometimes it's OK to be lost, and she's taken that to heart.

• Gaius, still untrustworthy, still using someone else's moment of vulnerability to his own ends. But I'm not sure what his point is here: to tell his flock not to fear death?

• Kara, putting her own picture on the memorial wall, like she's letting go of herself.

• And at the end, the admiral and his executive officer, letting go of something that makes them who they are. But it's not over yet. There's one last mission.

I seriously can't wait.

March 20, 2009 01:39 PM

And we continue (from the mutiny-centric "The Oath" and "Blood on the Scales") with the info-heavy "No Exit," which found me mostly just typing, somewhat frantically, in an attempt to keep up with everything Sam Anders says. It's important, it's relevant, "It's the miracle, right here," as he says to Saul Tigh.

So let's see what the Cylon says...

"No Exit" changes the opening sequence, giving more history — a nice warning for how much history we're about to get dumped on us in rapid succession.

• Ellen waking up is a fantastic place to start, but what I love about this scene is the way the tone is set for her to be something so much more than we've seen her be before — through her politeness to the Centurion. Beautiful.

• Oh, Sam Anders. Sam Anders and the Bullet of Exposition, and his wife Kara Thrace and Her Special Destiny. I can hardly believe how much info gets piled on in this episode, and while it's not exactly graceful, it's still fairly satisfying.

• The power play with Ellen and Cavill instantly makes both of their characters are far more interesting: his petulance, resentment, endless anger at the imperfections she gave him, and her welcoming of uncertainty, of change, of nuance (how do you define machine? It's one of the first things she suggests. What does it mean?). And there's a lot to ponder in the suggestion, later confirmed by Sam, that Cavill always knew who the final five were. When Ellen, her memories blocked, was sleeping with him on New Caprica, trying to keep Saul alive, Cavill knew. The entire time. It makes that entire sequence so much darker, and shows that the reason he boxed D'Anna wasn't because she learned forbidden knowledge, but because she might tell the Five who they were, and they might find him out, I think.

• "I need a Chief, and all I have is a Galen," is such a lovely line, and an acceptance of how important Tyrol is no matter what his title.

• Ellen says something about Centurion values like belief in a Cylon god. Still fascinated by this. And the way Cavill says he's deleted a subroutine about sleeping; how, where? How does it work?

• Cavill's endless bitterness about his resemblance to humanity is so telling, so huge, for the whole story. It's not just about hating humanity for building and using the Centurions; it's about actually hating the flaws of humanity, the imperfections. He wants to make Cylons better, and by better meaning more like machines. Which is what Boomer says, that Cavill is teaching her to be a better machine.

• I cannot type fast enough to keep up with Sam's infodump. But the first key thing he says is that the five reinvented resurrection tech, organic memory transfer, that it came from Kobol with the 13th tribe. But they aren't the 13th tribe? Who IS the 13th tribe? The original Cylons? Previous Cylons, since it keeps happening again?

• "These old planets, that's not who we are anymore. We're a fleet now, and our daily lives are defined by the ship we're from." Lee's a smartypants. But so is Roslin, when she points out, "You're so hellbent on doing the right thing that you sometimes don't do the smart thing."

• The Galactica needing, absolutely requiring, Cylon help — it's a fantastic illustration (a word I keep using) of the reality of the universe in which these people live. Joining forces isn't optional anymore.

• "We needed to find the other tribes and warn them," Anders says. They knew the tribes would create artificial life and they wanted to warn them to keep the Centurions close, not war with them - is the implication that the nuclear holocaust on Earth was a war between these skinjobs and their Centurions?

• When they got to the colonies, the survivors of Earth made a deal with the Centurions that if they stopped the war with humanity, they'd help them develop humanoid bodies - hence, the eight models. And Kara jumps right on that number. Eight. Which is also interesting in that it implies the Eight was the last skinjob series created - the impulsive, emotional one.

• Interesting that the temple they found comes back up again. The 13th tribe left Kobol, stopped at that temple, and it showed them the way to Earth. Thus, their ancestors had already taken that path? Ellen tells Cavill that the five didn't plant anything there, no signs, no symbols: "We backtracked the path of our ancestors, found their temple. The one true god must have orchestrated these events." So she actually believes in this god that I thought she said was a Centurion value. I'm still a little confused by this. And Cavill argues that the five created their children in this flawed, human-like way because "they thought that God wanted it that way." Hmm.

• "We didn't limit you," Ellen says. "We gave you something wonderful. Free will. The ability to think creatively, to reach out to others with compassion." And the ability to love. Boomer asks, love who? Humans? Who would she want to love? This becomes way more interesting in light of Ellen's obsession with Caprica's pregnancy proving Tigh loves her.

"But the humans on Kobol made us," Tory says. Let me see if I can get this straight:

1. Humanity, on Kobol, makes Cylons.
2. Thirteen tribes leave Kobol for the colonies and Earth.
3. The tribe that leaves Kobol for Earth is made up of Cylons.
4. On Earth, the Cylons began to reproduce, so stopped using resurrection tech.
5. But then the final five reinvented resurrection tech - why? And how old are the final five? Did they already resurrect? When were they born/created?
6. Then there was a nuclear holocaust and they wanted to warn the other colonies, knowing they would try to create artificial life and that that life would rise up and rebel.
7. Thus, the nuclear holocaust on Earth was caused by the Centurions, which the skinjobs had as servants, destroying them?

• Ellen says, and seriously seems to believe, it would take all five of them to rebuild resurrection. Cavill says she's no better than the humans that enslaved them. But when did the humans enslave the skinjobs? Or is that leftover from Centurion brains? And how can Cavill complain so much about this when he dumbed down the raiders and the Centurions? He's the one whose arrogance leads to things like Centurions destroying their creators - assuming that's what happened on Earth.

• Cavill was first and helped them build the others.

• The Centurions had a single loving God; Ellen said it changed everything. If Cylons learned love and mercy, the cycle would change. Cavill turned on the five of them, trapped them, suffocated them, killed them, downloaded and blocked their memories, implanted them with false ones and sent to the colonies after boxing them for a while. Back on Earth, Sam says, they saw different warning signs — a woman, a man — that no one else could see. I still didn't hear him use the word "angels," which everyone else has quoted. Maybe it was in one of those moments when someone else is talking over him.

• Sam says, "Seven was the Daniel. Daniel died. He was Seven. I'm sure." At first I thought Kara's fixation on the name meant it rang a bell for her, but later, she says, "I thought maybe I was the Seven. I need to be something," and it's almost heartbreaking: Certainty, for her, that she's nothing anyone knows. (I keep wondering, What did Leoben think he knew, when he locked her up in a house with him as her fake partner, Kara and a Cylon? I don't think the show knew who the Cylons were yet, which makes Leoben's actions even stranger, more fascinating - and so sadly forgotten.)

• Sam insists the Cylons stay with the fleet. "It's all starting." On the baseship, Cavill tells Ellen, "I gave you all grandstand seats to a holocaust." And Ellen argues about everything Cavill's done — taking Galen's confession, torturing Saul — all being so that they'd come back and tell him he was right, give him approval: "You are driven by the most petty of human emotions: Jealousy, and rage."

The Daniel conversation between Ellen and Cavill, with Boomer in the room:
"I know what you did to Daniel."
"That Seven didn't thrive. Sad. It's too bad we're not made out of something more sturdy."
"Daniel was an artist. So sensitive to the world. I was very close to him. But John decided I was playing favorites. Maybe I was. Someone contaminated the amniotic fluid in which we were maturing all the Daniel copies, and corrupted the genetic formula."

• Is it telling that she says all the Daniel copies? Can we take that to mean there was an original Daniel?

• Cavill says that if he's flawed it's his maker's fault, not his. And Ellen wants him to accept himself as he is, despite his mistakes. There's a weird forgiveness thing going on here, like Baltar's God from whom he wants forgiveness, or to forgive. And later, when Boomer takes Ellen to the fleet, she claims she's forgiving her. Knowing, now, that it's all a plot to get Hera, makes this more interesting: Cavill clearly believed Ellen when she said she couldn't recreate resurrection alone, so he turns to the reproduction option, wanting Hera. Or else it's a trap to bring the fleet, and with them the final five, to the mentioned-for-the-first-time Colony (rather like the Hub, that), where he can lure them all intro recreating resurrection. However, given that the Galactica is getting the shit kicked out of her in the previews for the finale, I don't think any fear for the five's lives is stopping Cavill from firing on the ship.

• "We should've brought a tumbril. ... Nevermind." What's a tumbril?

On to "Deadlock," which isn't a favorite of mine.

March 20, 2009 03:26 PM

"Deadlock" may have been a weak episode, but "Someone to Watch Over Me" is something for any show to be proud of. It's nearly flawless, a beauty of acting, writing, editing and, so very importantly, composing (composer Bear McCreary's three-part, incredibly detailed blog on his part of the experience starts here and is definitely recommended reading).

Plus, it's about Starbuck AND the Chief. What more could you ask for?

I stopped taking notes for much of this episode because I just wanted to enjoy it. Its two narrative strands — Kara talking to a piano player in the bar, and the Chief getting involved with Boomer — twist around each other, weaving things tighter as we near the end of the series. The beginning of the episode alone is amazing: As Starbuck goes through the motions of an ordinary morning again and again, everything is underscored by Slick, the piano player she sees in the bar, and everything literally happens again, just like it happened before. Life repeats itself in small ways, week after week, and Kara gets tireder and tireder, as they look for somewhere to stop moving.

A piece of the thread with the Chief and Boomer involves the baseship wanting Boomer back so they can try her for her involvement in the Cylon civil war, but a piece of what makes that interesting is the appearance of Sonja, the Six who will represent the baseship in the new Quorum. Not much is made of it, but it's fascinating — as is her plain statement that now that resurrection is impossible, capital punishment has meaning for the Cylons.

The early scenes with Starbuck and Slick, the piano player, have a nicely played friendly combativeness; she challenges him on the meaning of his music, and he explains that it brings a little grace and beauty to an otherwise brutal life — and he could be speaking of Starbuck's life, given her past, and her quickly revealed knowledge of music, which is far greater than expected. Before she talks to Slick, Starbuck talks to Doc Cottle, who tells her she needs to get on with her life, but for once, the Doc is wrong. She needs to go backwards, via the drawing Hera gives her — the row of dots. In a tiny moment, Hera nods when Starbuck asks if the colorful dots are stars. A map as well as a song? The translation of music into a navigational tool? Isn't there often music playing in the basestars?

Starbuck's scene with Helo, when he tells her he has all her stuff, serves three purposes: It reminds us Helo's there, for crying out loud; it reminds us of Starbuck's long-unmentioned pianist father; and it underscores how detached Starbuck is from her old self, as she only takes the tape of her father's playing, leaving Helo everything else that once belonged to her.

But even more quintessentially Starbuck than that detachment is her ineloquent explanation of how the song Slick is working on makes her feel. It's like a person chasing a car, she says. He tells her it's meant to evoke a sense of loss. It's the same thing, but Starbuck speaks in concrete terms, not words that describe feelings, and has to work to explain that that's just what she meant.

The fact that this manages to be both a Chief episode and a Starbuck episode - the most cut-off person, and the most connected, sympathetic person - helps make it a stunner. Every scene that's not with Kara and Slick, I would want the show to go back to them, but that the plotline with the Chief and Boomer is so compelling too. On the one hand, Starbuck is inching closer and closer to Slick, talking about her feelings — how the song her dad taught her, which Slick's playing reminds her of — made her feel happy and sad at the same time ("The best ones do," Slick says). On the other, Sharon is showing the Chief the trick of Cylon projection, showing him the house she dreamed they'd live in someday, even the daughter she thought they'd have. And I think she means it, even as she leads him into attacking another Eight to get her out; even as she fools him into helping her leave with Hera onboard. I think Boomer is the most conflicted, fascinating, cruel, divided character on the show; she truly seems to believe two things at once. She loved the Chief, but not enough to set aside her mission for Cavill. She says she wants the Chief to come with her, but without thinking of what Cavill would do with him, another one of the five. You could argue she's always just pushing the Chief's buttons, but when she tells him she meant every word, no matter what happens, I believe her, even as I don't trust her. How could you trust anyone who could do what she does in the locker room with Helo, with Athena looking on?

"Sometimes lost is where you need to be," Slick says to Starbuck. And then there's the sequence this entire episode is building toward, edited so gracefully, timed just right, Starbuck and Slick on the piano bench, picking out the song; Ellen, Tory and Saul in the bar, just turning their heads the tiniest bit as the first notes line up; Boomer picking up Hera from the nursery, in a hurry; Slick launching into the lower part of that song, Starbuck joining in, a beautiful shot of their hands that shifts to the three Cylons, Saul's eye widening — until Starbuck stops, seeing her dad, seeing Slick as her father, until the Cylons interrupt and suddenly, he's gone.

"I plaued it as a kid. My father —" she stops when she realizes the player isn't there.

Everything else is less; everything else is important. Athena, stumbling into a room, asks Helo if Boomer has Hera and he instantly knows she does. Boomer, trying to escape, pretends to be Athena, but Adama calls her by her own name. Roslin, falling, fainting, as Hera leaves; why didn't Caprica feel something, too, if they used to share the opera house visions? Ellen realizing it was all planned from the beginning, hating being a pawn in Cavill's game, and saying of Hera, "She's plugged into something that's manipulating all of us."

The cynical side of me says, sure, she's plugged into whatever skinny framework the showrunners have set up for the last episodes. But this one is so well done that I can't be cynical about it. It's one of the best episodes of the entire series — this one and "Unfinished Business" might top my list.

Next: "Islanded in a Sea of Stars."

March 20, 2009 12:02 PM

As explained in the last post, I'm watching the last season of Battlestar Galactica and blogging it all day. Why? Because it's awesome. Because I'm making up for not doing this as the season went on. And because the story is even better when you watch it all at once. As noted before, there are spoilers aplenty, and this is not an intro course; it's running commentary for geeks. I'm treating "The Oath" and "Blood on the Scales" as one story since the mutiny spans both episodes.

Wow, this gets long. Fair warning and all.

"The Oath" begins with location and military time; it's a military story and will tell you as much from the word go.

The other thing it makes clear is that this fight is going to bring people alive again. Kara says as much – "Take a breath, Lee" — when she saves Lee from a handful of mutineers. (Her impulsive kiss is matched only by her "I could do this all day" when taking down her enemies as one of the most perfectly Starbuck moments we've seen in ages. Not to mention one of the most perfectly welcome, vibrant scenes of someone on this frakking ship knowing exactly what she wants and exactly what to do.)

In the middle of mutiny, everyone is acting in their simplest, truest form. Like Adama says, "Live or die, it's how you act today that's gonna matter." For every character, it does: Starbuck fights, fiercely and loyally, for her admiral and her ship. Adama takes control, instantly, from wobbling soldiers who aren't really, truly convinced that what they're doing is right. Gaius goes self-serving. The Chief goes efficient, organized, experienced with how to use the ship (not to mention loyal — though when Lee asks why he's doing what he is, Galen's reply — "The old man deserves a better fate than what he'll get from them" — is only half his story). And Roslin goes steely and determined; her quick thinking about using Gaius' wireless is the kind of thinking that's kept her in the presidency so long.

I had some skepticism about the mutiny as a plotline at first. Even though it does seem, in part, like it had to happen eventually — someone had to revolt, be it against the incorporation of the Cylons into the fleet or simply the fact of military governance — it also seemed like it was taking away from the questions we all want answered: the opera house, Kara's destiny, everything bigger than two men's fury. But now, what I see when I watch these episodes is Gaeta and Zarek knowing not what they've brought upon themselves. They've given fighters a clear enemy. They've given these angry, drifting people a threat they can understand and identify.

And in trying to prove how right they are, Zarek and Gaeta illustrate instead how difficult and how vital Adama's position is. It's an interesting twist, especially for a viewer who would be more likely to identify with non-military, non-Cylon folks: The revolt on behalf of the regular men and women serves only to show that those revolting aren't actually fit to lead. I kind of think it's a cop-out on the show's part; it would have been much more interesting if the rebellion was led by a person who truly believed what he or she said, not by a Tom Zarek, who only cares for "the people" when they agree with him (at least in this season, and arguably since the very beginning). Both his secret tribunals and his decision to murder the entire Quorum undermine the position of the rebels — a position that, realistically, we ought to be fairly understanding about. They're being asked to welcome in those who would have wiped out their entire race — and whose entire race they then tried to destroy. Could it be more complicated?

(The lines among characters are complicated further when you have Starbuck telling Adama "They are not your men anymore! They are the enemy!" Her view is almost as oversimplified as Zarek's, but she's not trying to take over the entire fleet, even if she is a loose cannon.)

(I've caught up to myself now and have to start with bullet points just to watch and type at once.)

• Later, Zarek says "Destroy our enemies before they destroy us." And it's too late for Gaeta, who realizes, "This is all based on lies." Zarek's war was never for the people, but against Adama. I wish it were more nuanced than that.

• But nuance is in other storylines. Nuance is the guy from the Pegasus whose name I can't remember letting the Chief go (and, later, breaking down in his indecision, finally choosing one unknown future over another); nuance is the quiet way the entire escape is thanks to the Chief, as shown in another throwaway line: Lee says he forgot that "this place," from which Roslin escapes, was there, and Galen says everyone did. Everyone but him, who knows the entire ship, every path, every way through and around.

• "Who do you want to be?" Roslin yells at Tory, trying to convince her that the fleet, the humans, have a remarkable habit of beating the odds. It's the question that covers this entire season, even the entire series: Who do you want to be? What defines you? Hope or failure? Your enemy or your ally? Who stands a chance if they all keep defining each other as enemies?

• Moments of humor with Lee and Kara: Looking away from the Roslin/Adama smooch, like they're being embarrassed by their parents, and the grenade Lee doesn't pull the pin on. Nicely done moments of relief from the tension.

• "This isn't a trial. This is the asylum." The smartest thing Romo Lampkin ever said. Followed swiftly by the smartest thing he ever did: His moment of indecision, standing in a stream of light trying to choose himself over Kara and Sam, is a tiny, character-defining glimpse at what a bad guy this slimy lawyer actually isn't.

• "I ran. Again. I disappeared in the nick of time. Again." Is Gaius actually having a moment of honesty with himself? Not half as honest as the Lieutenant brave enough to tell Adama, with Tigh right there, that he hates the Cylons and can't take orders from a leader who won't fight them. That one man, in that one sentence, has more clarity, more honesty, than ten Tom Zareks.

• It's too easy to make Roslin so right. If Zarek were a less nasty man, then Roslin's choice to fight him would be so much more complicated, more her choosing out of pain and fury than out of what's best for the fleet. Which, to be fair, is why she's choosing; it's about believing Adama is dead, not about the fleet, and she's a lesser leader for it. But we have the easy out of knowing Zarek would be a terrible, terrible leader, and should never be given command of the ragtag remnants of humanity — not when he's willing to take out everyone who disagrees with him. Neither of them are thinking about the future, but one's less dangerous than the other.

• It's almost funny when Gaeta snarks at Zarek that they have a military leader and a president in one. It's true: Zarek wants all the power. But again, it's making it too morally easy for the audience. We've already found, over the last three seasons, that it's not so simple as humans good, Cylons bad, so why make it so simple when it's humanity vs. humanity? When Zarek tries to take over in the CIC, the show lets us almost forgive Gaeta for being fooled by Zarek, for believing that Zarek had anyone's best interests in mind. It's a more complex ending for Felix Gaeta, who was, in his way, everything Zarek pretended to be: A man who believes that he's right, but has limits to what he'll do as a result. When Gaeta says he's fine with the way things went down, I believe him.

Continue with "No Exit," or skip ahead to "Deadlock."

March 20, 2009 04:17 PM

After the cancellation of the West Eugene Parkway sparked a two year search for alternatives, the West Eugene Collaborative (WEC) has recommended the eventual conversion of the West 11th commercial strip into a green, multi-modal, mixed-use, dense boulevard.

The wide boulevard with up to four lanes of through cars, two lanes of side access streets, two lanes of parallel parking, two dedicated lanes of EmX buses, wide sidewalks and five park strips with trees but no dedicated bike lanes could be built incrementally and take two decades and $180 to $250 million to complete, the WEC’s consensus report estimates.

In the short term, the diverse group of developers and environmentalists recommends improvements to signage, traffic lights, intersections and turn lanes on West 11th and adjacent 5th and 7th streets to quickly and cheaply reduce congestion.

The WEC report is vague in many details and does not recommend limiting big box development in the area nor does it call for any major new highways.

The lack of a big new road like the controversial and failed parkway through wetlands may be the plan’s biggest statement, according to Friends of Eugene President Kevin Matthews. “It represents a big decision to say West Eugene can work without the new roads,” he said.

WEC members said the report was more about creating a consensus among diverse groups for an overall vision and direction than a detailed technical plan. The next step, they said, will be seeing if the community supports the vision and fleshing out the engineering. “At this early time, it may not have a whole lot of detail in it, but it’s a first step,” said west Eugene City Councilor Chris Pryor.

Eugene Mayor Kitty Piercy said the biggest accomplishment of the diverse group representing both environmental and development interests is moving from the decades of divisive fighting over the parkway to a consensus vision. “To me that is a very big deal.”