TV Review: Caprica (2010)

Set 58 years before the remake of Battlestar Galactica (“BSG”), Caprica is the story of two families. One is the Adama family, with the focus being on Joseph Adama (Esai Morales), the father of future Galactica commander William Adama -- William is a young boy at this point. The Graystones are the other family. Daniel Graystone (Eric Stoltz) is the inventor of the Cylons. All in all, I’m not thrilled with the show and I think it has serious problems going forward.

** spoiler alert **

The story begins with the death of Graystone’s daughter and Adama’s wife and daughter in a terrorist bombing on a train. The terrorists are a militant religious fringe that believe in “the one true god” instead of the pantheon of gods that are generally accepted (though largely ignored) by the vast, vast majority of people in the colonies, of which Caprica is a member planet.

After losing his daughter Zoe (Alessandra Torresani), Graystone, a talented cyberneticist with a huge military contract to build the first combat robot, inserts an avatar of his daughter (kind of a mental imprint) into his robot’s meta-cognitive processor. This robot, a “cybernetic life form node”. . . “Cylon” for short, becomes the first Cylon. Because of this blending of Zoe and robot, the show intersperses images of the Cylon robot and Zoe, and we watch her reaction as lab techs respond to the robot, unaware of her presence. From there, wackiness ensues.

At this point, in the interest of full disclosure, I should point out that I do not like or respect Ronald Moore, the show’s creator. The man has serious issues. In several interviews, he’s stated that he believes characters should suffer and he would never allow characters to redeem themselves with their actions or to have happy endings (excepting, of course, studio demands). This was on full display in early BSG, where his characters entered a downward spiral with no end -- a downward spiral completely inconsistent with the human experience apart from a few true, manic depressives. Also on display in BSG was his creepy relationship with women. He claims to like “strong” female characters, but they always seem to end up cruel if not sadistic, corrupt, and with strong hints of lesbianism. His male characters fare no better, tending to be self-absorbed, pathetic alcoholics and whiny, über-wimps.

I also do not respect the way he used cheap marketing tactics to gin up interest in BSG -- he has admitted since the show ended that the changes he made to character races and genders were done purely to outrage fans of the original show so they would tune in. What’s worse, as a story teller, I think he’s a coward. I will admit that he flashed moments of brilliance in BSG, but he was always too afraid to take those moments as far as they should go. For example, (1) he started to toy with the idea that the Cylons, who are extremely religious, were the good guys; (2) he gave us a Starbuck who came back from the dead, (4) he gave us terrorists, out of control death squads, and a mutiny, and (5) he gave us Baltar, who started building a massive, twisted cult. Each of these was a moment of brilliance. Yet, in each instance, he dropped the story lines right before the hard choices had to be made, often relying on the age old hack-writer's tool of des ex machina to solve his storyline problems.

Yet, BSG had several things going for it. The first season was virtually unwatchable with the characters basically running around whining and acting like depressives at a two-drink minimum funeral, as they re-enacted each of the original BSG episodes while Moore did interviews disparaging the original show. But over time, he stumbled into ideas that gave the story interest: the realization that some of the humans were actually Cylon agents, the discovery that there were hidden Cylons (who did not know they were Cylons), the discovery that Ellen Tigh was not human, the discovery of Earth. These moments of brilliance and the tension they created made up for the whiny moralizing (like BSGs thinly veiled support for the Iraqi insurgency against US troops), the failing story arcs and the unrealistic, unpleasant characters.

Further, BSG benefited from some great acting: Edward James Olmos, Mary McDonnell, Grace Park, James Callis, and Michael Hogan all turned in stellar performances. And, most importantly, Tricia Helfer gave us a Number Six who was dangerously psychotic, wildly passionate, and absolutely compelling.

Why do I bring this up? Because Caprica has none of these benefits. In place of the compelling, manipulative and unpredictable Number Six, we have Zoe (Torresani), an erratic, monotone, dark-haired version of “save-the-cheerleader” Hayden Panettiere. She’s a poor replacement because her character just doesn’t have the range that Number Six did, nor am I convinced that Torresani can hold a candle to Helfer screen presence. By the same token, Eric Stoltz (Pulp Fiction) just doesn’t have the ability to carry off either a believable scientific genius or a grieving father. He’s more of a moody lab tech. The subplot involving young William Adama’s indoctrination into the mafia doesn’t seem all that interesting either: "gee kid, here's how you break a window. . . ho hum." As for Joseph Adama, Esai Morales is a weak trade for Edward James Olmos, and his character seems to have little more to offer than being the hot-blooded foil to Stoltz’s Doctor Thorazine. . . if they ever end up on screen together.

I am concerned about the plot as well. Whereas BSG was able to offer all kinds of mysteries and surprises, all central to the plot, Caprica seems more like a show that gave away the big surprise in the opening act and is now scrambling to remind you how surprised you were. What is left to reveal or to present a mystery? Nor are the intrafamily or interfamily dynamics very interesting. The show is set up to create tension between the two families and within the families, but the families don’t seem to be on an equal footing, they are bound together only by the thinnest of bonds, and they don’t necessarily interact. And the intrafamily relationships seem non-existent -- apparently, some of the characters are married, though you'd be hard-pressed to tell which. So while this is where the writers will likely look for drama, it seems like it’s going to be a stretch.

The world they’ve created isn’t all that exciting either. Whereas BSG followed the golden rule of unveiling slowly and keeping people wanting more, Caprica showed us their entire world right out of the gates. . . and it wasn’t all that interesting. Indeed, their world seems like a stylized 1950s with an incongruent mix of 1990s technology and far future technology, with a few taboos thrown in to shock the audience (like the nod to Hollywood’s new cause du jour polygamy).

Right now, I just don’t see the compelling characters. I see no story arcs that will keep you guessing. I see no drama or twists that will keep you on the edge of your seat. And I see little else to satisfy your sense of wonder. The themes are well trodden (racism, the pros and cons of religious extremism, power corrupts) and, even worse, the writers don’t seem to be offering anything new.

There are also strange moments you need to overlook to enjoy the show. For example, how does the Cylon, an eight foot tall multi-ton robot, escape the lab and go visit a friend of Zoe’s without anyone noticing? And why don’t the lab assistants seem to care that the robot appears to be psychotic and out of control?

Now, I could be wrong? It could be that the writers have something very different planned than what they’ve shown so far, but based on what I’ve seen at this point, Caprica made an ok short story, but has little to offer going forward as a series.

I guess we’ll see.