Huh. This last episode was the first part of the two parter "Guess What's Coming to Dinner," yet didn't get an annoying and gratuitous "To be Continued" like the last two did. Good for them.
And good for them letting Athena shoot the wrong Six, and bringing BACK a lot of the plot threads that were ongoing in seasons one and two. I'm talking about visions in the opera house, Six/Baltar reclaiming the Hera thread, and the President's role in prophecy. This writer knows what he's doing. Even if it didn't blow my socks clean off, like some episodes of BSG have done, this Part 1 is a great specimen of screenwriting a bridge. It develops some themes, puts characters in interesting places, and many of the scenes serve dual purposes. Yeah, howzat!
I guess when you're working with a staff of writers, there's no way to guarantee consistency and still pull off so many episodes. Some of the writers are going to rock, and some will be green. Same goes for the directors. When you get both running full tilt, it's hard to bring it down.
Director or writer, "Guess What's Coming" uses parallel imagery in a way that the previous one could only weep at. Back-to-back shots of the bloody cylon Basestar and Gaeta's festering leg, or Athena struggling through the corridors of the Galactica as if it was the Opera House. All of it gets interspersed with Gaeta's singing, which elucidates a general sense of permanent loss that fits well with the Cylon's plight. I have to say, though, that Six's debriefing in front of the command staff and the president shows just how stupid the cylon plot seems in summary. Ah well, on to better things.
Some devices get used that could have been cliches in other hands, but turn out really well:
1) Hera whispering "bye-bye" to her mother to top off her dream was the perfect close to act 4, even though the event itself never gets revisited.
2) Athena shooting the wrong Six (this works so well because it's 'audience superior' yet also subtle).
3) Athena discovering that all Hera can draw are smiling pictures of Six.
4) The contingency plans that the cylons and the humans dream up because they can't trust each other would be stale if they weren't parallel devices. The parallel emphasize that both sides are equal -- equally flawed, while still pushing the plot where it needs to go. It encapsulates a grain of what all writers seek: thematic truths that reach out of the screen and into common experience.
It helps that we are treated to some really creative cinematography, with changing focus and dirty zooms, skipped frames and harsh segues between scenes. We got a lot of them, too: actors on the basestar hangar, the viper rush, centurions pushing pilots out of the way, and lots of space time for jumping and swerving ships. It was dramatic and cinematic both.
I touched on this, but I want to point out how well-handled the act breaks in this episode were: pulling back to reveal Gaeta's missing leg, Adama's glance at Tigh after making the right call about the Demetrius, Hera's whisper, and that last lingering shot of Gaeta's mug.
I ended up making more lists than I planned, but it just shows how much there is to like in this one. It was gold from the beginning, with Roslyn challenging Lee about whether he knows what it's like to have the world turned upside down, black to white. Of course, that is exactly the scenario, and probably the theme, of this episode! Yes!
(By the way, I've got to agree with hulugu about how they handled their characters after S2. I don't think they'll ever recover from that, but they might still pop the plot if they work it hard enough by Ep.20)