The following review contains MAJOR SPOILERS of "Battlestar Galactica."

There are a lot of drama shows on television these days, probably because networks always go for a system that delivers. If it aint broken, dont fix it.

This policy explains the seemingly never-ending stream of spinoff shows which have been emerging from the woodwork over the last few years. Shows based on singular principles, characters and settings, such as CSI and Law And Order.

So what makes these series so good that they deserve not one, but several incarnations to tell their stories? Its not an ever-expanding story-arc, it certainly isnt the infamous standalone episodes which appeal to the casual viewer. Its about people. Pure and simple. Viewers become so embroiled in the characters they watch on a weekly basis, slowly becoming unable to miss an installment in their lives. This is the power of the drama.

Many genre series have tried to harness this power. Some more successful than others. Roswell, which spent some of its time with the involvement of "Battlestar Galactica" executive producer Ronald D. Moore, is one series which springs to mind. In its early days, Roswell had a lot of trouble incorporating the dramatic flare into the science fiction which formed the basis of all its stories. Some episodes were so grounded and unevenly focused on the drama that the plot never seemed to progress in any real totality, and as a result no real character development was seen. At the same time, some episodes focused too much on advancing a larger story that the characters were neglected.

But on the rare instances in which the series was able to strike a balance between the two, the series was enriched with overwhelming entertainment value which could keep even the most casual viewer glued to the screen.

Moores re-imagined Battlestar Galactica isnt too far removed from that series, and may in fact be more of a drama series than a science-fiction one. Yes the special effects are astounding. Yes there is a plot which is subtly being advanced every week. And yes, its set in space with an army of machines seeking to hunt down the human race. But at the core, its none of these things which make the series what it is. Its the people.

In the last four episodes, for better or for worse, one character has taken to the stage and had a chance to show what they are made of and flex their acting talents. You Can't Go Home Again was no different. In this episode, Cmdr. William Adama (Edward James Olmos) takes center stage, and justified why weve stuck through four episodes of his character whining and grumping in his manic-depressive tone about the predicament they have all found themselves thrust into. And thats exactly what he has been doing until now. It isnt too hard to understand, actually.

Imagine being ready to retire, and then having an unshakable burden (such as preserving whats left of the human race) placed upon you. Now that would make anyone depressed.

So as Starbuck (Katee Sackhoff) is lost on a barren and lifeless planet with no way home, Adama walks a thin line to have her retrieved, even if it puts the fleet in jeopardy. Even his slightly estranged son, Apollo (Jamie Bamber), sided with the old man in his decision. A choice which divided his new loyalties to President Roslin (Mary McDonnell).

Meanwhile on Caprica, Boomer-Cylon (Grace Park) and Helo (Tahmoh Penikett) settle into a comfy little routine, hiding away from the Cylons. But nothing lasts forever. They knew it was only a matter of time before the Cylons tracked them down. Well in this episode, their time came.

So if watching allegiances shift, paradise being shattered and good old special combat wasnt good enough for you, then this should do the trick: You Can't Go Home Again also features the first lengthy Baltar/Number Six (Jim Callis/Tricia Helfer) since the opening episode. And it was worth the wait. There is something about the duo which is so engrossing. Maybe its the expression Callis makes during the shots of just himself, or maybe its the chance that he will finally be revealed. Or it could just be the sexual nature of their relationship. Whatever it is, its unmissable television.

Its hard to believe that the predecessor to this episode was of such poor standards, because as far as dramas go, this is nothing other than remarkable. While Act of Contritions only saving grace was the scenes between Adama and Starbuck, this episode saw those sentiments return and then expanded upon. So not only does Olmos finally get some worthwhile (and lengthy) screen time, but virtually all the cast get something to do, either via butting heads with one another or by getting someone else back on their feet.

And just when you thought it couldnt get any better, the scenes of Starbucks triumphant return to the Galactica will leave you gasping, laughing and so excited that you wont want the episode to end.

So there you have it: In the space of one episode, the series has gone from being a mindless rabble to a unified cast providing first-rate entertainment. And its all thanks to the balance between drama and storytelling. If future episodes continue to approach this standard, then the series should have a very long and very prosperous future. A future which will never fail to entertain.

Alan Stanley Blair is a writer for Airlock Alpha, contributing from his home country of Scotland. He can be reached at ablair@airlockalpha.com.

EDITOR'S NOTE: "Battlestar Galactica" currently is airing in the United Kingdom on Sky One, as part of that satellite company's agreement with Sci-Fi Channel to produce the series. It premieres in the United States in January on the Sci-Fi Channel.

You Can't Go Home Again
Battlestar Galactica

Grade: A-

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