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The moral ambiguity of trying to infuse someone’s googled consciousness (or at least that’s how Zoe explains it) into an external robotic body as a way of preserving them ad infinitum is all mashed up with Graystone’s desire to snag a supersized defense contract from the Caprican government. But these petty things aside, the idea of a society coming apart at the seams is unfortunately overshadowed by the two fathers losing two daughters story line, a plot movement that should provide emotional resonance but doesn’t. And Eric Stoltz’s eery resemblance to a Constantine-era Tilda Swinton was a bit unnerving. The two motivations manage to cancel one another out, effectively creating a strange Steve Jobs meets Darth Vader sort of persona. Indeed, it seems like the writers were somewhat torn between Graystone’s ambition and his paternal obsessions. I didn’t find Zoe particularly believable as a teen genius 1337 Hax0r, nor did I find Daniel Graystone’s desire to bring his daughter back from the dead a particularly convincing motivation for making his strangely incompetent early model cylon acquire consciousness. The cons: The Graystones and Hard to Swallow Technological Inconsistencies. It’s a meaningful message, and one that hits home as our own addictions to networked technologies grow increasingly skynetty. As the camera wanders through Zoe’s holoband world of crude sex, murder, human sacrifice, and brutal fights, we get a taste of what human invention–in the wrong hands–can and will mostly likely lead to. The opening shots of Caprica are completely disorienting, and the vacillating camera shots between Zoe and, well, Zoe, make things all the more ominous since BSG fans are already on red alert for any cylon presence. Caprica is likewise at it’s best when Moore immerses us in the twisted, psychedelic, and utterly depraved world of underground teenagers made manifest by the oh-so-hackable holobands. Everyone (and by everyone, I mean EVERYONE) knows that shows like TNG are at their best when safety protocols on the holodeck have been mysteriously disabled, allowing virtual reality to run amuck. It’s also always been one of my favorite plot devices in sci-fi. It’s the sci-fi arm of sci-fi, if that makes any sense. Virtual reality, or however you want to term it, might be the most meta of all science fiction metaphors given the elements of escapism, of playing god, creating new worlds, manufacturing experiences, etc. Seems like Ron Moore, with Caprica and the soon to be aired Virtuality, has virtual worlds on the brain. That, and the previews I had seen for Caprica just didn’t quite excite me as I hoped they would. Maybe it was this desire to leave Battlestar alone after the epic finale. I finally watched Caprica, after avoiding it for a few months.