Bear McCreary: BG4: “Islanded in a Stream of Stars”

BG4: “Islanded in a Stream of Stars”
By: Bear McCreary
Date: March 7th, 2009
Source: Bear McCreary’s BSG Blog


WEBMISTRESS NOTE: There was no Chief Tyrol in tonight’s episode (4×18: Islanded In A Stream Of Stars). But according to Bear McCreary’s blog he was meant to be in it but his scenes were cut.

Note: This is a snippet from BEAR McCREARY’s blog where he mentions AARON DOUGLAS / CHIEF TYROL. To read the full blog entry, click HERE.


One of the biggest challenges of Islanded was actually scoring two different versions of it. In addition to the version you just watched, I also scored an extended version for the DVD release. Not only are many of the dialog scenes expanded, but there are several scenes that were cut entirely from the show that required substantial original music. One of these scenes established that Tyrol is now in the brig for his role in Boomer’s escape and kidnapping of Hera. I was disappointed that this story point was cut from the episode, since Chief’s arc last week was so emotionally powerful.

Bear McCreary: BG4: “Someone to Watch Over Me”

BG4: “Someone to Watch Over Me”
By: Bear McCreary
Date: February 27, 2009
Source: Bear McCreary’s BSG Blog (HERE, HERE and HERE)


Note: This is a snippet from BEAR McCREARY’s blog where he mentions AARON DOUGLAS / CHIEF TYROL. To read the full blog entry, click HERE, HERE and HERE.


BG4: “Someone to Watch Over Me,” Pt 1

Bradley Thompson added “We had some idea it would be a Starbuck vehicle, and we had some notion that we’d get to do Boomer/Tyrol, but we definitely knew that given the choice, we’d sing our swan song with Michael [Nankin].”

“I remember you talking about Gershwin in our conversations,” Weddle recalled. “So when it came time to come up with a title for the episode, I looked up Gershwin songs and found ‘Someone to Watch Over Me.’ I ran it by Brad and he said, ‘Jesus, that’s perfect! Not only for the Kara story, but for the Tyrol/Boomer story as well.’ Brad was primarily responsible for writing the Tyrol/Boomer story, so that became a seal of approval.”



BG4: “Someone to Watch Over Me,” Pt 2

I also performed additional pieces at the request of Michael Nankin. “I also started having ideas — which developed during prep and the shoot—about using Slick’s compositions as score for other scenes,” Nankin explained. “In my shooting script I’d drawn lines from piano scenes, extending over the next two scenes (or the previous two scenes,) indicating where this would happen. I started talking to Bear about this in the early stages, so that he could write to it, essentially scoring the episode before it was shot. The episode contained stories that were very different in tone (Starbuck’s visitation, Tyrol and Boomer’s cylon projections, the plot to steal Hera, Adama and Laura saying goodbye) which I felt this approach to the score could smooth out. I always attack an episode with the idea of making it all of one thematic and emotional piece, rather than disjointed A, B and C stories.”

Nankin showed me these specific scenes in the script he wanted music for and I played them out in my mind, performing score that I thought would be useful in the cutting room. It was strange, to “score” scenes that hadn’t been edited (or in some cases, even shot) yet. Supervising editor and associate producer Andy Seklir was also on set, so I was able to discuss these pieces with him as well.

I performed solo piano versions of “Roslin and Adama,” Tyrol’s Theme and Starbuck’s Theme and anything else I thought might come in handy. (And since you’re wondering, the entire Roslin and Adama subplot was cut out of the episode, so I hope you can see these scenes on the DVD set.)



BG4: “Someone to Watch Over Me,” Pt 3

Before the teaser ends, we begin the episode’s other plot line. Chief Tyrol learns that the cylons wish to execute Boomer for her role in the cylon uprising. At the moment he realizes this awful truth, listen for a subtle statement of the Boomer Theme in the gamelan:

This theme is one of the oldest in my toolbox and, in combination with the Tyrol Theme, will play an important role in their arc this episode.

At the end of the B Theme, we cut to the Chief’s storyline. He’s welding in a hallway, but thinking about his past relationship with Boomer. Here, the score takes an interesting turn. We are no longer in Joe’s Bar, and yet we continue to hear Slick play the piano. But, it moves from the physical space of Joe’s Bar to sounding like it’s in a concert hall. It has, in essence, transitioned from being a real instrument in the ship, to a part of the score itself.

While the Tyrol Theme would have been an obvious choice for this montage, I felt it was more important to establish the piano music as a thread tying this episode together. So, Slick’s piano plays the Sonata A Theme throughout the entire montage, although joined by percussion, yialli tanbur, duduk and the other BG score instruments.

At the end of the montage, we again witness Boomer dying in Chief’s arms and the piano slowly echoes away, playing an ascending figure that we will hear again when the Chief / Boomer storyline reaches its climax at the episode’s conclusion.

From there, we cut to the first big step in the Chief / Boomer storyline. He goes to the brig to visit her and has an unintended projection, taking them to the dream house they never had the chance to build together. In this scene, Chris Bleth plays the Tyrol Theme on the alto flute:

This theme has an interesting and convoluted history. I originally composed it for Season One’s Litmus, intending to write the definitive Tyrol / Boomer Love Theme. However, unbeknownst to me, they had no more love scenes in the season, and she was killed early in Season Two. At the end of Season Two, I re-tooled the theme to serve as a Tyrol / Cally Love Theme, underscoring his heartfelt apology to her for breaking her jaw. After occasional uses in Season Three, the theme was basically put to rest when Cally died in Season Four.

However, in Someone to Watch Over Me, the Tyrol Theme comes full circle and again functions as the Tyrol / Boomer Love Theme, just like I’d originally intended.

After his initial bad projection experience, Chief comes back and tries it out again. This scene represents the most complete, lyrical and romantic version of the Tyrol Theme since their relationship together at the end of Litmus. The simple arpeggiated accompaniment in the gamelan, piano and harp is also a reference to that Season One cue.

Chief walks through their dream house, basking in every last detail. However, he’s surprised to see a growth chart on the wall for what must be their child together. At this touching, suspenseful moment, the Tyrol Theme is played by an ethereal piano… Slick’s piano! I did this to further blend these two storylines together, as if Slick were in the score as well, commenting on the Chief’s discovery of his daughter.

And what a discovery it is. As he moves up the stairs, the score modulates upward and swells to a big statement of the Tyrol Theme in electric violin, erhu, duduk and bansuri accompanied by gamelan, piano and harps. This kind of romantic musical gesture is rare on Battlestar Galactica, but the incredibly moving performances from Aaron Douglas and Grace Park allowed for me to write bigger musical gestures.

We return briefly to Chief’s storyline. Roslin informs him that she’s releasing Boomer to the cylons, and he doesn’t take the news well. He decides that he must rescue her. The cue underscoring this decision begins with low strings, synths and frame drums, a very typical Battlestar Galactica texture. However, as he puts his plan into action, Slick’s piano sneaks into the score, playing arpeggiated phrases against the ever-intensifying percussion backdrop.

Chief turns out the lights in a hallway where cylons are working and clubs a Sharon over the head with a wrench. At this point, the piano accelerates out of control. It breaks free from the percussion groove and takes on a life of its own.

With Slick coaxing her along, Kara begins to noodle around on the keys, struggling to bring the melody up from her oldest memories. These shots are inter-cut with Boomer retrieving Hera from the nursery and sneaking her aboard a raptor, unbeknownst to the Chief who is helping her escape. Throughout the whole montage, the mysterious piano strains slowly become more and more familiar, underscored with a haunting bed of strings and synths.

From the climactic moment of Kara’s storyline, we cut back to the Chief and Boomer one last time. He helps her aboard the raptor and kisses her. Even though the audience knows that Boomer is kidnapping Hera, the Chief is totally ignorant of this, so the score comments only on his emotions. We hear one last warm statement of the Tyrol Theme as they kiss, before the score takes a detour into more tense and dissonant territory.

After the pandemonium, Chief Tyrol discovers that he inadvertently helped Boomer kidnap Hera. Here, Chris Bleth’s also flute states a creepy version of the Tyrol Theme against shifting, minor chords. This is his darkest moment, and thusly the most dissonant arrangement of his theme yet.

The Chief, stunned and heartbroken, stumbles into their projected dream house. He finds his way into his daughter’s room, but she’s no longer there. The house is an empty shell, the façade it had always been.

The Sonata, lush and romantic on its own, provides painful, bittersweet counterpoint to the visuals. Kara’s father had given up everything he ever had so he could write this piece of music. And now it underscores the pain Tyrol experiences at losing the family he might have had if life had turned out differently. He falls to his knees, a broken man. But, the piano performance, fluttering through half-diminished chords like a butterfly, descends gently to its graceful concluding chord as we fade to black.

Scott Ian: Might As Well Jump (4×07) (May 22, 2008)

Might as well jump (4×07: Guess What’s Coming to Dinner?)
By: Scott Ian
Date: May 22nd, 2008
Source: Scott Ian’s Battlestar Blog


Note: The following is a blog entry by SCOTT IAN (from the band ANTHRAX) that was published on the Official Battlestar Galactica website. In this blog entry Scott shares a conversation with Aaron that makes you just want to give Aaron a great big hug :(



If there is one thing I’ve learned over the last two episodes it’s that Cylons are, to quote my man Rob Zombie; “more human than human.” Their programming is filled with blind faith, pettiness, jealousy, backstabbing, and racism. All these wonderfully human traits amongst a species that is supposed to be superior to humans in every way. Maybe we’ll find out in the Caprica prequel series that this was done on purpose. Ha ha Cylons, just wait! You may destroy humanity but pretty soon you’re going to be your own worst enemies. You’re going to be just like us! Maybe the fifth will be an obese chain-smoking fanny pack-wearing slob that knows the way to the Churros stand at Disney World. Bummer.

All Adama has to do is blow up the resurrection hub, grab the five and go to earth and let the Cylons kill each other. Ah, but as we all know, BSG never takes the easy route.

Compared to what’s coming they’re all just running around on a puppy farm. Dark days loom for these people we’ve come to know as friends.

Spoilers I have boys and girls, but I’m bound by a higher authority (NBC Universal) to keep my frakkin’ mouth shut.
I did speak with Aaron “Chief” Douglas about the future of our Galactians on set up in Vancouver. Here’s the skinny from Tyrol:

“It’s lunch and I am in my trailer reading the last two episodes of Battlestar Galactica… ever. Wow… big day.”

Of course I asked him if it was great…

“Frakking awesome!!! Best stuff Ron has ever written!! It will blow your mind. I just finished reading them and I am fighting a fruitless and losing battle with my tears. It is amazing… I have to shoot now after lunch and I am teary.”

I told Aaron it’s killing me that he won’t tell me more but at the same time, I don’t want to know. I want to see it played out the way the producers, directors, writers mean for us to see it. An as far as the aforementioned spoilers, they don’t add up to much and I found out by accident.

I can’t believe Sharon shot Natalie. Natalie isn’t even the Six that takes Hera in Sharon’s dream. I though Natalie was the shining light (besides the fact that she’s super hot) for the Cylons. Bummer for us.

Guess What’s Coming To Dinner was a great episode for many reasons but for me mainly because it really moved the mythology forward. I really felt like the multiple arcs were starting to join. Maybe next week I’ll throw an Un-boxing party for D’Anna. I hope she’s back to being all surly after being boxed. I can only assume it’s not pleasant.

Roslin must really be on some strong drugs if she thinks Gaeta has a good voice. Please Doc Coddle, put him out of our misery!! Is the singing a Cylon outing or just a misdirection? Gaeta the fifth? I don’t buy it. All of a sudden soon to be peg-leg is going to have that much to do with everything? He did play an integral role on New Caprica but I still don’t buy it.

Adama knows something is up with Tigh and judging by next weeks previews, neither of them are happy about it. Adama’s presence was finally felt again in Guess Who’s Coming and hopefully he’ll be right in the thick of it from here on out.

I loved the ending and the realization that the Hybrid is really running shit.

What am I going to do when this show is over? I’m getting teary too Chief.

Fight’em til you can’t,

Scott Ian: There’s Hope For All Of Us (4×04) (April 29, 2008)

There’s Hope For All Of Us aka Tigh did it for the nookie (4×04: Escape Velocity)
By: Scott Ian
Date: April 29th, 2008
Source: Scott Ian’s Battlestar Blog


Note: The following is a blog entry by SCOTT IAN (from the band ANTHRAX) that was published on the Official Battlestar Galactica website. In this blog entry Scott shares a conversation he had with Aaron about this episode.



And I don’t mean hope in the context of religion or faith or any of Baltar’s story arc. I mean hope in the context of Tigh made out with Six. TIGH MADE OUT WITH SIX. Michael Hogan must be stoked. Granted, he got the shit kicked out of him first (and he smartly didn’t use his Cylon strength to fight back). On the list of things I never thought I would see on BSG, that would have to be right at the top. Right next to Tigh being a Cylon and Tigh changing a baby. Is that Cylon or human programming that made him change the baby? Either way, classic. And then right after his paternal moment he’s right back at Tory with “What is that, more of Baltar’s crap?” The man is a rusty iron crowbar, slowly crumbling, holding on to the thing’s he knows even though he knows it’s futile. Tigh says “feel what ya gotta feel” to Chief even though he’s searching for a way to “flip the switch” and bury the guilt of murdering his wife. Not gonna happen Patchy. Your new-fangled programming won’t let you. You need absolution and you’re going to find it (and a whole lot more) in the arms of Six, she of the magic (or is it just Cylon?) nookie. If that doesn’t make you forget your troubles (remember that nookie helped Baltar help her to destroy humanity) I don’t know what will. So Tigh gets to snog with Six and Chief hits the bottle.

Poor Chief. He loses his lady and then loses his shit with the old man. His description of Cally, “a shriek with dull-vacant eyes, the boiled cabbage stench of her” was oddly accurate. Is Chief’s Cylon programming disavowing his relationship with a human knowing that it could have been with Boomer or is it just a case of the grass being greener? I asked my main-man Aaron Douglas and he was his usual forthcoming self (although I can’t print everything he told me, no spoilers here).

“Dude. That ep was a really tough one for me. Long days of really emotional stuff. Really very tiring and hard because the rest of the cast has little to do so they get restless after 5 hours of doing the same thing and I am still trying to stay in the place of emotion of a funeral.

The scene with Eddie and I in the bar is one of my favorites. I have not seen the ep yet so I don’t know how it turned out. We did my coverage 3 times. The first time, which by all accounts was the best, was not recorded. The camera guys did not turn them on. That was frustrating. So what people saw on Friday was my 2nd best performance. I will watch it tonight and see if I remember anything else. That was a year ago that we shot it.”

Oh yeah….now Tigh gets to kiss Six and once again the Chief just goes and gets loaded… tell me how that is fair? Fuckers!

And he also added this:

“And tell the fans to watch for the Chief in the next weeks ep. He goes a little nuts……..”

I can’t wait!!!

I want a Chief/Tory showdown. Tory’s gotta go.

I have to agree with Roslin regarding the Baltar family. Not because of the safety of the fleet from a religious war, because I’m over the Baltar/Messiah thing. I guess it makes sense for his character that he would self-appoint himself this position but I just don’t care. His speech was eloquent enough but he’s my favorite character and I feel like he’s being underused. Put him in the brig and blow all his followers out the airlock and get him back in the mix with the Cylons. Adama would do that. Unless he’s once again completely full of crap and it’s all part of some other plan he’s go going. I’m hoping to be as usual, pleasantly surprised by his arc.

I do like the set-up for the power struggle between Roslin and Apollo. Apollo seems to have more backbone now then he ever did as a pilot. He ain’t taking no shit off of nobody!

No Starbuck this week. I’m sure next week she’ll be back in all her sweatiness.

Until then fight’em ’til you can’t.


Jane Espenson: What We Realize (4×04) (April 26, 2008)

What We Realize
By: Jane Espenson
Date: April 26, 2008
Source: Jane in Progress


WEBMISTRESS NOTE: Jane Espenson, the writer of last weeks Battlestar Galactica episode (4×04: Escape Velocity) discusses the bar scene with the Chief and Adama from that episode in her latest blog post.

WARNING: If you have not watched this episode, there are spoilers.


Did you see my episode of Battlestar Galactica that aired last night? I myself did not, as I was on a soundstage, watching even fresher Battlestar being made. So instead, to celebrate, I reread the script this morning and I thought I might show you all a little excerpt to illustrate how simple it can be to do something that might look tricky on the screen.

SPOILERS… if you haven’t seen the episode yet, you might want to wait. Anyway, there’s a moment in the episode where something plays out and then you realize it didn’t really happen, that it was just one character’s fantasy/fear/hallucination/projection/SOMETHING…. Here’s how I scripted it (I’m just showing you a scene fragment here):

…Awkward pause. Adama signals the bartender, then says:


We all miss her, Chief. I understand if you want time off. Or even if… if you want more shifts, want to keep busy. None of us knows how we’ll react to a loss. What we’ll need.

Don’t need anything special, sir.


The bartender slides a drink to Adama (he knows his preference without asking).


I guess it was just more than she could take, huh? Being married to a Cylon who made her the mother to a half-breed abomination.


Tyrol blinks at Adama. Who is JUST NOW BEING SERVED HIS DRINK. We realize that was a small moment of surreal fantasy (a la Tigh’s imagined shooting of Adama in episode three).


ADAMA (cont’d)
(to bartender)
Thank you.
She was a good woman.


See what I did? Almost nothin’. I just said what happened using emphasis so the eyes of careless reader wouldn’t miss it, and then with a “We realize…” sentence. I love “We realize,” because what you’re really doing is conveying to the reader the intended experience of the viewer. You’re not forcing them to guess about what you want the viewer to understand at that moment, and you’re not using dialogue to over-explain something that a character wouldn’t say out loud. I find it incredibly useful as long as it’s not being used to try to convince a reader that something would be clear to a viewer when in fact it would not. It’s a powerful weapon, use it well.

Scott Ian: We’re not evil, we’re not inhuman (4×03) (April 22, 2008)

We’re not evil, we’re not inhuman (4×03: The Ties That Bind)
By: Scott Ian
Date: April 22nd, 2008
Source: Scott Ian’s Battlestar Blog


Note: The following is a blog entry by SCOTT IAN (from the band ANTHRAX) that was published on the Official Battlestar Galactica website. In this blog entry Scott shares an email he received from Aaron.




We’re just dirty murdering slut robots. Well at least that’s what Tory is. Or should I say it’s what she’s becoming. Now that she’s one of the final five Cylon’s she’s become so much more interesting. Seriously, before she was outed did any of you care? I don’t think I even knew her name. She did have Billy’s big shoes to fill he writes with complete seriousness. Now she’s like a quieter Juliette Lewis in Natural Born Killers all screwing and killing. Her activation has taken her to the Dark Side young Luke and I’m afraid there’s no coming back. And what side is it? This isn’t a side of Cylon behavior that we’ve really ever seen. Maybe Cavil would cold-bloodedly blow someone out the airlock just because he can or for a goof, but at this point the rest of the Cylon’s have a higher purpose. Is Tory the evilest of Cylons? And what’s gonna happen with the other three? Why is Tory manifesting differently while the other three seem like themselves so far? Is Chief going to find out that Cally knew he was a Cylon or will he just think it was an anti-depressant fueled attack/suicide? I’m hoping Tory just evil’s up and tells him the truth. “I blew your lame-ass wife out the airlock because she knew our secret (and in general was pretty boring) and I would’ve frakked your cry-baby bitch kid too except he’s half Cylon ’cause that’s how I roll.” I emailed Aaron Douglas (yeah, the Chief and I are buds) and asked him all these questions. Here’s what he said:

“It only gets worse my friend. What we think Cally knew and didn’t know is explored over the next few eps with the Chief making little discoveries along the way. The final four Cylons are different from each other in the same way that humans are different from one another. We all have tendencies that manifest in various situations. The next couple of episodes contain a large arc for Tyrol. Callys death and some other things really come to a head. Enjoy. They were a really tough shoot.”

The shit is going to hit the fan when Chief finds out Tory killed his wife. Cylon or not, the Chief is the Chief is the Chief. The fact that they have no problems with killing off regulars and making other characters suffer intensely is one of the main reasons why I love this show. It’s so heavy. When an episode like 4.3 ends it really bothers me. It stays with me for days. That shot of Cally’s frozen bloated face was haunting. No heroic death for our little mechanic. Alone except for the uncaring stare of a Cylon holding HER baby and aware that she’s got seconds before the vacuum takes her. Brutal. I’ve invested years in these characters and the show is so well written that it makes me feel for these people. I care less about some real-life people than I do these TV ones. TMI? Maybe. I don’t give a frak.

Last week I knew that Boomer was sleeping with Cavil. This week proved me right. Ummm, gross. Boomer is really giving her line a bad rep. Does Roslin have annoying cancer? I hope Zarek goes back to his old ways and puts her out of her misery. I’m glad Zarek is back. He’s a great pot-stirrer and I love watching Richard Hatch. Was it me or did that blood-cleaning Centurion give stink-eye? The Centurions are plotting. I don’t think the “magic word” is going to cut it for too long. How many cartons of smokes did Doc Coddle bring? I’m starting to think he’s the fifth Cylon just for the fact that he’s not dying of emphysema. Everyone on the Demetrius needs to chillax. Starbuck has killed more Cylons than all of them combined and oh yeah, she came back from the dead. I don’t care how bi-polar she gets, I’d follow her to hell. I didn’t think Anders had the balls to frak Starbuck when she demanded to be frakked. I guess a Cylons gotta get some when he can. Too bad it’s not on HBO. The Cylon vs. Cylon war has really kicked off. I saw right through Cavil’s kowtowing. He’s Cavil. He’s the Devil. Who’s side are you on? I’m taking Husker.

Fight’em ’til you can’t, Scott

Scott Ian: Drop your dicks and grab your sticks!! (4×01) (April 5, 2008)

Drop your dicks and grab your sticks!! (4×01: He That Believeth In Me)
By: Scott Ian
Date: April 5th, 2008
Source: Scott Ian’s Battlestar Blog


Note: The following is a blog entry by SCOTT IAN (from the band ANTHRAX) that was published on the Official Battlestar Galactica website. Scott shares a conversation he had with Aaron that includes the “Drop your dicks and grab your sticks” line that Aaron mentioned in our Ask the Chief Q&A in January :)

SPOILER WARNING: This blog entry is about Friday’s episode (4×01: He That Believeth In Me) so there’s some very mild spoilers in there if you haven’t seen the episode yet.


Unless you live abroad or you’re an idiot you’ve seen the premier of season four. And what a premier it was. Starting right from the end of season 3 where Starbuck came back from the dead (she wasn’t looking to eat Anders so at least we know she’s not a zombie) the episode didn’t answer any questions. What it did do was start the clock on what is going to be an incredible endgame. Every characters plot line (except Tom Zarek!!) has been set on his or her path and over the next 19 episodes, we’ll get the answers we’ve been so patiently waiting for.

Of all the stories being weaved I think Starbuck’s is the most compelling. She’s already been accused of being the one to lead humanity to it’s end and now she’s been dead/gone for 2 months and she miraculously returns in a freshly detailed Viper. Cylon? I don’t think so, too obvious unless that’s what they want us to think. I think Starbuck did see Earth and is telling the truth about her experience. Wormholes people. It’s a Hollywood fact that time and space mean nothing in the face of a wormhole. I believe her, and not because she could kick my ass, because I think she’s the key to the whole thing. Screw the Gods, or Six’s one God, Starbuck is Jesus and she will put a bullet between your eyes if you disagree. If I’m wrong, hire Apollo to sue me.

The 4 newbie Cylons are as you would expect, confused and trying extra hard to be human. Michael Hogan really stands out by making Tigh even more intense with only one eye to emote with. Seriously, his one-eyed stare makes my balls nervous. When he puts his gun on the table was that to consummate a suicide pact between the 4 of them (before they would harm someone else) or was it just him getting rid of his gun so if he wakes up and wants to shoot the old man (nice trick with the assassination before the credits) he won’t have the iron to do it.

Anders eye-dentification with the Raider was killer!!! Can’t wait til he finally gets to let loose.

Chief is business as usual so far. Cylon Shmylon, he’s got shit to do. I texted with Aaron Douglas after the show and asked him about the gun scene with Tigh and he told me that he had the same questions as I did and no one would explain the scene to him. Aaron was kind enough to share this with me and I will share with you…

“I had the best adlib ever in the scene where Chief walks onto the hangar deck yelling for the Nuggets. It didn’t make it into the show. What did make it was something like “lets go nuggets! your momma’s aren’t going to save ya today” it is all adlib’d but one take I said, & this is pure gold, “drop your dicks and grab your sticks!” 5 seconds later Harvey (producer) says from video village, “you can’t say dicks on TV”. We had to do it again. Ha. Being a Cylon is great. Someone else does my laundry. Started back shooting last week. Its great to be back but its sad to see it go.”

Thanks Aaron,

Chief will save the day. Anders and Foster, expendable. Just my opinion.

Adama was in the background this episode. I think he believes Starbuck is who she says she is. Is he the 5th? I don’t think so. Or is it so obvious that he actually is?

And finally my favorite Galactian; Baltar. Of all the sub-plots, this Manson family-esque cult leader deal is not my favorite. Yes, I love that he’ll say anything to get laid, ridicule the situation and then even start to believe his own bullshit but where is this going? Unless his harem start killing in his name with his semi-approval, I’m not interested. And how do they have this Baltar orgy den complete with shrine on Galactica? Really? No one knows this is going on on a Battlestar? Hopefully inviso-Six will get jealous and put an end to this quick.

I think I can safely say Starbuck won’t be shooting Roslin.

Fight’em til you can’t, Scott

Bear McCreary: Final Four Theme (April 5, 2008)

Final Four Theme
By: Bear McCreary
Date: April 5, 2008
Source: Bear McCreary’s BSG Blog (TBG4: “He That Believeth…”)


Note: This is a snippet from BEAR McCREARY’s blog where he mentions AARON DOUGLAS / CHIEF TYROL. To read the full blog entry, click HERE.


Season 3 concluded before a hypnotic, rock-inspired “All Along the Watchtower” backdrop, but Season 4 begins with a cold snap back to reality. So the score enters simply, with the strains of a solo erhu, playing Kara’s Destiny Theme as we return to Kara and Lee, flying side by side. The oddly serene moment is not too last, however, and we’re almost immediately thrown into one of the biggest battle scenes I’ve ever had to score for Battlestar Galactica.

This sequence is immense, spanning the entire first act, and the music had to match. Japanese-inspired rhythms that first snuck into my work with pieces like “Storming New Caprica,” “Fight Night” and “Mandala in the Clouds” come to the foreground here. The entire ensemble of ethnic soloists, including er hu, zhong hu, bansuri, duduk, yialli tanbur, electric fiddle and duduk are tucked away behind the full arsenal of nagado daikos, shime daikos, tablas, frame drums, whale drums, and hand percussion.

However, what makes this battle cue unique is that it includes strands of a very important theme, that I now call the Final Four theme:

This riff was first developed while I was arranging Bob Dylan’s “All Along the Watchtower” for the third season cliffhanger, although it is in no way derived from Dylan’s music. It will play an increasingly important role in the score for the fourth season.

The Final Four melody is first heard when Tigh pulls a gun on Adama in the first few minutes, hidden beneath a wall of electric sitar, violin and guitars, echoing “Heeding the Call” and “Watchtower” from season 3.

It resurfaces prominently as the enemy raider scans Anders’ eye and then breaks off the attack. And it is repeated again during the scene when the Four meet in secret. Viewers with keen ears will pick up distant refrains of this melody all throughout the fourth season, as Tyrol, Tigh, Tory and Anders each come to live with their newly-discovered Cylon natures in unique ways.

Mark Verheiden: What’s New In Battlestar Land… (April 5, 2008)

What’s New In Battlestar Land…
By: Mark Verheiden
Date: April 5, 2008
Source: Famous Mark Verheidens Of Filmland


Note: The following is a blog entry from MARK VERHEIDEN (the Co-Executive Producer/Writer on BSG) where he mentions AARON DOUGLAS / CHIEF TYROL.


Posting has been light the last few days because I’ve been spending much of my time on set, helping make sure episode “415” is as chock full of Battlestar goodness as possible. Things are rolling along extremely well and as usual the cast and crew is doing a superlative job turning my scribbles into high drama. It’s strange to think this probably won’t actually air for months and months, long after I’ve vacated my palacial NBC/Universal office…

So, what else has been going on? Let’s see, I saw Springsteen at Vancouver’s “General Motors Place” arena last Monday night, enjoying myself with a sell-out crowd along with Aaron “The Chief” Douglas and the ever ebullient S. McA. from the BSG production office. And the show? It is considerably changed up from the first leg of the tour, lots of new songs, and Springsteen and band debuted a very special request, an outtake from Born In The U.S.A. called “Home of the Brave.” I don’t think this one even made the “Tracks” compilation, so that was fun.

Oh, and BATTLESTAR IS FINALLY BACK ON THE AIR. It airs at 7:00PM here in lovely Canada (on Space Channel, tip o’ the hat to my pal Mark Askwith at Space who does a great job stoking the flames for BSG) so I missed the debut and any parties that may have ensued. Oh well, there’s always next seas… oops. At least it was missed for a good cause.

More as it develops…

Scott Ian: Who the frak let me in here? (April 1, 2008)

Who the frak let me in here?
By: Scott Ian
Date: April 1st, 2008 (12:07 PM)
Source: Scott Ian’s Battlestar Blog


Note: The following is a blog entry by SCOTT IAN (from the band ANTHRAX) that was published on the Official Battlestar Galactica website. In this blog entry Scott mentions AARON DOUGLAS / CHIEF TYROL.




Hello my friends and welcome to my tiny little corner of the BSG universe. Somehow through sheer fan-boy tenacity (and a lot of help from the Lords Of Kobol over at Sci-Fi/NBC Universal) I have actually been asked to write about my favorite show. And not just write a blog on my personal site but an actual blog on Sci-Fi’s site blabbing about the most well written show on TV. Where Ron Moore and David Eick blog. Holy crap.
And who am I to have been given this weighty task?

I’ve been in a band called Anthrax for 27 years and I’m a total horror/sci-fi/comic dork. A million years ago we had a song called “I Am The Law” based on Judge Dredd (way before the abortion of a movie with Stallone which we refused to let our song be a part of; you HAVE TO leave the helmet ON) and that opened the door for me into the actual world of horror/sci-fi/comics that I’d been admiring from afar since I was a kid reading Ditko Spidey and anything Kirby touched (even Fin Fang Foom). When the internet became the place to espouse ones opinions to the world, from behind the safety of my Mac I jumped in head first and wooooosh (Lost forward flash sound effect) cut to me (trying) to write a Lobo series for DC, a food column (Food Coma) for (nude tattoed chicks but you can read the articles for free) and a blog about Galactica’s final season.

Obviously I will be writing about each episode this season and I also hope to have some special guests (cast members, other “celeb” BSG fans and Brent, Jason and Eric my buddies that are as insane as me about the show) be a part of this as well. Yes, I’m talking to you Chief.

Friday night looms.

Bear McCreary: Tyrol Theme (December 8, 2006)

Tyrol Theme
By: Bear McCreary
Date: December 8, 2006
Source: Bear McCreary’s BSG Blog (The Themes of Battlestar Galactica, Part III)


Note: This is a snippet from BEAR McCREARY’s blog where he mentions AARON DOUGLAS / CHIEF TYROL. To read the full blog entry, click HERE.



I wrote this as a love theme for Tyrol and Sharon’s secret rendezvous in Litmus. Their scenes were the perfect place to plant the seeds for a beautiful, lush love theme which could be developed as their relationship continued. This simple tune, (in Lydian mode for you music nerds like me), was performed on an alto flute, using its bottom register for the characteristic, dark tone a regular flute can not achieve.

I really liked this theme but, because I don’t read the scripts in advance, I didn’t realize that this was virtually the end of their screen time for the rest of the season! Their few remaining scenes together had no need for music, especially a lyrical love theme like this. So, it went away for a long time.

To my pleasant surprise, it resurfaced a full season later for the finale of season two, Lay Down Your Burdens, Pt II. Tyrol had mysteriously beaten his friend Cally within an inch of her life and went to her hospital bed to apologize. The producers wanted to suggest a genuine tenderness between the two of them, despite the obvious strain on their relationship. I was even asked at the spotting session: “Do you have some kind of love theme for Tyrol?”

So, this tune came back! And has since been used throughout season three as a theme for Tyrol and Cally.

EPISODE APPEARANCES: Litmus, Lay Down Your Burdens Pt II, Occupation, Precipice
USELESS FACT: This melody is one of only two themes on the show consistently performed on a classical, orchestral instrument.