This becomes the case, as she leads Galactica and the Fleet to a second, new planet the Colonials dub "Earth. However, as they blend in with the native humans on the new Earth, the distinctive natures of Colonial human and Cylon creations blur and merge. In a sense, the blurring results in the "death" of both races as a new human race begins.
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Namespaces Page Discussion. They find wreckage of a Viper with Starbuck's tail number and what appears to be her charred corpse. After removing the dog tags and wedding ring, Kara asks "If that's me lying there, then what am I? He responds by backing away, as if recoiling from the realization that she is indeed the "Harbinger of Death.
In " The Oath ", Captain Thrace discovers civilians and a few mutinous Marines and crewmen arming themselves for battle. She rushes back to her quarters to prepare for battle, grabbing her sidearms and ammunition.
While searching for Adama, Kara and Lee free loyalists found in the brig which includes Anders, who is then shot by a mutinous marine upon leaving.
Kara, refusing to leave his side, pressures Lee and those who escaped to leave her in order for them to search for Adama. At first she becomes annoyed by his repetitious playing, stating he reminds her of her father when he did nothing but play the piano and she mentions how her father left her and her mother to pursue it as a career.
Over the course of the episode, Starbuck befriends the pianist and ends up working with him to try to finish his song. Toward the end, the piano player writes down the notes Starbuck hums out on a sheet of paper.
The pattern reminds Starbuck of a drawing of colored dots the Cylon-Human child, Hera Agathon had given to her earlier. She lines the child's drawing up with the notes the composer had drawn and they match exactly.
When Starbuck and the pianist play the notes, the song is instantly recognized by Saul Tigh and Tory Foster — who are sitting at a nearby table with Ellen Tigh — as the song "All Along the Watchtower" they heard in their heads when they learned they were the final Cylons. Ellen, of course, remembers it from Earth. A bewildered Saul asks Starbuck where she heard the song.
Starbuck responds she played it as a kid and begins to mention her father, but stops short when she realizes the piano player, her father, was either a figment of her imagination or a vision. In the episode " Daybreak, Part I " Starbuck tries to get answers from Anders about the song, even turning notes into numbers to see if there is a mathematical solution.
After saving Hera, and as the Colony is being destroyed, Starbuck is ordered by Admiral Adama to jump the Galactica away to safety. Although she has no coordinates, Adama tells her to make a blind jump to anywhere. Recalling the musical notes and the numbers she extrapolated from it, she inputs them into the computer; the resulting jump puts Galactica near a habitable planet the fleet decides to settle on.
It is revealed this new planet is our world, some , years ago; Admiral Adama names it "Earth", believing it better matched the dream the fleet had been seeking than did the original Earth which had been found destroyed by nuclear war.
Once settled on the world, Kara says a final goodbye to Admiral Adama and tells Lee she's leaving - her "job is done", having indeed led the human race to their end the end of their journey - and will not be coming back. Eick: —Probably not "Yesterday. I think we felt it was too soon.
Did you find that true? We made the decision that fourth season was going to be the last season once we got to the end of the third season.
We all instinctively felt that the show had the reached the third act by the time the show got to the end of that third season. We wanted to expand the show and … find a new ways [of] story telling. It gave the show life, but after a year of that, when we sat down heading into season four, it was a much shorter conversation. If we know that going in, how would that inform story telling decisions? I remember from my perspective going into that 4th season there was a different energy on the set.
There was tremendous focus and concentration that I was getting from the entire ensemble. McDonnell: Part of what was extraordinary about that is as you are able to view [the end approaching] you can then kick into gear and plot your finish.
What that ends up doing is simplifying things for you. So a lot of us felt a kind of simplification. A kind of humility that came over us and that gives you a lot of energy. You just know where you are going and you are proud to be a part of it.
And you let go. That was the experience I think many of us had. Olmos: We had a meeting at the very beginning of the show and we all, 13 of us, sat down in my trailer—. McDonnell: He had the biggest trailer. Omos: —it was beautiful! And we sat down as we discussed the possibilities. I talked to them about making sure we understood that if, by chance, this situation was to move forward and we were to do this as a series, and this was to go on to for one year, four years, ten years, who knows, that we had to understand what that meant… I just knew that…the story would have a beginning, a middle and an end, and that we had to pace ourselves.
So at the end of the third season, beginning of fourth season, we had a meeting, and we were told then that this was going to be the final season. And we knew it. In marathon you have to start off fast, really really intensely strong, your first mile has to extraordinary. Then the next 24 miles have to be consistent…. We never really looked at them as angels or demons because they seemed to periodically say evil things and good things, they tended to save people and they tended to damn people.
There was this sense that they worked in service of something else.
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