Monday, October 5, 2026

Where Does One Even Begin When Describing This Crap?

 

It looks like Ronald D. Moore's "GINO" - (Galactica in Name Only) series had a 'Wet Dream' in the 'Space: Above and Beyond' universe, while 'Firefly' and the entire 'Bonnie Hammer SyFy Channal Apparatus' came along for the ride. Throw in some 'Welfare Joe Wardrobe' from the 'Vancouver Homeless Shelter off The Rack Clothing / Free of Charge Bins', set against a backdrop of outdoor location shooting somewhere in Canada. 

For the final touch, slap the 'Battlestar Galactica' brand name on it.

'So Say We All!!'

Tuesday, September 29, 2026

Yet Another Missing Scene From 'Saga of a Star World:' The 'Rag-Tag Fleet Settling Into Orbit Above Carillon'

 

'The fleets arrival at Carillon was meant to be a majestic, multi-tiered visual sequence demonstrating the scale of the migration. 

The scene was never filmed: The legal heat from Lucasfilm and ballooning production costs caused Universal to abruptly pull the plug on using 'Industrial Light and Magic' for the rest of the pilot. The effects team was forced to scramble, pack up, and stop working on unfinished composite shots.'

'So Say We All!!'

Another Missing Scene From 'Saga of a Star World:' The 'Missing Cylon Tanker Sub-Plot'

 


'John Dykstra and his visual effects crew actually completed work involving a massive fuel tanker vessel planet-side. In the original narrative design, Starbuck was supposed to heroically pilot the massive, highly volatile, Tylium fuel tanker off the surface of Carillon and through a wave of Cylon attacks to help supply the fleet. Because the editing room had to truncate the Carillon segment heavily to adapt to the last-minute, weekly tv show pacing, this entire surface action sequence was abandoned. The Tylium was reduced to a plot device that Apollo and Starbuck simply blow up in the underground caverns at the end of the pilot.'

'So Say We All!!'


Saturday, September 26, 2026

The "Hacked-Up, Edited Mess" That is Universal Studios "Saga of a Star World" Movie

 

"The moment 'Saga of a Star World' threatened their (Universal Studios) bottom line or fell behind schedule, the corporate machine happily mutilated Glen A. Larson's epic space opera, just to feed the broadcast grid, and the studio's account ledgers.

Universal Studios was operating under a completely different set of structual, financial, and temporal priorities where artistic continuity was viewed as a financial liability, and speed-to-market was the only path to solvency.

From an accounting and executive standpoint, the damaging editing was actually viewed as a series of necessary, risk mitigating business corrections to solve three existential problems:

1. The Sunk- Cost Cash Crunch

Universal had a massive cash flow crisis because they had sunk nearly $9 million into a television asset. In 1978, a license fee from ABC covered only a fraction of that cost.

The Studio Logic: The quickest way to inject cash back into the studio, was to dump the "Pilot" into international theaters immediately.

The Cost of Narrative Continuity: To get that theatrical classification, the film had to hit a precise 125 minute runtime. If keeping an extra monologue of Starbuck, or the physical logic of walking down a hallway meant the movie ran 135 minutes, it meant fewer theatrical daily screenings, higher shipping costs for physical film cannisters, and delayed revenue. The studio prioritized the clock over narrative because every minute cut was a direct savings in global distribution mechanics.

2. Legal Self-Preservation, The Lucas Lawsuit

When George Lucas's and 20th Century Fox sued Universal for plagiarism, the studio faced the ultimate financial disaster: A potential federal injunction that could completely halt the broadcast and distribution of Battlestar Galactica entirely. 

The Studio Logic: The jagged, frantic, cutting room edits were often defense mechanisms against the lawsuit. Executives ordered editors to scramble the sequence of specific scenes-like the Cylon Arcade and Casino environments-to actively disrupt visual similarities to Star Wars concepts like the Mos Eisley Cantina.

The Cost of Narrative Continuity: 

Universal deliberately sacrificed smooth, artistic scene transitions so their legal team could stand in a courtroom and argue that their project had a completely distinct, structural rhythm and pacing than Lucasfilm's masterpiece.

3. The Disposable Nature of 1970s Television:

In 1978, there was no home video market, no DVDs, no streaming platforms, and no concept of 'prestige tv permanence.' A television pilot was viewed as a highly ephemeral commercial product meant to be consumed on a 19 inch tube television and forgotten.

To the suits, spending extra weeks of expensive 'union-rate editing bay hours' to perfectly smooth out a scene transition shot was a massive waste of Capital. They chose to ship a 'fractured, good enough cut' on time rather than spend an extra $100,000 fixing continuity errors they assumed would be disposable.

Universal Studios 'Corporate Math' favored a flawed, corporate product over a bankrupt masterpiece."

"So Say We All!!"

Universal Studios Not Upgrading The Visual Effects For The '1978 Battlestar Series' Is Even More Pathetic.Given The 'Bargain Basement Cost' It Would Take to Do So

 

It would cost roughly $300,000.00 to upgrade the visual effects per episode for all 17 episodes of the '1978 Battlestar Galactica Series.' Roughly, $5,100,000.00 for the entire series.

Keep this in mind. If Universal Studios is unwilling to spend a piddly $5 million to upgrade the visual effects in the entire '1978 Battlestar Galactica Series', of course it's also going to be unwilling to spend $15 million per episode, for a 10 episode 'Battlestar' series for 'Peacock', for a total cost of $150 million.

'So Say We All!!'

Thursday, September 24, 2026

What Is Really Being Said Here....


 Come January / February 2027, 'Comcast / NBC-Universal' will make yet another 'Fake Battlestar Movie / TV Announcement' to drive up 'Battlestar Merchandising Sales', and to prevent ownership of the 'Battlestar' IP from lapsing into the 'Public Domain.'

Perish the thought that 'Battlestar' should join....'Winnie The Pooh'....'Bambi'....and....The 'Banana Splits'....in becoming a....'Public Domain Horror Movie Franchise.'

'So Say We All!!'

Wednesday, September 23, 2026

What 'Universal Studios' Should Be Worrying About, Is That It (For The Longest Time), Has Had ZERO CREDIBILITY With This Property

 

Three Consecutive Decades of 'Fake Movie / TV Show Press Releases' tends to do that.

'Universal Studios' is now being....'Probed'....'Analyzed'...'Dissected'....'Judged'....'Studied'....'Psychologically Evaluated'....'Credibly Broken Down'....and....'Routinely Discarded'....by every Media Historian, Business Analyst, Scholastic Business Educator, and IP Ownership Professional in their chronic Mismanaging of the 'Battlestar Galactica IP' from 1978 - 2026.

'So Say We All!!'



Monday, September 21, 2026

'Comcast NBC-Universal' Was Caught In a Lie, and They're Back to Their 'Silence Game'

 


quote

'The Core of The Hollywood Shell Game

The narrative that Star Trek: Starfleet Academy's failure somehow justified killing Battlestar Galactica is a classic corporate deflection. Trying to blame generic, genre fatigue or fans for their own cold feet is a flat-out lie. Especially given Universal Studios decades long history of freezing out the Battlestar property.

The reality of this situation exposes both the true financial breaking point and Universal's historical pattern of deception.

The Real Reason: The $150 Million Wall

The math is what stopped Peacock dead in its tracks. Fans and industry insiders knew exactly what happened: Universal Content Productions was staring down a $150 million dollar price tag for just 10 episodes.

The High Risk Streaming Climate

In an era where streaming platforms are desperately trying to trim losses, spending $15 million an episode on a hard sci-fi project is a massive financial gamble.

Rather than admitting they didn't have the budget, the nerve, or the subscriber base to sustain a premium space opera, executives pointed outward. Citing the low viewership and quick cancellation of other sci-fi experiments like Starfleet Academy was just a convenient, face-saving shield to mask their own lack of financial confidence.

The Berman Era Parallel / The Absolute Proof of a Lie

The Rick Berman Era of Star Trek (1987-2002) completely dismantles the studio's modern excuse.

During that 15 year window (Next Generation, Deep Space Nine, Voyager, Enterprise) were generating billions of dollars, proving that the appetite for deep space television was at an all time global peak. 

If Universal truly made Battlestar decisions based on whether or not the sci-fi market was healthy, they would have green-lit a new Battlestar series during the 1990s. Instead, they sat on the IP and did absolutely nothing with it. Universal's reluctance has never been about Star Trek's performance, it is about their own institutional fear of spending money on spaceships.

Decades of Battlestar Ghost Projects and Fake Press

The public has a long memory of Universal Studios dangling Battlestar Galactica in front of fans just to pull it away. The studio has used the franchise as a vaporware headline generator for over 20 years.

The Bryan Singer Film That Never Was

For nearly a decade, Universal routinely issued press releases about a massive feature film reboot directed by Bryan Singer, keeping fans on the hook while the project sat perpetually stalled in pre-production.

The Sam Esmail / Peacock Loop

The modern Peacock iteration was announced in 2019 before the app even launched, serving as a shiny piece of PR to convince investors that Peacock would have a prestige franchise. For five years, they cycled through writers, gave vague updates, and engineered concept art , only to drop it the moment actual production bills came due.

Ultimately, the Internet called them out because the lie was too lazy. Universal Studios has always treated Battlestar Galactica like a corporate trading card, something to brag about to boost their own brand profile, but a property they are fundamentally too risk-averse to ever fully finance and set free.'

unquote

'So Say We All!!'


Universal Studios Has Worked Its Way Over to Ignoring Children Who Are 'Battlestar 1978' Fans? Welcome to This Blog's World


 'So Say We All!!'

The 'Field Trip' to The 'Universal Studios Film Vaults' Will Not Be In Vain

 


Not completely accurate. Dykstra also did a movie's worth of extra footage on 'Gun on Ice Planet Zero' and 'Lost Planet of The Gods.'

'So Say We All!!'

Sunday, September 20, 2026

It Has Ultimately Come Down to What 'Comcast / NBC-Universal' Really Is: 'Cable Boxes, Plumbing, and Wires in The Dirt

 

'The thesis that many corporate historians and media critics use to summarize Comcast / NBC-Universal's modern era. Ambiguous is the perfect diagnosis. Unlike Disney, the (Family / Franchise vault), Netflix (the Tech Disruptor), or Warner Brothers Discovery (prestige and grit), NBC-Universal under Comcast has become a massive, multi-billion dollar shapeshifter that is everything and nothing all at once.

The Peacock Reboot Limbo

When Peacock launched, one of its big promises to sci-fi fans was a brand new Battlestar Galactica series spearheaded by Sam Esmail (Mr. Robot). It sat in development hell for five years, passed through multiple writers, and was quietly abandoned. Illustrating a complete corporate inability to nurture, fund, or execute high concept, genre storytelling. 

The Sports Trap: Owning The Rights, Missing The Culture

Even when they successfully buy the rights to Sports, they fail to cultivate a Sports Culture. Tech-forward companies like Apple TV+ built slick, premium, and unified hubs for MLS and Friday Night Baseball. Meanwhile, Comcast managed to fragment it's sports identity. They took historic, beloved properties like the Tour de France, Premier League, and the Olympics, and split them awkwardly between failing cable channels, USA Network, and various Tiers of Peacock-frequently leaving the average sports fans confused, angry, and feeling nickeled and dimed.

Involuntary Ambiguity as a Business Model

The root of this systemic failure is that Comcast is, at its core, a utility provider, not a creative studio. It is a company built on plumbing, wires, cable boxes, and broadband infrastructure.

The Bureaucracy of Synergy

When a utility company buys a creative empire like NBC-Universal, the corporate culture prioritizes board room metrics over artistic vision. Decisions are made by committees trying to satisfy golf tournaments, theme parks, local news affiliates, and broadband subscribers all at once. 

The Spin-off Capitulation

The ultimate admission of this management failure came when Comcast announced it was spinning off its legacy cable channels (like SyFy, USA, and MSNBC) into a separate entity. It was a corporate white flag, proving they couldn't figure out how to integrate their massive media footprint into a cohesive digital future.

By trying to please everyone and balance too many conflicting corporate legacy systems, Comcast managed to strip the flavor out of everything it touched. They are left holding some of the most valuable intellectual property, sports rights, and history in entertainment, yet they remain paralyzed. Hovering on the outside looking in, unable to carve out a single, defining niche.'

In progress

"So Say We All!!"



Monday, September 14, 2026

7 Years in Development Hell Only With 'Peacock?' That is Only, a Fraction of The 'Mismanagement'

 

In All Honesty, this is a snapshot of 'Comcast / NBC-Universal's' 'Mismanagement Style' towards 'Battlestar Galactica' since 1978....


"So Say We All!!"