I find the "clarifying" statement to actually make things far more unclear. Before, I thought they were making, well, Battlestar Galactica. Last group of human survivors, evil robots, lost planet Earth, younger actors, steadier cameras, and rather than saying they'll figure out a plan as they go, they'll say they have everything planned out in advance, and then blatantly change course twice a season and retcon all their established lore, like Discovery.
Now I don't know what the hell it is. A remake of BSG, but not of nuBSG? A new story set in the nuBSG universe?
All I know is, they're not going to use either of my ideas, which are a)
the Na'vi from Avatar are the descendants of the Rebel Centurions using humanoid Cylon technology crossed with the native wildlife to produce bespoke flesh bodies so they wouldn't feel obligated to imitate human society again, and b) that the Colonial survivors settling on Earth 2 did not actually become immediately lost to history, and were the founders of
the ancient human star-empire from the backstory of the Halo video games, which I keep in my back pocket to shut people up who complain about how unthinkable wanting to rough it is after spending literally four years in an airplane, and that it's ridiculous that suits and ties and english existed 150,000 years ago (and that we must interpret those absolutely literally), since it's a plot point that Ancient Humanity is slowly recreating itself though contemporary Humanity thanks to deep-rooted alien brainwashing. How's that for some damn science fiction?
I'm sticking with my suspicion that the "Cylon God" spoken of in nuBSG is actually Count Iblis.
You know, if you open your mind the teeniest bit, the concept of God is, by definition, a powerful transdimensional space alien, so I don't get this impulse that it's more believable as science fiction if we specify that it's a really cheesy one who is also cartoonishly evil. There's also the confusing implications of naming the entity whose hints averted the total end of human civilization at least twice, and overtly deposited mankind in the literal Garden of Eden at least once to be reborn as a people, as being cheesy space-Satan. Kinda getting into some weird territory there. Is Satan the good guy, and God (who still exists by implication) the bad guy? Is humanity's mere existence utterly evil and our continued survival is an affront to all that is good in the universe?
But who or what controls the cycles reinventing suits and ties?
Who "controls the cycles"? What kind of question is that? Are you going to ask me to draw a hydrodynamic diagram to explain why sharks and dolphins are similarly shaped, sized, and colored despite being totally unrelated? Things look like things for reasons. Sometimes those reasons apply in different situations and environments. Sometimes that makes things look like other things. Sometimes things happen in movies for dramatic, figurative, or metaphorical effect. There isn't actually a tiny spotlight on the bridge of the
Enterprise that blasts right into Captain Kirk's eyes, activated by the power of his thoughts concentrating on what the Romulan Commander will do next.
I'm having flashbacks to the BSG78 die-hard who hate-watched every episode of nuBSG and cried and rent his garments every time something remotely contemporary showed up. He was overjoyed that the bucket Starbuck tried to drown Leoban in was painted metallic gray and had a bunch of lumps on it so it looked futuristic, rather than just being a simple off-white cylinder (even though, in all likelihood, they still just bought it from Ikea).
Costuming, as with anything else, reveals character. The point of the people of the Colonies wearing contemporary clothes, having dogs and cats, eating apples, was to establish them as relatable in the minds of the audience. That's it. It tells you these are human beings in a civilization like the one you live in, not space aliens or super-evolved future-people, and so you can carry some amount of your preconceptions with you. That's it. If you don't like the "television universal translator" idea that what we see isn't a literal extrapolation of a space-faring society of the distant past, there's also the concept of cycles of time woven into the show, suggesting there's a deeper, unknowable level of reality that we are bonded to but cannot comprehend, that on a larger scale than we can imagine, we are woven into the inescapable network of mutuality. That life and death and love and art and revenge and forgiveness bind together the very stars themselves, that the human experience is transcendent, and not just a bunch of monkeys overthinking how to get the juiciest fruit.
It is not to establish that there's an unbroken chain-of-custody between the J.Crew where they bought Apollo's blue suit in 2007 and the planet Caprica. That's absurd.
Think about what you're proposing here. You're saying that, because lapels and neckties are such a freakishly unique evolution of body-coverings, you require a story where, at some point in the near future before they go out of fashion, the people of Earth must travel to the far side of the galaxy, colonize a planet, have the civilization there develop for no less than two thousand years, possibly as many as eighteen, undergoes an apocalyptic cataclysm, then the survivors colonize another group of planets, spend another two thousand years of civilization, and at the end of all that, they have never once deviated from 2000s-era men's fashions, and the only alteration in the english language has been a vowel shift and an added consonant in the word "fuck." Also, at some point, time travel, which no one notices having happened. This, at your request, is plausible hard science fiction.
