COSMOS tells a great story, but it forgets to explain the science of denying science

COSMOS: A Spacetime Odyssey is presented by FOX Sundays 9/8c and National Geographic Mondays 10/9c

COSMOS: A Spacetime Odyssey is presented by FOX Sundays 9/8c and National Geographic Mondays 10/9c

I've been anticipating COSMOS: A Spacetime Odyssey ever since it was teased at last year's San Diego Comic Con. Carl Sagan's original Cosmos: A Personal Voyage was a big part of my childhood and, along with Star Trek, it made me believe that science would create a better future for humanity. Knowing that COSMOS was returning in one of the biggest television rollouts of all time with the coolest modern scientific communicator (Neil deGrasse Tyson) made me a very happy nerd.

Neil deGrasse Tyson's got the right stuff to take on COSMOS.

Neil deGrasse Tyson's got the right stuff to take on COSMOS.

The first episode explains Earth's position in the universe and introduces the cosmic calendar to a whole new generation of people. Both had the effect of making me feel impossibly small & completely inspired. What was unexpected was the story of Giordano Bruno, a man who argued that the Earth orbits the Sun in an era when most believed the Earth was the center of the universe. Bruno died for his beliefs and in telling this story COSMOS makes a clear case for the scientific method of questioning everything. The episode tells a great story, but it forgets to explain the science of why people deny science.

Stories are persuasive

A history of the universe, condensed into an easy to understand story.

A history of the universe, condensed into an easy to understand story.

What made COSMOS so effective is Tyson's mastery of storytelling. He's been doing this for years at the Hayden Planetarium, on Capitol Hill, and across television networks (probably because he was inspired to follow Sagan’s example). Tyson easily translates complex ideas into straightforward language that gets people excited about understanding space. Most scientists can't do this and have a hard time sharing their ideas with people who aren’t in their field. Check out Tyson at his best in the "We Stopped Dreaming" speech.   

Stories aren't just entertaining. They’re an essential part of our psychology. The brain creates a story of who we are based upon the experiences we’ve had. These stories are simplified versions of reality (cognitive biases filter much of what happens to us). We're also biased to remember supernatural things like singing frogs (remembering things that are unusual helps us stay alive). But regardless of accuracy, stories are important because they have a huge impact on how we think, act, and feel.

The key stories from the first episode of COSMOS include:

  1. The Earth is a tiny part of a vast universe.
  2. Humanity didn't always believe this and people like Giordano Bruno were killed for asking too many questions.
  3. Humanity has existed for a very small amount of time compared to the rest of the universe.

Each of these stories is backed by science, with the exception of Bruno's story. COSMOS fails to explain why people rejected Bruno’s ideas and why many continue to deny modern day scientific truths (like climate change).

We attack information that conflicts with our stories

Cognitive dissonance explains why Giordano Bruno was attacked for his views of the universe.

Cognitive dissonance explains why Giordano Bruno was attacked for his views of the universe.

The best explanation for why people deny science comes from Leon Festinger's study of "The Seekers". Festinger infiltrated a cult led by Marian Keech who claimed to be receiving messages from aliens telling her the world would end on December 21st, 1954. Keech also claimed that she, along with her followers, would be saved at midnight prior to the end of the world. Her devotees left their jobs and stayed with Keech for the week leading up to the 21st. Midnight came and went – nothing happened. Instead of coming up with a rational explanation for why they weren’t beamed up by aliens, the seekers believed that God was so impressed with their prayers that he saved the world.

Festinger tested this experience in the lab and developed cognitive dissonance theory. Basically, we try to be true to the stories we tell ourselves. When there's a clash between our beliefs and new information (The Earth is the center of the universe but this guy is saying the Earth moves around the Sun), we unconsciously find information that fits our personal stories and end the conflict (He’s a crazy heretic). Cognitive dissonance is another part of the psychological immune system that keeps us feeling good about ourselves and the choices we make. Chris Mooney summarizes it nicely:

…our positive or negative feelings about people, things, and ideas arise much more rapidly than our conscious thoughts...That shouldn't be surprising: Evolution required us to react very quickly to stimuli in our environment…We push threatening information away; we pull friendly information close. We apply fight-or-flight reflexes not only to predators, but to data itself.

The brain attacks information that might challenge our beliefs the same way antibodies fight viruses. We unconsciously morph new information to fit in with existing stories (Sure, smoking isn’t healthy, but I don’t smoke that often and when I do they’re lights). Research has also shown that the harder you try to change someone’s perspective on an emotional topic, the stronger their existing point of view becomes. That's why debates on abortion don’t go anywhere and just make people mad.

How do we get around the problem of cognitive dissonance? New information has to be communicated in a way that fits in with someone’s existing stories. That's one of the reasons why many Jews, Christians, and Muslims believe in the big bang – it’s consistent with many religious stories about genesis and creation. It’s also why some people of faith have a hard time with evolution – the cosmic calendar doesn’t align with many religious texts.

COSMOS doesn't look like any documentary we've seen before.

COSMOS doesn't look like any documentary we've seen before.

COSMOS, a big budget primetime miniseries that looks more like a science fiction blockbuster than a science documentary, is perfectly positioned to get around the barriers of cognitive dissonance because it tells a cool story. I’m bummed it didn’t explain why people rejected Bruno’s convictions, but I believe it will inspire a new generation to love science.

Rating: 9/10

To learn more about the science of science communication, check out Kyle Hill’s article at Discover Magazine

The Best Science Fiction Music From 2013

Before moving forward with 2014, I want to look back one last time at 2013. 

I'm not going to list 2013's scifi winners and losers (Blastr already did that), rank its coolest fandom moments (I agree with Tony "Crazy 4 Comic Con" Kim's list), or the describe the best psychological studies from the past year. 

Since I've already started counting down the best science fiction film and TV scores of all time, I thought it would be fun to recap 2013's coolest scifi music. 

Here we go!

#7: Doctor Who - Series 7, Murray Gold

Doctor Who

2013 was the year I made first contact with Doctor Who. While Doctor Who's 7th season received mixed reviews, Murray Gold's score remained solid and continued to be some of the best music composed for TV. The music blends in some older themes Gold developed for previous seasons and introduces new darker themes which setup the events of the Doctor Who 50th Anniversary and the departure of Math Smith's 11th Doctor. My favorite tracks include "Clara?", "Infinite Potential", "A Secret He Will Take to His Grave", and "Remember Me". I know "Clara?" technically came out during the 2012 Christmas Special, but hey time is all wibbly wobbly, right? If you're a Whovian, check out the Doctor Who 50th Anniversary Collection Soundtrack.

Doctor Who - Series 7
Murray Gold
Europa Report

I'm a big fan of Bear McCreary! His score for Battlestar Galactica topped my list of the best scifi music from the 2000s and I love what he's done with The Walking Dead. Europa Report's score combines some of the somber tones McCreary developed for Battlestar with the dread of Walking Dead. The film isn't long, so there isn't much variety to its score, but I enjoyed hearing the different ways McCreary played with a singular theme in "Lift Off", "Landing on Europa", "Mausoleum", "Europa Report (For Solo Piano)", and "A World Other Than Our Own".

Europa Report
Bear McCreary
Pacific Rim

I had a lot of fun watching Pacific Rim and a big part of that was Ramin Djawadi's awesome score. I've really enjoyed what Djawadi's did with the Game of Thrones score and was surprised by the variety of music he created for Pacific Rim. From the rock and roll theme (featuring Tom Morello's killer riffs), to the optimistic "Gipsy Danger", the spacey "Shatterdome", the tragic "Mako" theme, the competitive "Physical Compatibility", and the pure popcorn fun of "Kaiju Groupie", the music of Pacific Rim has something for everyone.

Pacific Rim
Ramin Djawadi
Gravity

A big part of why Gravity was such an awe-inspiring experience was Steven Prince's score. Since director Alfonso Cuarón remained true to the fact that sound cannot travel in the vacuum of space, the only sounds we heard in Gravity (beyond the actor's voices) were Prince's music. There's a lot of similarity between Gravity and Europa Report's scores, particularly in how synthesized sounds are used to intensify suspense. What's interesting about Gravity is how quickly the music transitions between horror and tranquillity, and then back again. Sometimes the score is a little distressing to hear, but there's something about it that keeps me coming back. Check out "Debris", "Don't Let Go", "I.S.S.", "Parachute", and "Gravity".

Gravity
Steven Price
Oblivion

Oblivion's score is somewhat of a decedent of Tron: Legacy. Both films were directed by Joseph Kosinski, who tapped electronic bands to write each score (M83 with Joseph Trapanese for Oblivion and Daft Punk for Tron: Legacy). I love the integration of electric and traditional instruments, the variety of music on the score, and just how clean everything sounds. My favorite tracks include "Jack's Dream", "Waking Up", "StarWaves", "Earth 2077", and "I'm Sending You Away". I probably won't watch the film again, but I listen to the score all the time.

Oblivion
M83, Anthony Gonzalez, Joseph Trapanese
Man of Steel

#2: Man of Steel, Hans Zimmer

The most controversial film score of 2013 was Hans Zimmer's music for Man of Steel. It was criticized as being too moody, too light on themes, and too heavy on percussion. A lot of the controversy was the result of Zimmer following John William's original Superman score, which is one of the greatest themes of all time. /Film's David Chen perfectly captured the differences in the scores in his comparison of the original and new Superman themes:

"If Superman: The Movie is about arriving, about this guy coming to Earth, sharing his amazing powers with us, and saving us…[then] Man of Steel is about yearning, longing, the desire to fit in, an unrequited love of a people."

Zimmer's Man of Steel score fits this version of Superman and sets a bold standard for the DC cinematic universe to come (something we've all been yearning for). Listen to samples including "Elegy from Man of Steel trailer" by L'Orchestra Cinematique's and Zimmer's "Look to the stars", "This is Clark Kent", and "What Are You Going to Do When You Are Not Saving the World?". I can't wait to hear how (presumably) Zimmer integrates this score with Batman's for the upcoming movie.

Man of Steel
Hans Zimmer

#1: Her, Arcade Fire, William Butler, Owen Pallett

Spike Jonze's Her

Her was my favorite scifi film of 2013. The score, a collaboration between Arcade Fire and Owen Pallett (featuring a song by Karen O) is beautifully simple. It features instrumental variations on many of Arcade Fire's recent songs including "Porno" and “Supersymmetry”. 

The problem is Her's score isn't' available for purchase ANYWHERE! I kept postponing this article until I had the chance to listen to the score again, but for some dumb reason Warner Brothers hasn't released it. Until they do, you'll have to do with the video below which was posted by Arcade Fire this week.

Even though I've only heard it once, the music of Her left a big impression on me, enough for me to rank it the best of 2013.

Honorable Mentions

James Newton Howard's score for The Hunger Games: Catching Fire almost made my list, but many of the themes were extensions of what he did for the first film. I liked Ryan Amon's Elysium score, but it lacked a a cohesive theme. I've been very critical of Marvel for neglecting to connect themes across their Avengers films, but Brian Tyler created some fun music for both Thor 2 and Iron Man 3.  

Notable Exceptions

Along with Bear McCreary, Michael Giacchino is one of my favorite modern composers. His score for 2009's Star Trek set the right tone for the relaunch of the franchise. But there's something missing from his Star Trek Into Darkness score. It does extend Kirk's theme from the first J. J. Abrams film and I really dig the "London Calling" theme for the villain (along with a fantastic nod to The Original Series in "The San Fran Hustle"), but the heart of 2009's score is gone. Maybe the problem is the frenetic pace of the movie. Like the film, I have a lot of fun with the score but it's doesn't live on in my mind like its predecessor. 

What were some of your favorite scores from 2013? Let me know in the comments below.

The Top 10 Science Fiction Film & TV Scores from the 2000s

​Just a couple of psychologists celebrating science fiction and music at the Experience Music Project and Science Fiction Museum.

​Just a couple of psychologists celebrating science fiction and music at the Experience Music Project and Science Fiction Museum.

A few days ago I wrote about how music changes the way we act, think, and feel. What I didn't mention is how much I'm obsessed with film and TV scores - they suck me in, focus my mind, and make the rest of the world disappear.

While some write off Hollywood composers as "sell outs", the genre is essentially the same as the romantic era of music (you know, the time period that gave us Beethoven's "Symphony No. 9", Strauss's "Blue Danube", and Holst's "Mars") - both use music to tell a story that produces very specific feelings.

Science fiction is home to some of the best film and TV scores. To celebrate the musical contributions of science fiction, I'm starting a series highlighting the 10 best scifi scores of each decade, beginning with the 2000s (2001 - 2010). Check back for updates or save this link to view the whole series.

Here we go...

#10: Wall-E, Thomas Newman

wall-e.jpg

Since Wall-E rarely speaks, the film relies on Thomas Newman's score to communicate how the robot is thinking and feeling. This is done effortlessly. I also love how fun the score is. While things start seriously with "2815 A.D.", there's goofiness to "Wall-E", a sense of wonder to "Bubble Wrap", and playfulness to "First Date". Listen to samples of these tracks below.

Wall-E
Thomas Newman

If you like this score, check out Newman's scores to Skyfall, Finding Nemo, and American Beauty.

#9: District 9, Clinton Shorter

District 9.jpg

It was great to see a science fiction film that doesn't revolve around the United States. That's also what I enjoyed about Clinton Shorter's score to District 9 - South African vocals are integrated throughout resulting in a unique sound. Highlights include “District 9”, “Exosuit”, and “Heading Home”.

District 9
Clinton Shorter

I listen to District 9 during my morning subway commute. It gets me fired up to take on the hoards of New York City pedestrians.

#8: Moon, Clint Mansell

MOON_Poster.jpg

Moon is one of the best science fiction films that no one has seen. The score is clean and delicate. It makes you feel the loneliness of being stuck on the moon. Just listen to "Welcome to Lunar Industries", "Memories (Someone We'll Never Know)", and "The Nursery" to get an idea of what I mean.

Moon
Clint Mansell

To hear more from Mansell, try his scores to Requiem for a Dream, The Fountain, The Wrestler, and Black Swan.

#7: Tron: Legacy, Daft Punk

Tron_Daft_Punk.jpg

Tron: Legacy was a letdown, but the score exceeded all of my expectations. Daft Punk created a true synthesis of electronic and orchestral music that has yet to be replicated. Standouts include "The Game Has Changed", “Fall”, and “TRON Legacy (End Titles)”.

Tron: Legacy
Daft Punk

I listen to this album anytime I need an extra boost of motivation - at the gym, during chores, and when I'm behind on paperwork. Tron: Legacy just makes me want to get things done.

#6: Eternal Sunshine of the Spotless Mind, Jon Brion

Eternal_Sunshine_of_the_spotless_mind.jpg

Like Moon, Eternal Sunshine's score is razor sharp. Here, the focus is on a man desperately trying to hold on to fading memories and the music highlights the fuzziness of that process. Favorites include "Peer Pressure", "Row", and "Elephant parade".

Eternal Sunshine of the Spotless Mind
Jon Brion

I use this score for short bursts of contemplation, usually when I'm planning something new.

#5. The Dark Knight, Hans Zimmer & James Newton Howard

Dark_Knight_Joker.jpg

Both Hans Zimmer and James Newton Howard did the right thing when Christopher Nolan rebooted Batman - instead of competing with Danny Elfman's heroic original theme, they created a murkier score. While elements of Batman’s theme were teased in Batman Begins, they weren't fully fleshed out until The Dark Knight. For a sample, listen to “A Watchful Guardian” (Batman), “Why So Serious” (Joker), and “Harvey Two-Face” (Harvey Dent). 

The Dark Knight
Hans Zimmer & James Newton Howard

While The Dark Knight Rises's score has some nice moments (I love the chaos in "Gotham's Reckoning"), it lacks the subtly of the first two movies (probably because Howard wasn't involved). The Dark Knight remains the best film and score of the trilogy.

#4: Children of Men, John Tavener

children_of_men.jpg

Alfonso Cuarón's Children of Men has been compared to Ridley Scott’s Blade Runner. The score is more similar to 2001: A Space Odyssey, both in style and gravitas. Unlike 2001, John Tavener composed original music for the film in addition to using existing orchestral music. "Fragments of a Prayer, "Eternity's Sunrise", and "Mother of God, Here I Stand (For String Orchestra)" are all powerful examples of the film’s style.

Children of Men
John Tavener
Star_Trek_2009_Warp.jpg

Like the movie, the score feels fresh and modern. Spock's theme is reflective and tragic ("Head To Heart Conversation") while Kirk's is searching for a purpose ("Hella Bar Talk"). The best part is Giacchino's take on the original 1966 Star Trek theme ("End Credits") - it honors the past while boldly moving the franchise forward.

Star Trek
Michael Giacchino

When JJ Abrams picks a composer for Star Wars Episode VII, I hope he selects Giacchino – I’d love to see what he can do with that universe.

#2: LOST, Michael Giacchino

LOST_tv_poster.jpg

This decade witnessed the rise of Giacchino. Along with Star Trek, he composed Alias, The Incredibles, Ratatouille, Mission: Impossible 3, Mission Impossible: Ghost Protocol, Super 8, and Up (for which he won an Oscar). He also did the music for Disneyland’s revamped Space Mountain and Star Tours rides and a bunch of video games. His most creative work remains the score to TV’s LOST. Throughout the series, Giacchino expresses complex emotion with a few simple notes and uses silence as a way of building or releasing tension. He even used pieces of an airplane fuselage to create some of the show’s strange sounds. Below are some of the best moments from LOST's six seasons including "Oceanic 815", "Hurley's Handouts", "Claire-A Culpa", "The Constant", "Sawyer Jones and the Temple of Boom", "The Tangled Web", and "Closure".

LOST
Michael Giacchino
battlestar-galactica-last-supper.jpg

To keep Battlestar Galactica from sounding like just another space opera, McCreary used non-traditional orchestral instruments like the duduk, taiko drums, an erhu, sitars, gamelans, and bagpipes. Their synthesis results in a score that transcends all genres and is just really beautiful music.

I could go on and on about McCreary's score, but I'll just touch on some of my favorite themes of the series. The Adama theme ("Wander My Friends") highlights the role of family in the show. "Roslin and Adama" is rich and soothing while "The Sense of Six" is cold and unnerving. "Prelude to War" combines strings and percussion to create a dramatic standoff. "Heeding The Call" sets up the biggest reveal of the show and "Diaspora Oratorio" takes the series into its final act.

Battlestar Galactica
Bear McCreary

If you haven't heard of Battlestar Galactica, go to Netflix right now and watch the pilot. It’s that good. You won't be disappointed. 

Honorable Mentions

Inception, X2, The Island, Firefly, and Halo (yes, the video game) came close to making the list, but beyond the signature themes the scores weren't that memorable.

Notable Exceptions

Nothing from the "Marvel Cinematic Universe" (Iron Man 1 & 2, The Incredible Hulk, Thor, Captain America: The First Avenger, The Avengers) came close to reaching the top 10. None of the music from these movies is memorable.

We didn't get anything fresh from John Williams. I liked his Minority Report theme, but the Star Wars prequels, Indiana Jones and the Kingdom of the Crystal Skull, and Artificial Intelligence scores sounded A LOT like his previous work. Similarly, James Horner's score to Avatar reminded me of James Horner's score to Titanic

The 2000s saw the passing of Jerry Goldsmith, one of the greatest science fiction composers (Planet of the Apes, Star Trek: The Motion Picture, Alien). I really miss hearing his music.

That's it for now. Let me know what you think. What did I get right or wrong? What would you put on your list? And don't forget to come back for my list of the top scifi scores from the 1990s. 

 

Cultural Change Goes Both Ways, Just Like on Joss Whedon's Firefly

Firefly_crew.jpeg

Many people have never heard of Firefly. The TV show premiered in 2002, but was cancelled after 11 episodes (Fox set it up for failure by showing episodes out of order). Developed by Joss Whedon (Buffy the Vampire Slayer, Avengers), Firefly stars some familiar faces including Nathan Fillion (Castle, Dr. Horrible's Sing-Along Blog, Desperate Housewives), Morena Baccarin (Homeland, V), and Summer Glau (Dollhouse, Terminator: The Sarah Connor Chronicles). While the premise is familiar (a crew of renegades fight for survival on the outskirts of civilization), what makes Firefly truly a gem is its unique depiction of cultural change.

Firefly is a blend of American & Chinese culture

The Alliance flag is a literal combination of cultures. 

The Alliance flag is a literal combination of cultures. 

Firefly takes place in a future where the U.S. and China have merged into one diverse superpower called the Alliance, resulting in a combined Chinese and American culture. Everyone is bilingual in Mandarin and English, but each is used in different situations. For example, people swear exclusively in Mandarin, which conveniently let Joss Whedon get away some very colorful metaphors including 笨天生的一堆肉 (stupid inbred stack of meat), 真沒耐性的佛祖 (extraordinarily impatient buddha), and 羔羊中的孤羊 (motherless goats of all motherless goats). The Alliance government, values, and beliefs borrow from both the U.S. and the People's Republic of China. Dress, food, and entertainment are influenced by Eastern and Western tastes. This fusion results in a nation that has traces of both America and China, yet remains unique. This is exactly how cultural change happens in real life.

Cultural change has many outcomes

Mal's "browncoat" is a symbolic rejection of Alliance culture.

Mal's "browncoat" is a symbolic rejection of Alliance culture.

Most people think assimilation (individuals accept a new culture, reject the old) is the only outcome of cultural change. But that's just one possibility in acculturation – the process of change that results when two or more cultures come into contact with each other. Acculturation can also result in in separation (original culture is completely maintained), marginalization (original culture is lost and there is no contact with the new culture), or integration (elements of both the original and new culture are maintained). Acculturation changes individuals entering a culture as well as that society’s culture. The development of jazz, everyday use of the Yiddish “klutz”, and the global popularity of pizza all occurred because individuals from different cultures influenced society through acculturation.

Circumstances often influence the course of one’s acculturation. Captain Malcolm "Mal" Reynolds fought (unsuccessfully) against the imperialism of the Alliance and was forced into its rule. He separated from many parts of Alliance culture (Mal refuses to dress like the Alliance, gets into fights with those celebrating Alliance holidays, and stays away from the geographical center of the Alliance), has integrated other aspects (he speaks both English and Mandarin and eats Alliance cuisine), and has become marginalized in one key area (after the Alliance took over his home, Mal lost faith in his religion). Mal shows us that acculturation doesn’t lead to uniformed change in a person. Instead, people change differently across many parts of culture depending upon their circumstances. Dr. Simon Tam, a man who grew up in the center of Alliance civilization, presents with a very different acculturative experience than Mal (one that is far more assimilated with the Alliance). Neither experience is right nor wrong, they’re just different.

Acculturation & Firefly helped me understand myself

Dr. Lau introduced me to acculturation and helped me understand the impact it had on my life. 

Dr. Lau introduced me to acculturation and helped me understand the impact it had on my life. 

Learning about acculturation as an undergrad had a big impact on me. As a child born and raised in California to immigrant parents, the experience of “culture clash” was a big part of my life. I dressed in jeans and t-shirts but my face didn’t look like most Americans. That juxtaposition didn't make me feel like I fit in. I remember being told to "go back where you come from" (the guy didn’t realize I was born in the neighboring suburb) while others criticized me for being too "white-washed" (which usually meant they wanted me to listen to more Tupac and less Nirvana). My psychology professor, Dr. Anna Lau, helped me realize that my identity wasn't exclusively one thing, but a mixture of many things. I spoke English and Urdu, adopted Western and Eastern values, craved kabobs and burgers. Pigeonholing me into just one category and judging me only on my appearance, as I did to myself and others did to me, ignored the richness of my experience. 

Maybe that's why I love Firefly so much. The show can't be classified into one category. It's a combination of science fiction, western, and horror genres. Seeing a show that celebrates the diversity of acculturation and is itself a blend of multiple influences helped me feel a little less strange and a little more unique.  

How has Firefly and/or acculturation influenced you? Sound off in the comments below. Haven't seen Firefly? Watch it instantly on Netflix, Amazon, or iTunes.  

Anger and Hope in the Presidential Elections of Roslin/Baltar & Obama/Romney

Note: This article contains spoilers for Lay Down Your Burdens, season 2 episodes 19 and 20 of Battlestar Galactica.

Living in New York, I’ve been sheltered from the 2012 presidential ads. Since the state is all but guaranteed to vote for Barack Obama, neither candidate has spent much money on advertising here. However, when I was in Virginia this past weekend, I was inundated with political ads. These ads reminded me of another pivotal election in which a once popular incumbent (who also inherited a horrible situation) declined in polls after a failed debate against a candidate no one expected to win – the presidential race between Battlestar Galactica’s President Laura Roslin and Vice President Gaius Baltar.

Obama's ads claim Romney's policies would result in more economic decline. 

Obama's ads claim Romney's policies would result in more economic decline. 

Romney's ads claim the economy continues to decline. 

Romney's ads claim the economy continues to decline. 

Vice President Baltar was an “empty suit” of a politician, light on experience, socially awkward, and perceived to be a man of privilege. His campaign was unable to gain traction against the incumbent, President Roslin. However, Roslin was not universally popular. Many questioned whether this “schoolteacher” should have been sworn in as president at all (as the Secretary of Education, she was 43rd in line of succession after the destruction of her homeworld during the Cylon genocide). Primarily due to Roslin’s alliance with the military, polls expected her to be re-elected to a 2nd term.  

All of that changed when the fleet stumbled upon a planet hidden in a nebula that was capable of supporting life – New Caprica. Roslin rejected the idea of permanent settlement due to the brutal landscape of the new planet. Baltar’s aid, Tom Zarek saw this planet as an opportunity:

“It may look dreary. It may be dreary, but it's solid ground under your feet, and a real sky over your head. You'd be surprised what a powerful idea that is to people cooped up in metal boxes for nine months."

Baltar agreed and centered his campaign on the prospect of settlement. Roslin defended her platform, criticized Baltar for promoting a plan that could put the fleet in danger, and reiterated the need to move forward despite any hardships they will encounter.

Baltar went on to win the election because of his projected optimism and Roslin’s cold realism. During the final presidential debate, he gave the fleet hope that they could finally stop the onslaught of Cylon attacks.

"The President uses fear to drive her campaign…fear of the gods, fear of the Cylons, fear of fear itself. Isn't it time to stop being afraid? I am asking all of us to stop running from our lives and start living them."

As was best summarized by Tory Foster, Roslin's chief of staff, “People vote their hopes, not their fears, they don't want to hear the truth.”

Baltar won the election due to his optimism about permanent settlement.
Baltar won the election due to his optimism about permanent settlement.

What I love about the election of Baltar is that it highlights much of what we know about the psychology of voting. People vote for many reasons, but political preferences are influenced by a complex interaction of genetics, environment, and psychology. In a recent paper, Peter Hatemi and Rose McDermott reviewed the role of each variable in determining political views. What Hatemi and McDermott found was up until individuals move out of their parents’ homes, both identical twins (who share almost the exact genetic structure) and fraternal twins (who share about half of their genetics) have the same political opinions. After leaving one's home, fraternal twins can develop different political views while identical twins retain the same views. In other words, genetics, family, and culture play a major role in influencing political opinion growing up, but change can occur if and when one leaves their home.

By itself, this is not surprising – family influences your politics due to your genes and the values you grow up with (the same is true of temperament and we’ve known that for a long time). What is surprising is the strong role basic emotions play in year-to-year elections, specifically anger and hope.

A group of University of Michigan political scientists, led by Nicholas Valentino, created an experiment in which participants wrote about an experience that made them angry, anxious, or enthusiastic. Later, participants were asked about their participation in politics. Those who were in the angry situation had statistically higher intentions to participate politically compared to the anxiety and enthusiasm groups. The authors found similar results when analyzing national electorate data from 1980 – 2004. Bottom line – to make voters more engaged and mobilized in your cause, get them pissed off at your opponent. Unfortunately, Valentino and his colleagues identified a side effect of anger – it leads individuals to become closed-minded (something 60 Minutes recently detailed in their analysis of the U.S. Senate).

Gridlock within the Senate may be due to anger and hostility. 
Gridlock within the Senate may be due to anger and hostility. 

Along with anger, “people vote their hopes”. The triumph of optimism in U.S. presidential elections was first identified in a series of studies led by University of Pennsylvania psychologist Harold Zullow. Researchers analyzed the acceptance speeches of all major candidates at their political conventions throughout the 20th century for optimism, pessimism, and focus on negative events. Their analysis used a technique called CAVE (Content Analysis of Verbatim Explanations), which is based on the finding that depressed individuals discuss events differently than non-depressed individuals (e.g. “I’m alone because I don't deserve to be loved” versus “I’m alone because I haven’t met the right person yet”). Results indicated that between 1900 through 1984, the more optimistic candidate who focused less on negative events won 80% of the elections (the exceptions were FDR in his three reelection races and Nixon). Candidates who inspire hope have a significant advantage with the electorate (exemplified by Clinton’s “A bridge to the 21st century”). Why is optimism so important? Optimistic individuals continue to work hard, even in the face of defeat, and optimistic messages may resonate better than neutral or pessimistic messages.

In the Battlestar Galactica election, Roslin failed to understand the importance of emotions in elections. She relied upon her perceived experience, authority, and judgment to win re-election. Baltar capitalized on the underlying anger of the fleet, funneling it towards the incumbent, while also inspiring the electorate with hope for a better future. 

Today’s election between President Barack Obama and Govenor Mitt Romney puts us in a different situation. President Obama’s 2008 landslide victory was the result of a campaign that effectively integrated messages of “hope and change”. But many believe Obama has failed to deliver on his promises. As New York City Mayor recently stated in his endorsement of Obama

“In 2008, Obama ran as a pragmatic problem-solver and consensus-builder. But as president, he devoted little time and effort to developing and sustaining a coalition of centrists, which doomed hope for any real progress on illegal guns, immigration, tax reform, job creation and deficit reduction. And rather than uniting the country around a message of shared sacrifice, he engaged in partisan attacks and has embraced a divisive populist agenda focused more on redistributing income than creating it.”

While, Governor Romney has effectively used the depressed economy to instill anger at Obama, many find him to be uninspiring and untrustworthy due to his political pivots from moderate Governor to a conservative presidential nominee.

It is not surprising that this election is too close to call. There’s plenty of anger to go around and neither candidate has inspired the American people. Combined, the campaigns have spent $2 billion attacking each other rather than giving us a reason to believe in a better future (Obama’s closing argument – “Romney’s proposed policies failed our country in the past, we can’t trust him”, Romney’s – “Obama’s failed our country, we can’t trust him”). There is no New Caprica in this election, nothing to make the American people excited about the prospect of change. Rather, we’re faced with the cold reality that the next four years are going to be nearly as difficult as the last. Utlimately, this election boils down to the following question – which candidate do you dislike the least?