How is it, a world bombed about five minutes ago, with nuclear explosions we SEE engulfing most of the surface of the planet is (a) habitable by humans (yes, even with radiation meds - what are they EATING? and, in that one episode, how are they conceivably imagined to be fertile?) and (b) filled with *still-standing cities* ... when a planet bombed-out TWO THOUSAND YEARS AGO is unsuitable for settlement?
In a fleet where networked computers are verboten: how do they communicate with one another by phone? Across vast distances? I know we see much made of staticky radio, but their feats of electronics and communications without wireless networking of any kind do begin to stagger the imagination - most especially with the extraordinary precision of their faster-than-light jumps through space.
There are those who think BSG made huge leaps forward in every way from all the Trek series. I'll grant, the writing is taut. But BSG depends, with a frequency none of the ST series ever quite matches, on The False Deadline. "If this person isn't recovered by X moment, we all die, or they die, or whatever - and DISASTER ENSUES" ... but recovery is made just in time - or just after time, but because we fudged the deadline. This creates tension, maybe, but the tension is false.
As to the rest, the acting is not entirely superior; only different. The major nit people pick relates to production design, and I'll grant that BSG looks "lived-in" and bears internal logic most of the time in the way things work, but there are weird set choices and usage of space, and Trek's relative slick sheen was of course intentional - the idealized look of a world originally conceived to BE ideal, pretty, perfect. But put Grace Park next to any ST castmember in any series you like, including TOS, and I'm going to call BS if you claim the acting is better. Honestly, for all he's been sainted time and again, I found Olmos pretty one-note (gravelly) and ponderous at times. Not unbelievable, but not exactly a deeply layered character - stamping "complex" on his name on a script doesn't convince me. And I have every bit as much trouble watching Kara Thrace's overly poochy pout as I do with Jolene Blalock's overly poochy pout in Enterprise.
Adama and Athena. He is profoundly betrayed by her - "throw that thing in the brig" - heals offscreen - she's his loyal, trusted sidearm - he is profoundly betrayed by her - and then he gives her her kid and lets her out, again. The reversals, I can't accept them. Not ALL of them. It's too regular. And it too-well suits the needs of one episode's plot and/or heartstring-tugging to be believed.
BSG has often been touted for its focus on humanity - no silly rubber masks and so on. But BSG's idea of "humanity" is extremely limited. Only the Greco-Roman heritage exists. There are a few faces of color, but zero culture exists but - essentially - white Western history. Anyone looking more diverse is merely assimilated, not actually representative of anything but the Greek (and LDS) traditions on display. Even the Cylons are strictly and entirely part of this tradition.
So ... in the entire universe, wherein they meet no form of life other than humans and Cylons (and what's the difference there being the final point of the whole series' arc, we really meet nothing but humans and watch them squabble) ... no form of culture exists, AT ALL, but this?
At least ST *tries* to represent diversity. Even when it fails (see also: kind of a lot of TNG), it attempts. (Though let it be said, I have diversity issues with ST; not least, the overwhelming tendency of black actors being put under layers of makeup to hide their faces altogether - ask me YET AGAIN why DS9 is my favorite series: see Benjamin Sisko and his son, and "Far Beyond the Stars", as well as *many* other episodes directly dealing with prejudice and bigotry, Earthly and otherwise. DS9 is notable for its redemptive treatment of the Ferengi, who were written as shameful stereotypes in other series.)
BSG's fleet is really just a construct. Apart from central cast and recurring characters, the forty-seven thousand (and less ... and less) survivors of humanities might as well be a pack of redshirts. Even with their avatar, "the press", they have almost no presence in the breathlessly emotional stories of Kara Thrace, Laura Roslin, the Adamas, the arbitrarily-assigned Final Five, and so on. It's a decent sized ensemble, but as a representation of all of humanity, the all of humanity part is pretty elusive. We *hear* about unrest and upheavals, but surprisingly often, we're told, not shown.
On one occasion we're shown - a young student assigned to a job he does not want because of his background, and his disgustingly contrived death because of that job - we might just as well be told, because it's insultingly badly done.
But the real question I have is ... why there must be a rivalry between BSG and Trek at all. Why people hold them up as opposites.
Ronald D. Moore alone is a major part of the DNA of all three ST series of the 1980s and 1990s, TNG, DS9, and Voyager. He's so much involved in BSG his image appears in the ending production titles on every dang episode.
The real wonder is how different they appear - or, at least , how differently they are received and perceived - given the commonalities.