Five hundred years in the future, a renegade crew aboard a small spacecraft tries to survive as they travel the unknown parts of the galaxy and evade warring factions as well as authority agents out to get them.
Serenity encounters a ruthlessly professional bounty hunter, Jubal Early, who will stop at nothing to retrieve River. But River, feeling unwelcome on the ship, takes a novel approach to escaping from...
When an old enemy, the Cylons, resurface and obliterate the 12 colonies, the crew of the aged Galactica protect a small civilian fleet - the last of humanity - as they journey toward the fabled 13th colony, Earth.
Edward James Olmos,
Following the destruction of the Twelve Colonies of Kobol by the Cylons, a rag-tag fugitive fleet of the last remnants of mankind flees the pursuing Cylons while simultaneously searching for their true home: Earth.
Edward James Olmos,
Captain Malcolm 'Mal' Reynolds is a former galactic war veteran who is the captain of the transport ship "Serenity". Mal and his crew, ensign Zoe Alleyne Washburne; Zoe's husband, pilot Hoban 'Wash' Washburne; muscular mercenary Jayne Cobb; young mechanic Kaylee Frye; former Alliance medical officer Simon Tam; his disturbed teenage sister River (both on the run from the interplanetary government "The Alliance"); the beautiful courtesan Inara Serra; and preacher Shepherd Book do any jobs, legal or illegal, they can find as the Serenity crew travels across the outskirts of outer space.Written by
In the 1970s and early 1980s, Ron Glass was a cast member of the sitcom Barney Miller (1975), which was set at the 12th precinct of the New York Police Department. While it was likely just a coincidence, the NYPD's 12th precinct was also the setting of Nathan Fillion's series Castle (2009). See more »
Some of us think the wrong side won that war, sir.
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The two-hour pilot "Serenity" also featured a scene in Simon's cabin with him and Zoe: he's listening to an encyclopedia entry on the Battle of Serenity Valley, from which the ship gets its name, and she comes in and gives an eyewitness account of it, from Mal commanding over 2000 people after a week due to high officer casualties, to both sides stacking corpses for cover, to medical relief for both sides being held back for a week after a cease-fire was declared, to her and Mal being the only survivors of their platoon, and that she'd kill Simon on a word from Mal. See more »
As with BtVS, the world is divided into people who get Firefly and people who don't. In this series Joss Whedon created one of the most realistic post-war visions of the future ever committed to tape, that at the same time spoke about yesterday and today. Maybe a little too much today for its own good.
The series is anti-corporate, anti-government and, while it takes the stand that some things are worth fighting for, it is largely anti-war. No wonder FOX did everything in its power to kill it off, including airing episodes out of order, skipping weeks after airing only three eps and, inevitably canceling the show without even airing episodes 12, 13 and 14 (out of 15). This was particularly damaging, as Firefly had a greater sense of ongoing plot than any other Whedon series in its first year. Viewers were left wondering, on more than one occasion, when a character would reference something we hadn't seen yet.
The backstage dramatics aside, Firefly is intelligent and, like Buffy, mythic - except this time Whedon is dealing with the myth of America: the Frontier, the Civil War, the rise of the Corporation, etc . . .
Firefly is a demanding show. It asks its audience to appreciate the shades of grey in its characters' moral scale. The villains are not comfortingly dressed as an alien race. In 500 years mankind will still be its own worst enemy. Technology will be in the hands of a privileged few, and others will in "The Black" - Whedon's frontier third world - where it is possible to exist without the interference (or benefit) of civilization and government. Things will be dirty, and used. Firefly creates a universe that almost totally opposes that of (that bastion of television sci-fi) Star Trek: its Federation-like central power (the Alliance) is interpreted as being oppressive and dystopic. We are on the side of those who resisted (like the Maqui) and lost.
The acting is strong, the writing as excellent, funny and moving as on any Whedon show, and the effects and sets create a consistent, believable world. It is a shame the series didn't have a more hospitable environment in which to grow and become all it could have been.
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